As with much of Ulrike Rosenbach's work, Reflections on the Birth of Venus pioneers new material for video as a medium. The video image becomes an “electronic mirror” which does more than merely catch the artist's action in documentary form: it goes on to control it and ponder it. In this manner, the viewer's perspective on the artistic activity can be compared with the artist's view as it is reflected in the monitor. “Electronic mediation” from eye to eye thus detaches the viewer from a personal optics and brings about a perception which is simultaneously creative and critical. Rosenbach's works are reflections of personal perplexity and tools of reflective analysis; she demolishes aesthetic standards as a means of questioning entrenched cliches.
• By Ulrike Rosenbach. (1976-78, 20 mins, color, tape courtesy of the artist)

The New Symbolic Body Language of Sex According to Laws of Anatomy, Geometry, and Kinetics, Since 1972
is reflective of artist Friederike Pezold's long term investigations into female structuralism, and uses the video display monitor as a kind of magnifying glass through which “a minimum of movement produces a maximum of form.” The six excerpts included on this tape (part of a more extensive work consisting of 12 sections) includes: No. 2, Pubic Study; No. 3, Breast Study; No. 4, Thigh Study; No. 5, Arm Study; No. 7, Mouth Study; No. 8, Eye Study.
• By Friederike Pezold. (Since 1972, 60 mins, b&w, tape courtesy of the artist)

Berlin-Exercises in Nine Pieces,
made in the two-and-a-half months of winter, 1974-75, marks the turning point from interpersonal communication to the subjective: interpersonal dialogue is replaced by an interior dialogue, intimate psychological experience is converted into pictorial action. The surrealistic-poetical content is reflected in the subtitle: “...to sleep under water and see things happening far, far away.” The work is both an aggressive protest against the sexual roles promoted by advertising and a kind of existential critique against introversion, the latter as it is experienced by the author in the self-sought loneliness of her Berlin apartment.
• By Rebecca Horn. (1974-75, 40 mins, color, tape courtesy of the artist)