Peggy Ahwesh

This exhibition focuses on Jonas Mekas’ 365 Day Project, a succession of films and videos in calendar form. Every day as of January 1st, 2007 and for an entire year, as indicated in the title, a large public (the artist's friends, as well as unknowns) were invited to view a diary of short films of various lengths (from one to twenty minutes) on the Internet. A movie was posted each day, adding to the previously posted pieces, resulting altogether in nearly thirty-eight hours of moving images.

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

A music-filled tour of Christmas good cheer overtakes this gastronomically oriented excursion through the winter season of discontent and yuletime yearnings craving ignition.

A mockumentary following the troubled production of Clockmen: The Musical, focusing on a cosplayer-turned-actress who reacts to the stress of the production in a rather unusual way.

Like a generation of viewers, I was profoundly affected by Deliverance. But I have always been troubled by the hegemonic structures of gender proposed by Boorman and Dickey. Hence, my version is played by women: myself, Peggy Ahwesh, Jackie Goss, Su Friedrich, and Meredith Root, all experimental filmmakers who work as academics. While faithful to our respective male characters, we also play ourselves. -- Jennifer Montgomery

Thanksgiving in California is the setting in which the viewer experiences "the depression inherent to festive occasions. There were many things bothering me at this time, or maybe it was one thing that broke into many pieces.

Martina and Sonja, cross-dress in vampire capes and werewolf claws, re-enacting familiar horror tropes. A corresponding soundtrack of stock screams and "scary" music suggests that the girls' toying with gender roles and power dynamics may have dire consequences.

A quartet of crack addicts in Miami sit around, while outside, the biggest hurricane of the century is about to hit. The Pixelvision camera roams restlessly through the apartment, focusing nervously on the tiniest details, but never staying in any one spot for very long. Meanwhile, the addicts engage in desultory conversation, or make phone calls, or tell stories about their past experiences.

A quartet of crack addicts in Miami sit around, while outside, the biggest hurricane of the century is about to hit. The Pixelvision camera roams restlessly through the apartment, focusing nervously on the tiniest details, but never staying in any one spot for very long. Meanwhile, the addicts engage in desultory conversation, or make phone calls, or tell stories about their past experiences.

Nocturne is a psychological horror film built on the conflicts of a woman tortured by the ambiguity between reality and illusion, dream and desire. The woman has perhaps murdered her lover and is living in an unstable world when he returns to her at night, in her dreams and into her arms, as witness to the subversive violence of nature, corporeality and desire. (PA)

Caldwell's pulp storytelling, proto-feminist stance and unabashed social dramatization of his characters are a distinct vision of the condition of women -- specifically working class women. His broadly drawn themes of small town hypocrisy and restrictive moral values contextualize the titular characters' struggle for sexual expression, stability and independence. Certain Women is a disconcerting parable that pays tribute to but also defies the 50s period style of Caldwell, opting for contemporary small town situations and cinematic style. This cautionary tale of four heroic yet ordinary women is fashioned out of the past but relies on observations of the present historical moment and its political reality.

Peggy Ahwesh, H.D., 2005, still from video with sound, 1 min. 30 sec.

An edible indelible organic oneiric mushroom movie made for Bradley Eros on his 70th Birthday!

Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.

A home-movie paean to the Marquis de Sade, Philosophy in the Bedroom plumbs the depths of boudoir small talk. In the first part, a newly-acquainted odd couple discuss desire—and lack thereof—over a bag of potato chips. In the second part, a recumbent woman describes her partner and herself as "the John and Yoko of the '90s." ("We're in bed most of the time," she explains.) The two read aloud, nap and argue beneath the blankets. Ahwesh manipulates the image through chemical and mechanical means, gradually shifting the color scheme from blue to yellow.

The summer of 2020 I spent most nights outdoors alone transfixed by the theater of the stars and the dance of the fireflies. My sense of time expanded and slowed but the time-lapse camera condenses and speeds up the experience, in seeming contradiction. I waved my arms to trip the neighbors’ motion-sensitive lights to magical effect on the trees in my backyard.

Peggy Ahwesh re-edits and optically prints a Super 8 stag loop, rarifying the degraded images into an abstract stained-glass mosaic. From a clumsy and heavy-handed pornographic film of the seventies that bad storage conditions have deteriorated over time, Peggy Ahwesh uses the alterations and the mold of the film to emphasize the sensuality of the scenes. It produces a newborn, beautiful film, powerful, erotic, and disarming at a time.

A short and inconclusive treatise on women and gambling. The allure of risk taking, the contradictions of excessive behavior and a penchant for failure combine in this fairytale set in the abandoned decay which was onced a glamorous Atlantic City. A sentimental education at the seashore off-season.

A short and inconclusive treatise on women and gambling. The allure of risk taking, the contradictions of excessive behavior and a penchant for failure combine in this fairytale set in the abandoned decay which was onced a glamorous Atlantic City. A sentimental education at the seashore off-season.

An experimental documentary filmed over a two-year period, NOTES FROM THE LOWER EAST SIDE includes such personalities as Clayton Patterson, performance artist Penny Arcade, Anthology's own Jed Rapfogel, and other amazing HOWL Fest personalities.

"Starting with YouTube videos made to convey world news through animation, I re-purposed them into short episodes of the Israeli-Gaza conflict of 2014. The 'cuteness effect' of the cartoon form allows for a buffer from reality, a viewing ease and distance that the video challenges." - Peggy Ahwesh

Investigates memory and the uncanny through the experience of hypnotized subjects who communicate via a glacial and slow storytelling informed by suggestion and the working of the unconscious. Art is the ape of nature—the imitation, the mirror, the follies of human invention that strive for the divine. Inspired by Herzog’s 'Heart of Glass,' the performers evoke a murky past and foreshadow a dystopic future.

Three short films about the beauty and mystery of the night sky.

Writes Ahwesh: "Working through my archive of accumulated video footage, I pretended it was found footage from anonymous sources. What began as a tribute to Bruce Conner of the period of Valse Triste and Take the 5:10 to Dreamland, with their deliberate pace and bittersweet memory of home, ended as a dedication to my father as I wound my way through miscellany with distance and another aim."

Here Ahwesh's heterogeneous textual approach comes to the fore, as she juxtaposes narrative, faux documentary, comedic and "serious" footage, and merges film, video, and Pixelvision. Suggestions and meanings accumulate: austere, theoretical text is interrupted by shots of women relating bawdy (sexist) jokes; classic R&B music plays while women stomp on records and pour alcohol on the floor. The Vision Machine is a fragmented inquiry into issues of gender, language and representation.

Activities at home with Mistress and her naughty pet.

A fragment from an unfinished project by Peggy Ahwesh.

Fragments from movies found in an abandoned cinema in Beirut. Retrieved by Mr. Salloum. Assembled by Ms. Ahwesh.

Fragments from movies found in an abandoned cinema in Beirut. Retrieved by Mr. Salloum. Assembled by Ms. Ahwesh.

"Refashioning the intent of footage lifted from an online Taiwanese news outlet, this cautionary tale is about the inexplicable sea - a poetic tour through the obsession to conquer the Great Whale to the current crisis of the migrants fleeing war." - Peggy Ahwesh

“Qalandia” is made entirely with footage Peggy Ahwesh recorded in the mid-2010s when she and a friend “broke into” the abandoned airfield, which is still under the Israeli government’s control. Ahwesh sees the decaying airport as emblematic of the politics of the area where, she says, “Land and ownership and privilege are always contested, and power is enacted through land grabs.” Over time, the silent runways and deserted facilities are gradually being reclaimed by nature. [Overview courtesy of Microscope Gallery]