CALL TED
2010, 1:18, sound, color, shot on miniDV, available on miniDV and DVD

Poet Ted Greenwald was born in Brooklyn, raised in Queens, and has lived in New York City his entire life. He is the author of over 30 books. "Go away but the leave the sun in"—music is "Virginia" by Os Mutantes.

PUPSPINDANCESLOW
2000, 4:15, sound, color, shot on miniDV, available on miniDV and DVD

This experimental video transposes Koebel's multimedia public art installation at CEPA Gallery in Buffalo, New York, to a new form. It is inspired by a period in pop culture, the late 70s, and in the artist's life, ages 11 to 13, when the awareness of the existence of codes of sexuality and romance is sharp while the ability to navigate the codes is fuzzy. Pop love songs, teen dances, grooming trends, and side-long glances, Pupspindanceslow spins around the kid-come-adult's vows to resist marketplace-driven conceptions of sexual desire and romantic expectation and how the capitalist ordering of the social hardly skips a beat in the face of any such attempt on the part of the individual.

SWOOP
2011, 7:45, silent, color, shot on Super 8 and miniDV, available on miniDV and DVD

Inspired by a colony of cliff swallows nesting under a freeway in Austin, Texas, this film considers human-animal interactions through optical rhythms and flight patterns. Birds—cliff swallows as well as thousands of purple martins on their migration path—collide with construction of new freeways to nowhere.

Selected Screenings
• Experiments in Cinema v7.9, North American premiere, Apr 16-22, 2012, Alburquerque, New Mexico
• Urban Research on Film at the Berlin International Directors Lounge, European premiere, Feb 13, 2012, Berlin, Germany
• Festival Cine//B, Museum of Contemporary Art (MAC), World premiere, Nov 9, 2011, Santiago, Chile

PUSS! THE BOOTED CAT
1995, 13:00, sound, black and white, 16mm, available on 16mm, miniDV and DVD

“An odyssey into the imagined world of the feline as highwayman-cum-avenging-goddess-of-sex-and-tightly-laced-boots. Framed by quaint silent-movie-style graphics and a DJ-worthy mix of music and noise, Puss shoots cows, strokes her cats, and parties.” — Marina Rosenfeld, Los Angeles Weekly

Puss! The Booted Cat is an erotic short that laps up various incarnations of the classic fairytale Puss-In-Boots. The tale, popularized in 17th c. France by author Charles Perrault, is here transformed into a contemporary adventure of unrequited love, lands-titles-and-goods-to-be-conquered, identities-to-be-claimed, and feminine feline power. The heroine, who is both the woman Mademoiselle Puss and Puss the cat, battles loss and misfortune with irrepressible rebellious energies. At last she is able to relax in her throne of the Bubastis Queendom, enjoying music, dance, and a most unusual mushroom—it had once been the ogre whose vengeance is the catalyst of this particular episode in one of her nine lives. The film's black-and-white images, intertitles, nonsynchronous sound, low tech "tricks," and theatricalized acting style borrow from early cinema even as its modern day references, fast paced editing, and feminist sensibility place it paws down in the present.

Featuring Jenifer Maslow and Mark Hessler with a cameo by Caroline Koebel.

Original music by Azalia Snail

Made possible in part by a grant from the Russell Foundation.

Athens International Film and Video Fest Experimental Film Award.

Distributed by the Film-Makers' Cooperative

Selected Screenings
• Moment of Motion: Films by Caroline Koebel, Oct 9, 2007, Artist's Television Access, San Francisco, CA
• Shots and Cuts: Films by Caroline Koebel, curated by Carolyn Tennant, Jan 18, 2007, Hallwalls Contemporary Arts Center, Buffalo, NY
• IV Chilean Festival of International Short Film, Santiago, Chile
• Culture & Communication in the Borderlands, Universidad Iberoamericana, Tijuana, Mexico
• MIX: New York Lesbian and Gay Experimental Film/Video Festival, New York, NY
• Beyond Baroque Literary Arts Center, Venice, CA
• A Tongue of Her Own (1896-1996) Festival, San Pedro, CA
• The Politics of Womanhood, Intersection Gallery, San Diego, CA
• Contemporary Feminist Film/Video, curated by Jennie Klein, Doris Ulmann Gallery, Berea, KY

KNUCKLEBONES: SELF-SUSTAINING MEMBERS OF THE HUMAN SPECIES
1992, 13:00, sound, black and white, 16mm, available on 16mm, miniDV and DVD

“A haunting evocation of the body under stress.”—Kathy Geritz, Pacific Film Archive

“The soundtrack adds industrial, metallic noise and piano and vocal loops and even a little opera. Mixed into this is prose-poetry reminiscent of Exene Cervenka's solo work.”—Pete Sheehy and Andy Spletzer, The Stranger

“An angry nihilistic froth...comparable to the disturbing, arty works of Luis Buñuel and David Lynch's tamer Eraserhead. There is the metaphor of a tethered, brutalized elephant, and the film flows with the nearly bi-cameral mind of the alienated...Knucklebones is an effective, sadistic example of cinematic manipulation.”—Frederic Kahler, Seattle Gay News

Knucklebones follows the course of hysterical outburst to instances of alienation and isolation. From a 1903 newspaper, “While fifteen hundred persons looked on in breathless excitement, an electric bolt sent the man-killing elephant staggering to the ground. With her own life, she paid for the lives of the three men she had killed.” The film combines archival with Super8 and 16mm original footage and intertext in an experiential exploration of gender, sexuality and identity.

Featuring Katherine Crockett, prior to becoming a Martha Graham Dance Company soloist.

Also with Caroline Koebel, Stephanie Oxley, Holly Van Voast, and Robert Wyrod.

Made possible in part by the Ayoka Chenzira Artist Mentor Workshop at Film/Video Arts and a residency at Visual Studies Workshop

Distributed by the Film-Makers' Cooperative and LUX

Selected Screenings
• Shots and Cuts: Films by Caroline Koebel, Jan 18, 2007, curated by Carolyn Tennant, Hallwalls Contemporary Arts Center, Buffalo, NY
• Robert(a) Beck Memorial Cinema at the Collective: Unconscious, Apr 20, 2004, curated by Ghen Zando-Dennis, New York, NY
• Survivors: Moving Pictures, Resisting Confinement, Pleasure Dome, Toronto, Canada
• Mapping the Body, Pacific Film Archive, Berkeley, CA
• Anthology Film Archives, New York, NY
• The Novitiate and Transfigured Body, Other Cinema, San Francisco, CA
• 31st Ann Arbor Festival of Independent and Experimental 16mm Film, Ann Arbor, Michigan
• Reel Time: New American Independent Short Films, The Head Gallery, Dublin, Ireland
• Illicit Response: Mostly recent films by Julie Murray, Greta Snider, Jennifer Montgomery, Caroline Koebel, and Lisa Mann, Los Angeles Filmforum, Los Angeles, CA

INFLORESCENTIA
1997, 13:00, sound, color, 16mm, available on 16mm, miniDV and DVD

"Inflorescentia takes the traditional association of female sexuality with nature and through a sensorium of taste, touch, sight, and sound fragrantly explores and divinely disrupts this relationship." –Jennie Klein

Attempting to fissure prevailing relations between spectator and screen, between sight and touch, desiring subject and object of desire, Inflorescentia uses poetics, humor and erotics as means to voice "the body" and to take stock of cinema as one of the multiple transgressive sites for female pleasure. Its influences are productions by gay men, including Sergei Paradjanov, Derek Jarman and Jean Genet.

Scenes include a boy fingering a pomegranate, a woman plucking a pineapple while being caressed, and another in an auto-erotic frenzy rubbing herself with vibrant flowers of a perverse order.

Featuring a cast of poets, filmmakers and performance artists: Gloria Alvarez, Noelle B., Mila Chistoserdova, A.J. Escobar, Angelica Garza, Kate Haug, Nadja Muzhik, and Beverly Tang.

Distributed by the Film-Makers' Cooperative

Selected Screenings
• Film-Makers' Cooperative Benefit, Millennium Film Workshop, Dec 6, 2008, New York, NY
• Shots and Cuts: Films by Caroline Koebel, Jan 18, 2007, curated by Carolyn Tennant, Hallwalls Contemporary Arts Center, Buffalo, NY
• Centre for Contemporary Art, Ujazdowski Castle Kino.Lab, Sept 30, 2004, Warsaw, Poland
• Robert(a) Beck Memorial Cinema at the Collective: Unconscious, Apr 20, 2004, curated by Ghen Zando-Dennis, New York, NY
• Poèticas femeninas: Espacios a la Experimentaciõn, Museum of Contemporary Art & Design/Museo de Arte y Diseño Contemporáneo, San Jose, Costa Rica
• 2nd Bangkok Experimental Film Festival (BEFF2), Bangkok, Thailand
• OFF 2: Fiction Overdose Festival, Rome, Italy
• 12th London Lesbian & Gay Film Festival, British Film Institute, London, England
• Forum on Media Arts and Technology, École du Louvre, Paris, France
• Euro Underground Film Festival All-Erotic Edition, Krakow, Poland; Prague, Czech Republic; Berlin, Germany; Sofia, Bulgaria
• Philadelphia International Gay and Lesbian Film Festival, Philadelphia, PA
• 5th MiX Brazil: Festival of Sexual Diversity, São Paulo, Brazil

ALL THE HOUSE (HADITHA MASSACRE), PART 3 of FLICKER ON OFF
2008, 5:50, sound, b&w/color, 16mm and web to digital, available on miniDV and DVD

All the House (Haditha Massacre) collects and reconfigures far-ranging source materials to ponder the November 19, 2005 killing by US Marines of 24 unarmed civilians in Haditha, Iraq. Featured is ten-year-old Iman Walid, who witnessed the slaughter of her family. The Atlantic City massacre scene from Godfather III by Francis Ford Coppola is re-shot with a Bolex 16mm camera and then hand processed.

Part 3 of Flicker On Off, a trilogy applying the idiom of experimental film and artist's video to big-budget movies in order to speak about world affairs in what could be described as an alternate essay format.

The Flicker On Off trilogy is made possible in part by residencies at Squeaky Wheel / Buffalo Media Resources and the Experimental Television Center, and by the Experimental Television Center's Finishing Funds, which is supported by the Electronic Media and Film Program at the New York State Council on the Arts.

Selected Screenings
• Callicoon Fine Arts, winter long online screening, 2010, callicoonfinearts.com
• Arts Santa Mònica, part of LOOP Barcelona Video Art Festival and Fair 2010, May 4-23, 2010, Barcelona, Spain
• 2nd International Video Art Festival of Camagüey, Nov 27-Dec 1, 2009, Camagüey, Cuba
• Ladyfest Toronto, Nov 25, 2009, Toronto, Canada
• Oblò Film Festival (OFF), Sept 4-6, 2009, Lausanne, Switzerland
• Arkansas Underground Film Festival, July 17-19, 2009, Hot Springs National Park, AK
• Edinburgh International Film Festival, June 24, 2009, Edinburgh, Scotland
• The Festival of (In)appropriation: Contemporary Found Footage Filmmaking, June 7, 2009, Los Angeles, California
• Callicoon Fine Arts, “All Suffering Soon to End!,” curated by Photios Giovanis, May 16-Aug 15, 2009, Callicoon, New York
• European Media Art Festival (EMAF), Apr 22-26, 2009, Osnabrück, Germany
• University of Oklahoma School of Art & Art History, Apr 2, 2009, Norman, Oklahoma
• Scope Art Fair, "On the Contrary: Recent Artists' Videos Concerning War in the Middle East," curated by Mary Billyou and Meredith Drum, Mar 5, 2009, New York, NY

SUNROOF (BENAZIR BHUTTO ASSASSINATION), PART 2 of FLICKER ON OFF
2008, 6:10, sound, b&w/color, 16mm and web to digital, available on miniDV and DVD

Sunroof (Benazir Bhutto Assassination) reconsiders the December 27, 2007 assassination of Benazir Bhutto, former Prime Minister of Pakistan and leader at the time of the Pakistan People's Party. Gun shootouts in Miller’s Crossing by Joel Coen are re-shot with a Bolex 16mm camera and then hand processed and clashed against nonfiction images of rioting and a multi-lingual audio collage.

Part 2 of Flicker On Off, a trilogy applying the idiom of experimental film and artist's video to big-budget movies in order to speak about world affairs in what could be described as an alternate essay format.

The Flicker On Off trilogy is made possible in part by residencies at Squeaky Wheel / Buffalo Media Resources and the Experimental Television Center, and by the Experimental Television Center's Finishing Funds, which is supported by the Electronic Media and Film Program at the New York State Council on the Arts.

Selected Screenings
• Callicoon Fine Arts, winter long online screening, 2010, callicoonfinearts.com
• 2nd International Video Art Festival of Camagüey, Nov 27-Dec 1, 2009, Camagüey, Cuba
• Ladyfest Toronto, Nov 25, 2009, Toronto, Canada
• Edinburgh International Film Festival, June 24, 2009, Edinburgh, Scotland
• The Festival of (In)appropriation: Contemporary Found Footage Filmmaking, June 7, 2009, Los Angeles, California
• University of Oklahoma School of Art & Art History, Apr 2, 2009, Norman, Oklahoma
• International Women's Film Festival, Transitions, curated by Ruth Goldman & Lizzie Finnegan, Mar 5, 2009, Buffalo, NY

REPEAT PHOTOGRAPHY AND THE ALBEDO EFFECT, PART 1 of FLICKER ON OFF
2008, 8:12, sound, b&w, 16mm to digital, available on miniDV and DVD

Repeat Photography and the Albedo Effect intermixes unlikely suspects to reflect upon the impact of global warming on glaciers. Boxing scenes from Martin Scorsese's Raging Bull are re-shot with a Bolex 16mm camera and then hand processed and juxtaposed against National Public Radio (NPR) reportage and artist Katie Paterson's audio project.

Part 1 of Flicker On Off, a trilogy applying the idiom of experimental film and artist's video to big-budget movies in order to speak about world affairs in what could be described as an alternate essay format.

The Flicker On Off trilogy is made possible in part by residencies at Squeaky Wheel / Buffalo Media Resources and the Experimental Television Center, and by the Experimental Television Center’s Finishing Funds, which is supported by the Electronic Media and Film Program at the New York State Council on the Arts.

Selected Screenings
• Callicoon Fine Arts, winter long online screening, 2010, callicoonfinearts.com
• Ladyfest Toronto, Nov 25, 2009, Toronto, Canada
• Flicker Spokane Film Festival, Nov 1, 2009, Spokane, Washington
• Festival Internazionale del Cinema d’Arte, July 17-25, 2009, Bergamo, Italy
• The Festival of (In)appropriation: Contemporary Found Footage Filmmaking, June 7, 2009, Los Angeles, CA
• Experiments in Cinema V4.2 Film Festival, Apr 16-19, 2009, Albuquerque, New Mexico
• University of Oklahoma School of Art & Art History, Apr 2, 2009, Norman, Oklahoma
• Directors Lounge, Feb 6, 2009, Berlin, Germany
• 1st International Festival of Video Art / Primer Festival de Video Arte, Nov 21-25, 2008, Camagüey, Cuba
• Technocracy: Techno-lust vs. Technophobia, Society for Photographic Education: Mid-Atlantic Conference, Nov 7-8, 2008, Pittsburgh, PA
• Abstracta International Exhibition of Abstract Cinema, Sept 24, 2008, Rome, Italy
• Oblò Film Festival (OFF), Sept 5-7, 2008, Lausanne, Switzerland
• Bearded Child Film Festival, Aug 14, Minneapolis, MN, and Aug 8, 2008, Grand Rapids, MN
• Athleticism vs. Aestheticism, curated by Sarah Buccheri, May 30, 2008, Milwaukee, WI
• Squeaky Wheel, screened as work-in-progress, Mar 7, 2008, Buffalo, NY

GRAND CENTRAL/CENTRAL TERMINAL
Collaboration with Katherine Crockett
Version 1: projected video installation, 2007, 15:00, silent, color
Version 2: single-channel video, 2008, 5:50, sound, color, available on miniDV and DVD

Grand Central/Central Terminal examines relationships between the moving image, dance, architecture, and the urban sphere. Like the cinema, people frequent transit hubs in order to go elsewhere. Katherine Crockett, a principal in the Martha Graham Dance Company, performs improvisatory movement in both Grand Central Terminal in New York City and the no longer in use Central Terminal in Buffalo, NY.

While both are majestic in their architectural and historic scope, the two spaces clash in terms of current use value. The crowds of Grand Central are juxtaposed with the solitude of Central Terminal. For the live terminal, Crockett acts as manifesto for the moment, while for the defunct station the solo body of the dancer in motion re-images and -imagines the site’s fluidity.

Grand Central/Central Terminal was produced in cooperation with Hallwalls Contemporary Arts Center for Artists and Models. It was exhibited as a projected video installation at the Buffalo Central Terminal on June 2, 2007.

Selected Screenings (Version 2)
• Fünf 'n' Twist Screening Party, curated by Anna Brady Nuse, Oct 30, 2011, the Beahive, Beacon, NY
• dança em foco –Festival Internacional de Vídeo & Dança, August 2009, Rio de Janeiro, Brazil
• 5th ATTITUDE Festival for video art and experimental film, June 24-26, 2009, Bitola, Macedonia
• Magmart | International Videoart Festival, video under volcano, Mar 14, 2009, Naples, Italy
• Urban Research at Directors Lounge, Feb 5-15, 2009, Berlin, Germany
• 1st International Festival of Video Art/Primer Festival de Video Arte, Nov 21-25, 2008, Camagüey, Cuba
• Optica, International Festival of Vídeo Art, Nov 6-8, Gijón-Asturias, Spain, and Oct 16-18, 2008, Madrid, Spain

SEA LION
2007, 2:50, silent, color, shot on Super 8, available on 16mm, miniDV and DVD

This hand processed Super 8 film marvels at the beauty of the movement of the sea lion. It reflects the fascination of the filmmaker’s two-year-old son with this animal new to his world.

Selected Screenings
• Abstracta Festival at Montévidéo Cultural Center, April 10, 2009, Marseille, France
• Eye Am: Women Behind the Lens, broadcast on Manhattan Neighborhood Network/Channel #34, Oct 5, 2008, NYC
• Abstracta International Exhibition of Abstract Cinema, Sept 24, 2008, Rome, Italy
• Animalia: Stories of Collapse, Calamity and Departure, performance by Carolyn Ryder Cooley, Sept 19, 2008, Schenectady, NY
• Eyes and Ears: Sound Needs Image Part II, Apr 5, 2008, live accompaniment by Steve Baczkowski and Chris Reba, co-curated by Joanna Raczynska and Will Redman, Hallwalls Contemporary Arts Center, Buffalo NY
• FILM LOVE 53/Openings: Music and Experimental Film, Dec 9, 2007, curated by Andy Ditzler and presented by Atlanta Fourth Ward Improvisation Ensemble and Frequent Small Meals, Eyedrum, Atlanta, GA
• City Film Berlin: Works by Caroline Koebel, Oct 20, 2007, Millennium Film Workshop, New York, NY
• 21st Century Feminist Film, Oct 11, 2007, Dr. Paula Birnbaum's Women and Art course, University of San Francisco, San Francisco, CA
• Moment of Motion: Films by Caroline Koebel, Oct 9, 2007, Artist's Television Access, San Francisco, CA
• 11th Annual MadCat Women's Intl Film Festival, Sept 26, 2007, Program No. 11: So Loud it's Silent, El Rio, San Francisco, CA
• Global Super 8 Day, May 13, 2007, Squeaky Wheel, Buffalo, NY

BERLIN WARSZAWA EXPRESS
2006, 19:50, color, shot on miniDV, available on miniDV and DVD

In Berlin Warszawa Express a disappearance becomes a departure, but rather than attempting to reconstitute what is lost, the filmmaker follows the clues and signs framing the site and scene with an anticipatory gaze. She performs the kino eye, meeting the same train day after day, yet here the eye is aligned with not just any body, but with the distinctly maternal body. Aided by the rich history of avant-garde city films about Berlin, Berlin Warszawa Express reorients the city film genre itself in terms of feminine embodiment.

The film is also a site-specific performance action-intervention that references one of the earliest known films, Arrivée d'un train à la Ciotat (Arrival of a Train, 1895) by the Lumière brothers. Tracking shots, animation, structural film, light and reflection, protofilmic toys such as the zoetrope, sprocket holes—cinema itself is a main line for Berlin Warszawa Express.

Opening narration:

“In August 2004 I was in Berlin. A friend was arriving from Warsaw. I went to the East Train Station to greet her. I filmed the train pulling into the station and my friend getting off, smiling and waving as she walked towards me on the platform. Soon after I mistakenly recorded over her. I then decided to do a performance. As often as possible for the next few months I went to greet that very train arriving daily shortly after 5PM from Warsaw. I was also awaiting the birth of my child."

Selected Screenings
• University of Oklahoma School of Art & Art History, Apr 2, 2009, Norman, OK
• New Creativity: 11th Biennial Symposium on Arts & Technology, Feb 28 – Mar 1, 2008, The Ammerman Center for Arts & Technology, Connecticut College, New London, CT
• City Film Berlin: Works by Caroline Koebel, Oct 20, 2007, Millennium Film Workshop, New York, NY
• 21st Century Feminist Film, Oct 11, 2007, Dr. Paula Birnbaum's Women and Art course, University of San Francisco, San Francisco, CA
• Moment of Motion: Films by Caroline Koebel, Oct 9, 2007, Artist's Television Access, San Francisco, CA
• Utopia Film Festival, Oct 27, 2007, “Urban/Rural Landscapes” curated by Chris Lynn, Greenbelt, MD
• Feminism(s): Film, Video, Politics Symposium, Apr 22, 2007, the University of Hartford, West Hartford, CT
• EYE AM: Women Behind the Lens, May 2, 2007, curated by Victoria Kereszi, Manhattan Neighborhood Network Time Warner #34/ RCN #83 & online at www.mnn.org
• Director’s Lounge, Feb 16 2007, “Urban Research on Film” curated by Klaus W. Eisenlohr, Berlin, Germany
• Shots and Cuts: Films by Caroline Koebel, Jan 18, 2007, curated by Carolyn Tennant, Hallwalls Contemporary Arts Center, Buffalo, NY
• Making Movies, screened as work-in-progress, Mar 30, 2006, curated by Terry Cuddy, Schweinfurth Memorial Art Center, Auburn, NY

hole or space
2006, 3:23, silent, b&w/color, collage film, available on 16mm, miniDV and DVD

Pricks, gaps, dots, openings, hole or space takes its cue from contortionists of the early screen in spiraling out from conceptions of the body as whole.

The film uses early cinema and avant-garde classics as its compositional notes: Luis Martinetti, Contortionist (Edison Manufacturing Company, 1894); Crissie Sheridan Serpentine Dance (Edison, 1897); Ballet Mécanique (Fernand Léger & Dudley Murphy, 1924); An Optical Poem (Oskar Fischinger, 1938); Tarantella (Mary E. Bute & Ted Nemeth, 1940).

Selected Screenings
• Festival Internazionale del Cinema d’Arte, July 17-25, 2009, Bergamo, Italy
• University of Oklahoma School of Art & Art History, Apr 2, 2009, Norman, OK
• Pantheon International Xperimental Film & Animation Festival 7.0, Nov 15, 2008, Lefkosia, Cyprus
• NewFilmmakers Women Behind the Lens, Nov 11, 2008, curated by Victoria Kereszi, Anthology Film Archives, New York, NY
• Synthetic Zero, Nov 1, 2008, curated by Mitsu Hadeishi, New York, NY
• Abstracta International Exhibition of Abstract Cinema, Sept 24, 2008, Rome, Italy
• Ladyfest Toronto, Sept 15, 2008, Toronto, Canada
• Mary Magdalene Feast Day, July 22, 2008, curated by MM Serra, Issue Project Room, Brooklyn, NY
• The Filmmobile West Coast Tour, a program of the Echo Park Film Center (EPFC) in Los Angeles, CA, July 2008, Youth Arts Collective, Monterey, CA; Community Partnership for Youth, Seaside, CA; Alisal Center for the Arts, Salinas, CA; Stonelake Family Farm, Buck Mountain, CA; Beachside State Park, Florence, OR; Department of Safety, Anacortes, WA; Friendship City Collective, Bellingham, WA; Commercial Drive and Purple Thistle Center, Vancouver, Canada; Punch & Judy Cinema, Eugene, OR; Outdoor Screening, Grass Valley, CA; Outdoor Screening, Lone Pine, CA; CSSA - Cal Arts, Valencia, CA
• Tuff Stuff From the Buff: Experimental, Diary, Activist Film & Video, Apr 18, 2008, co-curated by David Gracon, Julie Perini & Marc Moscato, DIVA Center, Eugene, OR
• FILM LOVE 53/Openings: Music and Experimental Film, Dec 9, 2007, curated by Andy Ditzler and presented by Atlanta Fourth Ward Improvisation Ensemble and Frequent Small Meals, Eyedrum, Atlanta, GA
• City Film Berlin: Works by Caroline Koebel, Oct 20, 2007, Millennium Film Workshop, New York, NY
• 21st Century Feminist Film, Oct 11, 2007, Dr. Paula Birnbaum's Women and Art course, University of San Francisco, San Francisco, CA
• Moment of Motion: Films by Caroline Koebel, Oct 9, 2007, Artist's Television Access, San Francisco, CA
• 11th Annual MadCat Women's Intl Film Festival, Sept 26, 2007, Program No. 11: So Loud it's Silent, El Rio, San Francisco, C
• Ars Electronica Festival, Sept 7, 2007, presented by Sandra Naumann as part of Lichtmusik #1: Mary Ellen Bute, Institute for Media Archeology, Linz, Austria
• New Forms Festival - Re:Use, Sept 7, 2007, Vancouver, BC, Canada
• Feminism(s): Film, Video, Politics Symposium, Apr 22, 2007, the University of Hartford, West Hartford, CT
• EYE AM: Women Behind the Lens, Mar 7, 2007, curated by Victoria Kereszi, Manhattan Neighborhood Network Time Warner #34/ RCN #83 & online at www.mnn.org
• Women’s Caucus for Art International Video Shorts, Feb 18, 2007, juried by Sheryl Mousley, Barnard College, New York, NY
• Shots and Cuts: Films by Caroline Koebel, Jan 18, 2007, curated by Carolyn Tennant, Hallwalls Contemporary Arts Center, Buffalo, NY
• Making Movies, Mar 30, 2006, curated by Terry Cuddy, Schweinfurth Memorial Art Center, Auburn, NY
• The Perpetual Art Machine, online exhibition, site launched Mar 2006
• 10th International Women’s Film Festival, Mar 2, 2006, Market Arcade, Buffalo, NY

I WANT TO HAVE YOUR BABY
2003-2005, Collective Performance Action, shot on miniDV, approx. 4 hours total, sound, color, multilingual with English subtitles, various presentation platforms: single-channel video, video installation, website, large-scale prints, artist’s book

In the collective performance action I Want to Have Your Baby (2003-2005) over 300 participants in sites including Los Angeles, Budapest, Havana, Berlin, Buffalo, and London conceived hypothetical offspring in a digital repopulating of the world with humane beings.

BABY draws inspiration from the global protest movement against war and violence, and seeks to give voice to the international community´s peace-loving majority. In serious play, it goes to the heart of things by focusing on "The Family" in order to subvert the American right-wing’s appropriation of family in justifying its aggression machine. The project also seeks to broaden the meaning and representation of family. BABY combines political activism with conceptual art and feminist concerns.

Participants—regardless of gender, age, sexual orientation, and biological reproductive capacity—give "mom" performances in which they conceive hypothetical babies that they believe would make the world a better place. Participants pretend to speak to their baby's other parent, saying why they want the baby and what they imagine the baby to be like. Babies range from best friends and favorite pet dogs, to endangered species, to specific places, to famous people from history, and to abstract concepts—including Mahatma Gandhi, Jane Fonda, Jimi Hendrix, Maya Deren, fruit bats, Brazil, virtual reality, the color spectrum, and breeze. Anything is possible.

Maya Deren, I Want To Have Your Baby (Akil Kirlew, Buffalo, NY, 2003)
You’ve provided a blueprint for film as a medium for observing the ephemeral. This desire—to articulate desire itself—led you to Haiti, where you produced a groundbreaking study of the occult and became a Vodoun priestess. Through ritual you transformed both your mind and body into a silver screen onto which the living gods of Haiti were projected.

Fruit Bat, I Want To Have Your Baby (Seònaid MacKay, London, UK, 2004)
You are a very intelligent creature. You look like a fox, but upside down. You have the most complex language in the animal world, after humans and dolphins. I hate those girls who scream at you. Fruit bat, you can fly into my hair any time. I want to have a baby with you, so our half-human, half-bat baby can go out into the world and teach others what amazing animals fruit bats really are.

Screenings, Exhibitions and Residencies
• Imagining Ourselves (Love): a global generation of women, International Museum of Women, online exhibition, Mar 2006, San Francisco, CA
• Making Movies, Schweinfurth Memorial Art Center, Baby in solo screening, curated by Terry Cuddy, Mar 30, 2006, Auburn, NY
• Quantum Leaps, touring group international video program for which curator Astria Suparak selected individual performances from Baby for a combined selection of 7:30 (note that this selection is different from the Baby that toured in her earlier Elusive Quality program), premiered: Aurora Picture Show, Mar 6, 2006, Houston, TX, subsequent screenings: Minicine, Mar 7, Shreveport, LA; Nomad Nights, Mar 8, Ruston, LA; Texas A & M University, Mar 9, College Station, TX; Magic Lantern at the Cable Car Cinema, Mar 13, Providence, RI; Mass Art Film Society at the Massachusetts College of Art, Mar 15, Boston, MA; Small Change at Vox Populi, Mar 18, Philadelphia, PA; Bard College, Mar 20, Annandale-on-Hudson, NY; The Kitchen, Mar 21, New York, NY; iEAR Presents! co-sponsored by The Sanctuary for Independent Media, Mar 22, Troy, NY; Spark Art and Performance Space, Mar 24, Syracuse, NY; the University at Buffalo, Mar 27, Buffalo, NY; National Museum of Women in the Arts, Mar 31, Washington, D.C.; and Johns Hopkins University, Apr 3, Baltimore, MD
• I Want to Have Your Baby, solo show: video installation (continuous projection), Beyond/In Western New York, CEPA Gallery, curated by Lawrence Brose & Sean Donaher, Apr 16-June 4, 2005, Buffalo, NY
• I Want to Have Your Baby, solo show: video installation (continuous projection), The Usher Gallery, curated by Jeremy Webster, Feb 15-Apr 9, 2005, also week-long residency to film new participants, Lincoln, UK
• Centre for Contemporary Art, Ujazdowski Castle Kino.Lab, Baby screened in solo program & new participants filmed, Sept 30, 2004, Warsaw, Poland
• Liverpool Biennial of Contemporary Art, Baby screened in the group program Elusive Quality, curated by Lauren Cornell & Astria Suparak, Foundation for Art & Creative Technology, Sept 18-19, 2004, Liverpool, UK. The program premiered on July 19, 2004 with the Practice More Failure edition of the feminist & genderqueer journal LTTR, Participant Inc, NYC. Addl screenings include Independent Heroines, Feb 9, 2005, Bristol, UK and Hampshire College, sponsored by Queer Community Alliance, May 6, 2005, Amherst, MA
• OMSK Roam, new participants filmed during day-long public art event and then screened in a group program in the evening, July 25, 2004, London, UK
• New York State Summer School for the Media Arts, artist’s talk and new participants filmed, July 5, 2004, Cazenovia College, Cazenovia, NY
• National Graduate Seminar, The Photography Institute, artist’s talk, June 14, 2004, Columbia University, NYC
• Networks, Art, & Collaboration: free cooperation conference, Apr 24-25, 2004, new participants filmed, the University at Buffalo
• Robert(a) Beck Memorial Cinema at The Collective: Unconscious, Baby screened in solo program, curated by Ghen Zando-Dennis, Apr 20, 2004, NYC
• New York University Lecture Series, artist’s talk and new participants filmed, Invited by Dr. Deborah Willis-Kennedy, Mar 3, 2004, NYC
• El Delito del Cuerpo/The Crime of the Body, curated by Omar Estrada, group exhibition in which Baby was presented as a looping video on a monitor with a supplementary image and text work, also filmed new participants at the exhibition, on the street, and at the art university (Instituto Superior de Arte), Dec 6-14, 2003, Havana, Cuba
• War and Media Conference, Nov 17-18, 2003, presented Baby, the University at Buffalo
• // Documentary Intentions, Online & Off, presented Baby, Nov 14-15, 2003, Hunter College, NYC
• I Want to Have Your Baby, screening & artist’s book sponsored by the Gender Institute, Sept 25, 2003, University at Buffalo, Buffalo, NY
• 8th Gay & Lesbian Film Festival, Baby screened in the group program Evolutionary Girls Club & new participants filmed, July 3–6, 2003, Budapest, Hungary

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REACTION: "FROM THE PORTFOLIO OF DOGGEDNESS"
2003, 3:30, shot on miniDV

ReAction: "From the Portfolio of Doggedness" springs from the desire for familiarity with the temporal- and site-specific artwork by Valie Export and Peter Weibel "Aus der Mappe der Hundigkeit": a 1968 action “proclaiming the negative utopia of erect posture in our animalistic society."

Treating the original as a script, ReAction features the Viennese semiotician Bernadette Wegenstein walking the artist Tony Conrad across a busy intersection in downtown Buffalo, New York (as well as guest performances by clients of the Canine Clubhouse). ReAction looks for slippages between the original action and the video reenactment, and considers tensions between animals, humans and cars as they move through the built environment.

The soundtrack is an original 1969 performance by the Golden Galaxy Symphony, in which Beverly Grant Conrad directed the musicians to maximize their vocal chords’ capacities to mimic a barnyard of animals.

Caroline Koebel—director, camera, editor
Tony Conrad—performing as Peter Weibel
Bernadette Wegenstein—performing as Valie Export
Carolyn Tennant—production manager
Canine Clubhouse clients—extras
The Golden Galaxy Symphony, 1969—sound
Beverly Grant Conrad—GGS director
Tony Conrad—GGS producer

Selected Screenings and Exhibitions
• University of Oklahoma School of Art & Art History, Apr 2, 2009, Norman, OK
• Traum-Kino Fetisch Film Festival, Nov 20, 2008, Kiel, Germany
• City Film Berlin: Works by Caroline Koebel, Oct 20, 2007, Millennium Film Workshop, New York, NY
• 21st Century Feminist Film, Oct 11, 2007, Dr. Paula Birnbaum's Women and Art course, University of San Francisco, San Francisco, CA
• Moment of Motion: Films by Caroline Koebel, Oct 9, 2007, Artist's Television Access, San Francisco, CA
• Raw Tactics Of the Subversive Body, curated by Andres Tapia-Urzua, Sept 8, 2007 at Pittsburgh Filmmakers Pittsburgh, PA, and Sept 20, 2007 at Hallwalls Contemporary Arts Center, Buffalo, NY
• Now Again The Past: Rewind Replay Resound, Feb 11 – Mar 18, 2006, curated by Joanna Raczynska, Carnegie Art Center, North Tonawanda, NY
• Centre for Contemporary Art, Ujazdowski Castle Kino.Lab, Sept 30, 2004, Warsaw, Poland
• Robert(a) Beck Memorial Cinema at the Collective: Unconscious, Apr 20, 2004, curated by Ghen Zando-Dennis, New York, NY