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It is among the most-studied imagery in history: the amateur film comprising 26 seconds, or 486 frames, that depicts the assassination of John F. Kennedy on November 22, 1963. It was captured by Abraham Zapruder, who thanks to his 8mm camera became the most famous witness to the tragedy. The footage has gained the status of historical record not only because of the traumatic images it revealed, but also as the inflection point for a profound reworking of the regimes of visibility. Since that day in 1963, every component of the Zapruder film has been subjected to rigorous scientific scrutiny, including analyses of the logical extension of its frames as well as cross-referencing with other sources. Areas outside the camera’s field of view have even been reconstituted by addition of new images, allowing the scene to be examined from every possible missing angle so as to reproduce the sequence of events, as in a psychodrama.

Today, this method of processing images to amplify the data they contain is the basis for abundant artistic and videographic production. The emergence and proliferation of open source media, widespread use of smartphones and access to geolocation data, use of software and other technologies in forensics, digital modeling, photogrammetry and ground-penetrating radar are delivering ever more efficient means of visual investigation. Artists have embraced this technological armada to conduct inquiries into allegations of human rights violations or colonization processes, or to support social or environmental justice causes. Their investigations are central to this research focus.


The Zapruder Effect

Is art a form of invisible work? This visual essay explores various questions related to artists’ work, using the motif of the crazy wall. 

Nelson Henricks, Marie J. Jean & Claire Savoie, Who Can Live on Products of the Future?

henriks-jean-savoie_qui-peut-vivre_01_ENG.jpg

Who Can Live on Products of the Future?

Nelson Henricks  
Marie J. Jean  
Claire Savoie  

Who Can Live on Products   
of the Future?

ROUGH BEAST is a work of speculative auto-fiction on the future of artificial intelligence and labour, network science and data rights.

Adam Basanta. ROUGH BEAST

Adam Basanta  
ROUGH BEAST


This speculative video essay looks at James Benning’s _Readers_ (2017) and asks: how much can you see of a movie you haven’t seen?

Lého Galibert-Laîné & Kevin B. Lee. Reading // Binging // Benning

Lého Galibert-Laîné  
Kevin B. Lee  
Reading // Binging // Benning 


This essay film is the outcome of the Sanaz Sohrabi’s recent research in the archives of British Petroleum.

Sanaz Sohrabi. Scenes of Extraction

Sanaz Sohrabi  
Scenes of Extraction

Past

The presentation of films and videos has always been an important part of VOX’s programming. We invite artists and collaborators to design specific programs enabling our audiences to discover all the artistic forms of the moving image, from experimental film to art video, documentary, visual essay, animation or fiction.

La présentation de films et de vidéos a toujours occupé une place importante dans la programmation de VOX. Nous invitons des artistes et des collaborateur·trices à concevoir des programmes spécifiques permettant à nos publics de découvrir toutes les formes artistiques de l’image en mouvement, du film expérimental en passant par la vidéo d’art, le documentaire, l’essai visuel, l’animation ou la fiction.

VOX — Centre de l’image contemporaine

Online Videos

Who Can Live on Products of the Future?

Past

Adam Basanta. ROUGH BEAST

Lého Galibert-Laîné & Kevin B. Lee. Reading // Binging // Benning

Sanaz Sohrabi. Scenes of Extraction