8月21日夏季特别项目“Durational 影集”将会在 Vanguard 画廊开启，在为期两周的活动中，我们会呈现11位国内外艺术家的16件影像作品。此次项目不仅涵盖了影像艺术发展初期艺术家们对这一媒介的探索，同时也包括了年轻艺术家们近期的创作。在光影流动的历史段落与当代续写之间，展开一场关于影像艺术跨越时代和地域的对话。
Vanguard Gallery is pleased to present Durational, a special summer project where 16 video works by 11 domestic and foreign artists are to be screened throughout two weeks from August 21st. Durational, enclosing not only earlier exploration of video artists at the initial stage of video development but also recent creations of emerging artists, is about to initiate a dialogue on video art across time and regions, amid the historical passage and contemporary continuation of moving images.
安东尼·蒙塔达斯1942 年出生于西班牙巴塞罗那，目前生活在纽约。蒙塔达斯是著名观念艺术家，也是国际录像艺术的元老级人物之一。他试图通过作品，探讨诸如“社会框架内的公共和私人空间之间的关系”等社会、政治和传播问题，并对信息渠道及其可能被应用于审查或传播思想的方式进行了深入研究。其创作媒介涵盖了摄影，录像，出版物，互联网，装置和城市干预。Born in 1942 in Barcelona, Muntadas has lived and worked in New York City since 1971, and developed art projects around the world. Antoni Muntadas is an internationally acclaimed pioneer of media art and conceptual art. Through his works, Muntadas addresses social, political and communication issues such as the relationship between public and private space within social frameworks, and investigates channels of information and the ways they may be used to censor or promulgate ideas. His projects are presented in different media including photography, video, publications, the Internet, installations and urban interventions.“动作”、“雪花”创作于上世纪七十年代，是蒙塔达斯基于当时的新兴媒介——电视和影像的先锋性和实验性的探索成果，推动了录像艺术在当代艺术领域成为一种独立的艺术形式。
Actions and Snowflake, both created by Muntadas in the 1970s when television and video emerged as new media, are considered as pioneering and experimental results of exploration which have urged video art to become an independent art form in the field of contemporary art.
安东尼·蒙塔达斯 Antoni Muntadas
录像，黑白，有声 Video, b&w, sound
1972“动作”是蒙塔达斯开始探索录像领域的首批作品之一，也是1971 年至 1972 年间艺术家创作的亚感官体验系列的一部分，影片包含四个动作：对材料的触觉探索；用盲文书写文字；有机材料与无机材料的互相摩擦；两个人的心率对比。This is one of the first works with which Muntadas begins to explore the field of video. This film is part of a series of subsensory experiences performed between 1971 and 1972. Four short actions: tactile exploration of a material; writing a text in braille; friction of an organic material with an inorganic material and comparison of the heart rate of two people.
安东尼·蒙塔达斯 Antoni Muntadas录像，黑白及彩色，声音 Video, b&w and color, sound巴塞罗那动物园里住着世界上唯一一只白化大猩猩——“雪花”，它在1960 年代初抵达动物园后便成为了媒体关注的焦点。在影片中，蒙塔达斯对 “雪花”的经历和生活进行了详细的描绘，由此对自由相关的几个问题提出了质疑。除此之外，大猩猩对于游客的吸引力，也让我们得以重新思考观看者与被观看者之间的作用关系。
In the Zoo of Barcelona lived Snowflake, the only albino gorilla in the world, who became a media event after his arrival at the zoo in the early 1960s. In this “portrait”, made by Muntadas, several questions about freedom are questioned. Among other things, the gorilla and the visitors give us the opportunity to draw some conclusions about the attractiveness that gorillas have for human beings: the exchange between the observer and the observed.
安东尼·蒙塔达斯 Antoni Muntadas
阿尔法城及其他 Alphaville e Outros
高清录像，彩色，有声 HD video, b&w, sound
2011“阿尔法城”是位于圣保罗的一个封闭式住宅区，也是“阿尔法城及其他”的主要取景地，蒙塔达斯试图在这部作品中研究“封闭式社区”现象，以及人的恐惧和对专有权的追求如何导致城市的孤立和排他。"Alphaville", a gated residential neighborhood in Sao Paolo, is the primary site of Muntadas's Alphaville e outros, which examines the phenomenon of "gated communities," and how fear and a search for exclusivity lead to urban isolation and exclusion. 作品参考了1965年让-吕克·戈达尔执导的电影《阿尔法城》（圣保罗街区的名称由此而来），这是一部关于极权主义城市未来的反乌托邦科幻电影。蒙塔达斯将戈达尔黑白电影中的场景与巴西“阿尔法城”近乎乌托邦式的宣传、数字动画、监控录像采集片段以及圣保罗社区游泳池、网球场和花园的图像并置于作品中。作品呈现了由恐惧与控制的修辞机制所营造的叙事空间；连续巨大的围栏在影片中反复出现，暗示曾经环绕城市的中世纪防御墙。The work takes as its reference the 1965 film Alphaville by Jean-Luc Godard (from which the name of the Sao Paulo neighborhood was derived), a dystopian sci-fi vision of a totalitarian, urban future. Scenes from Godard's black-and-white film are juxtaposed with near-utopian promotions for the Brazilian "Alphaville", digital animations, footage from security cameras, and images of the Sao Paolo neighborhood's pools, tennis courts and gardens. Muntadas presents an architecture of space based on the rhetoric and mechanisms of fear and control; the recurring images of massive, running fences suggest the medieval defensive walls that once ringed cities.
阿尼巴尔·洛佩斯1964年出生于危地马拉，并在此工作生活直到 2014 年去世。他曾应邀参加了第十三届卡塞尔文献展（2012年），在危地马拉城的西班牙文化中心举办过个展（2011 年），2001年威尼斯双年展时，他被授予金狮奖最佳青年艺术家。Aníbal López was born in 1964 in Guatemala, where he lived and worked until 2014 when he passed away. He was invited to participate in dOCUMENTA (13), Kassel. López also had a solo exhibition at the Centro Cultural de España in Guatemala City (2011). He was awarded the Golden Lion as Best Young Artist at Venice Biennale in 2001. 在危地马拉，武装冲突仿佛是孩子们的玩具。洛佩斯通过作品中对未来的畅想来质疑和审视世界，他希望未来的孩子是拥抱生活的，而非相信仇恨的。他批判那些使我们陷入贫困和传递误导信息的人。其创作手法不同于概念或极简主义艺术家，洛佩斯自称是一位实用主义者，运用多种媒介来接近创作主题的核心。
His work questions and examines the world with projections to the future, where armed conflicts are kids’ toys, for children that have faith in living and not in hating (to live without hate). Without forgetting to judge the ones who have brought us to these poverty conditions and misinformation. He did not consider himself a conceptual or minimalist, but utilitarian of these mediums, as a precise way of approaching concrete subjects without much paraphernalia.
Aníbal López 阿尼巴尔·洛佩斯
Single-channel video, colour, sound
2012作品“证词”曾在2012年第十三届卡塞尔文献展上展出，通过职业杀手的经历来揭示危地马拉的社会现实。这场表演呈现为一次对公众开放的“会议”，观众可以自由向这位年轻的危地马拉人提出任何问题。The project “Testimonio” by Anibal Lopez presented at dOCUMENTA (13) – Kassel, 2012 – consists in the complex and delicate attempt to shed light on the reality of Guatemala through the experience of a professional assassin. The artist, in fact, has built a sort of “conference” open to the public of dOCUMENTA (13), where the audience is free to ask any questions to the young Guatemalan. 危地马拉是一个腐败和犯罪率很高的国家，没有实质性的民主。职业杀手讲述了他以暴力为生的生活方式，在一个杀人只是一种谋生方式的国家，高度不稳定的生活条件致使职业杀手成了一份不受社会谴责的工作。杀手在谈论他的工作时表现出的浅薄和轻描淡写，也促使公众提出更多进一步的问题。Guatemala is a country with a high rate of corruption and crime, and without a substantial democracy. The overall framework outlined by the assassin was to a lifestyle marked by violence, in a country where killing is simply a way to earn their living, a job which is not socially condemned, which was forced due to the conditions of a highly precarious life. In this sense, it was found a certain superficiality and lightness with which the assassin spoke of his work, which has urged the public to more further questions.