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- Young lesbian parents Shareen and Claire are raising their 5-year-old daughter Honey in a converted garage on Staten Island. Shareen salvages refuse with her pickup truck while Claire waits tables at the hip Naga Saki restaurant in Manhattan, caught up in a global exchange of industrial waste via contaminated sushi. As a ghost barge bearing nuclear refuse circles the planet in search of a willing port, household pets begin to glow ominously, then disappear; and people start speaking in tongues. The crisis escalates when a multinational corporation is implicated, the couple's daughter Honey mysteriously vanishes, and a group of young New Yorkers strike back in an unlikely alliance with activists in the developing world.
- Floating through a pastoral yet maze like setting of raw wooden debris cobbled together into a benign shantytown, six long haired women in flowing white nightgowns "milk" their locks and the goats they live with to generate cheese. Shots of animals crowded in pens and the sisters' bunk bed- cluttered room visually compare the women to their ruminant allies. As nurturing caretakers, these women represent maternal aspects of Mother Nature. Here Rottenberg investigates feminine magic, the ability to "grow things out of the body" as she says, as the ultimate, wondrous physical mystery
- Artists Mika Rottenberg and Jon Kessler will collaborate to present SEVEN, a performance and installation that stretches from the urban landscape of New York to the Savannah's of Africa. Mixing Kessler's kinetic sculptures with Rottenberg's absurdist videos, SEVEN will collapse film time and real time to create an intricate laboratory that channels body fluids and colors into a spectacle on the African savanna's. In New York, a "Chakra Juicer" will capture sweat from seven performers engaging in ritualistic athletic activity.
- Video-installation artist Mika Rottenberg creates mini-factories, farms, and tableaux, which produce products variously made by tremendously fat, tall, muscled, long-haired or long-fingernailed women. Women, who in their own lives commodify their eccentricities, are, in Rottenberg's films, featured as "bearers of production." To make their merchandise, the protagonists have to pedal, squeeze, cry, sweat, massage, dig, push, burrow, morph, cross continents, and use more than a bit of alchemy. Every detail and orthodoxy is taken to its extremes, turned upside down. You smell the flowers and sweat; you hear the sounds of breathing, nails tapping, sweat sizzling, milk hitting tin; you feel the breezes, and the squeezing of flesh, its bursting out of constraints. Yet Rottenberg treats the superabundance with such normalcy it makes me laugh.