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.
Harry Partch, Don Cherry, George Bolling’s 1974 real-time broadcast Jupiter Flyby, all AntFarm works profoundly influenced me.
A sound that played a big role to me is the song Cross Bones Style by the singer and songwriter Cat Power, Chan Marschall, as well the videoclip of that song. I was just a teenager when I watched it for the first time on MTV, and that song with that artistic video was like a turning point to me in a sense to want to perceive for myself a life where sound, music and images would be in my profession.
After John Cage, I became interested in sounds that occur in everyday life.However, since there is no further development, the sound inside and outsideI was interested.It is also closely related to my visual work.I try to work visually rather than with my eyes, and musically with my heart, that is, with a holistic feel.Nothing is perfect but I always try to see and hear everything in my mind
Lim Jang Guin
My mom wanted to be a cocktail pianist and she played the piano for us every afternoon when we returned home from school. My life changed a decade later watching Nam June Paik's Cage Tribute and again when I saw "Unusual Semicircle" - ah, the good ole days ...
Glimpses of the U.S.A (1959) by Charles and Ray Eames
The Electronic Diaries by Lynn Hershman Leeson (1984-2019)
David Rokeby's "The Giver of Names" is not really a video work, but I was lucky to see it in person and Rokeby's work highly influenced by practise.
Gretchen Bender's "Total Recall" was a work I revisited frequently as I created this work, as well as many of her valuable insights on the intersection between art and culture.
As a child, the TV series "Round The Twist'', the animation "The Point" and documentaries about nature/wildlife in general. Later on, the work of Harmony Korine and Larry Clark as well as classic horror films and its soundtracks. For the past years, Bill Viola (specially "Chott El-Djerid - A Portrait In Light And Heat"), "Decalogue" by Krzysztof Kieślowski, Deborah Stratman, Paula Albuquerque, Bas Jan Ader, Vito Acconci, Joan Jonas and Brazilian cinema. So hard to choose just one or even make a small list!
I would definitely say the layering of ambient sounds of conversations and clamors of various dialects in traditional Palestinian markets. I strongly believe that the physical and verbal interactions of vernacular marketplaces are socio-cultural experiences that are worth reviving. It was a crucial undertaking to recapture this essence in my audio-visual reconstruction.
Zain Al Sharaf Wahbeh
While studying at university, I learned of Joseph Beuys' song Sonne statt Reagan. In the video, the artist performs together with the band singing a song written and composed specifically against the policy of the American president. The pun of the title Reagan / regen in the German language have the same sound but a different meaning, Sun instead of Reagan, Sun instead of rain.
I first heard Brian Eno’s ambient album On Land in college, while simultaneously just beginning to work with sound and video. This planted in me the sense that music/sound can be expansive and engage more with the world, while at the same time being extremely subtle. This album also deeply engages the visual senses as it brings to mind a world of images constructed from memory in dream-like ways, creating associations based on what might be real and unreal.
I was very interested in the electronic investigations of Estouhaunsen, the elaborations of Messiaen, and the kinetic art
I can’t deny the influence the modern music video has had over the years. One that changed the game for me was El Guincho - Bombay.
F for Fake by Orson Welles completely overturned my notion of a moving image. That fiction itself, the process of creating a work, can be a subject of the work really struck a nerve. I find the fact that a filmmaker doesn’t have to experience ‘outside life’ in order to create very comforting. Another work is what I consider the best visual comedy ever – Oskar Schlemmer’s Tridiadisches Ballet – combines primary colors and shapes into something that at once feels very poetic, childish and soullessly mathematical, something I want to both thoroughly analyse and laugh at or just live inside of.
Sounds that are always significant to me are soundscapes of the place I'm in at the moment. Surrounding sounds differ from place to place. For example, at home or my studio (in Bangkok) or at my father's house (Mexico City) and other places I lived before.
The film that inspired me the most was Enter de Void by director Gaspar Noè.
Kate Bush Running up that Hill. Meredith Monk’s Turtle Dreams. Steve Reich’s Desert Music.
I think playing The Legend of Zelda: Ocarina of Time as a child had a very formative effect on me. The music, the story, and the strange three-dimensional space that it all existed in really seeped into my brain and made me want to create imaginary worlds of my own. There's also just something so beautiful and innocent about that game - it has a very pure heart.
The experimental film works of Maya Deren, or the rhythmic experimental video installations of Christian Marclay.
At the beginning of my path, when I was healing my aquaphobia through photography, I was influenced by the images of water such as those depicted in Tarkovsky's Stalker and Solaris.
Sound of waves lapping and the atmosphere of early Kurosawa films such as The Drunken Angel or The Idiot.
Classic music. (I think because my father is classic guitarist)
My first girlfriend was regularly listening to Glenn Gould's albums and Japanese folk songs.
The Wizard of Oz
I think that an important part of my visual formation or artistic influence, despite the digital nature of my work, are old movies like "Gone with the Wind" or "Lawrence of Arabia". It is fascinating to me the level of production that this kind of film implies. Today most of the work is based on CGI, then all the work was human based; so this is marvelous to me.
Two off the top: Norman McLaren "A Phantasy in Colours" and Hildergard Westerkamp's "Kits Beach Soundwalk" (1989).
Waiting - Faith Wilding (1974) - Video art.
Sip my ocean, 1996, by Pipilotti Rist.
Jéssica Pereira Gaspar
Max Neuhaus’s Time Square: making me hopeful for being, passing by, and existing in any impossible place or environment that I have been in.
Stan Brakhage's Dog Star Man had a profound impact on my work early on. Brakhage opened my mind to the possibilities of the film medium and its material properties.
When young and stupid I heard an improvising music performance in Boston with singer Liz Tonne, thereminist James Coleman, and percussionist Tatsuya Nakatani. The atmosphere in that room held its breath for almost thirty minutes, colored by occasional floating grainy sounds that felt like individual air molecules were changing color. I have been chasing this for twenty years.
An important sound work for me was Hildegard Westerkamp’s ‘Kits Beach Soundwalk’ and an important visual work was Guido van der Werve’s ‘Nummer acht, everything is going to be alright’.
"The Reflecting Pool" from Bill Viola was very significant to me because I was so mesmerized when I discovered it that it led me to create video art. Before 2010, I was both a painter and a musician but those two disciplines required too much investment to be carried out satisfactorily all at once. Bill Viola's artwork convinced me that I could find my way - working with image and sound all at once - in video art.