From The Broken Rule (1979/2010) to Blind Country (1989), Beckman’s films are frequently structured as absurd video-game scenarios filled with luminous images, dislocated sounds (lip-synching, eerie choral arrangements), and bodies that function as game pieces or graphic markers within alien yet hyperreal sets. To create them, Beckman often collaborated with other artists, such as Matt Mullican, Mike Kelley, and Aura Rosenberg. The vitality and sociality of her ensembles, enacting the ways in which our best-loved fictions exploit us, are very important to me right now.
