Guerillere Talks
This experimental short consists of eight unedited rolls of super-8 film, each of which profiles an individual woman in real time. The women engage in everyday behaviour, such as playing pinball or reading a letter aloud.
Vivienne Dick
Casts & Crew
Anya Phillips
Lydia Lunch
Ikue Mori
Vivienne Dick
Beate Nilsen
Adele Bertei
Pat Place
Also Directed by Vivienne Dick
Augenblick reflects on what it means to be human in a post-human world. Moving from The Age of Enlightenment into a digital world, what becomes of out relationship to each other and to the earth?
"This experimental film embodies an implicit critique of the male paradigm where the fetishisation of property and privilege has resulted in a global ethical deficit."
Beauty Becomes the Beast describes a random access world mediated by TV images and shards of popular culture. The film features a powerful performance by Lydia Lunch regressing from adulthood to childhood, hinting at a sexually abusive past. It concerns itself with the position of woman as subject and the way women experience patriarchal law and the heterosexual order.
Sumptuous nature is artificially created from the female imagination as if the Garden of Eden was made for the pleasure of women only. The female inhabitants perform to a soundtrack that is radically classical or vice-versa.
The shoreline at Salthill, Galway on a summer's day, followed by the sounds and lights of a fairground ride at night to music by Arovane. V.D.
Produced over the Christmas of 1990, New York Conversations explores the lives, fears and work of six New Yorkers in a series of video verite interviews. Frequently funny, often life affirming, sometimes bizarre insights into the lives of the real ‘thirtysomething’ generation.
New York Our Time is an ethnographic look from the inside at a particular community and period in the history of a great city, and a meditation on the passing of time. Interviewees include photographer Nan Goldin, performer Lydia Lunch, and post-punk feminists Bush Tetras, as well as representatives of a new generation, the children of that 1970s era of free expression, now finding their own way through a city increasingly in thrall to market forces.
Paying homage to her experimental contemporary Jack Smith, Vivienne Dick juxtaposes two quite different London landscapes.
Liberty’s Booty is an investigation into prositution from a female perspective under a late capitalist economy. The film is also a document and a celebration of a New York subculture in the late seventies. With a dense mix of real testimonies, verité footage and acted out scenarios, this film examines power relations and the commodification of the body. The film alludes to a growing globalisation with its reference to a MacDonalds strike in Dublin and imagery of Pope Paul’s visit to Ireland in 1979 which in retrospect, is seen as marking a final attempt to halt the transformation of Irish society.
London’s cultural diversity unfolds as Vivienne Dick portrays her friends, their lifestyles, what they talk about and how they talk. In this kaleidoscopic arrangement of encounters and re-enactments, equal weight is given to the passionate and the banal. The camera’s sudden hops from one reality to another and the disjointed conversations are drawn together by the musical score and the film’s internal rhythm.