![]() She talks to the women as they cross the desert in a horse-drawn carriage to fetch water from the nearest well, and captures footage of tribal songs and dances, children’s pranks and a local rodeo. Kubota narrates this surrealistic video diary of her month-long sojourn with a Navajo family on a reservation in Chinle, Arizona. Video Girls and Video Songs for Navajo Sky (1973, 31 minutes) She employs this new technology to manipulate the electronic signal, generating previously inconceivable hues and patterns and unraveling traditional image-making conventions. Shigeko Kubota’s Self-Portrait demonstrates limitless possibilities of the medium of video. This work, in which Kubota interacts with her own image, incorporates some of her earliest known experimentations with video technology. The screening is part of Revisiting Feminist Moving Image, a series at e-flux Screening Room aimed at revisiting the origins, contexts, developments, and impact of feminist video art and experimental cinema around the world from the 1960s through today. Self-Portrait (1970-1971), Video Girls and Video Songs for Navajo Sky (1973), My Father (1973-1975), and SoHo SoAp/Rain Damage (1985 ) perfectly represent Kubota’s poignant and wry autofictional observations of the everyday, characteristic of a strong sense of feminist identity. In this screening, we will focus on the latter component of Kubota’s body of work-her autobiographical videos, collectively titled Broken Diary, that evolved since 1970. Focusing on several, often interconnected themes, Kubota’s works include installations that pay direct homage to Duchampian ideas and icons those that reference Japanese spiritual traditions of nature and landscape, particularly water and mountains and a series of diaristic works chronicling her personal life on video. Her distinctive fusions of the organic, the art historical, and the electronic are at once poetic and witty. An active participant in the international Fluxus art movement in the 1960s, Kubota was strongly influenced by the art and theories of Marcel Duchamp and John Cage. Over her five-decade career, Kubota forged a lyrical confluence of the personal and the technological, often merging vibrant electronic processing techniques with images and objects of nature, art, and everyday life. The screening will be followed by a conversation between Yoon and Brasiskis, and Eimi Tagore-Erwin. Join us at e-flux Screening Room on Tuesday, October 11 at 7pm for A Life on Video: Shigeko Kubota’s Broken Diary, a screening and discussion of videos by Shigeko Kubota, curated by Juno Peter Yoon and Lukas Brasiskis. It rains in my heart, it rains on my video art… Art imitates nature, nature imitates art.
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