Margaret Raspé, Der Sadist schlägt das eindeutig Unschuldige (The Sadist Whips the Unquestionably Innocent), 1971 (still). Super 8 film, color; 6 min. Courtesy of the estate of Margaret Raspé, Galerie Molitor, Berlin and Deutsche Kinemathek, Berlin
Images at Work
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Explore all artists who have exhibited at the List in our Artist Index.
This film and video program is conceived as an offshoot of and appendix to Performing Conditions—dependent on the whole, even as it supports it.
Comprising nonfiction and experimental works made over the last half-century, the program sketches an unruly history of labor and its refusal. It also contends with recurrent debates around the image’s use-value—particularly the social documentary and militant cinema traditions that haunt the representation of labor. Across these works, “the worker” and the “working class” are not unified or historically stable entities. Instead, they flicker in and out of view, evincing their contested and elusive nature.
Each thematic program screens for three weeks in the Bakalar Gallery. “Strike and Sabotage” proposes a shared grammar and common ground for labor struggle and anticolonial struggle. “With and Against Housework” presents visions of domestic work from diversely located feminist filmmakers in the 1970s and eighties. “Solidarity and Form” gathers oblique, abstract approaches to the representationally overdetermined subject of the worker. Finally, “Non/performance for the Camera” examines the figure of the cultural worker and their possibilities of refusal.
Images at Work is organized by Ramona Ngin, Curatorial Assistant.
Screening Schedule
Strike and Sabotage, April 11–May 3
Alanis Obomsawin, Spudwrench: Kahnawake Man, 1997. 58 min.
Razan AlSalah, A Stone’s Throw, 2024. 40 min.
With and Against Housework, May 12–31
Margaret Raspé, The Sadist Whips the Unquestionably Innocent, 1971. 6 min.
Letícia Parente, Tarefa I (Assignment I), 1982. 2 min.
Fronza Woods, Fannie’s Film, 1981. 15 min.
Yugantar Film Collective, Molkarin (Maid Servant), 1981. 25 min.
Solidarity and Form, June 2–21
Joyce Wieland, Solidarity, 1973. 11 min.
Karimah Ashadu, Lagos Sand Merchants, 2013. 10 min.
Kevin Jerome Everson, Sound That, 2014. 12 min.
Morgan Quaintance, Repetitions, 2022. 24 min.
Non/performance for the Camera, June 23–July 12
Brigitta Kuster, Isabell Lorey, Marion von Osten, and Katja Reichard, Camera Running! A Small Postfordist Drama, 2004. 32 min.
Amol K. Patil, Black Masks on Roller Skates, 2022. 10 min.
Mike Henderson, Dufus (aka Art), 1970/73. 6 min.
Mako Idemitsu, Kiyoko’s Situation, 1989. 24 min.
Note: From May 5–10, the gallery will be closed for a performance by Sophia Giovannitti.
