I SEE International Video Art Festival 国 际 艺 术 影 像 节

This partner program was screened exclusively at

MOMENTUM Berlin
Institute For Provocation Beijing
Times Museum Guangzhou
OCT Art & Design Gallery Shenzhen
Organhaus Chongqing

第四单元：自动分析 （选自柏林Momentum馆藏作品）

TOTAL 66 MIN
总时长66分钟

The MOMENTUM Collection represents a cross-section of 120 outstanding artworks in a diversity of media: video, performance, photography, painting, collage, and text. It ranges from some of the most established to emerging artists representing 17 countries worldwide. This program shows seven video art works that explore the relationship between a subject and its self-perception towards transformative environments.

What is going on in a child‘s mind? Do we need „others“ to define our self? How lost is the white male? Are dogs the better humans? Can you run away from your self? How much time is a beard? How romantic are ruins?

柏林Momentum馆藏代表了120件杰出的各类艺术作品，包括：录像、表演、摄影、绘画、拼贴、文本。这些作品来自均17个不同国家艺术家，既有名声在外的，也有新起之秀。这一单元的7部作品，探索在变革环境中物体及其自我感知的关系。

孩子的脑子里在想什么？我们需要其他人来定义自己吗？白人男子是如何迷失的？狗比人类好吗？你可以逃离自我吗？胡子是多长时间？浪漫是如何被破坏的？

MICHAEL

迈克

Mark Karasick / 3 min
3分钟

As Karasick’s first foray into video, Michael examines the visual reflections of changing psychological states, here expressed by the young son of a museum director acquaintance. Similar to Bill Viola’s video works that depict series of evolving emotions, Michael uses close-ups, slow motion and black-and-white to emphasize an intimate, home videolike relation with the film’s emotive protagonist.

作为Karasick第一个影像作品，迈克在视觉映像中检验变化的心理阶段，由一个博物馆总监朋友的儿子来演绎。与艺术家Bill Viola的影像作品异曲同工之妙，演绎了变化中的各种情感，迈克使用特写、慢动作、黑白等方式做成类似于家庭录像来强调与有着丰富情感的主人公的亲密关系。

OTHER

其他

Tracey Moffatt & Gary Hilberg / 7 min
7分钟

“OTHER is a fast paced montage of film clips depicting attraction between races. Marlon Brando looks at Tahitian girls and Samantha from Sex and the City ogles an African American football player in the men’s locker room. Seven minutes of gazing and touching and exploding volcanoes. Very funny, very hot.”

“这是一个以快节奏的蒙太奇剪辑电影片段来描述不同种族相互吸引的情感。马龙•白兰度看见塔希提女孩和《欲望都市》里的萨曼莎在男更衣室里与黑人美国足球队员眉目传情。7分钟的凝视和抚摸，以及火山爆发。很幽默，很热烈。”

THE WHITE MALE COMPLEX #5 (LOST)

白人男子的复杂性#5（迷失）

Thomas Eller / 11 min
11分钟

Shot on Lampedusa in 2014, on the beach infamous for its migrant traffic, Eller lives the plight of so many who wash up on that shore. Eternally looping at the cusp of life and death, this work leaves the viewer feeling oddly complicit in one man’s surreal struggle. Yet while one white man submerged in a suit is surreal, thousands of African migrants are our reality. Like Isaac Julien’s 2010 work Ten Thousand Waves, on the deaths of Chinese migrant cockle pickers on the shores of the UK, Eller in his own language tackles the watery deaths of migrant workers as a sadly universal suffering, devoid of markers of place or time.

作品在2014年拍摄于蓝佩杜萨岛。这里海岸以移民偷渡而声名狼藉，艺术家Eller面对许多人从这里被冲上岸的困境。生死关头的永恒循环，这部作品带给观众与个人超现实的挣扎奇特的共鸣。然而一个白人男子穿着西装淹没在水中是超现实的，千万的非洲移民确是现实的。如艺术家Isaac Julien 2010年的作品《万重波浪》再现英国海湾中国拾贝人的死亡惨案，Eller运用自己的影像语言展现移民溺亡是一个全球需要承受的悲剧，不分地点和时间。

GOD, A DOG IS BETTER THAN ME

李振华|天啊，狗都比我好

Li Zhenhua / 3 min
3分钟

Strolling on the beach, talking to friends about local life during his visit to the 2010 Winter Olympics in Vancouver, Li Zhenhua encounters a dog, playing with a log. Fascinated by its behaviour, he films it with his iPhone. In the film, we observe the animal blissfully engrossed in his game, as he digs a hole around it, takes it into the waves and out again, to no particular end. In this fragment of daily life, the dog’s unconscious needs appear nonsensical, much like we would seem to an alien observer, if viewed from above.

2010年到访温哥华冬奥会期间，艺术家在海边闲逛，与朋友聊着当地生活，遇到了一只狗正在玩一根伐木。他被狗的动作深深吸引，拿起iPhone拍下了这个片段。在影片中，我们看见一个动物如此津津有味全神贯注地玩着自己游戏，它在四周挖了一个洞，又叼着木头到波浪里，再叼回来，循环往复。在日常生活的碎片中，狗的无意识需求看起来毫无意义，这就好像外星人从外面看我们人类一样吧。

RUNSCAPE, WHEN RUNNING REMAINS THE ONLY UNBOUND SPACE IN THE URBAN FIELD

逃跑，只有跑起步才能想起城市里没有束缚的空间

Map Office / 24 min
24分钟

Runscape is a film that depicts two young males sprinting through the public spaces of Hong Kong, almost invariably via the visual mode of the long shot, while a narrator describes this action through the rhetoric of post-structuralist urban theory. This narration makes repeated reference to a range of texts from the psychogeographical dérive of urbanism in Guy Debord and the Situationists to the biopolitical machines of Gilles Deleuze to the literary styles of Jean-Luc Nancy.

两个年轻的男生在香港公共空间疾跑，影片持续不断使用长镜头，旁白则引用后结构主义城市理论的修辞学进行表述。其中引用一系列文本，从居伊•德博的都市生活经历的心理地理学理论和情境主义、吉尔•德勒兹的生物政治化机器理论，直到让-吕克•南希的文章裁体。

CHRONOS

计时

James P Graham / 6 min
6分钟

Chronos is the second part of Graham’s cycle of life series, made between 1999 and 2001. It uses humor within everyday life to contrast the “use of” and “loss of” time. It was shot on location in Rajastan India between February and March 1999.

这部作品是Graham生命轮回系列的第二部分，该系列创作于1999年到2001年期间。以幽默的方式表现每日生活中“利用的”和“浪费的”时间。1999年二月以及三月期间，这部影片拍摄于印度拉贾斯坦邦。

ATARA

阿塔拉

Amir Fattal / 8 min
8分钟

Atara is dealing with different layers of the concept of resurrection in the context of German history. It combines a reversed version of the Liebestod song from the opera “Tristan und Isolde” by Richard Wagner – that Fattal previously recorded together with an orchestra at the Berliner Funkhaus – together with a video taken at the workshop of the Berliner Stadtschloss in Spandau, where the new Baroque-style stone facade of the Stadtschloss is currently being rebuilt.

这部作品展示了在德国历史上不同层面的复兴的概念。结合了选自Fattal早前与管弦乐团在Berliner Funkhaus录制的瓦格纳歌剧《特里斯坦与伊索尔德》“爱之死”一曲与在柏林斯潘道的柏林城市宫录制的一个工作坊影像。同时在城市宫，新的巴洛克风格的石头墙面如今正在重建。