after.video realizes the world through moving images and reassembles theory after video. Extending the formats of ‘theory’, it reflects a new situation in which world and video have grown together. This is an edited collection of assembled and annotated video essays living in two instantiations: an online version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book’.

When first launched the Biosphere 2 was sold by the media to an eager public as crucial scientific research that would save us when the earth became uninhabitable.  This was easier then explaining the complicated fact that many of its central ideas had come from an avant-garde theater troupe. But these performative roots were mirrored by Barbara T. Smiths “21st Century Odyssey.”  When Smith’s boyfriend, Dr. Roy Walford, went into the Biosphere for two years she traveled around the world doing performances and communicating with him through then cutting-edge tech like faxes and video chat. While he and the other ...

It is the summer of 2013. Inside an empty news studio, a teleprompter rolls messages on its screen narrating the events that led to the closing of the Greek public television network (ERT) as a consequence of the European crisis and its austerity-ridden economy. It reads: “ERT may have been the last television channel to ever broadcast, the first and last television signal to be interrupted.” With the shutdown, 2,700 ERT employees were sacked. ERT’s ending was broadcast live, an its last report was an image of the people that had gathered outside the station, protesting against its closure. At the ...

In Christine Sun Kim’s video Close Readings, she compiled a selection of film clips and invited deaf friends to provide captions providing possible additions to the films, resulting in a flipping of the typical power dynamic between filmic experience and deaf audiences, where the meaning of the film is dependent on how it is captioned. Here, the hearing viewer is subjected to the captioning of the deaf viewers. Sun Kim has provided us with 11 stills from this video, and a rekindling of our fondest memories of the CEL’s 2013 collaboration with her, “Seeing Voice: The Seven Tone Color Spectrum” ...

METAHAVEN’S VAST BODY OF WORK ACROSS ART, DESIGN AND FILM speculates on what the shifting status of truth might mean emotionally, technologically and geo-politically, and asks who and what enables this condition. Since 2007, the Amsterdam-based collective has unbraided, examined, and worked on the borders between information, fantasy, fiction, and noise. Design Hub Gallery presents their exhibition Field Report at a time of unprecedented public concern about the construction of truth in politics and the media.

Finding Fanon 2, made by Larry Achiampong and David Blandy, uses the Grand Theft Auto 5 in-game video editor. Finding Fanon 2 was commissioned by Brighton Digital Festival 2015, supported by Arts Council England. The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation.

In what ways could we imagine a world different from the one in which we currently live? This is the question addressed by the essays and conversations in Futures and Fictions, which explore possibilities for a different “political imaginary”. With discussions around decolonization, new Afro- and other futurisms, post-capitalism, science fiction, and new kinds of social movements – and the intersections of these with contemporary art practice and visual culture – Futures and Fictions creates a space for alternate narratives and image-worlds that might be pitched against our neoliberal present. With contributions from Mark Fisher, Ursula Le Guin, Kodwo Eshun ...

Raspberry Pi Ad-hoc Video Exhibition built on liblib and liblib-exhib for the Kadist Art Foundation. La Nube Oscura is a mobile video program of contemporary artworks, curated (and carried) by Joseph del Pesco. The program is accessed via wifi and viewed on whatever device you have with you: smartphone, laptop or tablet. The contents of the program continue to change and evolve, so log-in to see what’s currently on view. Please note that headphones are highly recommended for video viewing. There has been some confusion about a variety of new terms recently developed to help us understand parts of the internet that ...

Artist ED FORNIELES discusses diving headfirst into the toxic, hierarchal fantasy of masculinity, and the present difficulties of finding an alternative. His recent work “The Cell,” which is featured in the 6th Athens Biennale, documents a LARP Fornieles staged earlier this year around the narrative of an all-male, alt-right gamer group. (With Busta, Keller, and @LILINTERNET) This podcast is part of New Models’ series for the “ANTI-” Athens Biennale 6.

Michael Snow traces the dualistic structure of his work to his Canadian upbringing between two cultures—English and French—and his early awareness of the different qualities of sight and sound, learned from his parents. Having studied at the Ontario College of Art in his native Toronto, he travelled in Europe in the 1950s and lived in New York in the 1960s. Snow’s contributions to three spheres of cultural activity—visual art, experimental film, and music—have been recognized internationally.

Paganini’s 5th Caprice (spliced together from a few hundred Youtube guitar instructional videos).