The 1st Transchina Video Art Festival
首届“穿越中国”影像艺术节


Program 1
Israeli Video

以色列影像单元

Jerusalem Wildlife Diary - Amir Balaban, Israel, 2002, 14 min.
Some views of wildlife interacting in the midst of the City of Jerusalem

耶路撒冷野生动物日记 - 阿米尔·巴拉班，以色列， 2002 ,14 分。
一些关于在耶路撒冷市中心的野生动物的相互作用的意见

Organic Urbanic - Ran Slavin, Israel, 2002, 8:37
A short monochrome science fiction video. A story in picture and sound of an ambient micro cosmos urban-organic tapestry, based entirely on high angle shots of Tel Aviv. The local and familiar transgress into a dense surreal futuristic nightmare. The city is a canvas map of disruption, cut outs of itself become gravity-free. The streets and cars are muscular veins and blood cells.

Organic Urbanic - 阮 斯莱文，以色列， 2002， 8：37分
短的单色的科学幻想小说录像。 在一个周围的微宇宙的图和声音的一个故事都市有机的花毯，完全基于特拉维夫的高的角度枪。 地方和熟悉犯法进一个浓的超现实的未来的恶梦。 城市一帆布独自变得无重力的分裂，切掉的部分的地图。 街道和小汽车是肌肉的静脉和血细胞。

Boudin - Lior Waterman, Israel, 2002, 12:50 min
Diverse indecent acts are performed on blood sausages, taking place at an improvised explosives lab.
Boudin - 李奥 沃特曼，以色列， 2002，12：50分
在一个即兴创作的炸药实验室发生的，完全不同的下流的行动被在血腊肠上执行。

G Spotting - Nira Pereg, Israel, 2002, 1:30 min
While trying to find the pleasure zone of the eye or gaze, the camera is ordered to navigate in all directions and instructed to stop at what seems to be a pleasurable spot. Despite the visual nature of the search, the image remains virtually arbitrary, carefully following the audio, as if complying with its every demand and need.
G Spotting - Nira Pereg,以色列， 2002， 1：30 分
在努力找到眼睛的快乐区域或者注视时， 那些照像机被命令四面八方驾驶并且教停止对大概是什么是令人愉快点。尽管搜寻的视觉种类，这幅图像保持实际上任意，仔细继声频，好象遵循它的一切需求并且需要之后。

Una Proyeccion Solamente - Ruti Sela, Israel , 2001, 12:30 min.
A group of youngsters wearing Israeli Army t-shirts mock covert operations in a Spanish city.

Una Proyeccion Solamente - Ruti Sela，以色列， 2001，12:30分
一群穿以色列军队衬衫的年轻人嘲笑在一座西班牙城市内的偷偷的经营。

Check It - Effie & Amir, Israel, 2000, 3:20
An inversion of the gaze. Security guards are observed by cameras in bags at the entrance of Jerusalem shopping malls.

检查它 - 埃菲 & 阿米尔，以色列， 2000， 3:20分
注视的倒置。 护卫员照像机在袋在耶路撒冷购物中心的入口观察。


Hell Angels - Dana Levy, Israel, 2002, 3:30.
A visit to the refugee camp in Jenin right after the battles that destroyed it in 2002.

地狱天使 - 达纳 拉维，以色列， 2002， 3：30。
就在2002的战斗被破坏之后Jenin的难民营里对难民营的一次访问。


21:40 - Boaz Arad, Miki Kratsman, Israel, 2000, 6:20 min
The film is a series of reconstructions of Israeli Prime Minister Yitzhak Rabin’s assassination by passers-by at the scene of crime. Each has his/her own vague scenario of the event, and must complete the missing details.
21:40 - 博阿兹 阿瑞德， 麦克 克林思曼，以色列， 2000，6：20 分
电影是以一系列以色列总理Yitzhak 拉宾的在犯罪的发生地点由过路人重建的的暗杀。 每一个有他的/ 她事件的自己的含糊的脚本，和必须完成丢失的细节。

Father - Doron Solomons, Israel, 2002, 13:00 min.
The film addresses the fears and anxieties of a father - the anxieties of the narrator himself, the anxieties of an Israeli citizen, as well as the anxieties of the father of a suicide bomber. Observing a little girl watching TV, it offers a direct and indirect view of “reality”.

父亲 - 多伦·所罗门斯，以色列， 2002，13：00分。
电影是处理一位父亲的恐惧和忧虑 - 讲述者自己的忧虑，一位以色列公民的忧虑，和一架自灭式轰炸机之父的忧虑。 观察一个小女孩看电视，它提供" 现实" 的直接和间接的意见。


Total time : 75 minutes
总共时间：75分钟


Program 2
Eastern European Video

东欧影像单元

Z mojego okna (‘From My Window’) - Jozef Robakowski, 1978-1999, Production: Jozef Robakowski/Exchange Gallery 2000, b/w, film & video, 20:00 min (English version).
I have been working on this film since 1978, when I started living in a flat situated in the so-called Manhattan in the center of Lodz. From time to time I would “look out” of my kitchen window with a film or video camera at a huge square which became the hero of my “notebook.” In spite of me, constant changes and various social and political events kept taking place in that square. I was also interested in the everyday lives of the people who had something to do with the square. Twenty years have gone by since I shot the first frames of that film. The time accumulated on film became the protagonist of my venture. In 1998 the City Authorities decided to build an international hotel in our beautiful square. Its construction is currently under way. Now the view from my window encompasses only a fragment of the hotel wall. In 1999 I decided to end these film chronicles.
Z mojego okna( 从我的窗子)-Jozef Robakowski， 1978-1999，生产： Jozef Robakowski/交换 2000 画廊， b/w，电影和录像， 20：00 分( 英语版)。

我从1978 年起开始这部电影工作，我启动生活在一在所谓曼哈顿在罗兹的中心事物内内处于境地的公寓什么时候。 时而，我将我厨房窗子与一电影或者摄象机一起" 注意" 在成为我的" 笔记本的英雄的一个巨大的广场。 " 尽管我，恒定变化和各种各样社会和政治事件保持在那个广场内发生。 我对与广场有些关系的人们的日常生活也感兴趣。 自从我拍摄那部电影的第一个框架， 20 年已经过去。 时期在电影上积累成为我的冒险的主角。 在1998 内，城市当局决定建造在我们美丽平方内的一家国际饭店。 它的建设是目前在进行中。 现在来自我的窗子的意见只围绕一个饭店墙的碎片。 在1999 年我决定结束这些电影编年史。


Marmot - Olga Chernysheva, Moscow, 1999, 3:00 min.
A Communist demonstration in Moscow. Traffic, flags, slogans, sounds of ideological statements…
One of the women participating in the demonstration suddenly stops on the side of the street, looking as if she forgot something. She starts to behave strangely, as though she is searching or fingering something. In this stance of pure autism she falls behind the demonstration and slowly disappears, embracing Stalin’s portrait…
The soundtrack consists of street sounds and the melody of Beethoven’s “Marmotte”.

土拔鼠 - Olga Chernysheva，莫斯科， 莫斯科 1999，3：00分。

在莫斯科一次共产主义者游行示威。 交通，旗，思想上陈述的口号，声音 …

参加游行示威的一个妇女突然在街道的方面上停止，看起来好象她忘记东西。 她开始奇怪表现，好象她正搜寻或者用手指触摸某些事情。 在这她落后示范并且缓慢地消失，接受史太林的肖像的纯自我中心的立场内 …
音带由街组成声音和贝多芬的" Marmotte" 的曲调。


Discover Latvia - Agnese Bule, Latvia, 2000, 13:00 min. (English.)
An excursion in Latvian history and the Latvian present recounted in a symbolic (tree/barrel) language.

发现拉脱维亚 - Agnese Bule， 拉托维亚 2000，13：00分。 (英语 )

一位在拉脱维亚历史和那些拉脱维亚人的旅行提出在一种象征的( 树/ 桶) 语言方面重新计算。


Souvenirs (‘MEMORIES’) - Renata Poljak, 1999, 7:30 min (Croatian w/French subtitles)
Camera: Guy Bauza; Editing: Guy Bauza, Marek Walcerz; Production: E.R.B.A.N., Nantes, France.
The video's main concern is the father figure in the private as well as public-political senses. An artist is writing and rewriting the words Tito, Tata, ("daddy") obsessively. The auditory as well as visual similarities of these words prompt the artist to repeat the action over and over again. Acoustic quality turns into a mantra-like, repetitive sequence whose sound covers the words’ content. The rhythmic repetition of the sound and gesture of scribbling the words Tito and Tata, turns the words into sound material for a pop song to which the artist is dancing.

纪念品( 记忆 )-Renata Poljak， 1999，7：30 分( 克罗地亚语/法文字幕)
摄像： Guy Bauza； 编辑： Guy Bauza，Marek Walcerz； 生产： E.R.B.A.N.， Nantes，法国。

录像主要关心的是父亲把私人以及公众政治辩别力计算进去。 一位艺术家正写和重写单词Tito，塔塔，(" 爸爸") obsessively。 听觉以及这些话迅速一再重复行动的艺术家的视觉相象。 声音的质量改为声音包括单词的内容的一个象颂歌一样，重复的顺序。 声音的有节奏的重复和涂写单词Tito 和塔塔的手势， 把那些话变成合理材料给与哪个艺术家跳舞的一支流行歌曲。


Atomic Love - Piotr Wyrzykowski with Iliya Chichkan, Poland/Ukraine, 2002, 4:45 min
A couple of lovers in their pursuit for extreme experiences go to Chernobyl. In the closed area, on the contaminated ground, they make atomic love at the x-ray(te) of 50-120 micro Roentgen per hour.
Atomic Love won the Dreamcatcher Prize at the International Short Films & Video-Art Biennial, Kiev, 2002

原子爱 - Piotr Wyrzykowski 和Iliya Chichkan，波兰 / 乌克兰， 2002 ，4：45分

两情人在他们追逐适合极端经验内去切尔诺贝利。 在个关闭的地区内，关于污染的地，他们使原子爱在每小时50- 120 X光射线。
原子爱赢得2002年国际短片电影和录像艺术双年展，基辅，梦的捕捉者奖。


Conversation - Maxim Tyminko, Byelorussia/Germany, 1998, color, 8:00 min (English subtitles).
Conversation participants: Andrey Dureyko, Anton Slunchenko, Lyosha Terehov, Maxim Tyminko
A conversation among four friends, who seem somewhat uncertain about whether to believe all this moon travel business. Does the fact that one of their compatriots apparently was the first one in space make things more credible? Has he actually been there? Or was he only on TV? It is even rumored that the Americans never actually landed on the moon, that it was all a hoax, fabricated with the help of Hollywood…
We see their heads in close-up like jerkily animated still photographs against a revolving horizon of dull high-rise apartment buildings. We can’t hear their voices, but there are subtitles (in Russian) and super-titles (in English), so we can learn what is being said in this intriguing conversation that was recorded on July 26, 1997. Then again, who is to say that is true?

谈话 - Maxim Tyminko，别洛露西亚 / 德国， 1998，彩色， 8：00 分( 英国字幕)。

谈话参加者： Andrey Dureyko, Anton Slunchenko, Lyosha Terehov, Maxim Tyminko

一次在4个朋友中的谈话，谁好像有一些不确定相信全部这月亮旅行生意的是否。 显然的他们的同胞中的那个是在太空里的第一个的事实使事情更可信吗？ 他实际上在那里吗？ 还是他只在电视上？ 甚至谣传美国人从未实际上在月亮上登陆，全部是一个骗局，在好莱坞的帮助下建立 …

用急拉使有生气的特写镜头我们看见他们头的照片反对旋转的愚笨高层建筑公寓大楼的地平线仍然。 我们不能听到他们的声音，但是有小标题( 用俄语) 和超级标题( 用英语)， 因此我们能获悉什么正被在被在1997 年7月26 日记录的这次激起的谈话的兴趣过程中说。 然而，谁能将说那是真的？


105/7 - Pavel Braila, Moldova/Netherlands, 2002, color, stereo, 7:55 min
Camera: Vadim Hancu, Radu Zara; Editing: Pavel Braila
In 105/7 the viewer can observe how an ordinary night journey became a cinematic manifest in relation to 'travel' and its constant, perpetual and repetitive process. One can observe the direct beam into time and space in the video.

105/7 - Pavel Braila，摩尔多瓦 / 荷兰， 2002，彩色，立体声， 7：55分
摄像： Vadim Hancu， Radu Zara； 编辑：Pavel Braila
在105/7 的那些观众内观察普通夜晚旅行变得怎样能一电影明白关于' 旅行' 和它最恒定，永久的和重复程序。 一个人能观察进时间和空间在录像内的直接梁。


Bardzo nam sie podoba (‘We Like It a Lot’) - Azorro Group, Poland, 2001, 7:30 min
(Polish w/English subtitles)
A group tour in Warsaw's contemporary art galleries; a fruitful insight into the critical discourse concerning the criteria of art evaluation.
Bardzo sie podoba 越南( 我们很喜欢它) - Azorro 组，波兰， 2001，分( 波兰/英语 字幕) 7：30
在华沙的当代艺术博物馆里的一次团体旅游； 果实累累的对批判性的关于艺术评估的标准的讲话了解。


Total time: 70 minutes



Program 3

Love and Songs

爱情和歌曲单元


Singing Lesson - Artur Zmijewski, Poland, 2000, 14:01 min
Courtesy of the Foksal Gallery Foundation, Warsaw

唱歌的课 - Artur Zmijewski，波兰， 2000，14：01分
鸣谢Foksal 画廊基金，华沙


A choir composed of deaf girls and boys sings a fragment from the Polish Mass (1944) by Jan Maklakiewicz, accompanied by the sublime sounds of an organ. They sing: “In this holy place, in this holiest place, our voices rise to you and erupt as the sea roars from the deep abyss. O Christ, hear us. O Christ, listen to us.”

由聋的女孩和男孩伴随一个器官的伟大的声音组成的唱诗班唱的波兰群众从遍地的碎片( 1944年二战时)。 他们唱到： "在这神圣地方内，在这神圣地方内，我们声音上升并且作为海吼声从深的深渊中喷发。 阿，基督，听到了我们得声音。 阿，基督，听我们的声音。


Instrumental Version - João Onofre, 2001, 6:53 min
起作用的版本 - João Onofre,， 2001，6：53 分


This video is an interpretation of the theme "The Robo ts" from Kraftwerk's original album Man Machine (1978), by the Universidade de Lisboa Chamber Choir, conducted by Maestro José Robert. With the expert assistance of a musician and conductor, Onofre juxtaposes a translation of an emblematic theme in the electronic music tradition, embodying the utopia of music created exclusively with machines, with the individual voices of a chamber choir. As in other recent video works by Onofre (a casting of young fashion models and wanna-be actors; a resistance test performed by a ballet ensemble), the individual performances interplay and match the frame and unity of the collective body.

这部录像的主题是" Robert " 从Kraftwerk 的原先的集子人机器( 1978) 中的解释，以里斯本大学寝室唱诗班， 由艺术大师José Robert。 随着专家、音乐家和售票员的帮助， Onofre 把一个象征的主旋律在电子音乐传说内的翻译并列， 体现音乐的乌托邦创造专门与机器一起，有一个寝室唱诗班的个别的声音。 象在其他新近录像内以Onofre 工作的那样( 铸件的年轻时装模特的并且想要演员； 抵抗考试以芭蕾舞团执行) ，那些个别表演相关作用和比得上那些框架和团结的那些集体身体的。


Everlasting Love (from the Love Hurts series) - Catarina Campino, 2001, 3:22 min
永久的爱 ( 从爱中伤害系列) - Catarina Campino， 2001， 3：22分

Performers: Pedro Mendes and Catarina Fonseca
Music: editing of a sample of Distant Drums by Roy Orbinson, from the album Roy Orbinson: The Hits (Pickwick Group)
表演者： Pedro Mendes 和Catarina Fonseca
音乐： 编辑样品的远鼓的由Roy Orbinson，从那些集子Roy Orbinson：
打击乐： ( Pickwick 组和)

In the retro scenery of a ballroom, a man and a woman, dressed for a Latino dance contest and armed with boxing gloves, perform an accelerated choreography to the sound of ruffling drums. Sensual and gracious movements intertwine with sudden and threatening ones. A ritual of seduction or a war declaration? The conflict, though latent, never turns into actual violence.
在重新流行一个舞厅，一男人和一妇女的风景内，为打扮一名拉丁美洲人跳舞比赛和用拳击手套武装， 表演对弄乱鼓的声音的加速的设计。 肉体上和亲切的运动用突然并且威胁的东西缠结。 一种诱奸还是一个战争宣告的仪式？ 冲突，虽然潜在，从未变成真实的暴力。


Ritual - Teresa Serrano, Mexico, 2000, 6:30 min. (Spanish w/English subtitles)
仪式 - 特里萨·塞拉诺，墨西哥， 2000，分6：30( 西班牙语/英语字幕)。

The video is about domestic violence. It shows a couple arriving home from a party. He still has the tuxedo shirt on, she is dressed in a cocktail dress. They start arguing when she tells him to put out his cigarette and complains about an affair he is supposedly having. He hits her and shouts at her. She forgives him as part of their sadomasochistic relationship.
这部录像是关于家庭暴力。 它显示一对夫妇从一个聚会到家。 他仍然穿着夜会便服衬衫，她穿着一件晚礼服。 他们启动辩论她告诉他灭掉他的香烟并且抱怨他的一事件根据推测什么时候。 他撞击她并且冲她嚷。 她原谅他作为他们的悲哀的受虐狂者关系的一部分。


Family Values - Part II: The Motherhood Itch - Teemu Maki & Pirjetta Brander, Finland, April 1997, 14:00 min.
家庭的价值-第二部分： 母性痒 - T Teemu Maki & Pirjetta Brander，芬兰， 芬兰 1997 年4月， 14：00分。

"We worked on Family Values parts I and II a couple of months before the birth of our first child. We used the unique changes in Pirjetta's body, our relationship and moods as raw materials with which to ask fundamental questions. For example: Why live? Why give birth? Are children our feeble bridge over the gulf of death? What are the similarities between making art and making children? Our daughter, Aino Ursula Mäki, was born on June 15, 1997." (Teemu Mäki, 1997)

"我们开始家庭的价值第一部分和第二部分工作，是在我们的第一个孩子的诞生之前的几个月。 我们使用在Pirjetta 身体，我们关系和心情的独特变化作为用来问基本的问题的原料。 例如： 为什么生活？ 为什么分娩？ 在死的海湾上方孩子是我们的虚弱的桥吗？ 在制造艺术和生孩子之间的相象是什么？ 我们的女儿， Aino Ursula Mäki生于1997 年6月15 日。 "( Teemu Mäki，1997)

"I studied the myths associated with pregnancy and motherhood, which were totally alien to me. I found it hard to accept the physical transformations of the female body during pregnancy. Among other things, these works are about coming to terms with these changes. Giving birth of a child of our own raised many questions about identity, while providing answers to others.” (Pirjetta Brander, 1997)

"我研究神话同怀孕和母性，全部与我不同交往。 我觉得很难在怀孕期间接受雌性身体的物理转变。 此外，这些工作将用这些变化达成交易。 我们自己的一个孩子的产生诞生提出很多关于身份的问题，而对其它人提供答复。 "( Pirjetta Brander， 1997)


Trust - Tina Gonsalves, Australia, 2002, 4:24 min
相信 - Tina Gonsalves，澳大利亚， 2002， 4：24分

Trust uses fragments of rich sensual imagery and sound to weave a portrait of intimacy and emotion. We face each other, but we are not able to see each other clearly. The story of who we are has become more important than who we really are. My own expectations have shaped my image of you. I was so sure of what I wanted that I didn’t really see you at all. We just coexist; two people full of fear. I realize that my life is about to change tomorrow.
相信使用碎片的富有肉体上形象化的描述和声音的编造肖像的亲密和情感的。 我们面对彼此，但是我们不能清楚看见彼此。故事里的我们是谁变得更重要比我们真的是谁。 我自己的预期已经形成你的形象。 我是如此确信我想要的就是我确实没有看见过你。 我们刚刚共存； 两人充满恐惧。 我意识到我生活正要兑换明天。


Stand by Your Man - Stefan St-Laurent, Canada, 1998, 10:45 min.
支持你的人 - 斯蒂芬街- 劳伦特， 加拿大 , 1998， 10：45分。

3rd prize, WRO Biennial of New Media, Wroclaw, Poland
波兰华沙WRO新媒体艺术双年展第3 项奖

An anxious and overzealous drag queen attempts to perform Tammy Wynette's “Stand by Your Man,” out-takes and all, in lip sync. The video raises many questions about the desirability and exoticism of transvestites. It is also a homage to singer Wynette, the queen of tragedies.

担忧和过度的热心人妖试图执行Tammy Wynette，以致于在外" 旁观人，" 和全部，在唇同步。 录像举起很多问题大约需要性和易装癖者的异国情调。 一尊敬在歌手Wynette，悲剧的女王也。


Total time: 60 minutes


Program 4
Witnessing 目睹

ValdeZen - Jorge La Ferla，意大利 / 阿根廷， 2001，分24：00。 原创音乐： 阿尔韦托·" Carpo" 科特 & Egrave；的s 著名mediatic 英雄的最后冒险，谁开始一新任务与生意和一个神秘的寻求在他佛大师的脚步内有关。 以比尔为榜样中提琴和其他美国巨头，瓦尔德斯进入在在1330 建立的一南日本男修道院内的一神秘旅行。

怎样制造难民，菲尔科林斯，英国/ 马其顿， 2000， 11：00 分 艺术家在从巴尔干战争记录( 并且发起) 一个难民家庭过程中跟随摄影者的全体人员。

Africanized - 西奥； Eshetu，意大利 / 英国， 2002， 35：00 的最小的Africanized 是一部基于旅行和看的想法的电影。 用一架小的数码相机建立，它面对大的关于全球通讯和有另一个的关系的主旋律， 开始形势的亲密拍摄描绘闪避动作的事件。 它接受在在非洲，欧洲旅行时拍摄的多种形势， 分享观察celebratory 片刻和otherness 的国家的文献编制的亚洲和美国。 每形势?fricanized，和icirc；更在方法的使用和内容的组织内。 本能战胜逻辑，对原因的激情。 是节奏告诉我们故事。


Program 4
Witnessing

目睹


ValdeZen - Jorge La Ferla, Italy/Argentina, 2001, 24:00 min.
ValdeZen - Jorge La Ferla，意大利 / 阿根廷， 2001， 24：00 分。

Original music: Alberto "Carpo" Cortés
原创音乐： Alberto "Carpo" Cortés

The last adventure of the famous mediatic hero, who embarks on a new mission involving business and a mystic quest in the footsteps of his Buddhist masters. Following the example of Bill Viola and other American tycoons, Valdez enters a mystic trip in a southern Japan monastery founded in 1330.
著名的媒体英雄的最后冒险，开始一新任务与生意和一个神秘的寻求在他的佛的大师的脚步内有关。 以比尔为榜样中提琴和其他美国巨头，瓦尔德斯进入在1330 发现的日本男修道院内的一神秘旅行。


How to Make a Refugee, Phil Collins, Britain / Macedonia, 2000, 11:00 min
怎样制造难民，菲尔科林斯，英国/ 马其顿， 2000， 11：00 分

The artist follows a photographer’s crew in the process of recording (and staging) a refugee family from the Balkan war.
艺术家沿着一个摄影者全体人员在记录( 既没发起) 一个难民家庭从巴尔干战争过程中。


Africanized - Theo Eshetu, Italy/UK, 2002, 35:00 min
Africanized - 西奥 Eshetu，意大利 / 英国， 2002， 35：00分

Africanized is a film based on the idea of travelling and looking. Created with a small digital camera, it confronts big themes about global communication and the relationship with the other, entering into the intimacy of the situations filmed to portray evasive events. It takes in a variety of situations filmed while travelling in Africa, Europe, Asia and America that share the observation of celebratory moments and the documentation of states of otherness. Each situation is “Africanized,” even in the use of means and organization of contents. Instinct prevails over logic, passion over reason. It is the rhythm that tells us the story.
Africanized 是一部基于旅行和看的想法的电影。 用一架小的数码相机建立，它面对大的关于全球通讯和有另一个的关系的主旋律， 参加形势的亲密拍摄描绘闪避动作事件。 天气接受多种形势在在非洲，欧洲内旅行时拍摄， 亚洲和美国分享观察celebratory 片刻和otherness 的州的文献编制。 每形势是更在使用工具和内容的组织内" Africanized，"。 本能战胜逻辑，对原因的激情。 是节奏告诉我们故事。


Total time: 70 minutes


Program 5
Dreams and Memories

梦想和记忆

Heroes - Oliver Pietsch, Germany, 2000, color, 10:00 min
英雄 - Oliver Pietsch，德国， 2000，彩色，10：00分。

You need a camera. A cheap one will do just fine. A tripod, a pin, some adhesive tape, balloons, and maybe someone to help you a little. Use the tape to fix the pin to the camera's lens. Blow up the balloons and disperse them in a room of your choice. Now put the camera on the tripod and carry the whole thing upside down. Before you start shooting you should practice a little.

你需要一架照像机。 便宜的将很好做。 一三脚架，一别针，一些胶带，气球，并且帮助你一点的某人或许。 使用带子把别针安装到照像机的透镜上。 炸掉气球并且把他们驱散在你的选择的房间里。 现在把照像机放在三脚架上并且头朝下带这件整个东西。 在你开始之前你应该稍微实践一下。


Utopia Mod. 273/99 - Cláudia Ulisses, Portugal,1999, 4:26 min
乌托邦模数。 273/99 - Cl ·udia Ulisses，葡萄牙， 1999， 4：26 分

The artist filmed the production chain of a man's clothing factory and subsequently erased the image of all the workers through a meticulous process of digital manipulation. The outcome is a mechanical ballet that alludes, with fantasy and humor, to the 19th Century born utopian ideal of a society where technological development has emancipated mankind from repetitive and alienating labor.

艺术家拍摄一家男人的衣服工厂的生产线并且后来通过一个数字化的操作的小心翼翼的过程擦掉全部工人的图像。 结果暗指，与幻想和幽默一起的一种机械芭蕾舞， 对19 世纪理想一个社会，在那里技术上的发展已经解放人类免受重复和疏远的劳动的天生的乌托邦主义。

440.0 Hz - Michele Beck & Jorge Calvo, USA, 2001, 3:00 min
440.0 Hz - Michele Beck 和 Jorge Calvo，美国， 美国 2001， 3：00分


440.0 Hz was shot with a spy camera that was placed inside the artist’s mouth. The artist walked down busy streets in New York City and recorded what s/he saw through his/her mouth. The video images were then edited digitally and the sound was sampled, mixed and manipulated. The video and sound throw the viewer into a disconcerting and piercing experience where relief is found only when the mouth closes and the outside world is blocked out.
440.0 赫兹在艺术家的嘴里面安置的一架间谍照像机拍摄的。 艺术家走下在纽约市的忙街道并且记录她或他看穿他的/ 她的嘴。 视频图像那时编辑用数字计算的方法和声音被取样，混合并且操作。 录像和声音把观众扔进减轻发现只有当嘴结束并且外面的世界被画出时在哪里的一狼狈和尖锐的经验。


See In The Light - Ingrid Mwangi, Germany, 2002, 7:15 min.
在灯里看见 - 英格里德 Mwangi，德国， 2002，分7：15。

I have tested individuals and myself to see how hard it is for us to take in. Every single day we take in those absent images and that deafening call:
Absorb ! Swallow ! But how are we to process and transform them ? Does the process motivate us to try for change or, on the contrary, numb us and dull our senses ? do we have a choice and will we find a solution ? Who is to blame and are we responsible ? Ultimately I challenge: Is it enough to sit in a dark room across from flickering light and despair ?

我已经测试个人和我自己看出我们接受是多么努力。 每天我们接受那些缺席的图像和那个震耳欲聋的电话： 吸收！ 燕子！ 但是我们怎样处理并且改变他们？ 过程激励我们谋求变化还是，反之，失去知觉的我们和愚笨我们感觉？ 我们有选择，并且我们将找到一个解决办法吗？ 谁应受责备，并且我们负责任？ 最后我提出挑战： 在一暗室摇曳轻和绝望正对面内坐是足够？


Rihi and Rhona - Lisa Reihana (dir/prod), New Zealand, 1998, 6:00 min
Rihi and Rhona - Lisa Reihana (dir/prod)，新西兰，1998，6：00 分，

Rihi and Rhona looks at our colonial past and the impact of the local recording of Maori culture by European photographers. The latter classically reflected the European attitude towards the Maoris rather than an honest portrait of the local people. Rihi and Rhona openly questions this history, asking ‘whose gaze is being illustrated?’ Lisa Reihana extends this questioning to the present and continues to ask 'have the politics changed?’ and 'whose gaze is contained within the image?' This drama is one of seven components comprising the video installation Native Portraits (1997) commissioned by Te Papa Tongarewa Museum of New Zealand and was one of a series of new works displayed in the opening sequence of exhibitions. Te Papa Tongarewa is Aotearoa's new national museum and is based upon a model of bicultural operation.


Rihi 和Rhona 看殖民地过去和Maori 欧洲摄影者写的文化的地方录音的影响。 后者第一流反映出欧洲态度向Maoris 而不是一幅当地人的诚实的肖像。 Rihi 和Rhona 公开问题这历史，要' 谁的注视正被说明？ ' 莉萨 Reihana 延长这询问给礼物并且继续要' 让人改变政治？ ' 并且' 谁的注视被在这幅图像内包含？ ' 这戏剧包括录像安装出生地的肖像的7 零部件1 (1997)以Te Papa Tongarewa新西兰的博物馆委托一系列新作品一在开始展览会的顺序内展示。 Te 爸爸Tongarewa 是Aotearoa 的新国家博物馆，并且基于一个bicultural 操作的模型。


Te Ika A Maui - Rongotai Lomas & Philip Peacocke (dir/prod), Che-Fu, Teremoana, Rapley (music), New Zealand, 2000, 2:00 min
Te Ika A Maui - Rongotai Lomas & Philip Peacocke (dir/prod)，Che - fu，Teremoana, Rapley( 音乐)，新西兰， 2000， 2：00分

Rongotai Lomas' Te Ika A Maui retells a well-known Maori legend through digital animation. Maui decides to go fishing in a waka (canoe). He baits his magic jawbone and catches a huge fish. Te-Ika-a-Maui (the great fish of Maui) is the North Island of Aotearoa. Some tribes in the South Island believe that the South Island was the waka and Stewart Island the anchorstone.
Rongotai Lomas' Te Ika 一Maui 重述一著名Maori 传奇通过数字化动画。 Maui 决定乘一只waka( 独木舟) 去捕鱼。 他把饵装上他的魔术颌骨并且抓住一条巨大的鱼。 Te Ika 一Maui( Maui 的巨大鱼) 北方Aotearoa 的岛。 一些部落在南方岛相信南方岛是waka 和斯图尔特街岛固定的石头。


En Memoria de Los Pájaros (‘In Memory of the Birds’) - Gabriela Golder, Argentina, 2000, 18:35min
En Memoria de Los Pájaros ( 为了纪念鸟)-Gabriela Golder，阿根廷， 2000， 18：35分

A map of Argentina, family and childhood memories. The year is 1976, when the military dictatorship takes over. The author is five years old. In two frames, memories of the past and military in the streets alternate. Testimonials of fear, torture and cruelty succeed one another.
一张阿根廷，家庭和童年记忆的地图。 这一年是1976，那时军事独裁接管。 作者是5 岁。 在二框架，过去和军队在交替的街道内的记忆内。 恐惧，折磨和残忍的证明书继任彼此。


Morning - Sharon Paz, Israel/USA, 2001, 3:30 min
早上好 - 沙龙·帕斯，以色列 / 美国，2001，3：30分

I dreamt that I couldn’t fall a sleep. I was playing hide and seek with myself, getting into the closet to hide behind my mother’s clothes. I was a child for a moment and then an adult. The moth was trying to leave the room through the closed window. The clock was ringing. It was already morning.
我梦见我不能下降一个睡眠。 我演奏隐藏并且与我自己一起寻找，进入橱柜在我的母亲的衣服后面掩盖。 我一会儿是一个孩子然后一个成年人。 蛾试图通过被关上的窗子离开房间。 钟正发出声音。 是已经早上。


A Musical, Strange, Perfumed Mess is the Stuff of Dreams - Ottonella Mocellin (in
collaboration with Pia Scavia), Italy, 2000, 9:13 min
一个音乐喜剧，奇怪，使香的混乱是梦的材料 - Ottonella Mocellin( 与Pia Scavia 合作)，意大利，2000，9：13分

One summer afternoon, three young women lie in a field eating cherries, telling stories and watching airplanes fly over their heads. The bright, warm colors of their clothes and the enveloping field are juxtaposed with the cold, technological quality of the airplanes. Their marginal location, at the outskirts of the city where everything is fast and noisy, gives them the chance to exist outside time, or better - to change the pace of their time, creating a space where they can listen to each other.
This project is based on the desire to tell someone else's story through my body, my voice and my gaze, and to give this someone part of the control over my work. The intention is to create, through collaboration, a space for emotional exchange in which art and narration may be considered reciprocal gifts. The video is the result of a collaborative effort with Pia Scavia, a friend who has been fighting cancer for a long time. Together we decided that the visual part of the work would be a reconstruction of a dream she had when she was hospitalized. The voiceover is like a letter to her, where I talk about her life and remember many things we said and did together.

夏天的一个下午， 3 年轻妇女座在一个地方吃樱桃，告诉故事和看飞机飞越他们的首脑。 他们的衣服和包围的领域的明亮，温暖的颜色被飞机的冷，技术上的质量并列。 他们边缘位置，在一切事情是快和嘈杂的在哪里的城市的郊区，把在时间外边存在，或者更好的机会发出给它们 - 改变他们的时间的步伐，建立他们能听彼此的空间。

这项工程基于愿望通过我的身体，我的声音和我的注视告诉其他人的故事， 给这某人对的控制我工作的部分。 意图通过合作，一空间适合艺术和叙述可能被认为为相互礼物的感情交换创造。 录像是有Pia Scavia，一直抗癌很久的一位朋友的一次合作的努力的结果。 一同，我们决定工作的视觉部分将一她被送入医院的她有的一梦的重建。 voiceover 看起来象给她的一封信，在那里我谈论她的生活并且记得我们说并且一同做的很多事情。


Tower - Irit Garty & Isaac Layish, UK-Israel, 2002, 15:00 min.
塔 - Irit Garty & Isaac Layish，英国 - 以色列， 2002， 15：00分

At the center of Tower is a modernist high-rise built in the late 1960s in Tel Aviv. Shalom Tower was for 22 years the highest building in the Middle East and served as a monument for national pride as well as a recreational center. Today the building is, for the most part, deserted, and all its attractions have closed. Stills and locked off shots of the building serve as a backdrop for the narration of stories. Some of these are personal; others have their origins in the media or in rumors (mainly pertaining to technological, cultural and national obsolescence). The stories are read out by a mechanical alter-ego - the storyteller's computer, that, through its role as narrator, tries to assess its own cultural identity and that of the "original" storytellers who are trying to deal with death, memory and a physical distance from their country.

在塔的中心是在特拉维夫在20世纪60年代后期建造的一座现代主义者高层建筑。 Shalom 塔适合22 年高大楼在中东内和作为给民族自豪感以及一个娱乐的中心人物的一座纪念碑。 今天大楼在很大程度上被抛弃，并且它的全部吸引人的地方已经关闭。 止住和离针的那些大楼的锁住作为去那些叙述的故事的背景。 一些这些个人； 其它人在媒介里或者在谣言( 主要与技术上，文化和国家的逐渐过时有关) 有他们的出身。 机械改变自我宣读故事 - 通过作为讲述者的它的角色，讲故事者的计算机，那， 努力评价它自己文化身份和" 原先" 谁试图经营死的讲故事者的那， 记忆和来自他们的国家的一段物理距离。



Total time: 80 minutes

Program 6

Grecce 希腊
Cyplus 塞浦路斯
Finland 芬兰
Espanish 西班牙


国内单元：
Domestic unit:
Program 7，影像中国单元
Unit of the video China's

Program 8，人民的影像单元
Unit of the people's image

Program 9，社会学影像单元
Unit of the Sociology videoes

Program 10，新媒体艺术单元
Unit of the new media' s artistic

Program 11，独立电影单元
Unit of an independent film

Program 12，纪录片单元
Unit of the documentary film


按照我们的计划，

第一阶段时间：2003年9月8日--2004年1月18日

第二阶段时间：2003年2月18日--2004年06月28日

地点：待定

愿意参加的艺术家请与我们联系：
Contact：
email：linhaoart@vip.sina.com