36th Asolo Art Film Festival:The In-Between State of Mind (June 6-10, 2018) 第36屆義大利阿索洛藝術影展: 東歐/俄羅斯錄像研究專題「浮動心境」

36^th Asolo Art Film Festival (June 6-10,2018)

Eastern Europe/Russia Video Research Project
第36屆義大利阿索洛藝術影展(2018年6月6-10日)
東歐/俄羅斯錄像研究專題

The In-Between State of Mind  

浮動心境

  

Curator: Yunnia Yang

策展人：楊衍畇

Artists/參展藝術家: 
Milos Tomic (Serbia)/AES+F(Russia)/Goran Radovanović(Serbia)/Šejla Kamerić(Bosnia)/

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”).

新世界揭露各種誘惑，大家會迷失其中並扭曲個人的價值觀( Marius Gherasim的「謎失」) ，在高度物質主義的社會，一切都能成為買賣的商品，連作夢也不例外 （ Vlad Buzaianu的「販賣夢想」)，對抗消費主義的藝術顛覆可能以幽默感微妙顯現。貧窮對前蘇聯國家是一種要擺脫的情結問題(Goran Radovanović'的 「我的祖國」)，但對人民來說卻是啟發尋求另類生存之道 (Nika Oblak與 Primoz Novak之作「南遊記」)。嚮往西方美好人生，同化成西方生活模式就像是全民運動（Anastasija Piroženko的「模仿症候群」)。全球化沒有絕對好壞，重要的是否能反映人道主義的基本意念，如多元文化主義、生物多樣性（Boris Kozlov的「後現代先鋒頭銜」)，特別是對這富含文化遺產的地區。彼此有愛超越任何性與性別、種族、宗教、物種等的政治定義( Goran Radovanović的「 再見仍是朋友」) 。戰爭能導致嚴重的摧毀並會使全世界瞬間變成地獄(Miloš Tomić 的「泥鴿」)。僅管人類非常瞭解這可怕的結局，利己主義事實上强過利他主義。今日可以普遍地在電玩遊戲中觀察到好戰心理，一旦消除虛實界限，殘酷的殺戮行為會發生在任一電遊玩家身上，甚至是一個小孩子 (AES+F的「終極叛亂」)。戰爭創傷在太平日子中卻能籠罩一輩子，對見證者來說也是一種戰爭的集體性記憶 (Šejla Kamerić的 「沒有紅衣的日子」)。

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” by Mina Mileva & Vesela Kazakova), crucial for the contemporaries to figure out the real world where they live in.

媒體、觀光與商業化是影響對後社會主義國家文化認知的重要因素，刻板印象與童話故事皆是普及可見的態度。今日世界難以發現真相，甚至是歷史可以被建構。要破除文化幻象，藝術家使用虛實混合 (subREAL的「德拉古之境3」)、諧擬(Katarzyna Kozyra的「夏日童話」)、拓撲學(Jan Pfeiffer的「支點四」)、否定(Gentian Shkurti's 「地拉那色盲」)與解構神話 (Olson Lamaj的「星星從何而生?」)等手法。然而，被建構的幻象在幾十年來共產政權統治下仍留存於人民心中。藝術家訴諸關於不人道( Ciprian Mureșan的「好狗魯夫」)、否定神學(Zaneta Vangeli的「審判」）、人權(Igor Grubić 的「東城故事」)與極權主義的影響(Mina Mileva & Vesela Kazakova的「怪獸遺千年」) 等基本問題，對當代人民來說極為重要是去理解他們所生存的真實世界。

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).

至於藝術創意，藝術家未曾被主流的新媒體奴役而失去他們的原創性，亦不會被西方美學同化。低階技術無法在當代世界中與高科技的效率與便利媲美，卻可以帶來一股人性與出自非理性與不合邏輯的笑聲 (Blue Noses的「絕對藍鼻子」)。我們能看到他們的創意如何帶給我們意外影像 (Miloš Tomić 的「泥鴿」) 與觀念啟發(Ciprian Mureșan's「好狗魯夫」 ， Zaneta Vangeli's 「審判」)。藉助新媒體，藝術家能探索新的視覺語言來詮釋當代生存處境，並向世人挑戰思索此般「浮動心境」 (AES+F'的「終極叛亂」、Marius Gherasim的「謎失」、 Vlad Buzaianu的「販賣夢想」、 Mina Mileva & Vesela Kazakova「怪獸遺千年」)。

Trailer: 

1.Clay Pigeon / Milos Tomic (Serbia) / 2005/ 6 min. 41sec.

泥鴿(Clay Pigeon)/Miloš Tomić（塞爾維亞) 

"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 55^th 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 55^th 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.

1987年成立的俄羅斯當代藝術團體 “AES”，成員包括觀念建築師Tatiana Arzamasova 與Lev Evzovich、跨域設計師Evgeny Svyatsky，自 1989年國外巡迴展出日益增加，1995年邀請攝影家Vladimir Fridkes加入而形成今日的 “AES+F”。近期作品結合攝影、錄像、數位科技，但仍對傳統媒材－雕塑、繪畫、素描與建築等有持續性的興趣。AES+F所創造的偉大影像敘事探索當代文化在全球體系的價值、罪惡與衝突。如今AES+F已是俄羅斯當代藝術最重要的創作團體，2007年威尼斯雙年展俄國館展出的三頻道錄像裝置「最後叛亂」(Last Riot)確立了AES+F創作美學與突破數位媒材的框架，此後屢獲國際各大雙年展、 重要世界藝術博覽會邀請展出並獲獎無數，2011年俄國Sergey Kuryokhin大獎、2012年俄國當代藝術大獎- Kandinsky Prize、2014年瑞士NordArt Festival大獎、2015義大利 Pino Pascali大獎等。

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.

導演在本片中想探討賽爾維亞/阿爾巴尼亞爭端的本質，導致15年前的戰爭、毀滅與犯罪，意圖提問這兩個飛地實存的民族（被少數回教徒包圍的少數基督教徒土地）是否仍可能共存? 導演表明基於恐懼差異的仇恨仍在雙方種族延續。恐懼是缺乏愛....那是為何本片主角是一位十歲男孩敢於為科索沃基督教與回教雙方族群做出意想不到的事-與對方為友！導演想拍一部以關於寬恕與愛的永恆性與啟發性故事。本片榮獲2015年奧斯卡最佳外語片提名。

Goran Radovanović

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. 

1957年生於貝爾格勒，1982年畢業於貝爾格勒大學哲學系藝術史主修，1977-80年獲歌德學院獎助赴慕尼黑研究，返國成為一名作家與劇情片,紀錄片導演。歐洲電影學院、柏林與塞爾維亞影像藝術家協會會員。現任古巴國際影視學校(EICTV)客座教授。

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.

1990年代初期塞拉耶佛圍城1395日期間，市民被告誡禁穿亮色衣物，以免引起在山丘高處狙擊手的注意。今日追溯狙擊手之巷路徑，Šejla Kamerić 影片鏡頭追隨一位由Maribel Verdú扮演的女子，她步行穿過塞拉耶佛，她在每個路口決定要停下腳步或奔跑, 獨自跑過或是與他人一起奔跑。

Šejla Kamerić

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.

Šejla Kamerić 藝術創作跨足媒體, 電影, 攝影,物件或素描，她作品中無所不在的元素常是不安的記憶，她當作是一股透過沈重的過去強化現在焦點的力量來源. 以自身經驗,記憶與夢境為基礎，她的創作帶我們到錯置與歧視的全球空間。從她作品中散發的美麗與哀愁、希望與苦痛是我們所分享故事的部份。她主題的份量在於強烈對比她個人美學與她對細緻媒材的選擇。

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.

「我的祖國」是導演Goran Radovanović 於1999年拍攝塞爾維亞的紀錄片：極度貧窮、貪污專制、種族問題、北約攻擊、國家透過媒體操縱民眾...渴求民主...

6. Going South/Nika Oblak &Primoz Novak (Slovenia)/2009/31min.15sec.

南遊記（Going South)/Nika Oblak &Primoz Novak(斯洛維尼亞)

“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.

「南遊記」是一部關於藝術家Nika Oblak 與 Primoz Novak 創下金氏世界紀錄的紀錄片，從斯洛維尼亞首都盧布里昂那出發到達阿拉伯公國沙迦市，3年又12天完成手推車徒步14,500公里的壯舉。

Nika Oblak &Primoz Novak

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).

雙人創作組“ Nika Oblak & Primoz Novak ”向來以解剖當代媒體與資本導向社會的視覺與語言結構檢視之為名。語帶嘲諷荒謬，他們的機動錄像裝置質疑人類的價值與本質,探索人類與科技的關係。Oblak&Novak展覽遍佈全世界，沙迦雙年展、東京媒體藝術節、伊斯坦堡雙年展、林茲Cuvee雙年展、柏林Transmediale數位藝術節、聖保羅國際電子語言藝術節(FILE)等。

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.”

Vlad Buzaianu 定居與工作於布加勒斯特，畢業於布加勒斯特大學商業研究與心理學，本片為他處女作。

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.

是什麼可能將一家鄉村夜總會連結，那裡有歌手盲目地唱著流行的西方旋律，一名穿著輕騎兵制服的黑人啞巴獻花，與一班吸引尋找宗教認同的群眾之瑜珈課？「 模仿症候群」處理發生在立陶宛獨立之後的西方模仿概念，一系列的短篇速寫影像，諷刺性影片呈現多種社會、政治、文化領域身分尋求的嘗試。

Anastasija Piroženko

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.

立陶宛音像藝術家與電影導演，現在定居於阿姆斯特丹，2012年取得維爾紐斯藝術學院攝影與媒體藝術學士，2016 年獲得荷蘭電影學院電影碩士學位。Anastasija的藝術實踐橫跨電影,錄像與攝影。家庭、社群與烏托邦是她創作主要題材，她的影片時常在虛構與真實間取得平衡。

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…

1973年, 美國天文學家Carl Sagan太空梭先鋒10號設計「先鋒」金屬板，是人類首度對外星文明發送訊息，40年後的今天，世界齊聚發送一項新訊息....

Boris Kozlov

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.

1977年生於貝爾格勒，現今定居西班亞馬德里，將實驗電影創作結合至廣告創意中，醉心於嘗試破解精神病鬧劇的密碼與所謂正常的迷思。

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.   

來自布加勒斯特的Marius Gherasimg曾是一名搖滾音樂人，後來對平面設計有興趣進入國立布加勒斯特藝術大學就讀，不久又決定放棄工業設計投入電影，現在他與同好共同創作電影、攝影與繪畫。

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…

2008年所拍攝的「夏日童話」是「藝術夢想成真」系列影片。看似純真的童話故事「白雪公主」，七個小矮人在本片變身成五位辛勤工作的矮婦人，被下毒的音樂大師(Maestro)因為女子一吻而甦醒，還有一位性感女士到底適何方神聖...所謂「真女人」的理型卻是一位男性，而活在世外桃源的矮婦人並非是秩序與和平的化身。因此，本片所隱藏的哲學思維是精彩的童話敘事絕非單純或直白。恐怖事件即是在田園牧歌式意象與緩慢鋪陳情節形成強烈對比。劇中人物乾淨整齊的服裝沾染被害者的鮮血，Kozyra所飾演的女人也試圖適應矮婦人的生活形式，唯有變成為犯罪承受重刑的女巫...

Katarzyna Kozyra

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.

本作於2009 年威尼斯雙年展羅馬尼亞國家館展出，呈現五隻狗布偶的對話，這五位「犬機器共和國」成員討論從古希臘迄今的人類史，喜好殘忍、酷刑與處決。牠們的對話交流是以羅馬尼亞劇作家 Saviana Stanescu所寫的文本為基礎，這場景在極具晦暗的舞台以正式卻形而上的方式演出狗群試圖定義非人性的界限。

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.

1977出生於羅馬尼亞，2009年曾以「好狗魯夫」(Dog Luv)代表羅馬尼亞參加第53屆威尼斯雙年展，作品曾在巴黎龐畢度藝術中心, 芝加哥文藝復興協會(Renaissance Society),紐約新博物館(New Museum)以及第17屆雪梨雙年展展出。Mureșan為東歐最具影響的藝術期刊之一IDEA arts+sosiety編輯團隊成員之一，他近期創作涵蓋繪圖、動畫電影、攝影、雕塑與錄像，以1989年後的後共產主義情境出發，創作著眼於文化認同與集體化過程的議題。

13. The Judge/ 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..."

「審判」是一部實驗敘事劇情片，是關於一位年輕導演拍攝首部電影「審判」自身指涉的故事，另類刻畫惡魔的形貌，對於藝術與政治極為投入。本片試圖聚焦否定法原則，藉由差異化與否定上帝來接近祂。惡魔最有意義同時又是矛盾投射之一是「...事實上沒有所謂上帝的選民(Chosen People)，沒有同謀，而只有單純的自我投射...」

Zaneta Vangeli

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 59^th 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.

生於1963年，是位多媒體藝術家，從事繪畫,裝置,錄像與電影創作。自2008年起擔任馬其頓斯科普耶(Skopje)聖西里爾與梅托底烏斯大學( Ss. Cyril and Methodius University)繪畫系教授(1963) 。「審判」是她首部電影，於2002 年第59屆威尼斯影展首映 ，她曾在許多國際當代藝術館/影展舉辦個展與聯展，如斯德哥爾摩現代藝術館， 維也納路德維希(Ludwig)現代藝術館、卡塞爾 費德里克博物館(Fridericianum)、拿波里卡沙里亞(Casoria)當代藝術館、史特拉斯堡現代暨當代藝術館、聖保羅影音博物館、法蘭克福德國電影博物館等。

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. 

對觀者而言，社會主義的罪行與其信奉者是無法和解的，一位保加利亞年輕女子公開她祖父的祕密入黨檔案，1920年代他同情保加利亞社會主義者，但在看到共產黨所造成的損害後，加入在保加利亞山區的Goryani 反共抗爭運動。使用動畫與祖孫兩人的半祕密對話，本片呈現年輕世代如何重新發現聲名狼藉的政客與前共黨信徒的歷史背景下的共黨意識型態。

Mina Mileva & Vesela Kazakova

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. 

這三位羅馬尼亞藝術家於1990年組成subReal藝術創作團體，對於羅馬尼亞在1989年的政治變遷結果以觀念藝術與行為藝術反動，「德拉古拉之境」系列（1993-95)藉由使用多元文化與個人來源結合虛構與真實。「德拉古拉之境3」獲選為代表1993年威尼斯雙年展羅馬尼亞國家館展出作品。1993年Dan Mihălţianu離開subReal單飛，展開個人的創作生涯。

16. Absolut Blue Noses/ Blue Noses(Russia)/ 2002/ 7 min. 9 sec.

絕對藍鼻子(Absolut Blue Noses)/Blue Nose(俄羅斯）

The Blue Noses used «low-tech» methods to produce video clips advertising vodka «Absolut».

藍鼻子秉持著以諧擬諷喻當代主流文化與消費主義，其行為錄像所散發的詩意特質是伴隨著笑聲展現某種觀念價值，本片以知名伏特加品牌“Absolute”作為諧擬主題，意圖打破品牌魅力對大眾影響的迷思，親民手法令人莞爾。

Blue Noses

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 1^st, 2^nd and 3^rd Moscow Biennales of Contemporary Art, in the 50^th and 51^st 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).

由來自新西伯利亞的Viacheslav Mizin與凱薩琳堡的Alexander Shaburov於莫斯科組成「藍鼻子」藝術創作團體，以幾近搞笑胡鬧的行為錄像著名，創作界乎日常生活與藝術現象之間，看似半專業,半業餘的層次，事實上這種疏離當代文化的特性-諧擬,幽默,荒誕,正是藍鼻子的創作基本策略。

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.

本片創作意旨在於處理社會少數性權的議題，呈現對多樣性的暴力反應。2001年貝爾格勒與2002年札格列布舉辦同志大遊行期間，社運份子為同志族群平權，而市民卻殘酷回應，藝術家決定請舞者在兩地遊行現場以舞回應。這是一種暗示活躍創造力在場，像是抗爭運動的方式，試圖改善偏見、保守的社會。

Igor Grubić

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).

1969年生於札格列布，Igor Grubić認為藝術是一種道德與政治行動主義的形式，創作常實踐於公共場域，自1990年代早期以多媒體創作活躍，作品涵蓋限地製作介入公共空間、攝影與錄像。2000年開始從事紀錄片、 電視報導、公益廣告的製片與導演。創作展出於各大國際藝術節，如第四屆歐洲宣言展(Manifesta4)、第二屆地拉那雙年展(Tirana Biennial 2)、第50屆貝爾格勒十月沙龍(October Salon)、第11屆伊斯坦堡雙年展等。

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”.

「支點四」包含兩個部份，引言是照顧保護小男孩的白衣女子，第二部份是行動的黑衣男子，線條與象徵出現在他周圍，如意志的發展與未來的行動。「支點」計畫是探索意念,視像與其形式與符號的形式語言的轉譯的長期創作計畫，也問如何知道何時某種哲學方向仍是活躍當代、有益的，與何時只是一種讓它存在的重複性努力。

Jan Pfeiffer

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.

地拉那(Tirana)市長是一位畫家，決定將城市大樓立面彩繪五顏六色以掩飾城市殘破另一面，市長表明彩繪背後的意圖是孕育市民的樂觀主義，本片是以一位因為意外無法感知到任何顏色的色盲市民與一位向他描述城市顏色的女孩間的虛構對話，本片以這位色盲市民視點出發拍攝黑白影片。

Gentian Shkurti

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).

1977 年出生於阿爾巴尼亞，就讀地拉那藝術學院繪畫系，並曾擔任該校助理教授兩年，作品曾於巴黎龐畢度藝術中心, 卡塞爾文件展, 第54屆威尼斯雙年展阿爾巴尼亞國家館, 紐約雀爾西(Chelsea)藝術館, 盧布里昂那 (Ljubljana)現代藝術館, 科索沃國家畫廊, 地拉那國家畫廊. 地拉那雙年展等國際展會展出。

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.

本片呈現單純的意識型態衝突，使用相同的符徵傳遞不同的時代精神，絕非依賴藝術作品的過多話語框架，這是當代藝術所飽受的折磨。Olson 以混淆的影像與敘事粉碎「星星」的三維向度，僅是追溯轉變的意識形態重疊部份，將後現代生活風格彩繪於前共產國家與社會的爭議遺產層面之上的過程，而這過程生成一種潛在荒謬的狀態，「光輝昔日」的紀念碑與祖父報效黨國的故事繼續在現今消費主義文化的廣告與當地媚俗地操弄歐美象徵發酵，行星科學的敘事相對於「星星」意識型態建構的意義處於完全荒謬的地位，此為過渡社會的困境，對過去含混不清，對未來茫然無策，總是困惑以待。

Olson Lamaj

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.

1985年生於地拉那，創作調查與阿爾巴尼亞當代生活與更為普世永恆的意義系統相關的社會與政治議題，Lamaj為地拉那MIZA 畫廊的共同創辦人之一，其創作計畫強調 符號過度飽和與神祕特質，幾乎與各種政治意識形態相關，作品作為一種現今的集體神話學，為新神話的投射與創造奠定基石。