Dancing and Turning 《旋转、舞蹈》video , 10’04”, 1987

 A dance video shot during the rehearsals of 

"Women", second part of the tryptich "Treason" 

by Mark TOMPKINS. Music by Hélène SAGE. 

阿兰是法国最早涉足数码艺术与录像创作的艺术家之 一，1987的本片是早期以录像手法纪录舞蹈并再创作的一部实验作品。

The sea，《大海》，Video, 5’, 1991

La mer (the sea), depicts the Mediterranean 

Sea from a fixed perpendicular plane, enlarging the viewer’s normal field of vision to renew the perception of this natural spectacle. It comments on the emerging surfaces which support the messages of contemporary life, as unstable, elusive and undergoing rapid transformations. 

Ange Leccia是法国录像艺术最具代表的艺术家之一，本次展映的是他1991年的经典作品 《大海》。影片以一个固定的截面视角来描绘地中海，通过拓展观影者的常态认知来加深其对地中海这一自 然奇景的认识。

Existence without air, food, or water，《如果没有空气、食物和水》Video, 10’46”, 2013

Without Air, Food, or Water takes its inspiration from some diaries that fell into Cheng Ran’s hands. He chose to turn certain excerpts on time and memory into videos, describing a mental state devoid of material considerations. 

《如果没有空气，食物和水》取材于程然偶然获得的几本日记，他选取其中关于时间和回忆的部分拍成录 像，借以描述一种去除物质化的思想状态。  

The last sentence,《最后一句话》, video, 12’33”,2013

The Last Sentence' was produced by Cheng Ran in Iceland. It displays unusual natural sceneries 

and elements on the road, in combination with conversations and music on the radio. In post-editing, the artist selected and rearranged dialogues from the classic movie Gone with the 

Wind (1939) as off-screen narration. Reality and virtual sound intertwine with the images, thus 

becoming ambiguous. 

《最后一句话》是由程然于冰岛期间拍摄而成。画面中自然界极端的奇幻风景和伴随着狂风和电台时有时无的谈话和音乐并行展开。后期剪辑中，艺术家选取了经典电影《飘》（1939年）中的对白，将其进行重新编排和录制作为影像的画外音。现实和虚拟的声音互相交织，使影像的所指变得含糊不清。

Volant ,《飞翔》, Video, 2’12”, 2012

We believe moving to the rhythm of the clouds. But it is the sky ahead without us. Before, the cordes of a single kite draws a volume. A bird appears and this is the space that appears.

Mouettes, 《海鸥》, Video, 6’45”, 2012

Seagulls flying at the edge of the earth. They are the color of the sky and

disappear when they are rising.

海鸥在天际飞翔，因与天空同色，当它们飞起即消失。

Butterfly lovers,《梁祝》, HD Video, Color, 8’40”,2013

In the Kinesiska Festivalen 2013, the dance <butterfly lovers>took place at the central stage in Kungstradgarden, Stockholm. Both oriental legends were played by westerners, and the differences in verve, gestures and language, also the enthusiastic players, staff busy in page turning of the music score, those who are reloading in a mess... In the scene of both the front and the back stage, which is seemingly casual, familiarity, strangeness, weird, humor, seriousness, and waggery are wonderfully mixed. 

2013年瑞典中国节（Kinesiska Festivalen 2013），在斯德哥尔摩国王花的中心舞台上演出舞蹈《梁山伯与祝英台》，由西方人扮演这两个东方传奇人物，神韵、肢体、语言迥然的不同，激情四溢的演奏者，忙着翻谱曲页的工作人员，后台凌乱地换装……在同一时空的前台与后台共同呈现看似漫不经心的镜头里，熟悉、陌生、怪异、幽默、严肃、滑稽被奇妙的混合在画面中。 

Documentary  No.1:  Yuanming  Buddhist  Rites  Hall,  Praying ，《 2011年纪录No.1: 园明讲堂祈福》,Video，17’, 2011 

The shooting of the video took place on Chinese New Year's Eve, the night at which people go to temples to get good luck for the coming year via burning the incense to worship Buddha. 

作品拍摄了年三十的晚上，人们去庙里拜佛求来年好运。 

The Choir ,《合唱》, Video, 4’13”, 2013

This video is a critique of the Italian television 

system and the destruction of culture that takes 

place through the commercials. 

本作品是对意大利的电视体系与商业文化的嘲讽。

Elsewhere,《别处》, Document-creation, color & b / w, stereo, 12'36 '，2010

The theme of this documentary arose from meetings and experiences with the railway employees in China. They devoted their lives to the railways.The locomotive, itself, is a metaphor for the labour of these men. Beyond a historical documentary, I am above all interested in human relationships. My film enables the memories of  the employees to live on through nostalgicinterviews. Different time scales give the pace. My own memories are mixed with theirs. Can memories be an alternative to the present? 

这个作品通过对铁路工作人员的采访讲述了中国最后一辆蒸汽机车停止运行的故事。整个作品中的主要人 物是一辆蒸汽机车，它在轨道上行驶。这个火车开始于中国红色的过去，是相对于现在来说的“别处”，驶向的方向目的地却是不确定的，远方只有无限延伸的铁轨。我想以物代人，显示我们现在的社会是一个全速行进，向前冲撞的极端经济发展状态，但未来方向是何处呢，表现了现代中国社会一种焦虑不放心的精神状态。(作者自序) 

Second Office，《第二个办公室》, Film, 16 / 9, 13'32”, Stereo, 2011

According to the Chinese media, there are several hundreds thousands concubines in the country. Even if it is forbidden by law, more and more young women are now becoming mistresses of powerful men in order to escape poverty and rise up the social ladder. The wife becomes the man’s object; she is subdued and depends totally on him. A situation of both desire and endured provoking pleasure and frustration. 根据中国主流媒体，中国共有几百万情妇。即使这种情况并不被法律支持，但是为了摆脱贫困或更加顺利的向高社会阶层上爬升，仍然有越来越多的年轻女孩们选择成为有权有势已婚男人的情妇。女人变成了男人的物品：欲望的双重状态同时激起了顺从下的快乐和发人深省的沮丧。

The Cercle,《圆圈》, video, 10’20”, 2005

« Point de passage entre l'ici et l'ailleurs, familier encore, inquiétant déjà comme la porte de 

l'inconnu, le Svalbard, archipel du grand Nord arctique, marque la fin de notre univers sensible : au-delà, les étendues glacées, uniformes, abstraites. Le bleu du film de Robert Cahen, qui est l'image du froid et de la solitude, la lenteur des paysages à laquelle s'accorde le vol des oiseaux et le mouvement des hommes, dûment équipés, pour affronter les mystères de cette terre unique, sont en harmonie avec son envoûtant désolation. Le Svalbard impose, à qui le parcourt, sa loi, qui est celle des confins :  pour explorer et les connaître, s'accorder avec eux. » 

位于北极圈上的斯瓦尔巴特群岛标志着已知世界的尽头：在那里，巨大的冰川不断进行着合并与分裂；这里是连接此处和彼处的启程点，我们对之虽有熟悉感，但已因其作为通向未知的门槛而开始不安；蓝色画面 描绘了寒冷与孤寂，风景的沉寂与海鸥的飞行、人的移动相一致，他们全副武装，以应对这块奇特土地的神秘，以及与之相随的令人迷惑的荒芜。斯瓦尔巴特将其极限的法则施加于所有过路人：若想要探索、了解它，必须变得与它一致。

L’Ereinte , Embraces,《拥抱》, Video, 8’50”, 2003

The light creates movement. The black and the white function as revealing matter. Meshes of love, desire and death. Apparition, diparition, breathing rhytms; we hear the time that passes connecting and disconnecting our impressions.  

光线创造着动态，黑与白将揭示万物的本质。爱、欲望和死亡彼此交织，我们听到时间在流逝的过程中与感觉交接或失之交臂。 

Forza playmobil,《交通极限竞速》, Video, 4’35”, 2007

The works of French artist Vanessa are known for its documentary style. This work was one of those shoot by the three frequency devices that resided in Rome. The artists held special perspectives toward the chaos and order maintenance work on streets of Roman, with special dramatic tension. 

法国女艺术家Vanessa的创作以纪实风格见长，这部作品是在罗马驻留时的三频装置中的一部。艺术家以游客的视线聚焦于罗马街头纷乱的秩序维护景象，充满特别的戏剧张力。 

LIMBO, 《解构短片》, video, 3’36”，2012

LIMBO is the edge of hell, a place for the non-believers afterlife. in limbo, everything is isolated, with no value at its most neutral state, a metaphor for the human nature and civilization, the higher it climbs, the more “in-between” space it creates, the ignorance generates by the human race at the same time. A straight white man, all those elements set a “living-end” scenario, and  narrates this deconstructed story from a non judgmental perspective. 

LIMBO是地狱的边缘，是游离的状态，但丁“神曲”中所描述的 “不信（耶稣基督）人的地域”。在地狱的边缘，一切都是无价值的，一切都是中立的，就像人类的文明社会，高度的发展造成了对游离于社会边缘的人群的置之不理。片中的男人则游离于死亡和生存。影片没有对任何事物作出裁定，以中立的态度阐述一个易被人们所遗忘但却与之并行的空间。

The reason why the past can extend to the present is because of the future of certain objects，《过去之所以能延续到现在是因为某些东西的未来》, HD Video, color, 30’, 2013

The video documented the sink processing of illuminant on the sea tide. Restructure the logic to time will influence the previous solution caused from the initial period. The work contains sense of order with stealthy appearance, the sense exist permanently doesn't matter the execution method, you can perceive it but not necessary explainable.   

录像用电影的语言记录了一个发光体在海滩上被潮汐淹没的过程。把原来对于时间的逻辑解构并重新梳理会发现未来的某个原因会直接影响到过去到现在这个时间段里所产生的结果。这其中蕴含着一种隐形的秩序感。不管是否被呈现，它都一直存在在那儿，能被感知却无法言说。

Wake Flow,《尾流》, HD Video, 3’51”, 2012

“Xu zhe uses cheap toys and plastic items to create an instrument, then uses a mouthpiece to create a sound. The musical instrument in wake flow is a trumpet fashioned from a plastic ladle, which xu uses to play a reveille. The sound of the trumpet floats, deviates, and leaks throughout the exhibition space. Lonely and desolate, it serves to recall the surviving experience of collectivism in his generation. In this video, xu records himself climbing to the top of balcony and strenuously blowing into his instrument . The video ‘s slow pace reveals an intense solitary journey of increasing emotion, as the notes are broadcast over and over. ”艺术家用一个宜家的漏斗与小号的号嘴接合成一 把“军号”，在山阴路的弄堂内工作室的公共阳台上 吹一段改编过的军队起床号。划过天空的战机留下 的尾迹恰好出现在背景的天空中，与怪异的号声一 同将现世与历史在此刻再一次荒诞的链接在了一起。

It’s the Cola，《这是可乐》,Animation, 3’,2013

It’s the cola, in which contains a large number of words and figures in our surrounding, including the Fortune 500 enterprises, the Bible, medicine specifications, etc. ~ ~ ~ In the process of making the animation, we turn some of the words, intentionally or unintentionally, into wrong characters. 

这是可乐，包含了大量的我们周遭的文字和数字， 其中有世界五百强企业，圣经，药品说明，广告 等～～～在制作动画的过程中，其中的一些文字， 有意或无意地变成了错别字。