Taiwanese
Curator Yunnia Yang Presents Video Project
“The In-Between State of Mind”
電影的觀看特質與意涵相信對每位觀眾有極為不同的理解，藝術電影跳脫常規以更為廣闊的視野詮釋生命意義，即將於2018 年6月6日至10日所舉辦的第36 屆義大利阿索洛國際藝術影展(Asolo Art
Film Festival)以「何不合宜」((In)Appropriate Glances)為主題，強調藝術電影創意特質之一即是廣納百川包容差異，他者在導演觀點已非他者，以同理心看待並讚頌多元多彩的共存生態，譽為全世界最古老的藝術影展，義大利阿索洛國際藝術電影節自1973年由威尼斯影展成立委員會成員Flavia
Paulon 在距離威尼斯不遠的明媚山城阿索洛(Asolo)成立以來，此一競賽交流盛會已累積極為豐富的原創藝術電影典藏，包含藝術電影、藝術家自傳(artist’s
biography)、建築、設計與地景(film on architecture, design and territory)、錄像藝術、動畫、音樂短片、電影學校創作、原創配樂等得獎作品，本屆共有來自全球各地300多部藝術影片投件參賽，由影展委員會選出60部作品進入決賽並在影展放映。另一焦點則是影展周邊活動「金磚視野」(BRICS Art)以巴西、俄羅斯、印度、中華與南非等五大地區為影像藝術策展主軸，本屆影展特邀臺灣策展人楊衍畇(Yunnia
Yang)策畫東歐/俄羅斯錄像研究專題「浮動心境」(The
In-Between State of Mind)，深入觀察前蘇聯自1989年後解體後在政經社會與文化藝術個層面的轉變發展，包含20部來自俄羅斯、立陶宛、波蘭、捷克、羅馬尼亞、保加利亞、斯洛維尼亞、克羅埃斯亞、塞爾維亞、波士尼亞、馬其頓、阿爾巴尼亞等12國錄像藝術創作，本策展專題即是獻給在共產政權終結後經歷遽變並見證到人民如何擁抱新的資本主義生活方式的藝術家，感受到在這二元體制下的另類發展，以視覺、慧黠諷喻與創意想像回應這種後社會主義情境。 Each audience has his/her own understanding
about the visual features and meanings of films. Art films are out of the ordinary
frames to bring broader visions interpreting the meanings of life. From June 6
till June 10 of 2018 , 36th Asolo Art Film Festival (AAFF) sets the theme on (In)Appropriate Glances to emphasize that one of the creative features of art films is to
include differences. The Other is not otherness for art film directors anymore .
We should treat difference with empathy and appreciate such colorful multi-cultural
coexistence. Famed as the oldest art
film festival in the world, Asolo Art Film Festival was founded in Asolo in
1973 by Flavia Paulon, the founding member of Venice Film Festival. Since
then, AAFF has accumulated very rich collection of original art films, including
the award-winning films in the following category: art film, film on artist’s
biography, film on architecture, design and territory, video art,
animated film, music video, film school work, original soundtrack, etc. The 36th
edition calls more than 300 entries for competition, and the jury committee selects
60 films among them as the finalists to be screened at AAFF. Another spotlight on the collateral event “BRICS
Art” is the focal theme on the curatorial projects from Brazil, Russia, India, China&Taiwan,
and South Africa. AAFF invites Taiwanese curator Yunnia Yang to curate the video project “The In-Between State
of Mind” for the Eastern Europe/Russia Video Research. Dr.
Yunnia Yang has insight on the transition and evolution of the ex-Soviet countries in the
political, social, economic, cultural, and artistic aspects after the collapse
of the communist regime in 1989. “The In-Between State of Mind” includes 20
films from 12 countries: Russia, Lithuania, Poland, Czech Republic, Romania,
Bulgaria, Slovenia, Croatia, Serbia, Bosnia, Macedonia, and Albania. This
curatorial project is dedicated to the artists, who experience
the drastic change after the end of the communist regime and witness how people
embrace new capitalist lifestyle, perceiving the alternative evolutions out of
this binary system and responding to this postsocialist condition with visual
lyricism, witty irony and creative imagination.
本屆影展以「卡拉瓦喬：靈與血」(Caravaggio:
Soul and Body)展開視覺饗宴的序幕，以影展競賽得獎作品頒獎典禮盛大閉幕，將由威尼斯影展主席Alberto Barbara親臨頒獎，國際影展評審團陣容也相當堅強，由威尼斯藝術學院院長Carlo
Montanaro擔任評審團主席，邀請法國龐畢度藝術中心影像藝術策展人Philippe Alain Michaud，俄羅斯莫斯科電影大學（VGIK）教授Natasha Noussinova擔任評委。此外，本屆影展Elenora Duse表演藝術終身成就獎得主義大利知名女演員Piera degli
Esposti將出席受獎。注重電影人才的培育與多元電影視野的開拓，影展規劃學校工作坊（School& Atelier）、藝術紀錄片圓桌會議，以及多項影像專題包含「俄羅斯影展」(Russian Film Festival)、「新視野」(New Vision)、「全景」(Panorama)、「性與電影」(Sex and the Cinema)、「女性觀點」 (Female Regard)、美國實驗電影導演Shirley Clarke等單元，並特映由Adrian Maben 所導的「時尚攝影大師紐頓：邊緣鏡頭」(Helmut Newton: Frames from the Edge)，還有應接不暇的精彩表演如VJ現場表演、廣場投影、交響音樂會與街頭藝術等活動，吸引來自義大利各地喜好電影與藝術的民眾前往觀賞。
The 36th AAFF will start with the opening film “Caravaggio:
the Soul and the Blood’’ and end with the award-giving ceremony with the
presence of Alberto Barbara, the director of Venice Film Festival. The jury
members are powerful in films, including the jury president Carlo Montanaro (
director of Venice Fine Art Academy), Philippe Alain Michaud（film art curator of
Centre Pompidou in Paris）, and Natasha Noussinova (Professor of Moscow Film University” VGIK”).
In addition, the important prize of Elenora Duse goes to the world-famous Italian
actress Piera degli Esposti with her own presence to AAFF. AAFF believes in the
education of film new talents and the expansion of multiple film visions,
organizing the events ‘’School& Atelier’’, roundtable
on art documentaries, and video themes “Russian Film Festival’’ , “New Vision” , “Panorama” , “Sex
and the Cinema”, “Female Regard”, “Shirley Clarke”, and special screening of Adrian Maben ‘s “Helmut
Newton: Frames from the Edge”. Moreover, there are plenty excellent performances,
such as VJ live performance, projection at square, orchestra concert, street
art and so on, attracting the art-film-loving audience from all over around
Italy to Asolo.
Nika
Oblak &Primoz Novak (Slovenia)/Vlad
Buzaianu(Romania)/Anastasija
Piroženko (Lithuania)/Boris
Kozlov(Serbia)/Marius Gherasim(Romania)/Katarzyna
Kozyra(Poland)/Ciprian Mureşan(Romania)/Zaneta
Vangeli(Macedonia)/Mina
Mileva & Vesela Kazakova(Bulgaria)/Călin
Dan,
Iosif Király and Dan Mihălţianu(Romania)/
Blue Noses(Russia)/Igor
Grubić(Croatia)/Jan Pfeiffer(Czech Republic)/Gentian
Shkurti(Albania)/
Olson Lamaj(Albania) Sponsor: National Culture and Arts Foundation(Taiwan) 贊助單位：國家文化藝術基金會 Official Site: http://www.asoloartfilmfestival.com/
“Global
Village” is the term that Marshall McLuhan brought out in 1962,
presenting the concept that the human relations all over the world
get closer by means of various social media and social networking to
improve mutual understandings about humanistic thoughts and cultural
differences. By 1989 the international community had been divided
into two principal camps (capitalist and socialist) , which lead to
misunderstandings , confrontations and even unavoidable sacrifices.
After the collapse of the Soviet regime, these post-socialist
countries make efforts to integrate themselves into the world through
the Perestroika, subsequent democratification and neolibralism. Such
kind of integration is that the Eastern European countries expected
much more to be a member of the European Union and most of them
succeeded to fulfill this dream. Russia also enjoys economic
prosperity and becomes one of the BRICS countries. The optimistic
atmosphere spreads out in the global age, making us believe that we'
ll have better future thanks to this integration. In fact,
transitions and transformations in political, economical, social and
cultural aspects
are still overlingering in everyday life of the locals, whose states
of mind are haunted by the sense of in-betweenness. The video
research project “ The In-between State of Mind” is dedicated to
the artists, who experience the drastic change after the end of the
communist regime and witness how people embrace new capitalist
lifestyle, perceiving the alternative evolutions out of this binary
system and responding to this postsocialist condition with visual
lyricism, witty irony and creative imagination.
媒體大師麥克魯漢於1962年提出「地球村」一詞，表示透過電子媒體的網域連結，全球各國的人際關係日趨密切，更加理解彼此的人文思想與文化特色，1989
年以前的國際社會因前蘇聯的共產意識型態與社會主義體制有所隔閡，經過政治民主化、經濟自由化的變革，俄羅斯與前蘇聯共和加盟國、東歐國家、波羅的海三小國融入國際社會。此般整合是東歐國家更加期待成為歐盟會員國，而大部份的國家得以完成夢想，俄羅斯也享有經濟榮景，躍升為金磚五國之一。這股樂觀氛圍在全球化時代遍佈，歸因於整合而使我們相信將會有更美好的未來
。事實上，在政治、經濟、社會及文化上的過渡與轉變仍在當地日常生活持續著，一種處於轉換又不確定未來的感受縈繞於當地人民心頭。「浮動心境」錄像研究計畫(
The In-Between State of
Mind）即是獻給在共產政權終結後經歷遽變並見證到人民如何擁抱新的資本主義生活方式的藝術家，感受到在這二元體制下的另類發展，以視覺詩意、慧黠諷喻與創意想像回應這種後社會主義情境。
The
new world discloses enormous temptations, which people might
get lost in and distort personal values ( Marius
Gherasim's “ Lost”). In a highly materialistic society,
everything could be commodity to buy and sell;
dreams are no exception (Vlad Buzaianu's“ Dreams on Sale”). The
artistic subversions against the consummerism might be delicately
demonstrated in a sense of humor . Poverty is an complex issue for
the ex-communist countries to get rid of (Goran
Radovanović's “My Country),
but for their people inspirations to find out alternative solution
to live (“Going South”by Nika Oblak& Primoz Novak). Longing
for the better life of the West, assimilation into the western
lifestyle is just like a country-wide movement (Anastasija
Piroženko's “Syndromes of Mimicry). The globalisation is not
necessarily bad or good; it matters if it can reflect the fundamental
concepts of humanism such as multiculturalism and biodiversity (Boris
Kozlov's “The Postmodern Pioneer Plaque”), especially for this
region full of rich cultural heritages. Mutual love goes beyond any
political definitions about sexes, genders, races, religions,
species,etc.(
Goran Radovanović's “Enclave”) War
can cause massive destruction and turn the whole world into hell
immediately(Miloš
Tomić 's
“Clay
Pigeon”).
Although Mankind understands well such terrible consequence, egoism
is stronger than altruism in reality. Nowadays, bellicose psychology
can be widely observed in the virtual world of video games. As the
borderline between the reality and the virtuality is removed, the
cruel action of killing could occur to any video gamer, even a little
child (AES+F's “Last Riot”). War trauma shadows over one's whole
life during peacetime, and it is also a collective memory for the
witnesses to warfare(Šejla Kamerić's “1395 Days Without Red”).
Media,
tourism, and commercialism are fetal factors to influence the
cultural understandings about the postsocialist countries.
Stereotypes and fairytales both are prevailing attitude. In today's
world it is hard to find the truth, even history could be
constructed. To break these cultural illusions, the artists use the
approaches of mingling fiction and reality (subREAL's
“Draculaland3”), parody(Katarzyna
Kozyra's “Summertale”), topology (Jan Pfeiffer's “Support
Points IV”), negation (Gentian
Shkurti's “Color
Blind in Tirana”), and demythification (Olson
Lamaj 's "How
stars are born?”). Nonetheless, the constructed illusions still
remain in the minds of the people under the communist regime over
decades. The artists resort to the fundamental questions about
non-humanity ( Ciprian Mureșan's
“Dog Luv”), negative theology
(Zaneta Vangeli's “The Judge”), human rights (Igor Grubić's
“East Side Story”), and legacy of totalitarianism(
“The Beast is Still Alive” byMina
Mileva & Vesela Kazakova),
crucial for the contemporaries to figure out the real world where
they live in.
As
to artistic creativity, the artists are never slaved by the
overwhelming new media to lose their own originality, and neither get
assimilated by the western aesthetics. The low tech might not compete with the
efficiency and the convenience of advanced technology in our
contemporary world, but gives us a touch of humanity and laughters
out of irrationality and illogicality
(Blue Noses' “Absolute Blue Noses”). We can see how their
creativity brings us unexpectable imageries (Milos
Miloš
Tomić 's
“Clay
Pigeon”) , and
conceptual illuminations (Ciprian
Mureșan's
“Dog Luv”, Zaneta
Vangeli's “The Judge”). With the help of new media, the artists
could explore the new visual languages to interpret the contemporary
living conditions and to throw down a challenge to us to contemplate
The In-between State of Mind (AES+F's
“Last Riot”, Marius Gherasim's “ Lost”, Vlad Buzaianu's“
Dreams on Sale”,
“The Beast is Still Alive” by Mina
Mileva & Vesela Kazakova).
"Clay
Pigeon"
is love story with scary moments.Couple
in love game before unexpected but fatal goodbye. Solider and a girl,
on the grass. And under the grass.
愛情遊戲為現實所阻礙，軍人必須入伍，而愛人持續相愛直到終點。溫柔、幽默、恐懼瀰漫在這場愛情遊戲中。
Miloš
Tomić
Miloš Tomić is filmmaker with
few other passions: Collage making, bad music
playing, collecting precious trash from the street... He was
born in Belgrade, Serbia in 1976. where he studied film direction,
than animation in Prague, at FAMU. Drifting between diary films,
voayeristic ones and elaborate animations in combined stop-motion
technique. Miloš Tomić's works have been presented for the
exhibition “ Nothing between us” with Vladimir
Peric at the Serbian Pavilion of the 55th
Venice Biennale in 2013.
1976年出生於塞爾維亞貝爾格勒，於捷克布拉格電影學院(FAMU)主修電影導演與動畫，創作結合日記電影,窺視影像,停格動畫的特質與技法，身為一位實驗電影導演，對拼貼創作,
生活音樂,
撿拾街道廢棄物再創作有極大熱情。2013年，Miloš
Tomić曾與Vladimir
Peric 共同代表塞爾維亞國家館參加第55屆威尼斯雙年展展出「我們之間沒有距離」(Nothing
Between Us)。
2.Last Riot
/ AES+F(Russia)/ 2007/ 26 min 22 sec
終極叛亂(Last
Riot)/AES+F（俄羅斯）
The
virtual world generated by the real world of the twentieth century is
growing exponentially, like an organism in a Petri dish. Crossing its
own borders in to new zones, it absorbs its founders and mutates in
to something absolutely new. In this new world real wars look like a
game on www.americasarmy.com. Prison torture appears more like the
sadistic exercises of modern-day Valkyries. Technologies and
materials transform the artificial environment in to a fantasy
landscape of a new epoch. This paradise is a mutated world where time
is frozen and the past is neighbor to the future. Its inhabitants are
devoid of gender, becoming more like angels. This is a world where
the severe, the vague or the erotic imagination appears natural in
the artificial unsteadiness of 3D perspective. The heroes of the new
epoch have only one identity, that of participants in the last riot.
Each fights both self and the other, there’s no longer any
difference between victim and aggressor, male and female. This world
celebrates the end of ideology, history and ethics. 20世紀真實世界所生成的虛擬世界如同培養皿中的有機體不斷擴張。跨出自身界限到新的區域，它吸收其最初始養分，卻變異成全新的個體。這新世界中，真實的戰爭如同電玩遊戲，牢獄酷刑較像是現代女武神的性虐操練。科技與物質轉變人工環境成新世紀的幻想風景。這天堂是一個變異的世界，時間在此凍結，過去與未來彼鄰而居。這裡的居民沒有性別，較像是天使。這是一個冷酷,
朦朧,或是情慾想像在3D透視的人工不穩狀態中卻來得自然。新世紀的英雄僅有一個身分，參與終極叛亂的身分。人人皆與自身和他人搏鬥，不再有受害者與攻擊者、男女之分。這個世界終結了意識型態、歷史與倫常。
AES+F
The
conceptual architects Tatiana Arzamasova and Lev Evzovich and the
multidisciplinary designer Evgeny Svyatsky originally formed AES
Group in 1987. Exhibiting abroad from 1989, the group expanded its
personnel and name with the addition of the photographer Vladimir
Fridkes in 1995. AES+F’s
recent work has developed at the intersection of photography, video
and digital technologies,
although it is nurtured by a persistent interest in more traditional
media — sculpture especially, but also painting, drawing and
architecture. Deploying a sophisticated, poetic dialogue among these
media, and plumbing the depths of art history and other cultural
canons, AES+F’s grand visual narratives explore the values, vices
and conflicts of contemporary culture in the global sphere.
AES+F
achieved worldwide recognition and acclaim in the Russian Pavilion at
the 52nd Biennale di Venezia in 2007 with their provocative,
other-worldly Last
Riot
(2007), the first in a trio of large-scale, multichannel video
installations of striking originality that have come to define both
the AES+F aesthetic and the cutting edge of the medium’s
capacities. The second of the series, The
Feast of Trimalchio
(2009), appeared in Venice in 2009, and the third, Allegoria
Sacra
(2011), debuted at the 4th Moscow Biennale in 2011. United as The
Liminal Space Trilogy,
this tour-de-force series was premiered in September 2012 at the
Martin-Gropius-Bau, Berlin, and the Moscow Manege, the Central
Exhibition Hall of the artists’ home city. Some pictures and
sculptures from the Trilogy
were shown at Padiglione Venezia at 55th
Biennale di Venezia. The whole Trilogy
including pictures and sculptures was shown in the Museum of Fine
Arts in La Chaux-De-Fonds, Switzerland (June–September 2014). Most
recently all three videos were shown at Albright-Knox Art Gallery,
Buffalo, NY (June-September 2015). Also in 2015 AES+F had presented
the project Inverso
Mundus
at 56th Biennale di Venezia. Their most recent videoinstallation
Psychosis
was presented first time in program of the Art Night Venezia in 2017.
AES+F
received Sergey
Kuryokhin Award 2011,
the main award of the Kandinsky
Prize 2012,
the main award of the Nord
Art Festival 2014,
and Pino
Pascali Prize 2015
(18th Edition) — all for the project Allegoria
Sacra.
AES+F were awarded Bronze Medal (2005) and Golden Medal (2013) of
Russian National Academy of Fine Arts.
3.
Enclave
/Goran
Radovanović(Serbia)/ 2015/
92 min.
再見仍是朋友
(Enclave)/Goran
Radovanović（塞爾維亞)
With
this film I want to explore the essence of the Serbian/Albanian
dispute, which resulted – fifteen years ago – in war, destruction
and crimes. But I want to raise the following question: is
coexistence still possible between these two communities in a reality
marked by the presence of enclaves, isolated islands of Christian
minority surrounded by a sea of Muslim majority? It is an antiwar
film based on the eternal and edifying story about forgiveness and
love.
Born
in Belgrade in 1957. Graduated art history from Belgrade’s Faculty
of Philosophy in 1982. Between 1977 and 1980 he sojourned in Munich
on a scholarship awarded by the Goethe Institute. After his return to
Belgrade, he has worked as writer and director of both feature and
documentary films.He is a member of the European Film Academy, Berlin
and Film Artists Association of Serbia.Currently works as guest
professor at EICTV (International Film and Television School), San
Antonio de los Banos, Cuba. “Enclave”
was selected to present Serbia for the Foreign languange Oscar in
2015.
4.
1395
days without red/Šejla
Kamerić(Bosnia)/2011/63min 沒有紅衣的日子(1395
days without red)/Šejla Kamerić（波士尼亞)
A
woman makes her own way through an empty city. The city is sarajevo,
and the route the woman is taking became known as became Snipper Alley
during the siege of the city endured by its citizens for 1395 days
between 1992 and 1996. The woman, played by the Spanish actress
Maribel Verdu, is reliving the trauma of the siege. It is the
individual journey in the collective memory of the city. “1395
Days without Red”was
conceived, developed and filmed as
a collaborative film project by Šejla Kamerić and Anri Sala. The
project has given life to two separate films.
Šejla
Kamerić works with various media such as film, photography, objects
or drawings. The all-pervading element in her work are her – often
uneasy – memories. She is using them as a power source by
sharpening the focus of the present through the burden past. Based on
her own experiences, memories and dreams, her work takes us to glocal
spaces of displacement and discrimination. The sadness and beauty,
hope and pain that shines out of her works are part of the stories we
share. The weight of her themes stands in powerful contrast to her
individual aesthetics and to her choice of delicate materials. Her
film “1395
Days without Red”
premiered at 2011 Manchester International Festival. She lives in
Berlin and in Sarajevo.
5.
My Country
/Goran
Radovanović(Serbia)/ 2000/
24 min.
我的祖國(My
Country
)/Goran
Radovanović（塞爾維亞)
“My
Country”
is a documentary made by Serbian filmmaker Goran Radovanović
about
the year 1999 in Serbia: extreme poverty, corruption, autocracy,
ethnic problems, NATO aggression, manipulation of the population
through mass media controlled by the state and…hunger for
democracy…“My
Country”
has won many international film prizes, like The Best International
Film of Carolina Film and Video Festival, (USA,2000), The best
documentary film of Kansas City Filmmakers Jubilee(USA, 2000), The
Best documentary film of Elektrozine ( Spain, 2000), Special Prize
of North-South Media Festival(Switzerland, 2000),etc. This film is a
part of video collection at Berkeley, College of Communication,
Boston University, Russian & East European Institute of Indiana
University, University of Toronto, University of Arizona, University
of Washington, Monash University, University of Michigan, New York
Public Library, Stanford University,Berkeley, University of Graz,
University of London,etc.
“Going
South”
is a documentary about how Nika Oblak & Primoz Novak achieve a
Guinness World Record by pushing wheelbarrows from Ljubljana,
Slovenia, to Sharjah in the U.A.E., for 14.500 km in 3 years and 12
days.
Nika
Oblak & Primoz Novak have been working as a collective since
2003. They use various media in order to create ambivalent artistic
interventions and kinetic installations. Oblak and Novak have
exhibited worldwide, in venues like the Sharjah Biennial (UAE), Japan
Media Arts Festival, Tokyo (JP), Istanbul Biennial (TR), Biennale
Cuvee, Linz (AT), Transmediale Berlin (DE), FILE Sao Paulo (BR)...
They received numerous grants and awards, including the CYNETART
Award by the Trans-Media-Akademie Hellerau in Dresden (DE). And most
recently an honorary mention of art critics at the Biennale WRO,
Wroclaw (PL).
7.
Dreams On Sale/ Vlad
Buzaianu(Romania)/ 2016/9 min.23 sec.
販賣夢想(Dreams
On Sale)/Vlad Buzaian(羅馬尼亞)
In
a world where people are able to record, buy and sell dreams, many
are starting to lose the ability of dreaming. Dreams have become a
new form of art and a commodity for the rich class.
一個人們能記錄,買賣夢想的世界，眾人開始失去做夢的能力。夢想已變成新的藝術形式與富有階級的商品。
Vlad
Buzaianu
Vlad
Buzaianu lives and works in Bucharest. Here he graduated in business
studies and psychology. “Dream
on Sale”
is his first film project. About this film, he says: “we tried to
do something that was never done before: use dreams as a metaphor for
our day to day lost dreams. It is a film for all the people
struggling with their dead end jobs while asking themselves why they
did not pursue any of their actual dreams. After 2 years of work we
feel that we manage to end up with a fresh and interesting project
that will take the viewer from reality to dreamworld and back.”
8.
Syndromes
Of Mimicry/
Anastasija
Piroženko (Lithuania)/2016/ 18min.
模仿症候群(Syndromes
Of Mimicry)/Anastasija Piroženko(立陶宛)
What
could possibly link a village nightclub, where a musician mindlessly
recites popular Western melodies, a mute black man delivering flowers
in a Hussar uniform, and a yoga class attracting people in search of
religious identity? “ Syndromes
Of Mimicry”
tackles
the imitation of the Western concepts that occurred in Lithuania
after regaining its independence. In the series of short sketches,
the satire presents various attempts in the identity search in
social, political and cultural field.
Anastasija
Piroženko is an audio-visual artist and filmmaker from Lithuania,
currently based in Amsterdam. She holds a BA in Photography and Media
Arts from Vilnius Academy of Arts (2012) and a MA in Film from the
Netherlands Film Academy (2016). Anastasija’s artistic practice
spans between film, video, and photography. The notions of home,
community and utopia, are recurring themes in her work. Often, her
films balance between fiction and real.
9.
The
Postmodern Pioneer Plaque/
Boris Kozlov(Serbia)/2016/
7min.51sec. 後現代先鋒頭銜(The
Postmodern Pioneer Plaque)/Boris Kozlov(塞爾維亞)
In
1973 Carl Sagan created the Pioneer Plaque for the NASA Pioneer 10
mission. It was Humanity’s first message for extraterrestrial
civilizations. Today, four decades later, the World gets together to
collectively compose a new message…
Born
in Belgrade (1977, Former Yugoslavia). Living in Madrid (Spain).
Combines creative work in advertisement with experimental filmmaking.
Obsessively trying to crack the code of the psychotic farce also know
as normality.
10.
Lost/
Marius Gherasim(Romania)/2015/4min.39sec.
謎失(Lost)/Marius
Gherasim(羅馬尼亞)
“Lost”
is a mixed collection of images that gather to form a claustrophobic
rhythm revealing symbolic meanings. The old religion has lost its
function. The mechanism and technology is forming a new spirituality.
The ancient symbols are almost humorous. Sense and nonsense melts
together for 'what is to come'.
「謎失」是一部匯聚許多圖像形成幽閉恐懼韻律展現象徵意義的影片，古老宗教失去功能，機械與科技形成一種新靈性，亙古的象徵幾乎的幽默的，意義與無意義融合成「即將來臨」（what
is to come）。
Marius Gherasim
Marius Gherasim is
a rockstar from Bucharest, Romania. Marius attended, at one
point, with no recollection at all, the courses of the national
university of arts of Bucharest having an interest in graphic arts.
After a few etches (itches) he decided to abandon industrial design
too and move to film. Now he is thirty two and residing near
Bucharest, collaborating with his own demons, filming, photographing
and painting from time to time.
11.
Summertale/
Katarzyna
Kozyra(Poland)/2008/19min. 56sec.
夏日童話(Summertale)/Katarzyna
Kozyra（波蘭)
An
almost 20 minute long film “Summertale” was made in 2008 and it
concludes a multi-dimensional and varied series “In Art Dreams Come
True”. As it is the last instalment, logic requires to start at the
end of the film. This is where we read that none of the people
appearing in the film has anything to do with any of the fairy tales.
Reading this information makes us laugh inwardly, because –
technically – the story shot by Kozyra resembles a fairy tale. At
first glance it brings to mind “Snow White”: industrious
short-statured women resembling the seven dwarfs (despite the fact
that there are only five of them), tiny beds in the little house are
the same as in the Brothers Grimm’s tale, and the poisoned Maestro
is revived with a kiss. In the fairy tale Snow White is woken up from
her sleep by a man. Here, replaced with a woman. But is she really?
Nothing about the artist’s work is as it seems. The sexy lady is
somebody else… The ideal of a “real woman”, Gloria Viagra, is a
man. Well-groomed short-statured women living in their Arcadia are
not the embodiment of order and peace. Therefore, in this
philosophical tale of a film disguised as a colourful fairy tale
nothing is simple or straightforward. Horrific events are in a stark
contrast to idyllic pictures and a slow unfolding of the plot. Clean
and neat outfits of the characters – to the splattering of blood
from the murdered. The metamorphoses continue: Katarzyna Kozyra
initially appears as a woman trying to adapt to the little people and
their lifestyle, only to morph into a sorceress inflicting severe
punishment for the crime…
Katarzyna
Kozyra was born in Warsaw in 1963, a sculptor, photographer,
performance artist, filmmaker, author of video installations and
artistic actions. Kozyra’s activities became crucial for the
development of the new artistic movement known as Critical Art and
they heavily influenced the shape of contemporary culture, often
constituting a starting point for a broader discussion. In 1999, she
received an honorable mention at the 48th Venice Biennale for the
video installation Men’s Bathhouse. In 2011 she obtained her
Doctor’s Degree at the Academy of Fine Arts in Warsaw. In 2013 the
Huffington Post named Kozyra one of ten most important female artists
of the new millennium.
1963年生於華沙，波蘭知名雕塑家、攝影家、行為藝術家、電影導演、錄像藝術家。Kozyra是波蘭「批判藝術」(Critical
Art)藝術運動發展的代表人物，影響當代文化塑形，時常形成更廣泛討論的起點。1999年，她以錄像裝置「男子浴場」(Men's
Bathhouse)榮獲第48屆威尼斯雙年展榮譽提名。2011年取得華沙藝術學院博士學位。2013
年美國「哈芬頓郵報」(Huffington
Post )讚譽Kozyra為千禧年最重要的女性藝術家之一。
12.
Dog
Luv/
Ciprian Mureşan(Romania)/
2009/ 30min.56sec.
好狗魯夫(Dog
Luv)/Ciprian Mureşan（羅馬尼亞）
In
the play "Dog Luv" of the dramatist Saviana Stănescu
(born in Romania, lives in New York since 2001) dogs, led by Maddog,
learn about mankind‘s history of torture and execution. Mureșan
transformed the sinister play into a puppet completely in the
darkness. In the classical puppet theater the puppeteers are dressed
in black, in order to be confused with the back- ground to hide the
fact that puppeteers are the real actors.
Ciprian
Muresan Born in 1977, Dej, Romania; based in Cluj, Romania. Quietly subversive, Ciprian Mureșan’s allegorical artwork reflects on post-Soviet life and questions artistic production. While best known for short, darkly humorous videos, Mureșan works across various media to communicate a sardonic worldview shaped by coming of age during Romania’s revolution and the political disarray that followed. His “Pioneers” (2010) series refers to the scandalous revelation that homeless children were living in sewage passageways, which came to symbolize Romania’s failed transition to capitalism. To Mureșan, these sketches of children sniffing glue constitute “the perfect image,” revealing the myths and hypocrisies of capitalism and communism alike. Meanwhile, Leap Into the Void, after three seconds (2004) adds a dark twist to Yves Klein’s 1960 photograph of a man suspended in mid-air having leapt from a window. Sprawled on the pavement three seconds later, his sense of freedom and transcendence has vanished.
13.
TheJudge/
Zaneta Vangeli(Macedonia)/2001/102 min.
審判(Judge)/Zaneta
Vangeli（馬其頓）
“The
Judge”is
an experimental narrative feature, which self-referential story with
a rhizome-structured narration is about a young director, making his
first movie called “The
Judge”.
His movie is an unconventional portrait of the devil, very much
interested into art and politics. This film is an attempt to focus on
the apophatic principle, which is to approach the term God by
differentiating and denying what He is not. One
of the most significant and at the same time paradox reflections of
the devil himself is that "...in fact there is no Chosen People,
there is no Conspiracy, but only a simple projection of the ego..."
Zaneta
Vangeli is a multimedia artist, working on paintings, installations,
video and film. Since 2008 she is professor of painting at the Ss.
Cyril and Methodius University, Faculty of Fine Arts in Skopje, Macedonia. “The
Judge”
is her first film, which had its world premiere at the 59th
Mostra Internazionale d'Arte Cinematografica in Venice in 2002. She
had solo and group exhibitions/film festivals at the Moderna Museet,
Stockholm, Museum of Modern Art – Ludwig, Vienna, Museum
Fridericianum, Kassel, Casoria Contemporary Art Museum, Naples,
Museum for Modern and Contemporary Art, Strasbourg, Museo da Imagem e
do Som, Sao Paolo, The German Filmmuseum in Frankfurt/M. and others.
14.
The
Beast is still alive/
Mina Mileva & Vesela Kazakova(Bulgaria)/2016/ 90min.
怪獸遺千年
(The
Beast is still alive)/Mina Mileva &Vesela Kazakova (保加利亞)
For
viewers irreconcilable with the crimes of Socialism and those who
still believe in the idea. A young Bulgarian woman opens the secret
service file of her grandfather. He sympathized with the Bulgarian
Socialists in 1920s, but after seeing the damage the Communist Party
caused, he joined the Goryani anti-communist resistance movement in
the Bulgarian mountains. Using animated sequences and a semi-mystical
dialogue between the granddaughter and her dead grandfather, The
Beast Is Still Alive shows how young generations keep rediscovering
communist ideology against the backdrop of discredited politicians
and former agents of the secret service.
The
dynamic director&producer duo Mina Mileva and Vesela Kazakova
deals with controversial issues. Their internationally acclaimed
feature length documentaries “Uncle
Tony”
and “The
Beast is still alive”
have been banned in Bulgaria and their work has provoked major
discussions throughout the European film industry.Mina graduated
animated film directing in “LA CAMBRE” Brussels and Sofia’s
Film Academy. She entered the British animation industry in 1996
working as animation director/animator and line producer. In 2008
Mina co-founded “Activist 38” with the multiple award-winning
actress Vesela Kazakova. Vesela graduated acting and economics in
Bulgaria.
兩位導演擅於處理爭議議題，她們享譽國際的劇情式紀錄長片「東尼舅舅」(Uncle
Tony)與「怪獸遺千年」
（The
Beast is still
alive）曾被保加利亞禁演，作品在歐洲電影產業引起廣泛討論與迴響。Mina主修動畫導演，畢業於布魯塞爾“La
CAMBRE“視覺藝術學院與索菲亞電影學院，1996
年以動畫導演與執行製片身分進入英國動畫產業，2008年Mina與多次榮獲各大獎項的演員Vesela
Kazakova共同創辦”Activist
38”，Vesela在保加利亞主修表演與經濟。
15.
Draculaland
3/Călin
Dan, Iosif Király and Dan Mihălţianu(Romania)/1993/13min.
德拉古拉之境3(Draculaland3)
/subREAL(Călin Dan, Iosif Király, Dan Mihălţianu)(羅馬尼亞)
The
stakes are mounted on stands and positioned around the monitor. Due
to the limited means of the installation, it was necessary to use a
video film as a resource for capturing the reality of Romania after
the fall of the Berlin Wall, a reality too complex for a documentary
approach. The video camera explores public spaces in Bucharest, a
metropolis devastated by forty-five years of communism, which in the
'90s was invaded by Western consumerism: old buses, Coca Cola adverts
plastered over dilapidated facades, people endlessly chewing gum,
gypsy children dancing in front of the film camera, people arguing
around Ceauşescu’s grave. Rapid cuts alternate with long shots,
such as the inside of an empty trolley bus traveling through the
night; inserts are added with quotations from the tabloid press,
which exploded onto the scene in Romania immediately after 1989,
excerpts from Bram Stoker’s Dracula, chronicles about Vlad the
Impaler, etc. The disparate images describe a country in which the
ghosts of an oppressive past still haunt the present. Draculaland 3
treats with equal irony a Romania floundering in the absurdity of the
transition from totalitarian regime to market economy and a West that
applies a rigid, prejudiced interpretative framework to the same
transition, bringing together the two viewpoints under the sign of
the horror film subculture.
由於有限的裝置媒介，必須要使用錄影作為捕捉羅馬尼亞在柏林圍牆倒塌後的真實，一種對紀錄片方法過於複雜的真實。錄影機探索布加勒斯特公共空間，被45年共產主義摧毀的大都會，1990年代卻被西方消費主義入侵:
老舊公車,
可口可樂廣告到處張貼殘破的牆面，民眾一直嚼著口香糖，吉普賽孩童在鏡頭前跳舞，人民在獨裁者墓前爭吵著。快速跳接的畫面轉成長鏡頭，如整夜遊蕩的無人電車內部;
加入1989年後在羅馬尼亞立即爆發此情此景的小報引文，Bram
Stoker所寫的「德拉古拉」摘文，穿刺者弗拉德（Vlad
the Impaler）的史料等。這些迥異的影像描寫一個專制過去的幽靈仍困擾著現在。「
德拉古拉之境3」以相同的諷刺看待陷入從極權政體過渡到市場經濟的荒謬與採用嚴苛偏見詮釋相同過渡狀態的西方，將兩種觀點置於恐怖片次文化的符號下觀看。
Călin
Dan, Iosif Király and Dan Mihălţianu
The
Romanian art collective “subREAL”was
established in 1990 in Bucharest by Calin
Dan and Dan
Mihaltianu,
with Iosif
Király joining
immediately after. Active in installation, performance, conceptual
photography, video and publications. Their work has been circulating
in all major biennials and thematic exhibitions of the 90s, and is
now present in public and private collections throughout Europe and
the USA. Mihaltianu left the group in 1993. Based in Amsterdam /
Bucharest. “Draculaland
3”
was subsequently presented at a number of exhibitions and festivals
as an independent projection: Europäisches Medienkunst Festival,
Osnabrück, 1993; OSTranenie. Internationales Videofestival am
Bauhaus Dessau, 1993; Tschechisches Kulturzentrum, Berlin, 1994;
Moderna Galerija, Ljubljana, 1994; Kunsthalle der Bundesrepublik
Deutschland, Bonn, 1994; YYZ Artists’ Outlet, Toronto, 1995; Art
Gallery, Windsor, 1996; Mendel Art Gallery, 1996; Articule, Montreal,
1996; Video In, Vancouver, 1996; Reina Sofia Museum, Madrid, 2010 /
Transmediale, CHB - Collegium Hungaricum Berlin, 2009.
The
Blue Noses group originated in 1999.Viacheslav
Mizin was born in 1962 in Novosibirsk.Alexander Shaburov was born in
1965 in Berezovsky town (Sverdlovsk Region).A number of other artists
— Dmitry Bulnygin, Yevgeny Ivanov, Konstantin Skotnikov and others
— also contributed to Blue Noses projects.The Blue Noses
participated in the 1st,
2nd and
3rd Moscow
Biennales of Contemporary Art, in the 50th and
51st Venice
Biennales and other international exhibitions.The group co-operates
with M. & Yu. Guelman Art Gallery (Moscow) «In Citu» Fabienne
Leclerc (Paris), Galerie Volker Diehl (Berlin), Hans Knoll
Gallery (Vienna, Budapest), Loushy Art & Projects (Tel Aviv), Art
Issue (Beijing, Seoul), B&D Studio (Milan), Ethan Cohen Fine Arts
(New York).
17.
East
Side Story/
Igor Grubić(Croatia)/2006-2008/14 min
東城故事(East
Side Story)/Igor Grubić(克羅埃西亞)
“East
Side Story”employs
a specific media language to speak about a social problem of our time
- the
problem of violence and intolerance towards the other and different.
Juxtaposing different media representations, such as archival footage
of documentary origin about the violence on the streets of Zagreb and
Belgrade as a recent found footage material combined with the
"staged" performance based live-action footage of a
choreographed dance performance where the language of movement mimics
the violent actions taking place on locations it really happened,
Grubić achieves a dramatic effect.
Igor Grubić
has worked as a multimedia artist since the early 1990s. His work
includes site-specific interventions in public spaces, photography,
and film. In 2000, he started to work as a producer and author of
documentaries, TV reports, and socially engaged advertisements. His
work has been exhibited in various international institutions and at
different artistic and cultural events. He has been awarded several
times. Exhibited f.e. at Manifesta 4 (Frankfurt); Tirana Biennial 2;
50.October Salon (Belgrade); 11.Istanbul Biennial; 4.Fotofestival
(Mannheim); Manifesta 9 (Genk); Gwangju Biennale 20th Anniversary
Special Project; 'East Side Stories' Palais de Tokyo (Paris);
Thessaloniki biennale 5-Ident-alter-ity ; 'Zero Tolerance', MoMA,
PS1(NY).
18.
Support
Points IV/
Jan Pfeiffer(Czech Republic)/2016/ 3 min.18sec.
支點四(Support
Points IV)/Jan Pfeiffer(捷克)
“Support
Points IV”
consist from two parts, in the introduction is main character women
in the white, which taking care, protect small boy. In the second
part is acting man in black, lines and symbols appear around him as
advance of will
and future acts. Video is part of the project made by Pfeiffer call “
Support
Points”.
Lives
and works in Prague. Studied at the Academy of Fine Arts in Prague
(2006–2011), Prague College School of Art & Design (2002–2005)
and the Cooper Union in New York (2011). He is represented by Drdova
Gallery. He has taken part in numerous exhibitions in the Czech
Republic and abroad. Prizes include the Essl Art Award CEE (2009),
and the 8Henkel Award (2011). Pfeifer employs photography, video,
drawing and animation as documentary tools, which he subsequently
transforms in the concepts of his exhibitions and forms of
presentation. He tends to target the topos of the location and its
perception. The majority of Pfeiffer’s works are based on an
analysis of everyday situations and how we experience them; they
frequently refer to a specific location, to movement and its
trajectory and to a search for one’s own place in the structures of
reality.
1984年生於布拉格，2006-2011
年就讀布拉格藝術學院，2002-2005年布拉格藝術設計學院，2011年紐約庫帕聯盟。參與捷克國內外許多展覽，獲獎包括
the
Essl Art Award CEE (2009)與Henkel
Award (2011)。
Pfeifer
採用攝影,錄像,繪圖與動畫作為記錄工具，接著轉化成展覽概念與呈現的形式，意圖聚焦於地點的慣用傳統與其感知。Pfeiffer的作品基於分析日常情境與人們如何經歷這些情境，常指涉著特定地點，運動,其軌跡與對現實結構中自身處境的尋求。
19.
Color Blind in Tirana/Gentian
Shkurti(Albania)/2004/ 3min. 56 sec.
地拉那色盲(Color
Blind in Tirana)/Gentian Shkurti（阿爾巴尼亞）
The
Mayor of Tirana, a painter, decides to colorfully paint the facades
of the city’s buildings by camouflaging this way the misery of the
other side of the facade. It was clarified by said Mayor that the
intention behind the painting or camouflaging of the facades was to
nurture optimism among the citizens. The video was conceived as a
fictional dialogue between a color blind individual, who does not
perceive any colors as a result of an accident, and a girl who
describes the colors of the city for him. The video is in black and
white, so that it can put the viewer in
the boy’s shoes.
Gentian
Shkurti studied Painting at the Academy of Arts in Tirana, Albania.
Worked two years as associate professor in Academy of Arts in Tirana,
Albania. His works have been exhibitied at Centre Georges Pompidou
(Paris), Documenta – Fridericianum Museum (Kassel), 54 Venice
Biennale (Albanian Pavillion), Chelsea Art Museum (New York), Museum
of Modern Art (Ljubljana) National Gallery of Kosovo, National
Gallery of Arts (Tirana), Sammlung Essl (Klosterneuburg, Vienna), K&S
Gallery (Berlin) and Tirana Biennale 1. He lives in Tirana (Albania).
20.
How
Stars are born?/
Olson Lamaj(Albania) /2015/ 4 min.3sec.
星星從何而生？(How
Stars are born?)/Olson Lamaj（阿爾巴尼亞）
“How
stars are born?”
is a genuine act of presenting pure and simple the ideological
battles that use the same signifies to transmit quite different
‘spirits of time’. Not relying at all on excessive discursive
framing of artwork, one that the contemporary art suffers from
heavily, Olson mashes three dimensions of “the star” in a
confused imagery and narration. He only traces the ideological
overlays of transition, a process which paints post-modern lifestyle
over the layer of contested heritage of an ex-communist country and
society, generating a condition of latent absurdity. The monuments of
a ‘glorious past’ and the partisan stories of grandfathers
continue to be present alongside commercials of a consumerist culture
and kistch local manipulations with the US/EU symbols. The narration
on star science stands in a position of complete absurdity to the
ideological constructs of the meaning of ‘the star’. This is the
predicament of transitional societies, no clarity for the past, and
no viable future, always remaining with in the thick line of
confusion.
Born
and raised in Albania, Olson Lamaj studied visual art in Milan where
he has worked and lived for several years. He has participated in
various exhibitions throughout Europe and in his native Albania. He
works in several media including photography, video, painting and
installation, though his work is typically serial photography
executed over a long period of time. In addition, he makes
site-specific work when inspired by a physical place. His training in
the Italian academy has deeply impacted his practice, not only in his
treatment of photography as an art medium, but also in his ability to
notice and capture the absurdities, ironies, and contradictions that
are a result of the unregulated and fast-paced change that
characterizes contemporary urban Albania. As an artist who lives
between two different worlds, Lamaj is sensitive to these
transformations and shares the peculiar visions that this position
affords him.
