第6届LOOP 录像艺术国际艺术节和博览会
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[楼主] 嘿鬼妹 2008-05-04 05:02:07
转 [url]www.loop-barcelona.com


]第6届LOOP 录像艺术国际艺术节和博览会


+(34) 93 215 5260

参加LOOP的国家从48个(2003年的时候)增加到61个。一共100多个场地,包含官方机构像CCCB、米罗基金会、Pavello Mies van der Rohe, 以及饭馆和小公司都会展出最新的录像艺术。

今年LOOP会结好800多个艺术家的作品,包含 Eija-Liisa Ahtila, Deimantas Narkevicius, 贾樟柯和 Mark Wallinger, 等艺术家.

LOOP艺术节 (5月6日 - 18日)




项目包含 "For Your Eyes Only" (为了你的眼睛)由Hilde Teerlinck策划,在 Sunol基金会。介绍的艺术家包含 Deimantas Narkevicius (立陶宛, 1964). Col·leccio Cal Cego d’Art Contemporani也会介绍一个项目,由艺术总监Montse Badia策划的.

这次艺术节也会在米罗基金会展出爱尔兰现代美术馆(IMMA)的收藏,包含由艺术家Willie Doherty (爱尔兰 1959)策划的项目。

Mies van der Rohe 基金会将展出贾樟柯《城市再生》(2007深圳•香港城市\建筑双城双年展的开幕电影)。

LOOP 08 和Instituto Cervantes将第一次在西班牙展出  vision:a。这个项目是12个西班牙和南美录像艺术家作品展。

Casablanca-Kaplan电影也会第一次播放芬兰艺术家Eija-Liisa Ahtila的"Cinematic works" (电影作品)

LOOP 艺术博览会08 (5月8日 – 10日)


艺术博览会将在 Catalonia Ramblas大酒店举办,而会介绍40 国际画廊。

这次新画廊参加者包含 Jocelyn Wolff 和 Gb Agency (法国巴黎) 和Mummery + Schnelle (英国伦敦). 画廊来自14个国家,而介绍的艺术家来自29个国家。

LOOP艺术博览会委员会有法国收藏家Jean-Conrad Lemaitre、德国画廊总监Anita Beckers、洛杉矶画廊总监 Christopher Grimes, 和收藏家 Manel de Santaren。

LOOP Fair: 5月9日 – 10日, 16-21h
Hotel Ramblas Catalonia. C. Pelai, 28
开幕: 5月8日, 19.30
MediaLounge: 08. & 09.05, 12-21h
Hotel Ramblas Catalonia. C. Pelai, 28



邀请参加者为 Barbara London (MoMA, 纽约), Pip Laurenson (Tate Modern, 伦敦), Hans Ulrich Obrist (Serpentine Gallery, 伦敦), Christopher Eamon (Kramlich Collection, 旧金山), Erich Berger (LABoral, Gijón) 和Caroline Bourgeois (Frac Ile de France,法国), 等等。
Catalonia Ramblas大酒店也会提供一个空间给专业杂志、网络平台、大学、录像艺术节……


Images: [url]www.loop-videoart.com/press



]May. 06 2008

May. 06 2008 - May. 18 2008

With works from all five continents, the sixth edition of LOOP transforms Barcelona into an enormous showcase for international videoart.
The LOOP’08 FAIR presents 16 new, internationally renowned galleries.

+(34) 93 215 5260

With works from all five continents, the sixth edition of LOOP transforms Barcelona into an enormous showcase for international videoart.

LOOP, which began with the aim of resolving the needs of the different agents involved in the world of videoart, has established itself as a platform and an annual meeting point for everyone who is directly or indirectly involved in the artistic processes of experimental and independent video.

The LOOP network, which has grown from 48 to 61 participating countries is set to reactivate in over 100 venues that range from institutions like the CCCB, the Fundació Miró and the Pavelló Mies van der Rohe to restaurants and small business, all exhibiting the latest in videoart. This year, LOOP will present the work of over 800 artists, including highlights such as Eija-Liisa Ahtila, Deimantas Narkevicius, Jia Zhang-Ke and Mark Wallinger, among others.

Festival LOOP (May 6 - 18)
The festival includes work from all five continents, and has made a qualitative leap thanks to the increased presence of curated programs, internationally acclaimed collections and 22 prestigious universities from 14 countries that have designed programs especially for LOOP.

Special highlights include the program "For Your Eyes Only", exhibited in the Fundació Suñol and curated by Hilde Teerlinck, with works recently acquired by the Frac Nord-Pas de Calais, Dunkerque (France), which includes leading artists like Deimantas Narkevicius (Lithuania, 1964). A program from the Col·lecció Cal Cego d’Art Contemporani, curated by its artistic director Montse Badia, will also be presented especially for LOOP.

The festival will also exclusively show the collection of the Irish Museum of Modern Art (IMMA), Dublin at the Fundació Joan Miró. The program curated by its director Enrique Juncosa includes work by the prestigious video artist Willie Doherty (Derry, Ireland, 1959), among others.

The Fundació Mies van der Rohe will show “Shenzhen–The Twin Cities / Hong Kong–The Twin Cities City of Expiration and Regeneration”, two documentaries by the Chinese filmmaker Jia Zhang-Ke (Shanxi, 1970), who was the recipient of the Golden Lion award at the 2006 Venice International Film Festival.

LOOP'08, together with the Instituto Cervantes, will present the vision:a in Spain for the first time. This program is an exhibition of works by twelve Spanish and Latin American video artists that has been shown in various Instituto Cervantes centres around the world.

And for the first time in Barcelona, the Casablanca-Kaplan cinemas will present “Cinematic Works”, the title given to a compilation of the most acclaimed video installations by the prestigious Finnish video artist Eija-Liisa Ahtila.

LOOP Diverse
To coincide with the European Year of Intercultural Dialogue, the Festival will present the LOOP DIVERSE program. Restaurants, hairdressers, and all kinds of businesses run by Barcelona’s communities of foreigners, will become cultural embassies by showing videoart created in their home countries. The communities participating in this edition will be: Argentinean, Bolivian, Brazilian, Chilean, Chinese, Columbian, Dominican, Ecuadorian, English French, German, Italian, Moroccan, Pakistani, Peruvian, and Filipino.

LOOP FAIR’08 (May 8 – 10)
The videoart Fair, which will be held at the Hotel Catalonia Ramblas de Barcelona, will present over 40 highly prestigious international galleries. In keeping with the traditional LOOP Fair structure, each gallery will have one of the hotel’s rooms in which to present a video and artist of their choice to professionals and the general public.

Some of the leading galleries participating in LOOP'08 for the first time include Jocelyn Wolff and Gb Agency (Paris, France) and Mummery + Schnelle (London, UK). The high level of international participation is confirmed by the presence of prestigious galleries from 14 different countries and the 29 nationalities of their 44 participating artists.

Talks and Media Lounge
Under the title “The Frontiers of Videoart”, the talks and round tables in this edition will discuss the limits between videoart and electronic art. For this purpose, LOOP has invited experts such as Barbara London (MoMA, New York), Pip Laurenson (Tate Modern, London), Hans Ulrich Obrist (Serpentine Gallery, London), Christopher Eamon (Kramlich Collection, San Francisco), Erich Berger (LABoral, Gijón) and Caroline Bourgeois (Frac Ile de France), among others.

The Hotel Catalonia Ramblas will also host a new space called the Media Lounge on May 8 and 9 that will be open to the public, and bring together leading video distributors, specialist magazines, Internet platforms, universities and videoart festivals from around the world.

LOOP’08 Press Department:
Rosa Raduà & Estefania R. Tozzi: [em
[沙发:1楼] 嘿鬼妹 2008-05-04 05:10:23
LOOP 国际录像艺术节 - 策划项目


Six Degrees of Separation / 六度分隔

Directora artística Cal Cego

这个录像展览的作品来自于Cal Cego的私人收藏。作品关注摄影和图片方面。
“六度分隔”的概念是世界里的任何人可以通过认识5个人认识所有的人。这个想法原来从Frigyes Karinthy (1929) 的小说来的。


Six Degrees of Separation presents a selection of videos from Cal Cego, a private collection focused on the present, in which photography and video have a significant presence. The idea that links this selection, “Six Degrees of Separation”, is a theory based on the idea that anybody in the world can be connected to any other person through a chain of acquaintances with a maximum of five intermediate steps. The theory, initially presented in the short story Chains (1929) by Hungarian writer Frigyes Karinthy, is based on the idea that the number of acquaintances grows exponentially according to the number of links in the chain, and only a small number of links are required to connect all of mankind. Six Degrees of Separation is the starting point for a program that doesn't simply set out to find a link (which may just be anecdotal) between the artists and videos that are presented. Instead, it emphasises the set of links shared by the selected videos, which can go from the individual self to the social self, starting from the individual's need for self-definition and self-knowledge and for relatingto his or her surroundings,and goes on to offer the individual's own vision of the world, often including elements that form part of the collective imaginary.

Davide Shrigley, Who I am and what I want, 2007
Pipilotti Rist, I want to see how you see, 2003
David Bestue / Marc Vivces, Acciones en Casa, 2005
Jose Alvaro Perdices, 47 names, 2004
Javier Codesa,La Bibila en 25 frases
Christian Jankowski, Flock, 2002
Marti Anson, Walt & Travis, 2003

Beat LIPPERT ,23.8.06 but Tomorrow,2006, 2’30"

CLimax redux

A video proram dealing with extreme climatic phenomena

Eveline Notter,
curadora freelance, Ginebra

*Florian PUMH?SL,Untitled (Film Study),2003, 29'
Beat LIPPERT ,23.8.06 but Tomorrow,2006, 2’30"
Adrien MISSI KA,Love to Death (Parts 1, 2 i 3),2005-2007, 2'58"
Vesa PUHAKKA,U, 2003, 3'40"
Darren Almond,Arctic Pull, 2003, 11'30"
Paul Rooney,I Am Not Going to America(Bruno’s version), 2002, 7"
Jonas SCHEU ,High Attitude, 2006, 3'20"
Joachim KOESTER , Messagefrom Andrée, 2005, 3'40"
Adrien MISSI KA,HMI, 2006, 1'22"
*Trisha DONNELL Y,Untitled, 2005, 20'

The representations of natural forces have a long tradition in Western painting, particularly during the Romantic period when raging winds, thunderstorms, deluges, erupting volcanoes and earthquakes made viewers shudder with a "delightful horror" (E. Burke). Moreover, the aesthetic attraction to the fury of elements and the harsh, dramatic aspects of the landscape alludes to a sacred dimension. The grandiose appearance of these physical phenomena expresses a reality that goes beyond the senses – the spectacle of the sublime. Nowadays, climatic phenomena and their tangible hazards (increasingly frequent hurricanes, rising sea levels, global warming, tsunamis...) paint a gloomy picture. These testify, first and foremost, to the changing reality of nature in perpetual flux, but they are also facets of a threat that is creating an atmosphere of anxiety. >

Their massive outbreak is part of a drift, exacerbated by the media, which mixes a morbid fascination with the conjuring up of imminent terrors. Even today, meteorological phenomena function as a representation of that which cannot be represented, that which is behind the scenes or still to come, offering viewer the potential for mystery and a source of possibilities. In this spirit, CLIMAX REDUX offers an atypical journey through extreme climatic phenomena. It offers a series of images that are not subservient to the norms of the visible, but dwell on its fringes: areas that are often undetermined and unresolved. This selection is also conceived as a rising dramatic intensity, as represented by the word "climax", which means both a gradation (rise or descent), and the final resolution or acme of a state of tension. ?

Zwelethu Mthethwa, Flex, 2002, 17’


Video art and la col.leccio

Hans Nefkens收藏作品展。


The selection of videos presented by the Fundació Foto Colectania illustrates the international nature of my collection. The participating artists are from South Africa, Iran, the United Kingdom, Holland and Sweden. As well as representing their own cultures, most of them also share the power of understatement and the strength of vulnerability qualities that are also present in other photographs ,paintings and sculptures in my collection. An exception would be the expressive, direct video by Magnus Wallin, Limbo, although its title could easily describe the other four works in the selection. Most of my collection is on permanent loan in museums  in Holland, Germany and France. This allows me to share with others the pleasure of works that have moved me, and these five works are a good example of this.

Han Nefkens


Zwelethu Mthethwa, Flex, 2002, 17’: Through the juxtaposition of the rhythmic movement of different parts of the body, the artist explores superficial movement and the notion of time.

Shirin Neshat, The Last Word, 2003, 20’: The artist reveals the force of the coercion methods used by Iranian government authorities in an attempt to control authors and intellectuals who have been declared a threat to the social order.

Sam Taylor Wood, Strings, 2005, 9’30’’: A dancer is suspended on wires over a quartet that is playing Tchaikovsky’s Andante ma non tanto. The dancer is Ivan Putrov, one of the stars of the Royal Ballet.

Gerald Van Der Kaap, Matth?us Passion – New Generation Remix (Prologue), 2006, 14’: A contemporary remix of Saint Matthew's Passion by J.S. Bach through music and video footage by this artist-VJ.

Magnus Wallin, Limbo, 1999, 3’30’’: A 3D animation with automated figures of typical Wallin bodies of perfect athletes in an Olympic stadium.


Film London 伦敦电影

The City Speaks is a BBC Radio
4 and Film London Artists'
Moving Image Network coproduction
supported by Arts
Council England

The city speaks: A film for Radio, 87


It is a multi-faceted portrayal of London created for radio, cinema and television, developed from an idea by writer Peter Ackroyd. The City Speaks was designed to be broadcast interactively. It exists as a radio play, and was broadcast on BBC Radio 4 on the 19 and 20 March 2008, but also exists as a film. Digital listeners to the radio play were able to access the film images which were simulcast on BBC interactive. Artist film-makers; William Raban; Alnoor Dewshi; Sam Brady; Joe King & Rosie Pedlow; Inge 'Campbell' Blackman and Esther Johnson, were commissioned to collaborate with radio writers to produce a unique portrait of London for radio, cinema and television. Responding to a narrative framework by writer Peter Ackroyd, the artist and writer teams created a film in six sections. The six very different films range from humorous to highly emotional, from heart warming to the frankly bizarre, including a depiction of Canary Wharf which resembles the Emerald City in the Wizard of Oz, voodoo goddesses who wander the streets of East London casting evil before them as they go, and a tube station that exists beneath the capital, but doesn’t appear on any map.?
[板凳:2楼] 嘿鬼妹 2008-05-04 05:56:34

Morir por el video  /“为录像而死”

Eugenia Calvo 和 Galindo 录像行为


The video shows both sides of a single reality shared by two artists from the same generation, in the context of an Argentina in perpetual crisis; in the case of Galindo, the lumpen conourbano bonaerense (“lumpen Buenos Aires suburbs”) and the city of Rosario in the province of Santa Fe, the cradle of a solid middle class. The two artists coincide on carrying out suicidal acts through video. Eugenia throws herself out of the window of a house. Galindo lays himself down across train tracks and confronts a moving railway engine. You can die making videos. They also share a spirit of insurrection against the established order. Their ferocity is subtly driven by a humour that eats away at any politically or aesthetically correct discourse. ?
Graciela Taquini

Kenneth Russo

Sense and Arguments 感情和理论

Kenneth Russo
Aaron Sanchez Gil
Carlus Jové
Marc Garcia
Joan Riba

selection by NAU CoCLEA (CLARA GARí


In a recent presentation of El silenci abans de Bach, Pere Portabella said to the audience, “no puedo explicaros nada porque no tengo argumentos”, a phrase which roughly translates as "I can't tell you any stories because I have no plots" and in the original is a play on words that suggests a systematic departure from narrative plots that give audiences freedom ad the power to do their own readings. Something that videoart, along with music, the visual arts and dance, has been aware of for a long time. Nau C?clea offers Loop these young artists that are linked through affinity and topography. They share a peripheric, almost border-zone approach to video making: drawn towards cinema, philosophy, politics and electronica, their orbit around video is elliptic and, it goes without saying, plotless.?



印度录像艺术以及展览 “消失。沙漠旅程:从戈壁沙漠到Atacama de Magdalena”

参加艺术家包含:Shilpa Gupta, Surekha, Tejal Shah, Nalini Malani and Subod Gupta

Inauguracio de l’Exposicio La desaparicion. Travesias del desierto : del Gobi a Atacama de Magdalena
Correa el 7 de maig a les

To mark its Year of India, Casa Asia will participate in LOOP with a double program offering a selection of Indian videoart and the exhibition: La desaparici0n. Travesías del desierto: del Gobi a Atacama, that includes a series of video installations. Our aim is to show the most recent work coming out of India in this field, by artists such as Shilpa Gupta, Surekha, Tejal Shah, Nalini Malani and Subod Gupta, in collaboration with the Bhodi art gallery, with branches in New Delhi, Mumbai, Singapour, New York and Berlin. To follow up the Raghu Rai exhibition at our Barcelona and Madrid centres and the 5th Mapas Asiaticos program at ARCO, which were exclusively dedicated to India this year and offered presentations by Nancya Adajania, Rangit Hoscote, Raqs Collective (Monica Narula and Jeebesh Bagchi), Alka Pande, Shaheen Merali, Chatanya V Sambrani, Sunil Gupta and Rishi Singal, among others, we are now aiming to reach a wider audience. As such, we present a series of works that are highly relevant given the strong impact of the relatively recently discovered world of contemporary Indian art on the international scene. The exhibition of contemporary Indian art curated by Allain Willaume at the last Rencontres d’Arles, India Photo now, 2007, the exhibition Thermocline of Art. New Asian Waves, 2007, Edge of Desire. Recent art in India, 2004-07, and Reimagining Asia, which has recently opened at the Haus der Kulturen der Welt (Berlin, 2008) show the importance and range of an arts scene that can compete on equal terms with countries like China, Japan, the USA and Europe. Barthi Kher's elephant is almost the mascot of this last exhibition, and its title The Skin Speaks a Language. Not its Owncould also describe our program of Indian videoart, in which images act as a language and communication tool with its own codes that audiences are invited to decipher. Coinciding with this program and LOOP, Casa Asia is also hosting the exhibition La desaparición. Travesías del desierto: del Gobi a Atacama by the artist Magdalena Correa, which consists of video installations and photographs telling the story of a journey to the Chinese desert and then to the world’s most arid desert in northern Chile, flanked by the Andes Mountains and the coast. The project is a co-production with Huesca’s CDAN (Centro de Arte y Naturaleza de Huesca) and will tour to New York, Sao Paulo, Santiago and Beijing.
[地板:3楼] 嘿鬼妹 2008-05-04 06:09:29
antonella kurtzen, pendule, 2006

“Fragil / 脆弱”

Une presentacion de video europe

策划人: Maite Lores & Keith Patrick

Supported by the Arts Council of England, the exhibition FRáGIL is part of the Video Europe initiative to create exposure for younger artists working in the medium of film and video. The exhibition includes over 60 short pieces by more than 35 artists and artist groups from Finland, Slovenia, Croatia, Macedonia, The Netherlands, Denmark, Norway, Poland, Czech Republic, Germany, Austria, Ireland, England, Spain, Italy, France, Switzerland and Greece. The complete programme can be seen at Espai Ubú until June 7, with a special preview screening of selected work at the Convent de Sant Augustí during LOOP. The exhibition explores the complex theme of fragility, with its associations of vulnerability, exposure and transience. Whether addressing environmental issues, human relationships , >

memory or simply the frailty of the material world, these diverse works give an insight into the concerns of a younger generation of video artists from across Europe. All the artists are within a few years of leaving art school and many work independently of the commercial gallery system. Selected by Maite Lorés and Keith Patrick, the final programme was assembled from over 200 individual videos proposed by an informal network of some 30 European art critics, academics, artists and museum curators. The work ranges from short pieces of a few seconds duration to more extended ‘mini-movies’. However, with few exceptions these videos are independent of spoken language and rely solely on narratives created by the visual image and sound.?

艺术家 (来自于芬兰、斯洛文尼亚、濒临亚、马其顿、荷兰、丹麦、挪威、波兰、捷克、奥地利、爱尔兰、英国、西班牙、意大利、法国、瑞士、希腊)
Aggtelek (SP)
Izaskun álvarez Gainza (SP)
Yuri Ancarani (I)
Johann Arens (NL)
Aideen Barry (IRL)
John Beattie (IRL)
Till Beckman (D)
Catherine Bolduc (Canada/D)
Bongore (SP)
Eileen Botsford (GR)
Ulu Braun (D/FIN)
Luz Broto (SP)
Daniel Burkhardt (D)
Jesper Carlsen (DK/USA)
Louise Colbourne (GB)
Simon Cunningham (GB)
Marjan Denkov (MAC/FR)
Willehad Eilers (D/NL)
Ana García-Pineda (SP)
Xavier Gavin (SP)
Ewa Górzna (POL/FIN)
Leonora Hamill (GB)
Adam James (GB)
Sven Johne (NOR/D)
Antonella Kurzen (CH)
Dafna Maimon (NL)
Marianne Maric (FR)
Nika RadiC(CRO/A)
Visa Romsi (FIN)
Avelino Sala (SP)
Rubén Santiago (SP)
Jorge Satorre (MEX/SP/FR)
Ana Sluga (SLOV)
Jussi Suvanto (FIN)
Yiorgos Tsalamanis (GR/GB)
Adam Vackar (CZ/FR)
Effie Wu (Taiwan/D)
& col·lectius de IDEP , Barcelona

paddly jolley, rebecca trost & Inger LIse Hansen

Recent Irish Films from the Imma Collection

ORLA BARY, Portable stones
Cecily Brennan, Melancholia
Paddy Jolley, Rebecca Trost & Lise Inger Haansen, Here after
Willie Doherty, Empty
Clare Langan, A Film Trilogy
Grace Weir, Dust Defying Gravity

Enrique Juncosa,
Director del Irish Museum
of Modern Art, Dublín

This program drawn from the Collection of the Irish Museum of Modern Art is curated by the Museum’s Director Enrique Juncosa. The selection includes works by a diverse group of Irish artists who all belong to a generation for which film has become central to artistic practice. Their work explores issues ranging from psychology, politics, science, memory, fantasy and humour, as well as concepts of narrative and a reflection on the filmic medium itself. Orla Barry’s film work Portable Stones, 2005 begins in an apartment where we see a young woman in a red t-shirt, packing her bag – but symbolically, with words rather than objects. Although the film lacks a conventional plot line, a number of clear themes emerge in this film. The most dominant is, perhaps, the search for a metaphoric escape. In Cecily Brennan’s film Melancholia, 2006 the artist engages with how invisible emotional states are rendered visible. During the film, a white cloth which lies beneath an unclothed female figure is slowly saturated by the flow of black ink. Film allows Brennan, who also works as a painter, to render a three dimensional drawing in process. In the video installation Empty, 2006 Willie Doherty has used a series of fixed frame shots to record the exterior of a disused office building throughout the course of a single day. >

Doherty’s work has consistently addressed problems of representation, territoriality and surveillance, and the politics and rhetoric of identity, especially in his native Northern Ireland. Paddy Jolley was commissioned by Breaking Ground to make the film Hereafter, set in Dublin's north-side suburb of Ballymun – Ireland’s largest public housing project  and an area targeted for radical social and economic change. As part of the regeneration plan, residents were requested to move from flats in tower blocks, which in many cases were their lifetime dwellings. Jolley, in collaboration with German artist Rebecca Trost and Norwegian artist/animator, Lise Inger Hansen, focused on the freshly abandoned flats - and the physical items left
behind. Created using Bolex 16mm and Super 16mm cameras customized with hand-painted filters and lens attachments, Clare Langan’s trilogy of films Forty Below, 1999, Glass Hour, 2002, Too Dark for Night, 2001 are unaltered in postproduction.
This approach gives a highly atmospheric and painterly feel to the finished works, with each part of the trilogy having its own palette and texture. Shot on location between Ireland, Iceland and Namibia, the trilogy explores the seemingly unlimited forces of nature, tracing the path of a solitary figure through a post-apocalyptic landscape.>

Irish artist Grace Weir often uses natural phenomena such as clouds, water and wind in her works, and engages with ordinary events to illustrate complex scientific theories. In ZTT, 2003, the artist uses a single unedited tracking shot to take the viewer on a slow contemplative journey of enquiry through the tranquil interior spaces of Dunsink observatory in Dublin.?



From “blackbox” to “exhibition architecture”- the evolution of the Videonale since 1984.

从“黑盒子”到“展览建筑” - 从1984年录像的发展

presented by
George Elben
Director Videonale

The Videonale’s twenty-four year history started at the Bonn Artistic Association. From then on, the festival has constantly grown and evolved in the area of single-channel video, eventually becoming  a decisive institution for videoart today. With its move the Bonn Museum of Art in 2002, exhibition has become the second pillar of the Videonale, together with the Festival that is held over a weekend. At the eleventh Videonale, in 2007, the selection of 48 works was set up within a broader artistic context rather than an old fashioned exhibition format. The presentation by Georg Elben, director of the Videonale since 2003, will show the architectural presentations for the 10th and 11th festivals, as well as some of the videos selected.