比翼艺术中心
录像聚焦，巡回录像展
VIDEOZOOM
开幕时间：2007年8月8日，星期三 18:30
展览时间：2007年8月9日 – 8月15日, 11:00 – 18:00
地点：上海比翼艺术中心
莫干山路50号7号楼4楼 200060
电话：+86 21 62775358 / 传真：+86 21 62775358 – 555
李雪慧 [email]xuehui@biz-art.com / 关超群 [email]guanchaoqun@yahoo.com.cn
[url]www.biz-art.com, [url]www.arthub.org.cn
这次活动由SEACEX 赞助。
参加艺术家：
Israel 以色列
Curator/策划人: Sergio Edelsztein
Artists/艺术家: Boaz Arad, Ayelet Ben Porat, Effie & Amir, Alona Friedberg & Limor Orentstein, Elyasaf Kowner, Isaac Layish & Irit Garty, Dana Levy, Ruti Sela, Doron Solomons
Iran 伊朗
Curator/策划人: Hamid Reza Severi, Babak Tavassoli, Mary Angela Schroth
Artists/艺术家: Mania Akbari, Morteza Darehbaghi, Dariush Mehrjui, Ameneh Zohreh Eskandari, Farid Jafari-Samarghandi, Barbad Golshiri, Simin Keramati, Seifollah Samadian, Khosro Khosravi, Rozita Sharaf Jahan, Maryam Niadazeh, Ebrahim Haghighi, Neda Razavipour
Poland 波兰
Curato/策划人: Anna Jagiello
Artists/艺术家: Azorro, Sylwia Narbut, Artur Zmijewski, Jacek Malinowski, Igor Krenz, Igor Krenz, Hubert Czerepok, Katarzyna Gorna, Anna Baumgart
San Marino 意大利
Artists/艺术家: Maurizio Cesarini, Lionice Cola, Antonio D’Agostino, Nico Macina, Michela Pozzi, Emiliano Zucchini
Spain 西班牙
Curator/策划人: David Barro
Artists/艺术家: Martí Anson, Juande Jarillo, Cristina Lucas, Álvaro Negro, Javier Núñez Gasco, Javier Peñafiel, Rubén Ramos Balsa, Fernando Sánchez-Castillo, Diego Santomé, Alejandro Vidal
录像聚焦，巡回录像展
VIDEOZOOM
开幕时间：2007年8月8日，星期三 18:30
展览时间：2007年8月9日 – 8月15日, 11:00 – 18:00
地点：上海比翼艺术中心
莫干山路50号7号楼4楼 200060
电话：+86 21 62775358 / 传真：+86 21 62775358 – 555
李雪慧 [email]xuehui@biz-art.com / 关超群 [email]guanchaoqun@yahoo.com.cn
[url]www.biz-art.com, [url]www.arthub.org.cn
这次活动由SEACEX 赞助。
参加艺术家：
Israel 以色列
Curator/策划人: Sergio Edelsztein
Artists/艺术家: Boaz Arad, Ayelet Ben Porat, Effie & Amir, Alona Friedberg & Limor Orentstein, Elyasaf Kowner, Isaac Layish & Irit Garty, Dana Levy, Ruti Sela, Doron Solomons
Iran 伊朗
Curator/策划人: Hamid Reza Severi, Babak Tavassoli, Mary Angela Schroth
Artists/艺术家: Mania Akbari, Morteza Darehbaghi, Dariush Mehrjui, Ameneh Zohreh Eskandari, Farid Jafari-Samarghandi, Barbad Golshiri, Simin Keramati, Seifollah Samadian, Khosro Khosravi, Rozita Sharaf Jahan, Maryam Niadazeh, Ebrahim Haghighi, Neda Razavipour
Poland 波兰
Curato/策划人: Anna Jagiello
Artists/艺术家: Azorro, Sylwia Narbut, Artur Zmijewski, Jacek Malinowski, Igor Krenz, Igor Krenz, Hubert Czerepok, Katarzyna Gorna, Anna Baumgart
San Marino 意大利
Artists/艺术家: Maurizio Cesarini, Lionice Cola, Antonio D’Agostino, Nico Macina, Michela Pozzi, Emiliano Zucchini
Spain 西班牙
Curator/策划人: David Barro
Artists/艺术家: Martí Anson, Juande Jarillo, Cristina Lucas, Álvaro Negro, Javier Núñez Gasco, Javier Peñafiel, Rubén Ramos Balsa, Fernando Sánchez-Castillo, Diego Santomé, Alejandro Vidal
展到15号呢,不急[s:325]
[quote]引用第1楼呜哈!呜哈!于2007-08-08 15:21发表的 :
展到15号呢,不急[s:325][/quote]
开幕的时候有酒喝
展到15号呢,不急[s:325][/quote]
开幕的时候有酒喝
从不喝酒[s:322]
[quote]引用第3楼呜哈!呜哈!于2007-08-08 16:47发表的 :
从不喝酒[s:322][/quote]
有饮料！
从不喝酒[s:322][/quote]
有饮料！
现场视频：
关于伊朗录像
Mania Akbari, Repression, Self, 9’11”, 2003
These two videosfrom a series of six, reflect an Eastern woman’s unconsciousness. The artist use contemporary instrument and various expressions to show her feelings towards tradition and beliefs.
Mania Akbari, 镇压，自我, 9’11”, 2003
这些录像作品是一系列6个中的2个，反映了东方女性的意识不清。艺术家运用当代的工具和不同的表现方式来表达她对与传统和信仰的感受。
Morteza Darehbaghi, Tazieh: A Modern View, 12’, 2003
Tazieh (literary, mourning rituals) commemorates the heroic deeds of the third Shiite Imam and his disciples at Karbala, gave rise to “Pardeh-Khani”, an Islamic art in which a storyteller gives an account of the suffering of the Imam and his relatives by pointing to the figures on a painting hanging on a wall. Morteza Darehbaghi’s Tazieh: A Modern View is a new variation on an old theme, first displayed at the Tehran Museum of Contemporary Art (2003), using video art as vehicle. (Babak Tavassoli)
Morteza Darehbaghi, Tazieh: 现代的观点, 12’, 2003
Tazieh（服丧的礼节）纪念了什叶派教长的英雄功绩和他在Karbala的门徒，并提升了“Pardeh-Khani”的地位，这是一种伊朗艺术，从中一位说故事的人指着墙上的画讲述了教长及其亲属受难的缘由。Morteza Darehbaghi’s Tazieh：这个现代的观点是对于老主题的新诠释，首展是在德黑兰当代美术馆（2003年），方式为录像艺术。(Babak Tavassoli)
[attachment=54125]
Morteza Darehbaghi, Tazieh: 现代的观点, 12’, 2003
Dariush Mehrjui, Turning Up, 11’24”, 2000
Video camera films the strings and other details of a traditional music instrument as someone is tuning it. Only during the last minutes does the musician start to play. Mehrjui is considered as one of the intellectual directors of Iranian cinema.
Dariush Mehrjui, 旋转, 11’24”, 2000
当有人调音的时候，摄像机拍摄了古典乐器上的琴弦以及其他一些细节的部分。只是在最后一分钟音乐家开始演奏了。Mehrjui被认为是伊朗电影的领军人物之一。
[attachment=54159]
Dariush Mehrjui, 旋转, 11’24”, 2000
Ameneh Zohreh Eskandari, The Stranger, 10’, 2000
This video made of superposition of images shows the shadow of a person travelling to various places in the world.
“In the beginning there was a shadow, … the shadow whispered and stepped in a journey so that it could play the music of its soul. It walked everywhere gazing upon everything; to anything, which existed. The ray of its glance was changed into the colour of its imagination. It made the colours move. The existence rose as a floating flag under its footsteps. All things became as an imagination entirely, farther than the shadow spreading on it.”
Ameneh Zohreh Eskandari, 陌生人, 10’, 2000
这个作品是由一些重叠的图像组成的，展示了一个人在全球各地旅行时的影子。
“最初有一个影子，这个影子在旅程中或低语或行走，从而演奏了灵魂的乐曲。它走遍了所有的地方、凝视过所有的东西：所有存在的东西。它匆匆一瞥眼光的线路被转化成它想象的色彩了。它使色彩可以移动了。真实存在的玫瑰就像一面流动的红旗在它的脚步下。所有的事物好像都变成了想象，不仅仅是影子在撒布。
Farid Jafari-Samarghandi, Line, 9’30”, 2003
The screen divided in three part features black and white landscapes of the desert, mountains, views from towns, and performers.
Farid Jafari-Samarghandi, 线, 9’30”, 2003
屏幕被分成了3部分，主要的一些沙漠、大山、城市风景和表演者的黑白风景。
[attachment=54124]
Farid Jafari-Samarghandi, 线, 9’30”, 2003
Barbad Golshiri, What has Befallen Us Barbad?
In his videopiece What has befallen us, Barbad?, Golshiri transforms the obligation to cut his long hair before joining the army into a creative and intense moment. When used in neon-boxes, the video stills appear as arabesques, resembling calligraphy.
Barbad Golshiri, What has Befallen Us Barbad?
在这个作品中，Golshiri转换了他的义务，在参军前剪掉长发变成了一个富有创作力、激烈的瞬间。当被放置在氖的盒子里的时候，录像中静止的画面变得像曼藤花纹，就像书法一样。
[attachment=54157]
Barbad Golshiri, What has Befallen Us Barbad?
Simin Keramati, Through the Small Gates of Loneliness, 2004
Simin Keramati describes her poetic feelings, in her Through the Small Gate of Loneliness (2004), in a short poem of her: “Through the small gate of loneliness… I have been hanged… and from all glances of lie… running away… I want to whisper my wishes through the ears of wind… the wind runs away from the vibration of my throat… I want to create the flying of my own… I want to touch the descending voice of my own… I want to… placed in the huge hands of being… resemble to a waiting fetus… I have been floated… through the small gate of loneliness” (Babak Tavassoli)
Simin Keramati, 穿越小小的孤独之门, 2004
在这个作品中，Simin Keramati描述了她诗歌班般的情感，在她的短诗中：“穿越小小的孤独之门，我曾被高高悬起，来自谎言的扫视，逃跑了，我想对着风的耳朵轻轻的诉说我的愿望，风在我颤抖的嗓音中逃开了，我想创作自我的飞翔，我想触摸我自己那衰弱的声音，我想被放在巨大的手中，就像一个等待的胎儿，我曾流动着，穿越小小的孤独之门”。(Babak Tavassoli)
[attachment=54161]
Simin Keramati, 穿越小小的孤独之门, 2004
Seifollah Samadian, The White Station, 8’, 1999
The artist filmed a woman under the snow, waiting at a bus station, from the window of his apartment. Images are accompanied by the sound of the wind blowing, crows’ cawing and the city.
Seifollah Samadian, 白色站点, 8’, 1999
艺术家从自己公寓的窗口拍摄了一位妇女在雪中、在公共汽车站等候的情景。图像被配上了风吹、乌鸦叫等声音。
[attachment=54127]
Seifollah Samadian, 白色站点, 8’, 1999
Khosro Khosravi, The Port, 5’40”, 2003
This video is a documentary film of a small abandoned port at the seaside and passage of people and their stop on the port. The film is based on a symbolic language.
Khosro Khosravi, 港口, 5’40”, 2003
这个录像是一部记录电影，记录了一个海边废弃的港口、人员通道和站台。整个电影运用了象征语言符号。
[attachment=54160]
Khosro Khosravi, 港口, 5’40”, 2003
Rozita Sharaf Jahan, Depression, 8’11”, 2004
Rozita Sharaf-Jahan’s Deepression (2004) portrays the frame where time halts, everything stops, there is no way to go and nothing to hear, images fade. There is only a will, in which the character goes in the very depth and rises unwillingly.
Rozita Sharaf Jahan, 沮丧, 8’11”, 2004
这个作品描述了时间停止的一帧，所有的东西都停止了，没有办法走，听不到任何东西，图像褪色了。只有一个决心，就是跌入深谷不再升起。
Maryam Niadazeh, Sun Alphabets, 12’55”, 2004
Maryam Niazadeh explains about her Sun Alphabets (2004), “We were on the road, and I was looking around; cement wire stands and black wires have become a part of our nature, the faint sun was pacing with us, and there was wind… My camera was in lowlight position. I look at the LCD monitor, things changed. ‘My tool’ showed something quite different: something new in nature. Nature has always had its ambiguous conception. Sometime I dream of nature as something which can be only conceived through technical equipments.”
Maryam Niadazeh, 太阳字母表, 12’55”, 2004
Maryam Niazadeh这样解释她的作品：“我们在路上，我左右环顾；水泥杆站立着，黑色的金属线已经成为我们自然的一部分，暗淡的太阳跟在我们身后，有风吹过……我的照相机处在低闪光灯的位子。我看着LCD电视机，事情都变了。‘我的工具’使一些事情都变得完全的不同了：大自然中出现了新事物。大自然一直有着自身模糊的概念。有时我梦想的大自然就是只能通过技术设备才能实现的东西。
[attachment=54158]
Maryam Niadazeh, 太阳字母表, 12’55”, 2004
Ebrahim Haghighi, ABCTV, 7’53”, 2001
Ebrahim Haghighi’s ABC TV (2001) is a parody of the 20th century remarkable phenomenon, a dream-box called ‘Television’. This ‘world-depicting wonder’ has already captured humankind’s free time in full, metamorphosed our soul, and evacuated us from sense and sensation. In addition, the professional and challenge-making television-hosts present wars as they do with soap operas and TV quizzes. Catastrophes in Iraq and Afghanistan are as quickly glanced as when talking about German football team scoring Italy.
Ebrahim Haghighi, ABCTV, 7’53”, 2001
Mania Akbari, Repression, Self, 9’11”, 2003
These two videosfrom a series of six, reflect an Eastern woman’s unconsciousness. The artist use contemporary instrument and various expressions to show her feelings towards tradition and beliefs.
Mania Akbari, 镇压，自我, 9’11”, 2003
这些录像作品是一系列6个中的2个，反映了东方女性的意识不清。艺术家运用当代的工具和不同的表现方式来表达她对与传统和信仰的感受。
Morteza Darehbaghi, Tazieh: A Modern View, 12’, 2003
Tazieh (literary, mourning rituals) commemorates the heroic deeds of the third Shiite Imam and his disciples at Karbala, gave rise to “Pardeh-Khani”, an Islamic art in which a storyteller gives an account of the suffering of the Imam and his relatives by pointing to the figures on a painting hanging on a wall. Morteza Darehbaghi’s Tazieh: A Modern View is a new variation on an old theme, first displayed at the Tehran Museum of Contemporary Art (2003), using video art as vehicle. (Babak Tavassoli)
Morteza Darehbaghi, Tazieh: 现代的观点, 12’, 2003
Tazieh（服丧的礼节）纪念了什叶派教长的英雄功绩和他在Karbala的门徒，并提升了“Pardeh-Khani”的地位，这是一种伊朗艺术，从中一位说故事的人指着墙上的画讲述了教长及其亲属受难的缘由。Morteza Darehbaghi’s Tazieh：这个现代的观点是对于老主题的新诠释，首展是在德黑兰当代美术馆（2003年），方式为录像艺术。(Babak Tavassoli)
[attachment=54125]
Morteza Darehbaghi, Tazieh: 现代的观点, 12’, 2003
Dariush Mehrjui, Turning Up, 11’24”, 2000
Video camera films the strings and other details of a traditional music instrument as someone is tuning it. Only during the last minutes does the musician start to play. Mehrjui is considered as one of the intellectual directors of Iranian cinema.
Dariush Mehrjui, 旋转, 11’24”, 2000
当有人调音的时候，摄像机拍摄了古典乐器上的琴弦以及其他一些细节的部分。只是在最后一分钟音乐家开始演奏了。Mehrjui被认为是伊朗电影的领军人物之一。
[attachment=54159]
Dariush Mehrjui, 旋转, 11’24”, 2000
Ameneh Zohreh Eskandari, The Stranger, 10’, 2000
This video made of superposition of images shows the shadow of a person travelling to various places in the world.
“In the beginning there was a shadow, … the shadow whispered and stepped in a journey so that it could play the music of its soul. It walked everywhere gazing upon everything; to anything, which existed. The ray of its glance was changed into the colour of its imagination. It made the colours move. The existence rose as a floating flag under its footsteps. All things became as an imagination entirely, farther than the shadow spreading on it.”
Ameneh Zohreh Eskandari, 陌生人, 10’, 2000
这个作品是由一些重叠的图像组成的，展示了一个人在全球各地旅行时的影子。
“最初有一个影子，这个影子在旅程中或低语或行走，从而演奏了灵魂的乐曲。它走遍了所有的地方、凝视过所有的东西：所有存在的东西。它匆匆一瞥眼光的线路被转化成它想象的色彩了。它使色彩可以移动了。真实存在的玫瑰就像一面流动的红旗在它的脚步下。所有的事物好像都变成了想象，不仅仅是影子在撒布。
Farid Jafari-Samarghandi, Line, 9’30”, 2003
The screen divided in three part features black and white landscapes of the desert, mountains, views from towns, and performers.
Farid Jafari-Samarghandi, 线, 9’30”, 2003
屏幕被分成了3部分，主要的一些沙漠、大山、城市风景和表演者的黑白风景。
[attachment=54124]
Farid Jafari-Samarghandi, 线, 9’30”, 2003
Barbad Golshiri, What has Befallen Us Barbad?
In his videopiece What has befallen us, Barbad?, Golshiri transforms the obligation to cut his long hair before joining the army into a creative and intense moment. When used in neon-boxes, the video stills appear as arabesques, resembling calligraphy.
Barbad Golshiri, What has Befallen Us Barbad?
在这个作品中，Golshiri转换了他的义务，在参军前剪掉长发变成了一个富有创作力、激烈的瞬间。当被放置在氖的盒子里的时候，录像中静止的画面变得像曼藤花纹，就像书法一样。
[attachment=54157]
Barbad Golshiri, What has Befallen Us Barbad?
Simin Keramati, Through the Small Gates of Loneliness, 2004
Simin Keramati describes her poetic feelings, in her Through the Small Gate of Loneliness (2004), in a short poem of her: “Through the small gate of loneliness… I have been hanged… and from all glances of lie… running away… I want to whisper my wishes through the ears of wind… the wind runs away from the vibration of my throat… I want to create the flying of my own… I want to touch the descending voice of my own… I want to… placed in the huge hands of being… resemble to a waiting fetus… I have been floated… through the small gate of loneliness” (Babak Tavassoli)
Simin Keramati, 穿越小小的孤独之门, 2004
在这个作品中，Simin Keramati描述了她诗歌班般的情感，在她的短诗中：“穿越小小的孤独之门，我曾被高高悬起，来自谎言的扫视，逃跑了，我想对着风的耳朵轻轻的诉说我的愿望，风在我颤抖的嗓音中逃开了，我想创作自我的飞翔，我想触摸我自己那衰弱的声音，我想被放在巨大的手中，就像一个等待的胎儿，我曾流动着，穿越小小的孤独之门”。(Babak Tavassoli)
[attachment=54161]
Simin Keramati, 穿越小小的孤独之门, 2004
Seifollah Samadian, The White Station, 8’, 1999
The artist filmed a woman under the snow, waiting at a bus station, from the window of his apartment. Images are accompanied by the sound of the wind blowing, crows’ cawing and the city.
Seifollah Samadian, 白色站点, 8’, 1999
艺术家从自己公寓的窗口拍摄了一位妇女在雪中、在公共汽车站等候的情景。图像被配上了风吹、乌鸦叫等声音。
[attachment=54127]
Seifollah Samadian, 白色站点, 8’, 1999
Khosro Khosravi, The Port, 5’40”, 2003
This video is a documentary film of a small abandoned port at the seaside and passage of people and their stop on the port. The film is based on a symbolic language.
Khosro Khosravi, 港口, 5’40”, 2003
这个录像是一部记录电影，记录了一个海边废弃的港口、人员通道和站台。整个电影运用了象征语言符号。
[attachment=54160]
Khosro Khosravi, 港口, 5’40”, 2003
Rozita Sharaf Jahan, Depression, 8’11”, 2004
Rozita Sharaf-Jahan’s Deepression (2004) portrays the frame where time halts, everything stops, there is no way to go and nothing to hear, images fade. There is only a will, in which the character goes in the very depth and rises unwillingly.
Rozita Sharaf Jahan, 沮丧, 8’11”, 2004
这个作品描述了时间停止的一帧，所有的东西都停止了，没有办法走，听不到任何东西，图像褪色了。只有一个决心，就是跌入深谷不再升起。
Maryam Niadazeh, Sun Alphabets, 12’55”, 2004
Maryam Niazadeh explains about her Sun Alphabets (2004), “We were on the road, and I was looking around; cement wire stands and black wires have become a part of our nature, the faint sun was pacing with us, and there was wind… My camera was in lowlight position. I look at the LCD monitor, things changed. ‘My tool’ showed something quite different: something new in nature. Nature has always had its ambiguous conception. Sometime I dream of nature as something which can be only conceived through technical equipments.”
Maryam Niadazeh, 太阳字母表, 12’55”, 2004
Maryam Niazadeh这样解释她的作品：“我们在路上，我左右环顾；水泥杆站立着，黑色的金属线已经成为我们自然的一部分，暗淡的太阳跟在我们身后，有风吹过……我的照相机处在低闪光灯的位子。我看着LCD电视机，事情都变了。‘我的工具’使一些事情都变得完全的不同了：大自然中出现了新事物。大自然一直有着自身模糊的概念。有时我梦想的大自然就是只能通过技术设备才能实现的东西。
[attachment=54158]
Maryam Niadazeh, 太阳字母表, 12’55”, 2004
Ebrahim Haghighi, ABCTV, 7’53”, 2001
Ebrahim Haghighi’s ABC TV (2001) is a parody of the 20th century remarkable phenomenon, a dream-box called ‘Television’. This ‘world-depicting wonder’ has already captured humankind’s free time in full, metamorphosed our soul, and evacuated us from sense and sensation. In addition, the professional and challenge-making television-hosts present wars as they do with soap operas and TV quizzes. Catastrophes in Iraq and Afghanistan are as quickly glanced as when talking about German football team scoring Italy.
Ebrahim Haghighi, ABCTV, 7’53”, 2001
关于以色列录像
Boaz Arad, An Immense Inner Peace, 5’30”, 2001
A fake Hitler in his old days. The artist create a farcical character of the dictator, painting at home and talking in a provoking way.
Boaz Arad, 无穷的内心安宁, 5’30”, 2001
一个假冒希特勒的晚年生活。艺术家创作描绘了这个独裁者滑稽的特性，如在家画画、咆哮。
[attachment=54162]
Boaz Arad, 无穷的内心安宁, 5’30”, 2001
Ayelet Ben Porat, T.M.B., 4’30”, 2001
T.M.B. is a video composed of images from early Israeli archival films accompanied with techno music. War, and other dramatic images are repeatedly shown in a mechanical way.
Ayelet Ben Porat, T.M.B., 4’30”, 2001
T.M.B.这个录像作品是由早期以色列档案电影中的图像和电子音乐组合完成的。战争以及一些戏剧性的图像被机械式的重复播放。
Effie & Amir, Check It, 3’20”, 2000
Security men at shopping malls entrances in Jerusalem are shot by a camera placed in bags they are checking.
Effie & Amir, 检查它， 3’20”, 2000
耶路撒冷购物中心门口的保安正在检查一些包，突然被放置在包内的照相机拍摄了。
Alona Friedberg & Limor Orentstein, Oh Fortress of Mine, 6’35”, 2002
The two female artists, dressed the same way, with the same hairstyle, similar to twins, live together. They receive their families, sing a song of the period when the state of Israel was founded. The house they’re living become their fortress…
Alona Friedberg & Limor Orentstein, 我们的堡垒, 6’35”, 2002
2位女性艺术家，穿着一样的衣服，有着同样的发型，看上去像一对双胞胎，并且住在一起。她们接受各自的家庭，并在以色列国成立的时候共唱一首歌。她们居住的房子就像她们的保垒一样。
Elyasaf Kowner, Dad explains about weapons and numbers, 4’40”, 2001
Elyasaf Kowner’s father, Leon Kowner, present a Polish magazine containing top Secret information about Israel’s new weapons. This video plays with nostalgic feelings and the hectic Israeli reality.
Elyasaf Kowner, 爸爸解释说明武器和数字, 4’40”, 2001
Elyasaf Kowner的父亲Leon Kowner展示了一本波兰杂志，这本杂志披露了有关以色列最新武器的一些尖端秘密信息。整个录像充满了淡淡的怀旧气息以及狂热的以色列社会现实。
Isaac Layish & Irit Garty, Come Back Home, 6’, 2001
Come Back Home, is composed of extracts from commercials, TV news and election propaganda. The video critic consumption society, politics, mass media, etc.
Isaac Layish & Irit Garty, 回家, 6’, 2001
“回家”这个作品是由来自商业、电视新闻以及宣传品上的摘录而构成。作品批判了消费型的社会、政治、大量的媒介等。
[attachment=54130]
Isaac Layish & Irit Garty, 回家, 6’, 2001
Dana Levy, Hell Angels, 3’30”, 2002
Two Palestinian children from the Jenin refugee camp present the ruins of their home which were shelled by Israeli armies a few weeks before. The boy hold in his hand a bulldozer and a poster of a suicide martyr.
Dana Levy, 地域天使， 3’30”, 2002
2位来自Jenin难民营的巴基斯坦儿童正在展示他们被毁的家，他们的家在几个星期前被以色列的战火摧毁了。这个男孩手里握着一个推土机和一张自杀烈士的海报。
Ruti Sela, Una Proyeccion Solamente, 12’30”, 2001
A group of young anarchists wearing Israeli Army t-shirts carry out curious operations
in a city of Spain.
Ruti Sela, Una Proyeccion Solamente, 12’30”, 2001
一群年轻的无政府主义者穿着以色列军队的T-恤在西班牙的某个城市内做出一些古怪的行为。
Doron Solomons, Father, 13’, 2002
This video is about the fears of a father, of an Israeli citizen and the artist itself. Through the images of a little girl watching TV, spectators deal with different aspects of the “reality”.
Doron Solomons, 父亲, 13’, 2002
录像讲述了一位父亲的恐惧和忧虑，一位以色列市民人的恐惧和忧虑，也包括艺术家自己。通过一个小女孩看电视的画面，观众可以感受到“现实”不同的侧面。
[attachment=54128]
Doron Solomons, 父亲, 13’, 2002
[attachment=54129]
Doron Solomons, 父亲, 13’, 2002
Boaz Arad, An Immense Inner Peace, 5’30”, 2001
A fake Hitler in his old days. The artist create a farcical character of the dictator, painting at home and talking in a provoking way.
Boaz Arad, 无穷的内心安宁, 5’30”, 2001
一个假冒希特勒的晚年生活。艺术家创作描绘了这个独裁者滑稽的特性，如在家画画、咆哮。
[attachment=54162]
Boaz Arad, 无穷的内心安宁, 5’30”, 2001
Ayelet Ben Porat, T.M.B., 4’30”, 2001
T.M.B. is a video composed of images from early Israeli archival films accompanied with techno music. War, and other dramatic images are repeatedly shown in a mechanical way.
Ayelet Ben Porat, T.M.B., 4’30”, 2001
T.M.B.这个录像作品是由早期以色列档案电影中的图像和电子音乐组合完成的。战争以及一些戏剧性的图像被机械式的重复播放。
Effie & Amir, Check It, 3’20”, 2000
Security men at shopping malls entrances in Jerusalem are shot by a camera placed in bags they are checking.
Effie & Amir, 检查它， 3’20”, 2000
耶路撒冷购物中心门口的保安正在检查一些包，突然被放置在包内的照相机拍摄了。
Alona Friedberg & Limor Orentstein, Oh Fortress of Mine, 6’35”, 2002
The two female artists, dressed the same way, with the same hairstyle, similar to twins, live together. They receive their families, sing a song of the period when the state of Israel was founded. The house they’re living become their fortress…
Alona Friedberg & Limor Orentstein, 我们的堡垒, 6’35”, 2002
2位女性艺术家，穿着一样的衣服，有着同样的发型，看上去像一对双胞胎，并且住在一起。她们接受各自的家庭，并在以色列国成立的时候共唱一首歌。她们居住的房子就像她们的保垒一样。
Elyasaf Kowner, Dad explains about weapons and numbers, 4’40”, 2001
Elyasaf Kowner’s father, Leon Kowner, present a Polish magazine containing top Secret information about Israel’s new weapons. This video plays with nostalgic feelings and the hectic Israeli reality.
Elyasaf Kowner, 爸爸解释说明武器和数字, 4’40”, 2001
Elyasaf Kowner的父亲Leon Kowner展示了一本波兰杂志，这本杂志披露了有关以色列最新武器的一些尖端秘密信息。整个录像充满了淡淡的怀旧气息以及狂热的以色列社会现实。
Isaac Layish & Irit Garty, Come Back Home, 6’, 2001
Come Back Home, is composed of extracts from commercials, TV news and election propaganda. The video critic consumption society, politics, mass media, etc.
Isaac Layish & Irit Garty, 回家, 6’, 2001
“回家”这个作品是由来自商业、电视新闻以及宣传品上的摘录而构成。作品批判了消费型的社会、政治、大量的媒介等。
[attachment=54130]
Isaac Layish & Irit Garty, 回家, 6’, 2001
Dana Levy, Hell Angels, 3’30”, 2002
Two Palestinian children from the Jenin refugee camp present the ruins of their home which were shelled by Israeli armies a few weeks before. The boy hold in his hand a bulldozer and a poster of a suicide martyr.
Dana Levy, 地域天使， 3’30”, 2002
2位来自Jenin难民营的巴基斯坦儿童正在展示他们被毁的家，他们的家在几个星期前被以色列的战火摧毁了。这个男孩手里握着一个推土机和一张自杀烈士的海报。
Ruti Sela, Una Proyeccion Solamente, 12’30”, 2001
A group of young anarchists wearing Israeli Army t-shirts carry out curious operations
in a city of Spain.
Ruti Sela, Una Proyeccion Solamente, 12’30”, 2001
一群年轻的无政府主义者穿着以色列军队的T-恤在西班牙的某个城市内做出一些古怪的行为。
Doron Solomons, Father, 13’, 2002
This video is about the fears of a father, of an Israeli citizen and the artist itself. Through the images of a little girl watching TV, spectators deal with different aspects of the “reality”.
Doron Solomons, 父亲, 13’, 2002
录像讲述了一位父亲的恐惧和忧虑，一位以色列市民人的恐惧和忧虑，也包括艺术家自己。通过一个小女孩看电视的画面，观众可以感受到“现实”不同的侧面。
[attachment=54128]
Doron Solomons, 父亲, 13’, 2002
[attachment=54129]
Doron Solomons, 父亲, 13’, 2002
关于波兰录像
Azorro, We like it a lot, video, 7’30”, 2001
(Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Lukasz Skapski)
<Bardzo nam sie podoba> (We like it a lot), is Azorro group first’s video. The four artists visit various Polish galleries and comment all the exhibitions with the same sentences, alluding to the Polish discussions about art which don’t bring anything new....
Azorro, 我们非常喜欢它, 录像, 7’30”, 2001
(Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Lukasz Skapski)
“我们非常喜欢它”是Azorro组合的第一个录像作品。4位艺术家参观了波兰不同的画廊，并用相同的一句话点评所有的展览，从而隐射了波兰关于艺术的讨论不会带来任何新的内容。
[attachment=54163]
Azorro, 我们非常喜欢它, 录像, 7’30”, 2001
Sylwia Narbut, No title, 2’, 2004
A common, daily life scene: the mother in the kitchen talks on the phone, reads newspaper and the father in the living room watches TV... Upstairs, their girl in her bedroom fills a gun with bullets.
Sylwia Narbut, 无题， 2’, 2004
一个普通的日常生活的场景：母亲在厨房里讲电话、看报纸，父亲在起居室里看电视... ...楼上，他们的女儿正在卧室内往枪里压子弹。
[attachment=54165]
Sylwia Narbut, 无题， 2’, 2004
Artur Zmijewski, Singing Lesson 2, 14’, 2001
In this video, the artist film deaf-mute people taking singing lessons and making a concert of Bach’s cantata Herz und Mund und Tat und Leben (Heart and Lips and Deed and Life) in St. Thomas Church in Leipzig.
Artur Zmijewski, 音乐课 2, 14’, 2001
在这个录像作品中，艺术家拍摄了一位聋哑人上音乐课并参加了在莱比锡圣托马斯大教堂举办的巴赫大合唱的音乐会。
[attachment=54169]
Artur Zmijewski, 音乐课 2, 14’, 2001
Jacek Malinowski, Mezza donna (Half A Woman), 12’50”, 2000
In this fictious story, a woman suffering from PDS (Pelvic Degeneration Syndrome), which generated the loss of her two legs, introduces herself in her flat. The artist asks various questions to this “Half A Woman”, filming her movements and reactions like in a documentary.
Jacek Malinowski, 半个女人, 12’50”, 2000
在这个故事中，一个妇女得了骨盆恶化综合症，导致了她的双腿被截肢了，只能呆在公寓内。艺术家向这位“半个女人”问了很多各种各样的问题，并像纪录片一样拍摄了她的行动和反应。
[attachment=54167]
Jacek Malinowski, 半个女人, 12’50”, 2000
Igor Krenz, Films, 1990-2005
These short videos consist of various simple games with common objects. In one of them, the artist, in his studio unceasingly tries to shoot a rock into a tin, repeating the action again and again until he succeeds....
Igor Krenz, 电影, 1990-2005
这些简短的录像作品包含了各种各样针对普通物品简单的游戏。其中的一个就是：艺术家在他的工作室内不断的用石头投射一个罐子，并不停的重复着，直到成功为止。
[attachment=54168]
Igor Krenz, 电影, 1990-2005
Hubert Czerepok, Computerstudio 001, 8’, 2002
For this video, the artist asked the figurants to act according to the space they’re in. At the beginning, each one of them seem busy working in front of their desk, until they move in the space one after the other, crossing each other’s way.
Hubert Czerepok, 电脑工作室 001, 8’, 2002
在这个录像作品中，艺术家要求群众演员根据他们所处的环境进行表演。最初，他们中的每个人看起来都很忙碌在桌子前工作，然后他们就开始在空间内移动，互相交叉。
[attachment=54164]
Hubert Czerepok, 电脑工作室 001, 8’, 2002
Katarzyna Gorna, Sumo, 2003
Women, half naked, on a black background, move like sumo warriors, while a text about women’s power runs from left to right. The movements of the women varied accordingly to the content of the text.
Katarzyna Gorna, 相扑, 2003
女人，半裸着，黑色背景下，像相扑运动员一样移动着，同时有一篇关于女权主义的文章从左至右的出现在屏幕上。女子的动作配合着文章的内容。
Anna Baumgart, Real? Cranes are flying,1,7’, 2000
The artist uses an extract from the Russian melodrama Flying Cranes by Michail Kaltoziszwili, and interchange the face of the heroine with her own face, playing with fiction and reality.
Anna Baumgart, 真的? 飞扬的起重机,1,7’, 2000
艺术家运用了Michail Kaltoziszwili的俄罗斯情节剧飞扬的起重机中的片断，并将女主人公的脸换成了她自己的脸，在虚构和现实中穿梭。
Azorro, We like it a lot, video, 7’30”, 2001
(Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Lukasz Skapski)
<Bardzo nam sie podoba> (We like it a lot), is Azorro group first’s video. The four artists visit various Polish galleries and comment all the exhibitions with the same sentences, alluding to the Polish discussions about art which don’t bring anything new....
Azorro, 我们非常喜欢它, 录像, 7’30”, 2001
(Oskar Dawicki, Igor Krenz, Wojciech Niedzielko, Lukasz Skapski)
“我们非常喜欢它”是Azorro组合的第一个录像作品。4位艺术家参观了波兰不同的画廊，并用相同的一句话点评所有的展览，从而隐射了波兰关于艺术的讨论不会带来任何新的内容。
[attachment=54163]
Azorro, 我们非常喜欢它, 录像, 7’30”, 2001
Sylwia Narbut, No title, 2’, 2004
A common, daily life scene: the mother in the kitchen talks on the phone, reads newspaper and the father in the living room watches TV... Upstairs, their girl in her bedroom fills a gun with bullets.
Sylwia Narbut, 无题， 2’, 2004
一个普通的日常生活的场景：母亲在厨房里讲电话、看报纸，父亲在起居室里看电视... ...楼上，他们的女儿正在卧室内往枪里压子弹。
[attachment=54165]
Sylwia Narbut, 无题， 2’, 2004
Artur Zmijewski, Singing Lesson 2, 14’, 2001
In this video, the artist film deaf-mute people taking singing lessons and making a concert of Bach’s cantata Herz und Mund und Tat und Leben (Heart and Lips and Deed and Life) in St. Thomas Church in Leipzig.
Artur Zmijewski, 音乐课 2, 14’, 2001
在这个录像作品中，艺术家拍摄了一位聋哑人上音乐课并参加了在莱比锡圣托马斯大教堂举办的巴赫大合唱的音乐会。
[attachment=54169]
Artur Zmijewski, 音乐课 2, 14’, 2001
Jacek Malinowski, Mezza donna (Half A Woman), 12’50”, 2000
In this fictious story, a woman suffering from PDS (Pelvic Degeneration Syndrome), which generated the loss of her two legs, introduces herself in her flat. The artist asks various questions to this “Half A Woman”, filming her movements and reactions like in a documentary.
Jacek Malinowski, 半个女人, 12’50”, 2000
在这个故事中，一个妇女得了骨盆恶化综合症，导致了她的双腿被截肢了，只能呆在公寓内。艺术家向这位“半个女人”问了很多各种各样的问题，并像纪录片一样拍摄了她的行动和反应。
[attachment=54167]
Jacek Malinowski, 半个女人, 12’50”, 2000
Igor Krenz, Films, 1990-2005
These short videos consist of various simple games with common objects. In one of them, the artist, in his studio unceasingly tries to shoot a rock into a tin, repeating the action again and again until he succeeds....
Igor Krenz, 电影, 1990-2005
这些简短的录像作品包含了各种各样针对普通物品简单的游戏。其中的一个就是：艺术家在他的工作室内不断的用石头投射一个罐子，并不停的重复着，直到成功为止。
[attachment=54168]
Igor Krenz, 电影, 1990-2005
Hubert Czerepok, Computerstudio 001, 8’, 2002
For this video, the artist asked the figurants to act according to the space they’re in. At the beginning, each one of them seem busy working in front of their desk, until they move in the space one after the other, crossing each other’s way.
Hubert Czerepok, 电脑工作室 001, 8’, 2002
在这个录像作品中，艺术家要求群众演员根据他们所处的环境进行表演。最初，他们中的每个人看起来都很忙碌在桌子前工作，然后他们就开始在空间内移动，互相交叉。
[attachment=54164]
Hubert Czerepok, 电脑工作室 001, 8’, 2002
Katarzyna Gorna, Sumo, 2003
Women, half naked, on a black background, move like sumo warriors, while a text about women’s power runs from left to right. The movements of the women varied accordingly to the content of the text.
Katarzyna Gorna, 相扑, 2003
女人，半裸着，黑色背景下，像相扑运动员一样移动着，同时有一篇关于女权主义的文章从左至右的出现在屏幕上。女子的动作配合着文章的内容。
Anna Baumgart, Real? Cranes are flying,1,7’, 2000
The artist uses an extract from the Russian melodrama Flying Cranes by Michail Kaltoziszwili, and interchange the face of the heroine with her own face, playing with fiction and reality.
Anna Baumgart, 真的? 飞扬的起重机,1,7’, 2000
艺术家运用了Michail Kaltoziszwili的俄罗斯情节剧飞扬的起重机中的片断，并将女主人公的脸换成了她自己的脸，在虚构和现实中穿梭。
关于西班牙录像
David Barro文
Martí Ansón, El miedo del portero al penalty.
It is a video and various photographs; in both cases the same moment in which a footballer is about to shoot a penalty is reproduced. The video is a continuous loop of a few seconds in which the player never actually kicks the ball and the goalkeeper only makes small movements guessing where the ball might go. El miedo del portero al penalti is a reference to both Peter Hanke’s book of the same name and to the penalty strikes on a Play Station football game. What Martí Anson has tried to provoke in this piece is a suspension of time, of the moment of decision in the game between the goalkeeper and the player when shooting a penalty. Sport, and in particular football, acquire metaphorical value in Anson’s work; a metaphor for lapses in infinite time, for crucial moments, for postponed decisions…and, above all, for a question which has no answer.
Martí Ansón, El miedo del portero al penalty.
这是一个录像作品和一些照片：所有的都是有关一个足球运动员罚点球的瞬间的再现。录像作品连续反复播放着几秒钟的片断，其中运动员并没有真正的踢到球、守门员只是小小的移动猜测球的方向。El miedo del portero al penalti同时也是Peter Hanke同名小说的附注以及足球比赛中的踢点球的场景。在这个作品中Martí Anson想要揭示时间的停顿、比赛中守门员和踢点球运动员做出决定的瞬间。运动特别是足球运动在Anson的作品中得到了隐喻的价值：紧要关头、缓办的决定在无限时间内流逝的隐喻。所有这些都是一个没有答案的问题。
Juande Jarillo, Primer término, 2001
Primer término (2001) by Juande Jarillo presents an omniscient view, which goes from the molecular to the cosmic in an incessant return journey. A gaze which is submitted to a rectilinear axis which bounces off the extremes of the inconsiderable, a to-ing and from-ing dotted with alterations and transfigurations which link in a random way the minimum and the maximum, the foreground and the panorama, as mystic as it is physical, agnostic and hollow. The artist was born in Grenada in 1969.
Juande Jarillo, Primer término, 2001
Juande Jarillo1969年生于格林纳达，他的作品Primer término (2001)展示了一个无所不知的见解，这个见解来自于来回运动中的宇宙分子。
Cristina Lucas, My Struggle, 2004
Cristina Lucas was born in Jaen in 1973. Her video of 2004 depicts an actor holding a microphone making a lively speech about the importance of art in the middle of a New York street, despite the indifference of the passers-by. Titled My Struggle like Hitler’s book, Mein Kampf, one can see the political background of this piece where this so-called preacher tries to raise awareness and change people’s way of seeing the world, as well as recovering their faith in art.
Cristina Lucas, 我的斗争, 2004
Cristina Lucas1973年生于Jaen。他创作于2004年的录像作品描述了一位演员手拿麦克风在纽约大街的中央做一个关于艺术重要性的现场演讲，不管周围行人的来来往往。题为我的斗争感觉像希特勒的书Mein Kampf，从中可以看到这个作品的政治背景，所谓的传教士试图唤起民众的注意、改变人们看世界的方法，同时也恢复了他们的艺术使命。
Alvaro Negro, Battersea station, 2003
Alvaro Negro (Lalín, 1973) presents Battersea station , produced in 2003. Coming from the field of painting, Negro seduces us by the slow tempo of his work. The sphere of patience is juxtaposed by the velocity of the present, provoking the viewer by eliminating real time. His works place in doubt our concept of "image in movement", using the video to explore and document perception.
Alvaro Negro, Battersea station, 2003
Alvaro Negro1973年生于Lalín，参展的作品是Battersea station，创作于2003年。来自于绘画创作领域，Negro用作品中缓慢的节奏吸引了我们。耐心的范围被现实的速度所并置了，向观众揭示了真实时间的消逝。他的作品运用录像的手段揭示并记录了感知，质疑了我们关于“图像是运动的”的概念。
Javier Núñez Gasco, Microchip
In Microchip, Javier Núñez Gasco (Salamanca, 1971) appears in a real Spanish TV news program (“Madrid Directo”, Tele Madrid) claiming to have implanted a dog’s identification microchip in his left arm in order to prevent any accidents resulting from memory losses caused by a illness called schizotypia. In fact, the artist, who does not suffer from that illness at all, had indeed previously asked a veterinarian to implant inside his body the very same microchip that is used to identify dogs and prevent them from getting loss or stolen. After that, he called several TV stations and newspapers informing them about his decision and its reasons to instigate a series of reportages and articles. It becomes clear in this work how little criteria is used by news people when choosing what is and what is not worthwhile of talking about as well as the lack of research behind the grand majority of the news pieces we see on TV.
Javier Núñez Gasco, Microchip
Javier Núñez Gasco1971年生于Salamanca，他的作品Microchip看起来就像一个真正的西班牙电视新闻栏目，主张在狗的左前腿中植入一个身份芯片，防止由于精神方面的疾病所引起的失忆而导致的意外事故。事实上，艺术家并没有这种疾病，但是之前他还是强烈要求一个兽医在他体内植入一个相当类似的芯片，这个芯片是为了证明狗的身份，防止它们丢失或被盗。之后他致电一些电视台和报社，通知他们他的这个决定，并鼓动一系列相关的报道和文章。我们时常在电视中看得新闻缺少大量的背景调查以及如何选择话题在他的作品中变得很清楚了。
Javier Peñafiel, Maltrato, 1999
Javier Peñafiel comes from Zaragoza, and was born in 1964. Maltrato is his video projection produced in 1999; as a trompe-l'oeil, it shows a panel of flowers that gradually is destroyed by arms fire. Its apparent poetic beauty hides a perception of pathos that attacks our emotional imagination. The video places in doubt our concept of beauty, in which we greatly want to believe.
Javier Peñafiel, Maltrato, 1999
Javier Peñafiel生于1964年，来自于Zaragoza。Maltrato这个录像投影作品创作于1999年。身为一个错视画派，它的作品展示了镶满花朵的板慢慢的被战火所摧毁。它外观上充满诗意的美隐藏了哀婉的感觉，这种感觉打击了我们的情感想象力。这个作品质疑了我们对于美的概念，而这是我们非常愿意相信的。
[attachment=54171]
Javier Peñafiel, Maltrato, 1999
Rubén Ramos Balsa, Ver, 2002
Rubén Ramos Balsa (Santiago de Compostela, 1978) presents a video from 2002: Ver is a space in which the spectator tries to enter and learn about though the looking game proposed by the speakers; a still image where the only thing that happens is the passing of time.
Rubén Ramos Balsa, Ver, 2002
Rubén Ramos Balsa1978年生于圣地亚哥所参展的录像创作于2002年：Ver是一个空间，在这里观众试图进入并了解一些东西，一个静止的画面唯一发生的是时间的流逝。
[attachment=54172]
Rubén Ramos Balsa, Ver, 2002
Fernando Sánchez Castillo, Canicas (marbles), 2002
Fernando Sánchez Castillo was born in Madrid in1970. In Canicas (marbles) completed in 202, the artists turns to the recent past – the late 1960’s and beginning of the 1970’s – during the period of Franco’s dictatorship tosubtlyu denounce the still perverse architecture of çadrid’s Universidad Antonoma: the building was designed so that the riot police could enter even on horseback to break up any student unrest. The students defended themselves by throwing marbles at the horses to make them slip and fall.
Fernando Sánchez Castillo, Canicas (marbles), 2002
Fernando Sánchez Castillo1970年生于马德里，Canicas（石弹子）作品完成于2002年，艺术家的视角转向近代——1960年代后期到1970年代初——佛朗哥专政政权期间，巧妙的恶抨击了至今还保留的çadrid’s Universidad Antonoma建筑：这种建筑的设计就是便于防暴po.lice可以骑马进入打破任何学生运动。学生们保护自己的办法只有向马匹扔石弹子，使它们滑倒或跌落。
Fernando Sánchez Castillo, Arquitectura para el caball, 2002
Continuing with the condemnation insinuated in Canicas, Sánchez Castillo, in the 2002 video entitled Arquitectura para el caballo, reflects on the recuperation of history through m
David Barro文
Martí Ansón, El miedo del portero al penalty.
It is a video and various photographs; in both cases the same moment in which a footballer is about to shoot a penalty is reproduced. The video is a continuous loop of a few seconds in which the player never actually kicks the ball and the goalkeeper only makes small movements guessing where the ball might go. El miedo del portero al penalti is a reference to both Peter Hanke’s book of the same name and to the penalty strikes on a Play Station football game. What Martí Anson has tried to provoke in this piece is a suspension of time, of the moment of decision in the game between the goalkeeper and the player when shooting a penalty. Sport, and in particular football, acquire metaphorical value in Anson’s work; a metaphor for lapses in infinite time, for crucial moments, for postponed decisions…and, above all, for a question which has no answer.
Martí Ansón, El miedo del portero al penalty.
这是一个录像作品和一些照片：所有的都是有关一个足球运动员罚点球的瞬间的再现。录像作品连续反复播放着几秒钟的片断，其中运动员并没有真正的踢到球、守门员只是小小的移动猜测球的方向。El miedo del portero al penalti同时也是Peter Hanke同名小说的附注以及足球比赛中的踢点球的场景。在这个作品中Martí Anson想要揭示时间的停顿、比赛中守门员和踢点球运动员做出决定的瞬间。运动特别是足球运动在Anson的作品中得到了隐喻的价值：紧要关头、缓办的决定在无限时间内流逝的隐喻。所有这些都是一个没有答案的问题。
Juande Jarillo, Primer término, 2001
Primer término (2001) by Juande Jarillo presents an omniscient view, which goes from the molecular to the cosmic in an incessant return journey. A gaze which is submitted to a rectilinear axis which bounces off the extremes of the inconsiderable, a to-ing and from-ing dotted with alterations and transfigurations which link in a random way the minimum and the maximum, the foreground and the panorama, as mystic as it is physical, agnostic and hollow. The artist was born in Grenada in 1969.
Juande Jarillo, Primer término, 2001
Juande Jarillo1969年生于格林纳达，他的作品Primer término (2001)展示了一个无所不知的见解，这个见解来自于来回运动中的宇宙分子。
Cristina Lucas, My Struggle, 2004
Cristina Lucas was born in Jaen in 1973. Her video of 2004 depicts an actor holding a microphone making a lively speech about the importance of art in the middle of a New York street, despite the indifference of the passers-by. Titled My Struggle like Hitler’s book, Mein Kampf, one can see the political background of this piece where this so-called preacher tries to raise awareness and change people’s way of seeing the world, as well as recovering their faith in art.
Cristina Lucas, 我的斗争, 2004
Cristina Lucas1973年生于Jaen。他创作于2004年的录像作品描述了一位演员手拿麦克风在纽约大街的中央做一个关于艺术重要性的现场演讲，不管周围行人的来来往往。题为我的斗争感觉像希特勒的书Mein Kampf，从中可以看到这个作品的政治背景，所谓的传教士试图唤起民众的注意、改变人们看世界的方法，同时也恢复了他们的艺术使命。
Alvaro Negro, Battersea station, 2003
Alvaro Negro (Lalín, 1973) presents Battersea station , produced in 2003. Coming from the field of painting, Negro seduces us by the slow tempo of his work. The sphere of patience is juxtaposed by the velocity of the present, provoking the viewer by eliminating real time. His works place in doubt our concept of "image in movement", using the video to explore and document perception.
Alvaro Negro, Battersea station, 2003
Alvaro Negro1973年生于Lalín，参展的作品是Battersea station，创作于2003年。来自于绘画创作领域，Negro用作品中缓慢的节奏吸引了我们。耐心的范围被现实的速度所并置了，向观众揭示了真实时间的消逝。他的作品运用录像的手段揭示并记录了感知，质疑了我们关于“图像是运动的”的概念。
Javier Núñez Gasco, Microchip
In Microchip, Javier Núñez Gasco (Salamanca, 1971) appears in a real Spanish TV news program (“Madrid Directo”, Tele Madrid) claiming to have implanted a dog’s identification microchip in his left arm in order to prevent any accidents resulting from memory losses caused by a illness called schizotypia. In fact, the artist, who does not suffer from that illness at all, had indeed previously asked a veterinarian to implant inside his body the very same microchip that is used to identify dogs and prevent them from getting loss or stolen. After that, he called several TV stations and newspapers informing them about his decision and its reasons to instigate a series of reportages and articles. It becomes clear in this work how little criteria is used by news people when choosing what is and what is not worthwhile of talking about as well as the lack of research behind the grand majority of the news pieces we see on TV.
Javier Núñez Gasco, Microchip
Javier Núñez Gasco1971年生于Salamanca，他的作品Microchip看起来就像一个真正的西班牙电视新闻栏目，主张在狗的左前腿中植入一个身份芯片，防止由于精神方面的疾病所引起的失忆而导致的意外事故。事实上，艺术家并没有这种疾病，但是之前他还是强烈要求一个兽医在他体内植入一个相当类似的芯片，这个芯片是为了证明狗的身份，防止它们丢失或被盗。之后他致电一些电视台和报社，通知他们他的这个决定，并鼓动一系列相关的报道和文章。我们时常在电视中看得新闻缺少大量的背景调查以及如何选择话题在他的作品中变得很清楚了。
Javier Peñafiel, Maltrato, 1999
Javier Peñafiel comes from Zaragoza, and was born in 1964. Maltrato is his video projection produced in 1999; as a trompe-l'oeil, it shows a panel of flowers that gradually is destroyed by arms fire. Its apparent poetic beauty hides a perception of pathos that attacks our emotional imagination. The video places in doubt our concept of beauty, in which we greatly want to believe.
Javier Peñafiel, Maltrato, 1999
Javier Peñafiel生于1964年，来自于Zaragoza。Maltrato这个录像投影作品创作于1999年。身为一个错视画派，它的作品展示了镶满花朵的板慢慢的被战火所摧毁。它外观上充满诗意的美隐藏了哀婉的感觉，这种感觉打击了我们的情感想象力。这个作品质疑了我们对于美的概念，而这是我们非常愿意相信的。
[attachment=54171]
Javier Peñafiel, Maltrato, 1999
Rubén Ramos Balsa, Ver, 2002
Rubén Ramos Balsa (Santiago de Compostela, 1978) presents a video from 2002: Ver is a space in which the spectator tries to enter and learn about though the looking game proposed by the speakers; a still image where the only thing that happens is the passing of time.
Rubén Ramos Balsa, Ver, 2002
Rubén Ramos Balsa1978年生于圣地亚哥所参展的录像创作于2002年：Ver是一个空间，在这里观众试图进入并了解一些东西，一个静止的画面唯一发生的是时间的流逝。
[attachment=54172]
Rubén Ramos Balsa, Ver, 2002
Fernando Sánchez Castillo, Canicas (marbles), 2002
Fernando Sánchez Castillo was born in Madrid in1970. In Canicas (marbles) completed in 202, the artists turns to the recent past – the late 1960’s and beginning of the 1970’s – during the period of Franco’s dictatorship tosubtlyu denounce the still perverse architecture of çadrid’s Universidad Antonoma: the building was designed so that the riot police could enter even on horseback to break up any student unrest. The students defended themselves by throwing marbles at the horses to make them slip and fall.
Fernando Sánchez Castillo, Canicas (marbles), 2002
Fernando Sánchez Castillo1970年生于马德里，Canicas（石弹子）作品完成于2002年，艺术家的视角转向近代——1960年代后期到1970年代初——佛朗哥专政政权期间，巧妙的恶抨击了至今还保留的çadrid’s Universidad Antonoma建筑：这种建筑的设计就是便于防暴po.lice可以骑马进入打破任何学生运动。学生们保护自己的办法只有向马匹扔石弹子，使它们滑倒或跌落。
Fernando Sánchez Castillo, Arquitectura para el caball, 2002
Continuing with the condemnation insinuated in Canicas, Sánchez Castillo, in the 2002 video entitled Arquitectura para el caballo, reflects on the recuperation of history through m
关于圣马力诺录像
Maurizio Cesarini, Riflesso Sulfondo, 6 min.
Reflects on water, from the sea to the water in an aquarium or in a bathtub. Faces of people are superposed one on another.
Maurizio Cesarini, Riflesso Sulfondo, 6 min.
水面的反射，从大海到鱼缸或浴缸的水。人们的脸孔互相叠生。
Lionice Cola, Colazione, 2003, 4 min
The video camera displayed in grass, shoots upside down a woman walking slowly, as if in a dream. This melancholic scene ends on a nostalgic black and white image of an official diner.
Lionice Cola, Colazione, 2003, 4 min
摄像机被放置在草丛中，从上至下拍摄一个正在慢走的女人，就像在梦中。这个忧郁的画面最后在怀旧的黑白色的正式用餐者的图像中结束。
Antonio D’Agostino, 4 minuti di comportamento giornaliero, 4 min.
The artist filmed in details the movement of a woman’s mouth as she eats, four minutes of a common daily act shot with precision.
Antonio D’Agostino, 4 minuti di comportamento giornaliero, 4 min.
艺术家拍摄了一个女人吃东西时嘴巴的详细运动过程，4分钟高精度的记录了这个日常普通动作。
[attachment=54178]
Antonio D’Agostino, 4 minuti di comportamento giornaliero, 4 min.
Exist the infinite? Nico Macina, 4’30”, 2005
People from different age and background are filmed by the sea answering to the question: does infinite exist?
Exist the infinite? Nico Macina, 4’30”, 2005
不同年龄、不同背景的人在海边，并要求回到一个问题：无限是否存在？
[attachment=54173]
Exist the infinite? Nico Macina, 4’30”, 2005
[attachment=54177]
Exist the infinite? Nico Macina, 4’30”, 2005
Michela Pozzi, Per Filo E Per Segno, 2004, 3’30”
A young woman spins a cord in her hands, always repeating the same movement, mechanically. Images are accompanied with the sound of the wind.
Michela Pozzi, Per Filo E Per Segno, 2004, 3’30”
一个年轻女人在她手上绑了一根绳子，一直机械式的重复同样一个动作。画面被配上了风的声音。
[attachment=54174]
Michela Pozzi, Per Filo E Per Segno, 2004, 3’30”
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
The screen is divided in three part for each state: past, present and future.
The same subject in the three part, shot under the same angle, performing the same movements but with time-lag…
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
这个作品被分成了3个部分，分别是：过去、现在和将来。
3个部分有着相同的主题，同一个角度射击，表演同样的动作但是有时间间隔。
[attachment=54175]
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
[attachment=54176]
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
Maurizio Cesarini, Riflesso Sulfondo, 6 min.
Reflects on water, from the sea to the water in an aquarium or in a bathtub. Faces of people are superposed one on another.
Maurizio Cesarini, Riflesso Sulfondo, 6 min.
水面的反射，从大海到鱼缸或浴缸的水。人们的脸孔互相叠生。
Lionice Cola, Colazione, 2003, 4 min
The video camera displayed in grass, shoots upside down a woman walking slowly, as if in a dream. This melancholic scene ends on a nostalgic black and white image of an official diner.
Lionice Cola, Colazione, 2003, 4 min
摄像机被放置在草丛中，从上至下拍摄一个正在慢走的女人，就像在梦中。这个忧郁的画面最后在怀旧的黑白色的正式用餐者的图像中结束。
Antonio D’Agostino, 4 minuti di comportamento giornaliero, 4 min.
The artist filmed in details the movement of a woman’s mouth as she eats, four minutes of a common daily act shot with precision.
Antonio D’Agostino, 4 minuti di comportamento giornaliero, 4 min.
艺术家拍摄了一个女人吃东西时嘴巴的详细运动过程，4分钟高精度的记录了这个日常普通动作。
[attachment=54178]
Antonio D’Agostino, 4 minuti di comportamento giornaliero, 4 min.
Exist the infinite? Nico Macina, 4’30”, 2005
People from different age and background are filmed by the sea answering to the question: does infinite exist?
Exist the infinite? Nico Macina, 4’30”, 2005
不同年龄、不同背景的人在海边，并要求回到一个问题：无限是否存在？
[attachment=54173]
Exist the infinite? Nico Macina, 4’30”, 2005
[attachment=54177]
Exist the infinite? Nico Macina, 4’30”, 2005
Michela Pozzi, Per Filo E Per Segno, 2004, 3’30”
A young woman spins a cord in her hands, always repeating the same movement, mechanically. Images are accompanied with the sound of the wind.
Michela Pozzi, Per Filo E Per Segno, 2004, 3’30”
一个年轻女人在她手上绑了一根绳子，一直机械式的重复同样一个动作。画面被配上了风的声音。
[attachment=54174]
Michela Pozzi, Per Filo E Per Segno, 2004, 3’30”
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
The screen is divided in three part for each state: past, present and future.
The same subject in the three part, shot under the same angle, performing the same movements but with time-lag…
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
这个作品被分成了3个部分，分别是：过去、现在和将来。
3个部分有着相同的主题，同一个角度射击，表演同样的动作但是有时间间隔。
[attachment=54175]
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
[attachment=54176]
Emiliano Zucchini, 3 Attimi, 2006, 3’30”
