The music video "take on me" from AHA, I loved it when I was a child and am still fascinated by idea and technique.
A work that has always accompanied me, both visually and musically, is “Aguirre, der Zorn Gottes”, by Werner Herzog. I saw the movie when I was in secondary school and was struck by the slow rhythm of the sequences and the tremendous soundtrack that Popol Vuh produced, which play alongside the sounds from nature and the Andean world itself. I think that this was one of my primary influences for my later works.
Growing up in the Communist Poland, we did not have the access to television commercials. We only had two TV channels which mainly aired public content. Whenever there was a gap in the transmission because of one show ending sooner than expected and the other one not yet starting, the space would be filled with traditional short animations and classical music. There was one animation that I particularly remember - “Tango” by Zbig Rybczynski from 1981, awarded with an Oscar.
So many, but one above all: Godfrey Reggio's Koyaanisqatsi film with Philip Glass' scores.
Benna Gaean Maris
Peter Hutton's "Skagafjordur (2002-2004)"
Jonathan Onsuwan Johnson
I think there is actually the very first video art "Fakemet". It made it possible to open another window of opportunity. And it was already a real attempt at media collage.
Oleg Kharch Group
Neutral Milk Hotel’s In the Aeroplane Over the Sea album--the fuzzy scratchy quality and ruptures in sound remind me that there is power in imperfection.
Ecco / Aquí [Nancy Y. Kim]
Janet Cardiff and George Bures Miller's installation of The Murder of Crows at the Park Ave Armory in New York some years ago was simultaneously simple and complex, utilizing the space as a huge navigable soundscape, which dissolved visually and aurally into the dark recesses of the cavernous space. I spent a lot of time in that installation, and it spent a lot of time in my head subsequently.
Ecco / Aquí [Sarah Crofts]
I recently discovered Hito Steyerl’s video work “How Not To Be Seen: A Fucking Didactic Educational .MOV File”. I was fascinated by it's mundanity and ridiculousness. The work was influential in helping me decide to make more concept driven video works.
Music for Church Cleaners by Áine O'Dwyer knocked me off my seat when I first heard it four years back. It introduced me to long-form improvisation, site-specificity, and accessing the everyday through field recording. Áine O'Dwyer's work has profoundly impacted my trajectory as a musician, and her music continues to inspire me - I'm listening to the album as I write this!
Skating at the local roller skating rink underneath the euphoric disco lights while Donna Summer's "Bad Girls" was playing.