Androgynous figures struggle to execute various labors within a bleak, vacuous monoculture. Addressing the inherent violence of the real and the simulated, as well as the dubious pleasure of witnessing, narratives of safety, risk and use-value are tested via 3D-rendered, plastic surrogates. Choreographed motion-studies and textual, Brechtian vignettes produce alternative translations and behaviors, both acceptable and indecent. Brunt Drama manipulates the slipperiness of affect-inducing data visualizations intended to ameliorate fear into consumption — presenting a simulation of the unrepresentable, visible from both sides of the screen.

A silent essay considers the legacy of Robert Flaherty’s 1922 documentary, Nanook of the North (also known as, A Story of Life and Love in the Actual Arctic). An image by an Inuk artist is discovered “missing” from the Museum of Modern Art collection.

A table of gay men with diverse ages, races and backgrounds gather in a Los Angeles bookstore to discuss Olufemi O. Taiwo’s book Elite Capture and the co-opting of identity politics (queerness especially) by hegemony. What follows is an unscripted conversation between the participants, including Matthew Lax as facilitator alongside founding member of the Radical Faeries, and Jungian psychologist, Dr. Don Kilhefner as co-facilitator.

In A Tired Dog is a Good Dog, Part Two, pack behaviour is explored along with notions of dominance, submission, trust and consent, both within human and dog relationships and within pup play. Love and bonding become a central theme, weaving together further investigation into pup relationships, training sessions with a traumatised dog and the director’s own relationship to the dogs in his life that he has loved and lost.

A Tired Dog is a Good Dog, Part One explores animal husbandry from the perspective of a quadruplet raised in a dog breeding family. Incorporating original footage and family archive, the film analyses canine behaviour, humans playing as dogs through kink, and his own identity.

Examines authenticity, provenance, and the narratives we construct around art and material history. Weaving together exploitative casting tapes, the hanging of un-attributed Dutch master paintings and the history and cultural meaning of denim fabric to reach a deeper understanding of the entanglements of class, labour and aesthetics.

Examines authenticity, provenance, and the narratives we construct around art and material history. Weaving together exploitative casting tapes, the hanging of un-attributed Dutch master paintings and the history and cultural meaning of denim fabric to reach a deeper understanding of the entanglements of class, labour and aesthetics.

Examines authenticity, provenance, and the narratives we construct around art and material history. Weaving together exploitative casting tapes, the hanging of un-attributed Dutch master paintings and the history and cultural meaning of denim fabric to reach a deeper understanding of the entanglements of class, labour and aesthetics.

Examines authenticity, provenance, and the narratives we construct around art and material history. Weaving together exploitative casting tapes, the hanging of un-attributed Dutch master paintings and the history and cultural meaning of denim fabric to reach a deeper understanding of the entanglements of class, labour and aesthetics.

Examines authenticity, provenance, and the narratives we construct around art and material history. Weaving together exploitative casting tapes, the hanging of un-attributed Dutch master paintings and the history and cultural meaning of denim fabric to reach a deeper understanding of the entanglements of class, labour and aesthetics.