PROGRAM INFORMATION

The International VideoArt Festival "Entre islas" ("Between Islands") emerges as a desire to connect internationally through the videoart language the artistic values of several geographical areas. Insularity and territorial issues are the artistic welding that connect these areas. The wealth of this social and cultural exchange promises to be overwhelming, and the subjects range from emigration or boundaries to concepts like identity, homeland or region.

There will be curators from the different areas, and each will select a piece made by a local artist. There will be works from The Balearic Islands (Spain), The Canary Islands (Spain) Cuba, Cape Verde, Haiti and Taiwan.

The festival wants to create an international conversation with a critical look at the "between islands" concept.

The Festival has been shown in:

-Es Baluard Museu d'Art Modern Contemporani de Palma (Spain). October 2015. -Gran Canaria Espacio Digital. Gran Canaria (Spain). May 2015. -TEA-Tenerife Espacio de las Artes. Tenerife (Spain). May 2015. -Centro de Arte Contemporáneo de Quito. Quito (Ecuador). April 2015. -Centro Cultural de España en Nicaragua (Nicaragua). April 2015. -III Encontro Internacional Cinema e Terrotório. Universidade da Madeira. Madeira (Portugal). April 2015. -Salón Indieras. Lanzarote (Spain). December 2014.

Next projections:

-Festival Internazionale VideoArte of Viareggio. GAMC (Italy). November 2015. -4º Ghetto Biennale (Haiti). December 2015.

Curators and artists.

Why inviting curators instead of choosing the artists directly? Because sometimes their work is not valued enough and it has to be highligthed. In addition, curators have a wide knowledge of their regions, so their choice will be more accurate and the works will be more interesting.

The cooperation between curators builds up a very important interpretation, and viewers could enjoy the thorough research of the artistic focus around the suggested subject: insularity and territory. Moreover, unfolding a line-up of curators from different parts of the world is an added value, and the possibilities rise to infinity.

The International Video Art Festival "Entre islas" could be defined as an international connection between artistic spokespeople.

-Fernando Gómez de la Cuesta – The Balearic Islands – Artist: Laura Torres Bauzà.

-Kisito Assangni – Cape Verde – Artist: Cesar Schofield.

-Adonay Bermúdez – The Canary Islands – Artist: Jose J. Torres.

-Suset Sánchez – Cuba – Artists: Celia y Yunior.

-Leah Gordon – Haiti – Artist: Steevens Simeon.

-Jau-lan Guo – Taiwan – Artist: Yu Cheng-Ta.

Festival team:

-Direction. Adonay Bermúdez. -Design. Vanessa Rodríguez. -Translates. Marivell Amendolara. -Logo design: Francisco Suárez. -Sponsor. Gran Canaria Espacio Digital, Cabildo de Gran Canaria, Puerto del Carmen y Ayuntamiento de Tías. -Contributor. No-Lugar.

Contact:

-Adonay Bermúdez. Director. +34 618 74 04 64 / [email protected]

Link to the visualization of the cycle:

https://vimeo.com/125554472 (Spanish version)

Password: entre_islas Duration: 32 minutes (six videos).

THE BALEARIC ISLANDS

-Curator: Fernando Gómez de la Cuesta (Spain, 1976). -Artist: Laura Torres Bauzà (Spain, 1990). -Art work: “Sísif” (Sísifo) (2014). -Duration: 3’34’’ -Text:

The artist Laura Torres Bauzà and the curator Fernando Gómez de la Cuesta set off from a concept as polysemous as is an island to construct an interesting project that reflects on origin and inheritance, on life and its transit, on identity and sense of belonging, on symbols and the need to interpret that which surrounds us. The idea of inhabiting, occupying, living, surviving and working, in relation to space, home, the place, the earth and the niche. The body and territory in contradiction, connection and symbiosis, comprise a series of investigations which were already common in some of the previous approaches of both and on which they rely to develop this proposal, thanks to a unique mechanism. Torres Bauzà and Gómez de la Cuesta set off from an intense process of exchange of video images and linked texts, which in a stroke of luck of exquisite corpse sophisticated and poetic; have shaped the project as their conceptions are embodied, at the same time different and concurrent with the idea of island. The result is this peculiar video-creation titled “Sísif” (Sisyphus) by Torres Bauzà which is accompanied by a text penned by two hands, the actual artist and the commissioner of the proposal.

-Currículum of the curator: Fernando Gómez de la Cuesta.

Art critic and curator. Graduate in Law, University of Barcelona and in History of Art, University of The Balearic Islands. Member of Associació de Comissaris i Crítics d’Art de les Illes Balears (Association of Art Curators and Critics of The Balearic Islands). Presently he is the director of the photography festival PalmaPhoto, he regularly collaborates with the magazine ART.es and is curating the series of exhibitions Camera Obscura, as well as, together with Pau Waelder, the series (HIPER)vincles (2012-2013) and Zona Zero (2010-2012), the three exhibitions at Casal Solleric in Palma, Mallorca (Spain). Curator at CRIdA (Centre de Residència i Intercanvi d’Artistes de l’Ajuntament de Palma (residencial and Exchange Centre for Artists, Palma City Council) (2011-2012) and co-director of the alternative space for visual arts La fábrica de licors de Palma (2004-2006). He has curated individual projects by prestigious artists of the calibre of Carlos Aires, Martin John Callanan, Jérôme Leuba or Guillermo Mora. At present he is preparing specific projects with renowned creators such as Ana Laura Aláez, Santiago Morilla, PSJM, Avelino Sala, José Luis Serzo, Javier Vallhonrat, Simon Zabell or Jesús Zurita. Among his last exhibitions stand out: Tabula Rasa o la (im)possibilitat de construir una generació (Es Baluard, Museu d’Art Modern i Contemporani of Palma, 2014; MUU Kaapeli, Helsinki, Finland, 2014 e Hilvaria Studios, Holland, 2015), Bastard Painting: a new attitude between Afterpop, Google and Folk (Art:i:curate, London, 2014), Joan Cortés. Theorem of Space (81 Leonard Street, London, 2013 and Kunsträume der Michael Horbach Stiftung, Cologne 2014), High Society (CCC. Pelaires, Palma, 2013) or Pedro Vidal. Autorretrato con perro (Casal Solleric, Palma, 2013). www.curatoria.org

-Currículum of the artist: Laura Torres Bauzà.

A graduate of Fine Art, University of Barcelona. She has taken part in various group exhibitions such as Identidades: espacio, lugar, territorio (Identities: space, place, territory) in the gallery ABA Art as part of the festival Palma Photo 2013 (curated by Fernando Gómez de la Cuesta), ST’12 (University of Barcelona), Técnica Mixta in Fundación Vila Casas (Barcelona, 2012) or Art Jove de les Illes Balears (Palma, 2012).

Finalist in Art Jove de les Illes Balears (2012) and winner Ex aequo of the Premi ciutat deManacor 2014 (Prize of the city of Manacor). She has participated in various self-edited publications such as Nenazas (2013), Vols Russos (2012) or Baba Artzine (2012).. Her residence at Ca l’Isidret Edicions, (Vilafranca del Penedès, 2014) can be highlighted.

She has furthered her qualifications with a MA in production and artistic investigation (University of Barcelona) and with the programme Les cliniques de Balouard (Palma). She will soon be following the MA in comparative studies of literature, art and thought at the Pompeu Fabra University (Barcelona). www.laurabauza.com

CAPE VERDE

-Curator: Kisito Assangni (Togo, 1975). -Artist: Cesar Schofield (Cape Verde, 1973). -Art work: "Djaforgu na 1 minutu" (2013). -Duration: 1’ -Text:

Spine chilling, the atmosphere of the isle of Fogo. Something moves beneath the earth. Maybe magma. To protect. To preserve. Earth, sea, air. Exclusive space, inclusive space. Territorial integrity is one of the principle functions of the State, along with food and housing.

Slowly, trying to understand the intricate paths of development against the preservation of nature and social balance. A documentary in the form of a question.

-Currículum of the curator: Kisito Assangni.

Kisito Assangni is a Togolese-French curator, consultant and producer who studied photography, art history and museology. Currently living between London, Paris and Lomé, his practice primarily focuses on psychogeography and post-globalisation impact on contemporary african cultures.

His projects have been shown internationally, including the Whitechapel Gallery, Ben Uri Museum, London; Arnot Art Museum, New York; Malmo Konsthall, Malmo, Sweden; Museum of Contemporary Art, Sydney; National Centre for Contemporary Arts, Moscow; Pori Art Museum, Finland; Motorenhalle Centre for Contemporary Art, Dresden, Germany; Foundation 3.14, Bergen, Norway; National Museum of Contemporary Art, Seoul among others.

Kisito has participated in symposia, talks and events at numerous international venues.

He was also member of jury for the Award Letters From The Sky in Cape Town (South Africa) as well as the 28th Prix Videoformes in Clermont-Ferrand (France).

Kisito is the founder/curator of Time is Love Screening and [SFIP] project - Still Fighting Ignorance & Intellectual Perfidy (a platform for critical thinking, researching and presenting Video art from Africa.) www.timeisloveshow.org

-Currículum of the artist: Cesar Schofield.

César Schofield Cardoso is a caboverdean photographer and filmmaker. In 2006 he launched PRAIA.MOV, an urban culture movement in the city of Praia, Cabo Verde, in collaboration with architects, artists and other critical thinkers. In 2009 he produced the video installation UTOPIA which considered the subject of freedom. ROOT(S), one of the videos of this project, received the Audience Award and an Honorable Mention at the Sal International Film Festival, Cabo Verde, 2010. In 2009, he addressed the condition of Imprisonment and of the Ideological Prisoner in his short film KATHARSIS. In 2011 he was invited to the Biennial of Sao Tome and Principe for which he produced the video SPRITU, presented at the City Museum, Lisbon in 2012. During this same period, he exhibited UTOPIA at Graça Brandão Gallery, also in Lisbon. He is the creator and author of the blog bianda.blogspot.com, which has received critical acclaim from the Cabo Verde media. He is co-founder of the Black Cinema platformWWW.FICINE.ORG and is currently the Coordinator of the Department of Cinema and Media Arts at the Ministry of Culture of Cabo Verde.

www.cesarschofieldcardoso.org

THE CANARY ISLANDS

-Curator: Adonay Bermúdez (Spain, 1985). -Artist: Jose J. Torres (Spain, 1982). -Art work: “Journey” (2014). -Duration: 2’ 25’’ -Text:

“Journey” is an instant of disconnection from the real world or a moment of true connection with the most authentic reality.

When the ship raises anchor, time stops, becomes brief or seems an eternity, but it is finally sent to sleep creating with the space a sensorial climax difficult to explain. Two islands, a long way to go and in between the waters, phones stop working and our day-to-day vanishes. We have to confront (and adapt) the uncertainty; much more if you travel on your own.

There´s no family or friends, no job, no problems… only annonymous passengers with whom unconsciously an emocional link is seeked. And at the end, the value of thinking, feeling and observing is increased.

Jose J. Torres recreates situations broken by the silence, makes hybrid scenes of impossible architectures and literary whims. A time foreign to all lineality, out of control, chaotic that flows free, taking over our mind with a swipe 1. The sea lashes and the instinct is freed.

As is usual in Jose J. Torre´s work, the artists turns to the self but in a social frame, analyzing it´s vulnerability with the surroundings. Internal conflicts which he externalises frecuently showing a very strong link with his family, with his everyday and with his personal experience. His nearby has just been launched.

Sober, serene and of slow pace, but forceful.

1.ARGULLOL, Rafael: El cazador de instantes. Ed. Acantilado. Barcelona, 2007. P 14. -Currículum of the curator: Adonay Bermúdez.

Cultural manager and curator (freelance). He has worked in communication department of several design companies (ESNE-Madrid, Emilio de la Morena…), director of the Call PEJAC (Promotion of Young Artists from Canary Islands), director of El Charco ART F.A.C.E. (Canarian Emerging Art Fair), cultural consultant for institutions and companies or lecturer for universities/art rooms. Moreover, he has written articles for various media in Mexico, Spain and UK (Juxtapoz, Revista Código, Singular Art Magazine, Todo-Arte...).

As a curator foreground: “Ephemeral tourism” in Centro Cultural Pachano inside of 5º Videoart Festival Vfff14 (Ambato, Ecuador), in Addaya Centre d’Art Contemporani (Mallorca, Spain), in Flacso (Quito, Ecuador) and in Anomalia Gallery (México DF, México), “Asphyxia” in Hardy Tree Gallery (London, UK), “Gula” in TEA-Tenerife Espacio de las Artes (Spain) and in CAC-Quito (Ecuador), “En estado físico” in Laboratorio21 (Viareggio, Italy), “Vanitas” of Miguel Scheroff in La Zúa Gallery (Madrid, Spain) or “Deus-Dei (Super-Ego)” in Círculo de Bellas Artes (Tenerife, Spain). He has received art residencies in Addaya Centre d’Art Contemporani (Spain), No-Lugar (Ecuador) and [R.A.T.] Residencia Artística por Intercambio (Mexico). Moreover, he was selected in Young Curator Competition organized by Room Art Fair Madrid, Spain (2012). www.adonaybermudez.com

-Currículum of the artist: Jose J. Torres.

A visual artist. The focus and the bulk of his artwork is centred fundamentally on work related to photography, installations, video and performances. In 2013 he holds his first solo exhibition “Nido amnésico” (Amnesic nest) in the Fundación Mapfre Guanarteme, Tenerife, later to be shown in the year 2014 at the Head office of the same foundation in Gran Canaria. However his path in joint exhibitions is remarkable both in the Canaries and nationally as well as international exhibitions, particularly noteworthy are TÁRTARO. La Zúa Gallery. Madrid in 2014, SIN ESCALA in DA2 Salamanca in 2013, Valencia crea XIII. Las Naves. Espacio de creación contemporánea, Valencia in 2012 or Display 09 Berlin, Canarias Crea, within the reacreational group. Instituto Cervantes, Berlin. He was the beneficiary artist during 2012 and 2013 of BECA DEL GOBIERNO DE CANARIAS del CENTRO DE CREACIÓN ARTISTICAS del Centro de Arte La Regenta (The Canarian Government’s Grant, La Regenta Art Centre).

His works form part of institutional and private collections such as the University of Las Palmas of Gran Canaria, the Insular Council of Gran Canaria, the Canarian foundation Mapre Guanarteme and private collections Ofelia Martín-Javier Núñez and APM Fotografía. www.josejtorres.es

CUBA

-Curator: Suset Sánchez (Cuba, 1977). -Artists: Celia González (Cuba, 1985) and Yunior Aguiar (Cuba, 1984). -Art work: “Bojeo” (2006-2007). -Duration: 7’ 24’’ -Text:

In the year 2006, during an art residency in Trinidad and Tobago, we traced the coast of Tobago the more touristic of the two islands. During our trip we visited its principle tourist resorts. We documented the process as would any common tourist, taking photographs of our moments of enjoyment. Meanwhile, a similar route, but by telephone, was taking place in Cuba. (…) This work was carried out while it was prohibited for Cubans to stay in Cuban hotels. 1

The previous description is taken from the statement of the video Bojeo by the duet of Cuban artists Celia-Yunior. Graduates of the Instituto Superior de Arte de La Habana (ISA) and Profesors of Arte de Conducta, founded and directed for a decade by Tania Bruguera, this pair of creators resume some of contemporary art’s fundamental preoccupations produced on the island: art’s discourse which is willing to criticise, along with research of the social circle the starting point being the working tools where the body of the artist is pierced by a relational experience, in context and at first hand.

The video documents a particular situation of discrimination and internal colonialism applied to Cubans by governmental policies which restricted and prohibited nationals from the tourist infrastructures of the country, reserved only for foreigners and Cubans who were resident overseas until 2008. With recent changes in some economic regulations, those restrictions were repealed. These transformations of the social scene which serve as a reference for the work, involve an interesting change process in the actual functioning of the representations it constructs. A video produced in a given historical moment, recent episodes in the history of Cuba, invariably varies its nature and acquires new connotations in the politics of memory and archive policies administered by imaginary groups. Visually the piece has a precarious structure, as the image is constructed from a montage of photographs emulating certain aesthetics of the domestic-tourism report type, an inextricable genre of visual culture in the current global situation, which has led to the proliferation and visions of paradise and exotica in social networks, the media and the Internet in general, and which reproduces old ways of thinking about the foreign vision of others in the post-colonial world. At the same time runs parallel the sound of a series of telephone conversations recorded in Cuba as an exploration of that situation of marginalisation described earlier; that which contrasts with the actual and paradoxical experience of the artists and that recording of their tourist trip on another Caribbean island. If the image in this artwork becomes a story where travel and freedom alternate as metaphors of personal fulfilment; the soundtrack becomes the denial of those rights by affirming the impossibility of access of its characters to this "tourist" experience in their own country. Citizens’ rights, civil liberties, the social, economical and political landscape are challenged by the ironic discourse of the video and the apparently light tone of some playful images assembled to the rhythm of Trinidadian Soca music.

All this should be observed in the dramatic and politically tense context of the post-Soviet Cuba: the recent changes in the national economy as the aftermath of the transformations of Cuban society during the nineties of the last century. The status of art as one of the last frontiers of “liberty” for the exercise of a critical discourse on the island, the lack of freedom of expression in the media, the continuous monitoring of the production of emerging art, the importance of the Professorship Arte de Conducta during the years 2000 and the various years of training of artists who recuperated artistic methods of direct social integration which had deceased under the flourish of a market situation for Cuban art in the final years of the XX century.

In addition to the political potential of the work in the video of Celia-Yunior and the function the images record/construct being fulfilled, by documenting the social reality of a context such as the Cuban one-where the media controlled by the State establish a policy of silencing-; these artists also introduce a reflection on the production rate of these images with low cost technology and a precarious infrastructure for audiovisual practise. This is thought-provoking as it is precisely the civilians of Cuban society who are being activated and mobilized via images recorded on mobiles which are passed on hand to hand through informal channels. Thereafter a low definition mode of reception of the video is being created, recorded on the street, which predisposes users of a documentary code whose strength comes from the emergence of the filming, limited intervention of edition processes, the marginal dissemination of the image, etc. And the work of Celia- Yunior- although well resolved in its morphological aspect- establishes an interesting parallelism with all these processes where the debate on the role of images in a social and political context in permanent crisis and tension is activated.

1.Statement of the video: http://celiayunior.wix.com/celiayunior#!bojeo--coasting/clzd -Currículum of the curator: Suset Sánchez.

BA in History of Art, University of Havana (2000) and MA in History of Contemporary Art and Visual Culture, Universidad Autónoma of Madrid, Universidad Complutense of Madrid and Museo Nacional Centro de Arte Reina Sofía (2013). Since 2011 she has been part of the group of investigation Península: procesos coloniales y prácticas artísticas y curatoriales (Mainland: colonial processes and artistic and curator practises), with its head office at Museo Nacional Centro de Arte Reina Sofía (Madrid).

Her professional practice is focused on curating exhibitions and art criticism, collaborating with various books and publications specialising in contemporary art and culture, such as the magazines Revolución and Cultura, La Gaceta de Cuba, Artecubano, Artecontexto, art.es, Revista de Occidente, ABCDARCO or Atlántica. She has curated several exhibitions, among which Copyright: Cuban video (Cultural Centre of Spain in Havana, 2002), Postales desde el paraíso, of the Dominican artist Jorge Pineda (2002) or Lecciones de Historia of the Cuban artist Carlos Garaicoa (2003), both in Casa de América, Madrid; La Stargate of the Colombian artist Carolina Caycedo (Intermediæ Matadero Madrid, 2010); rumor… historias decoloniales en la Colección ‘la Caixa’ (CaixaFroum Barcelona, 2014), Memorial Garden of the Cuban artist Alexis Esquivel (Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, 2014). Between 2006 and 2011 he coordinated the program of activities and exhibitions Intermed Matadero Madrid. http://susetsanchez.wordpress.com/

-Currículum of the artists: Celia and Yunior.

Celia - Yunior is the duo formed by Celia González (Havana, 1985) and Yunior Aguiar (Havana, 1984). Graduates of la Academia de Bellas Artes “San Alejandro”, Havana (Academy of Fine Arts "San Alejandro" in Havana) in 2004, their academic training continued in the Superior Art Institute of Havana, from which they graduated in 2009. They concurrently graduated in 2006 as Professors of Arte de Conducta, founded and directed by the renowned artist Tania Bruguera. Among the personal exhibitions the duo have undertaken are: Creo saber … (Centro de Desarrollo de las Artes Visuales, Havana, 2012), Surfear sobre concreto (Salle Zeró, Alianza Francesa, La Habana, 2011); Inventario, Primera edición (Fundación Ludwig de Cuba, La Habana, 2007) and Sala discontinua (Centro de Desarrollo de las Artes Visuales, La Habana, 2014). Also, they have participated in dozens of Joint exhibitions in cities such as Havana, Vancouver Los Angeles, Londres, Buenos Aires, Berlín, Barcelona, Filadelfia, Nueva York, Miami, México D.F.; and they have been awarded prizes at international experimental cinema and video-art festivals; as well as residencies among which stand out: ESMOA Residency (El Segundo, Los Angeles, EUA, 2013-14), Deveron Arts (Escocia, Reino Unido, 2013), Residencia Centro de Arte Contemporáneo Caribeño, CCA7 (The Triangle Arts Trust, Hivos and la Cátedra arte de conducta, Puerto España, Trinidad y Tobago, 2006-07). http://celiayunior.wix.com/celiayunior HAITI

-Curator: Leah Gordon (United Kingdom, 1959). -Artist: Steevens Simeon (Haiti, 1990). -Art work: "Imagine if you woke tomorrow and all music disappeared" (2011). -Duration: 11' 14'' -Text:

The Title of my film is ‘Imajine ou leve demen epi mizik disparet’ (Imagine if you woke tomorrow and all music disappeared)

The film was made in September 2011. The main influence for the film was the Ghetto Biennale that took place in Haiti in 2009. During this event we had many, 40 to 50, international artists that came to our neighbourhood to in this multi- cultural event. During this event I met and engaged with a British artist called Bill Drummond. As part of his work he wrote ‘Imagine if you woke tomorrow and all music disappeared’ in Kreyol in huge letters on a wall in the neighbourhood. In January 2010 we in Haiti suffered a huge earthquake and everything did disappear in the 47 seconds that it lasted…so people could not longer see their people, people had no time to call out. We also lost all of the electricity and therefore in the hours and days that followed we could no longer hear any music. One the earth had calmed and the dust had settled the wall with this writing remained and it seemed to me that the English artist had left us with a prophesy which has stayed with me and was the main influence for this film.

-Currículum of the curator: Leah Gordon.

Leah Gordon is an artist and curator born in 1959 in Eleesmere Port, UK. Her film and photographic work has been exhibited internationally including the National Portrait Gallery, UK, Parc de la Villette, Paris, the Museum of Contemporary Art, Sydney and the at the Dakar Biennale. Her photography book 'Kanaval: Vodou, Politics and Revolution on the Streets of Haiti' was published in June 2010.

Leah Gordon is the co-director of the Ghetto Biennale in Port-au-Prince, Haiti, was one of the curators for the Haitian Pavilion at the 54th Venice Biennale, was the co-curator of Kafou: Haiti, History & Art, at the Nottingham Contemporary and on the curatorial team for the ‘In Extremis: Death and Life in 21st Century Haitian Art’ show in 2012 at the Fowler Museum, UCLA and 2013 at the Musées de la Civilisation, Quebec City.

www.leahgordon.co.uk www.ghettobiennale.org

-Currículum of the artist: Steevens Simeon.

Steevens Simeon was born in 1990 and finished his education at the College Technologie mederne d’Haiti. He started making videro work after being part of video collective Tele Geto (Ghetto TV) which started in 2009 as part of the Ghetto Biennale.

The film ‘Imagine if you wake up tomorrow and all music has disappeared’ was made during a digital workshop as part of the Arcades Project in 2012. Steevens Simeon also travelled to Berlin as a part of the Global Nomads project in 2012. Simeon hopes to support himself through video production in Haiti.

www.teleghetto.com

TAIWAN

-Curator: Jau-lan Guo (Taiwan, 1969). -Artist: Yu Cheng-Ta (Taiwan, 1983). -Art work: “Adjective” (2010). -Duration: 5’ 11’’ -Text:

Taiwan is a small island sitting between the Pacific and a strait named after itself. Since the 17th century, the long-lived colonization and intervention of foreign powers made flexible identity a necessary skill and condition. The uncertain status of language and identity adjusts whilst carrying the relationship between individual character and the collective self.

In Cheng-Da Yu’s work “Adjective”, the artist first invites dancers to choreograph 17 adjectives within the physical range of 1.5 square meters in a period of eight beats. The project is then presented through instructional dance videos, allowing the audience to imitate and learn the dance. For each “danced” adjectives, meanings of the language itself were dismantled and rebuilt simultaneously, while dancers were interpreting and translating the adjective through physical body.

As audience watch and dance along, video images designed as dance instruction video allowed audience to return to their childhood satisfaction, that is connect with the world, as well as mutual understanding between self and others derived from shared common experience.

-Currículum of the curator: Jau-lan Guo.

Jau-lan Guo is an independent curator and art critic based in Taipei. She received her doctorate in Western art history in 2006, with a primary research interest in the way the American critiques constructed its anti-modernism postmodern art theory based on an interpretation of Robert Rauschenberg and the American Neo-Dada art movement. As Adjunct Associate Professor, Guo currently teaches Modern Art and Contemporary Art at New Media Art Department, and Graduate Institute of Trans-disciplinary Arts, Taipei National University of Art. Her curatorial involvement began in 2006, with a focus on the cultural praxis of image and visual culture. Her articles have been published in periodicals including The Journal of Taipei Fine Arts Museum and Artist Magazine. She has curated numerous exhibitions including Polyphonic Mosaic: CO6 Avant-Garde Documenta (National Taiwan Museum of Arts, Taichung, Taiwan, 2006), Nostalgia for Future (2009, Taichung), Somnambulism: Phantasmagoric Fugue (Taipei, 2010), Paradise: Under RE- Construction (ISCP, New York, 2011), and Taiwanese Contemporary Art (TCA Project) (ISCP, New York, 2011), How Can I Tell You Who I Am?(Spain, 2012), Melancholy in Progress, The 3rd Taiwan International Video Art Exhibition at Hong-Gah Museum of Taipei (Taipei, 2012).

http://jasper75.pixnet.net/blog

-Currículum of the artist: Yu Cheng-Ta.

Yu Cheng-Ta (b.1983, Tainan, Taiwan) holds a B.A. and an M.F.A from the Taipei National University of the Arts, Taiwan. In 2008, he received the 1st place of Taipei Arts Award (TFAM, Taipei) and was awarded the Beacon Prize at Art Fair Tokyo in 2012. Yu participated in the 6th Taipei Biennial and was selected as one of the artists to represent Taiwan at the 53rd Venice Biennale. In 2009, he participated in the Biennial Cuvée 08 at OK center for Contempo- rary Art in Linz, Austria, and in 2012, he participated in the 5th International Biennial of Media Art at Experimenta in Melbourne, Australia and Made in Asia Art Festival in Toulouse, France. In 2013, he held a solo exhibition at Kaohsiung Museum of Fine Arts in Taiwan and participated in the Asian Art Biennial at National Taiwan Museum of Fine Arts; Queens International at Queens Museum in New York, USA. Yu Cheng-Ta currently works and lives in Taipei, Taiwan. In 2014, he held a solo exhibition at Taipei Fine Arts Museum in Taiwan.

www.yuchengta.com