De/Re-Constructing Pornography 2
How are pornographic images used in art? In this program, various artists and guest curators give their views on this theme. Under the title ‘De / Re Constructing Pornography, William Wees addresses the question of whether it is possible to reuse pornographic images without preserving the same voyeuristic charge and sexist stereotypes as in the original sex film.
Marilyn Times Five, Bruce Conner (US, 1968-73, 16 mm, 13:00)
A very young Marilyn Monroe (perhaps) in a beautifully grainly celebration of – and elegy for – a famous voice and body.
Justify My Love, Mike Hoolboom (Canada, 1994, 5:00,16 mm)
A once-scandalous music video with a more scandalous fantasy in text at the bottom of the screen.
The Murder Mystery, Dietmar Brehm (Austria, 1992, 18:00, 16 mm)
Pornographic footage woven into a murky, enigmatic narrative of sex and violence.
That’s What We Do To Dogs, Jayne Austen (US, 1991, 16 mm, 10:00)
By leaving this porn footage unchanged, Austen challenges us to respond to it critically rather than viscerally.
All You Can Eat, Michael Brynntrup (Germany, 1993, 35 mm, 5:30)
A clever reminder that actors in porn films have faces too.
Tr’cheoťmy P’y, Julie Murray (US, 1988, super-8 mm, 3:30)
“There is little difference between the rhythm of the pornographical sexual encounter and that of the cartoon sports characters.” (J. Murray)
Frank’s Cock, Mike Hoolboom (Canada, 1993, 16 mm, 8:00)
“A work of mourning and humour” (M. Hoolboom), the film’s images include gay porn and Madonna’s banned video “Erotica”.
Sodom, Luther Price (US, 1989, super-8 mm, 15:00)
The transmutation of images from pre-AIDS gay pornography produced a work that is visually lavish, deeply disturbing – and extremely controversial.