Search Keyword: Total 35 results found.

2009-2010. Imanol Garaizabal Pildain (Logela). GRAPAK



A stapler, manipulated by a human, dances to the rhythm of the music in a natural environment. This pollution of space reaches the highest levels of possible pollution.
















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2009-2010. Puy San Martín + Nerea Lekuona (Sinbait). AÍDA



 They know your feelings, emotions, desires, flaws, they catch our attention, they awake our interest, stimulate our desire, action, consume, buying…


















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2009-2010. Vanesa Castro López (Fur Alle Falle). SKARRO

LENGTH 2' 59''


Trailer of the Skarro documentary

This video fuses the documentary genre (using television images) with the skate-video. It shows some illegal beer sellers that turns into ‘skarro’ superstars, a sport that they themselves invented.

The video deals with audiovisual appropriation, and goes from a very serious subject (the problem of drinking in the streets of Valencia) to a delight of technical ‘skarro’ skills.

The city of Valencia, with its skate-spots and places to get drunk, is the scenario of this documentary.
















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2009-2010. Iván Argote. I JUST WANT TO GIVE YOU MONEY

LENGTH: 1' 50'' YEAR: 2007


Video sample of an intervention that took place in the subway of Paris, in which he offers coins to people. He starts off by delivering a speech, telling them that he is going to give them money, then, he pass through every seat of the wagon offering 20 cents to each person. Most of the people are very suspicious, some of them smile and finally no one accepts the coins he offers.
















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2009-2010. Iván Argote. MAKING OF

LENGTH: 1' AÑO: 2007


Sample of a video made in the Paris subway, in which he tries to direct people as if they were actors in a movie he is making. The video lasts as long as a journey between two stations. It begins once the door of the subway car closes, moment in which he say “Action!”, then, slowly he start saying out loud things like: “Continue like that”, “you are doing it very well”. The video ends when the door opens and he say “Cut!”.














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2009-2010. Izibene Oñederra. SO



 The meaning of the word ‘So’ is to look. This is an invitation to go through a mysterious story, familiar in its sound, heard on TV?
















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2009-2010. Puy San Martín + Nerea Lekuona (Sinbait). NON TITLE



The apparent stillness of reality is juxtaposed with the symbiotic and fictitious dimension that produces the organic sensation of amazement.

On the other hand the dynamic image, opposed to the lack of intrinsic movement of its surroundigns, again opposed to the existence of extrinsic movement.

If we add to these perceptive sensations the suspension of the moving image, which contrasts with the inorganic growth and decrease of the apparent reality, we create a dramatic tension that disturbs the spectator throughout its development.

In this way, the audiovisual allegory intends to open a debate concerning the myth of the cavern- cathodic- related to the authority of fictitious social values felt as legitimate, when those that are truly legitimate, inherent to that which is most primitive in human beings, revolve in inferiority, struggling to coexist on equal terms. The solution to this paradox leads us to think about the idea, accepted as well as mistaken, referring to “everything that appears on television is true”, in which we can also include our video-creation understood as a form of media.















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2009-2010. Xuban Intxausti. 1968-2008



El año 1968 cambió el transcurso de la historia contemporánea. Los acontecimientos históricos difundidos en medios de todo el planeta conmovieron y encendieron a la juventud de la época y significó un cambio profundo en los valores y la forma de vivir de la juventud.

En el año 2008, en el cuarenta aniversario del 68, la televisión española sólo dedicó un programa de televisión en rememorar aquellos años. En aquel programa casi no se contaron los hechos acontecidos, sólo se habló de un posible tongo que hubo en el festival de Eurovisión de aquel año.

A partir de la interpretación de unas declaraciones de José María Iñigo, todas las televisiones se hicieron eco de la noticia sin contrastarla. La noticia tergiversada llegó hasta el prestigioso periódico The New York Times y ensombreció cualquier otro análisis o debate sobre aquel histórico año.

El video 1968 – 2008 nos muestra las imágenes más significativas de 1968 con el audio de los programas que trataron el tema del tongo de Eurovisión.














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2009-2010. Xuban Intxausti. 1968-2008

LENGTH: 3’YEAR: 2008


1968 changed the course of contemporary history. The historic events that took place and that were spread throughout the mass media moved and stirred up the youths during this time. They represent a profound change in the values and ways of living among young people.

In the year 2008, on the 40th anniversary of 1968, Spanish television dedicated only one TV program to commemorate this time. On the television special the events that took place were hardly represented, it was all about a possible fix that might have occurred in the Eurovision festival that same year.

Starting with the interpretation of a statement delivered by Jose Maria Iñigo, every newscast took note of this news item without verifying it. The distorted item even appeared in the prestigious New York Times and overshadowed any other analysis or debate regarding this historic year.

The 1968 – 2008 video shows us some of the most significant footage of 1968 with an audio soundtrack extracted from those TV programmes that only talked about the Eurovision fix.















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2009-2010. Eugeni Bonet. GOOD LUCK

LENGTH: 1' 5''


 A minute for Eugeni Bonet’s Interventions TV 2009.

 The Wheel of Fortune is a successful television contest that is on the air since 1975, a franchise that has extended around the world, in the case of Spain with the name: La Ruleta de la Suerte. However, the pretext for this piece is a fragment of the soundtrack of Good Night, and Good Luck, George Clooney, 2005), where we can hear a speech delivered by the journalist Edward R. Murrow about the highs and lows of television. The title is a product of the dissociated coincidence of both elements.














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2009-2010. Eugeni Bonet. GUILTY CONSCIENCIE



 A minute for Eugeni Bonet’s Interventions TV 2009.

A zapping mosaic, TDT tuner by means of, makes up an image: a blinking spill of images, I should say. The pretext of this piece is an extract from the Clave: Omega (The Osterman Weekend, Sam Peckinpah, 1983) film soundtrack. When the information and show business industries enjoy themselves in their own stigmas, appealing to the freedom of their audiences, the trick creates a double guilty conscience: ‘if you want to return to reality turn off the TV’.















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2009-2010. Fabricio Caiazza. SINCITA VIDEOS











Pieces of text extracted from Internet 2.0, manually written upon physical mediums that are installed in the street to be photographed, filmed and then returned to the Internet. Sincita Videos is the same exploration with low cost cameras for the registration and making of stopmotions.

















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2009-2010. Joaquim Dols Rusiñol. VIDEO-ART



It is the history of video-art limited to the pure skeleton of ideas and personal feelings, visualized in a micro-animated text format.
















2009-2010. Left Hand Rotation. FÉLIX VS. COUSTEAU



 Forget about climate change, the melting of the poles or the real estate aberrations that take place on our shores. Felix VS Costeauis the final showdown between the two great forces of nature, two of its four basic elements: ‘The earth against the sea’: since the origins of our planet each of them has tried to occupy the globe in their own particular manner. The sea is capable of eroding the earth but there are many cases of islands and small artificial continents created above the water.

This struggle is represented by Felix Rodriguez de la Fuente and Jacques Costeau, two of the television martyrs, two icons of contemporary culture that invaded television and the media in the 80’s and left behind an inheritance with which we must now deal.

This piece is the first televised debate between these two characters.
















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2009-2010. Lobo Pasolini. THE ART OF VIDEO ART



Using footage from the Prelinger archives, The art of video art uses vintage TV commercials to create a visual retro mash-up essay about the ontology of video art, the art of the televisual age.














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2009-2010. Iñaki López Ordóñez (Fur Alle Falle). NAZI HYMN OF LOVE



 Video performance in which two individuals sing a Britney Spears song in front of a motorcycle shop window.


















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2009-2010. David Elguea. TV1



It deals with the interpretation of the world, its deciphering, the creation of sense. Perception and consciousness. A consciousness and a perception, that are technologically mediated. Images that are textured by the machine-like traces of the TV monitor, sound and voice which are generated by a computer. Technology as a mediator between the individual and a changing reality in constant metamorphosis. It is also a meditation about the work of art and its codes.
















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2009-2010. Fausto Grossi. I AM A CLOWN



I am the cyber clown in flesh and bone.

Through playing he likes to dig into our human condition. Into the way we present and represent ourselves and others. Where social body, psychic body, physical body defines us. To recognize, assume and manifest our interior clown is hard for us. But it is also there where we can criticize and look for accomplices. It makes you laugh to think about it.

He doesn’t like the way things are going and he wants to change them. I am a clown. I am a clown, in the language of the empire. From that point of view it is interesting to see people’s reaction and, of course, also his reaction. He is an observer and observed at the same time.

The action takes place in front of the Roman Parliament. A place where big decisions are made, where power is practiced and exhibited.















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2009-2010. Antoni Mercader. TOP VIDEO

LENGTH: 3'YEAR: 2009


Between the slide projector and the audio mixing of Internet videos, 30 years have passed! This period goes from 1976 to 2009, from ‘the differentiated showing to the simultaneous screencast’ or ‘from the book to the wiki archive data base’.

We could begin with: ‘from collective and exceptional visualization to viral flux….’; if this type of introduction works ‘the rise of the audiovisual and multimedia culture’ would be a good ending for the epilogue.

The idea of an accessible archive, the power of creative experimentation, the potential of social connection, are ideas that we wish to highlight in this video recollection/ metaphor about Top Video.

If the aim was to reach a shared watchtower for visibility and sound, we have progressed. If our goal was to organize (in a way which shouldn’t be imposing or alienating) the 70’s audiovisual experimentation ahead, we can see that we are in the process of making it happen.

Note: the material from the seventies belong to private files. Material from 2009 are from digital files that are open for anyone to check out.

















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2009-2010. Antoni Muntadas. INTRO Y ...FIN



This video is a minute of publicity about show business and its main characters.













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2009-2010. Wolf D. Schreiber. GEDANKEN EINES SKISPRINGERS



Summary: What’s in a ski jumper’s mind during jumping. Synopsis: The video shows a ski jumper from the beginning (the waiting phase before the green signal), the leap and landing in the target area. It is loud, the spectators wait for his action. He is very concentrated. We cannot see what he thinks and feels. This video shows what he may feel and think, and this shows with simple and comic-like expressions. The stress at the start, the uncertainty and the fascination of the flight phase, the desire for a good landing, the release after the successful leap, the expected admiration of the spectators.















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2007. Juan Carlos Robles. ALPENFLUG




 In the form of a video clip, this recording made by the author, Juan Carlos Robles, prior to that dreadful day of September 11th, 2001, shows us, with surprising spontaneity, how the camera is able to gain access to the pilot’s cabin of a commercial flight with absolute ease.

An ironic and funny story, Alpenflug (Alpine Flight), interpreted by the music band, Puts Marie, sets in motion, to the rhythm of the music, the choreography that two airhostesses interpret using the didactic and robotic gestures characteristic of the rescue and safety instructions whilst the pilots warm up the engines of the aircraft.









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2007. CANDY. Yamashita + Kobayashi



This work began on the day when Yamashita and Kobayashi had made an extra big candy like a bowling ball by themselves (dia. 180mm).Since that day, they kept licking the candy day after day for about six months. While they were licking, a lot of episodes happened (the change of the seasons, even change of the house...).We continued to lick with the aim of only creating an ordinary candy, which seems just a candy on the market.









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2007. Alexander Vaindorf. EVERY WORD IS BECOMING




 The video contains personal definitions of wealth collected via survey forms on the web. “Global” submissions - dominant values in western society are visualized as a text subtitles. During entire video its background fades throughout the full colour spectrum, as each colour assigned to each definition and its value. The speed of the video is ten times faster then normal which limits the reading possibility to only a few words at a time, as those becoming keywords.

Using similar mechanisms as in advertisement the video correlates to and expresses our rapid life style, contradicting the ‘actual’ time needed to reflect on ones life and portraying inner thoughts – ‘Instructions on new being’.







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2007. Cristian Villavicencio. HIMNO



Game of symbologies and elements of the Ecuadorian discourse on national construction. The video attempts to alter elements that we have internalised in our imagery of the country. The text of the Ecuadorian Anthem has been translated into English and the movement of a circumference marks the tempo to which the lyrics should be sang in karaoke style.

This video is a piece of work on the national iconography that touches on the subject of an identity built from a conventional discourse. Its elements: the music of Ecuador’s Anthem and its text translated into English merely parody the seriousness given to these nationalist discourses in Latin American countries.

Potentially, various meanings can be inferred from the video being that it is shown in a place distant from the iconography that it makes reference to. Leaning towards a somewhat more universal analysis of the national discourses based on this type of iconography.









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2007. Alfredo Pérez Bravo. MIS QUINCE



In general, the video is a satire towards many people’s tendency to turn the major events of their lives into a feast of vanity and kitsch. The subject of ‘fifteen’ is particularly tackled with the photographic editing jobs that young girls tend to want to immortalise that phase of their lives. It is customary (at least in Cuba) for most fifteen-year-old girls to pay a visit to a photographic studio to have photos taken of themselves that are subsequently digitally edited so that we may as well see the same girl in a bathing costume against a snowed landscape, wearing high-heeled shoes in the sand or half naked shoulder-to-shoulder with her favourite pop star. 

This work is a synthesis of a grand performance that is awaiting financing for execution.








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2007. Carolina Jonsson. REST



The day as a timevariable has ceased to be important. Her contact with the surroundings are decreasing. Each moment is to be and in this she finds plesaure.











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2007. Daniel Silvo. ROTHKOVISIÓN 3.0



On a stage as ordinary as Madrid’s Metro a cause for contemplation appears before us: a painting of Rothko occupies the framing of the camera and, on the painting, some passengers are reflected. In that underground journey the painting looks like a mirror. But when the wagon emerges into the day light, it is the landscape that we see through it. It is no longer ourselves what we can contemplate, but our exterior.











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Horse and prince manure is a piece of reality: pomp and representation of power, guards on horseback, Rolls Royce’s and national hymn. Powerful men and servants in the 21st century.









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2007. Ginard + Gine's. LUCÍA



Lucía, produced as a result of manipulating old and anonymous amateur films recorded in Super-8mm format, is part of a collection of video-collages that re-interpret, after analysis, de-contextualisation and demystification of symbols and attributes, some of the most significant martyrdoms of the history of Christianity.

The project pretends to be, besides an iconographic perversion, a reflection on the post-modern notion of recycling, of the migration of images and of the relativisation (including, the negation) of the authorship.












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2007. María Cañas. THE TORO´S REVENGE.




Human death in the shape of a feast; let the horn in and the music begin… Who said that the revenge of the bull could not be fun?

La Cosa NuestraSynopsisLa Cosa Nuestra is a journey to the most hidden and surrealist side of the bovid-taurean universe. Enjoyment and tremendousness, operating in the iconographic cannibalism.

This video-creation shows other interpretations of the national feast; it brings the Spanish taurean culture face to face with the concepts and the meaning of the figure of the bull and other bovids in different civilisations.

ProjectA series of video-creations, sessions of live video, public interventions and proposal of collaborative practices for various cultural collectives (in the process of finding sponsors).

ReviewThis highly interesting compilation of material explores and creates a visual space that emphasises the idea of the bull as cultural axis. Based on a series of pieces, charged with a vitriolic sense of humour, Cañas explores the relationships established between the bull, other bovids and man in different cultural manifestations. Sci-fi surrealism and olé! in a series of video-creations where sources like the festive spirit of The Pogues, the tremendousness of Goya and Gutiérrez Solana, the poetic fatalism of Bataille, the taurean passion of Orson Welles, the erotic perversion of fanatic pop fans constantly cheering butted bullfighters, other freaky uses of the bull in different cultures like inebriated and massaged caribous in Korea or Hawaiian rhythms in the test of bravery of young males… all come together.

With all this, Cañas explores again the different relationships established between animals and humans, seeing how these are complex, strange and, in some cases, beastly.

La  Cosa Nuestra goes beyond the evident; the images that society generates are saturated with symbols, visions, tributes, offering other interpretation registers and new insinuations to the spectator… the strange combination of enjoyment and tremendousness that surrounds us.

This no doubt represents one of Cañas’ best works, which consolidates her in this gender (the scratch-documentary) that she dominates so well.

This work is made up of 5 series, whose narrative structure allows the pieces to be seen separately or as a unit. Intentions and motivationsThis project does not seek to understand or to explain the essence of the taurean passion-tradition, or to start a series of controversies or hen-fight between enthusiasts and professionals of tauromachy, but to re-contextualise the meaning of the national feast: all its perverse eroticism, poetic fatalism and the interests generated around it. La Cosa Nuestra submerges into the aesthetic, ritual, cultural and social universe of the world of bulls, reconstructing it with criticism but, at the same time, with a healthy irony.









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2007. Tanja + Zvonka. PLLUX06- AV DECOMPILATION

FORMAT: AV DECOMPILATION LENGTH: 2:01 MINYEAR: 2006PRODUCTION: AUTOMATAPLL06-1, 2,30 MIN./ PLL06-2, 6,04 MIN. / PLL06-3, 1,28 MIN. / PLL06-4, 1,50 MIN. / PLL06-5, 1,57 MIN. / PLL06-6, 1,14 MIN. / PLL06-7, 2,01 MIN. / PLL06-8, 1,57 MIN.




Eight pieces consist of sound and visual interferences made through deconstructive methods of working with digital signals.

Eight audio video pieces are a collection of acoustic and visual interferences made through deconstructive methods of working with digital signals. Initially those signals were made through the processes of conversion of audio to video and vice versa or by a plain synthetic digital signal routed through audio and video amplifiers within the various software applications like max/msp, pd and similar. These fluid sonic spaces co-create physical locations where they are presented.











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2008. INTERVENCIONES TV (every audiovisual work)

Audiovisual works belonging to the 2007 edition of INTERVENCIONES TV competion, which formed part of the MADRID ABIERTO 2008 program.This video was screened on Metro tv channel.




Synopsis: “…in a planet governed by women, men might even end up feeling threatened and vulnerable.”

I have redirected a series of images based on the idea of détournement, in the sense of uprooting aesthetic artefacts from their original context and diverting them towards contexts of one’s own creation. Based on the philosophy that any idea is susceptible to becoming something else, even its opposite, the entire piece would become a displacement of meaning exercise, as of the iconic and semantic elements that we attempt to dismantle.


Itziar OkarizMC CARREN + PULASKYMcCarren. 2007. static photo and voice in off. 00'56''Pulasky. 2007. static photo and voice in off. 00'41''

 McCarren is an attempt to represent a real landscape through the elements that remain on the margins of the field of vision of documentary convention. The story is a verification of a series of trivial objects that succeed one another in the landscape and are an indispensable part of a concrete experience of the place.

Pulaski establishes a connection with a place, the bridge, through the description of a past occurrence that lacks importance to any other person. It makes visible the rear part of the adverting apparatus of the billboards on the sides of the road.

They both address the subjective experience of different urban spaces.


Mabi Revuelta4 HORAS Y 56 MINUTOS2007. DVD. Colour. Pal. Estéreo. 1'54"

Internet is becoming the audiovisual home of many users, like an independent republic against conventional television. Even so, 4 hours and 56 minutes is our new television consumption record.

In the form of advertising zapping, Mabi Revuelta reflects on the future and meaning of current TV: the analogical signal against alternative on-line systems; passive advertising consumption vs. digital interaction.


Mikel Arbiza of Perros Callejeros Films   SKATEBOARDING DESDE EL CORAZÓN2006 > 2008

Second video for the company Parafernalia Skateboards ( where we can see the company’s team (Diego Doural, Blayney Hamilton and Mischa Canibal) skating with a lot of friends (Mathieu Dupuy, Dani Pérez, Samuel Dorregaray, Cristian Cortizo, Ibai Larralde, Pablo Rivera, Mateo Rotaetxe, Juanma Fernández, Iñaki Guantxe, Alain Saavedra, and others.)

The three promotional pieces ‘teasers’ presented in Madrid Abierto were specifically prepared for the competition Intervenciones TV. The long video will be finished in the course of 2008.


Andrew SeniorPUBLIC INANITY + PRIVATE INSANITY-24 HOURS2007. DV 720x576. PAL. Colour. Stéreo. 01'07''

Public Inanity reflects upon the intrusion of television into our public spaces as endlessly repeating loops of trivial content assail us from street corners. Private Insanity takes 24 hours of television and compresses both sound and images in a crescendo of sensory overload.


Maya WatanabeAUTORRES2005. 1'15". Performed by: Maya Watanabe. Camera: Martín Guerra

Autobiographical piece which borrows film dialogues which are edited, mixed and reassembled to create a narration with a new meaning.


Raúl Bajo IbáñezLA PIEL DEL LOBO2007. 3'45". Mini dv

Synopsis: " a planet governed by women, men might even end up feeling threatened and vulnerable."

La piel del lobo is a video that reflects on our concept of reality, built on the base of the images fed to us by the audiovisual media. The reality simulations gradually woven around us by the media have managed to irremissibly trap us, incapacitating us to differentiate the real, multi-form, ubiquitous and intangible reality. Trapped in this network of images, we are easy prey to its constant economic, physical, emotional and political manipulation. This video is a small contribution towards media resistance, an incitement to alter the rules of the game: the lambs will rebel, hunt the wolf down and strip its skin.


Yolanda de los BueisHIS ITV2007. PAL. 4:3. Colour Stereo. 03'18". Camera: Miles Tudor. Old man: Yolanda de los Bueis

Part I and IIIThere is a private eye in a public space.There is a public eye in a private space.There is a space that is neither private nor public.A public solitude.

Part IICertain disturbing fragments are recognised in an instant, but neither with sufficient sharpness nor time to be able to make a judgement. Their material and aesthetic features act as catalysts of desires, evoking a sense of the perverse or summoning fantasies.


Furallefalle-FAF (Vanesa Castro + Iñaki López)CUÑAS TV2003. DV. 02'13"

CUÑAS TV is an audiovisual with a positivist vision of TV.

In the form of television zapping, we find various spots and ads. The spots are of a critical and reflexive nature, on sexuality and violence on TV. The ads of an absurd advertising nature, where the everyday is sold. Thus we can see Andy Warhol advertising "garlic from La Mancha", Maria Abradelo presenting an exhibitionist child or Joe Blogs advertising his depression.













2009-2010. Antoni Mercader (Cv)


EDUCATION 2003·    Profesor titular de Comunicación Audiovisual de la UB.

2000·    Doctor en Comunicación Audiovisual por la Universitat Pompeu Fabra.

1976·    Licenciado en Filosofía e Historia del Arte por la UB. ·    Dirige la colección Comunicación Activa del Servicio de Publicaciones de la UB, Es miembro del Grupo de Investigación consolidado y finaziado LMI (Laboratorio Medios Interactivos)

SELECTED SOLO EXHIBITIONS 1973–1976·    Miembro activo del Grup de Treball (activismo político).

1964–1966·    Grupo Machines (expos en Barcelona e Igualada).

1963–1964·    Grupo Presència 63 (expos en Banyoles y Girona). ·    Exposiciones colectivas (selección) 1975 Bienal de Paris, Museo de Arte Moderno, Paris.

1976·    Bienal de Venecia, Pabellón de Italia.

1999·    Global Conceptualism, Queens Museum of Art, New York.

2009·    Subversive Practices, Württembergische Kunstverein, Stuttgart. ·    Performances 1986 Live / Video / Computer-Art Performance (LVCAP), Metrònom, Barcelona.

FILM FESTIVALS AND SCREENINGS (SELECCIÓN) 1996–2005·    Cinco ediciones de las Jornadas sobre Arte y Multimedia, Fundació La Caixa.

1994–2006·    Coordina y asesora las actividades de la Mediateca CaixaForum de Barcelona.

1985·    Seis centros culturales europeos programan, First Simultaan Video Screening.

1984–1989·    Virreina, els dilluns vídeo, Ayuntamiento de Barcelona, Palacio de la Virreina.

1982–1983·    Director técnico de la Sección Vídeo del Festival de Cine de San Sebastián.

1981–1988·    Actividades videoarte, televisión, radio y computer-art, Instituto de Estudios Norteamericanos, Barcelona.

1978–1980·    Sèries Informatives (videoarte), Colegio de Arquitectos, Barcelona.

SELECTED RESEARCH PROJECTS 2007–2009·    Co-coordinador del proyecto de la Comunidad Europea GAMA (Portal Archivos Media Art), Programa e-contentplus

2006–2007·    Director del proyecto europeo Vivid [Radical] Memory (Arte conceptual del Sur y del Este), Programa Cultura 2000.

2003·    Proyecto DURSI ACES. ·    Recuperación fondos audiovisuales peligro de pérdida definitiva.

TELEVISION PROJECTS 1982–1983·    Conductor y director de programas dedicados a la imagen, The Big Broder i el germà petit,TV3, 1983. ·    Sèrie Visual.TVE, 1982.

CURATORIAL PROJECTS 1999·    Grup de Treball, MACBA, Barcelona.

1998·    Miratges, De la postfotografia al ciberespacio, Fundació "La Caixa", Barcelona.

1998·    Muntadas, Proyectos. Fundación Telefónica, Madrid. ·    Muntadas Des/aparicions, Centre d'Art Santa Mònica, Barcelona.

1997·    Barcelona-Madrid, CCCB. Barcelona y Círculo de Bellas Artes, Madrid.

1995·    Dennis Oppenheim, Obra 1967-1994, Palau de la Virreina, Barcelona.

1988·    Instal•lacions / Passatges / Intervencions. ·    Muntadas, Palau de la Virreina, Barcelona.

1986·    Barcelona / Paris / New York, Palau Robert, Barcelona.

ONLINE CURATORIAL PROJECTS · 2001 Fundació "la Caixa", Barcelona. · 2000 Experimentación i creatividad, Fundació la Caixa, Barcelona.

AWARDS AND GRANTS 1995·    Premio Espais, Girona (sobre textos arte contemporáneo).

1993·    Estancia en el Goethe Institut, Berlin.

1986–1987·    Dos premios Festival de Estavar, France.

1984·    Premio Up & Down, Barcelona.

1983·    Premio Festival de Andorra.

WORKS IN MUSEUMS 1999·    Obra Grup de Treball en MACBA, Barcelona. 2009·    Obra en MNCARS, Madrid.

BIBLIOGRAPHY RECENT SELECTED WRITINGS OFF LINE2009·    Capitulo libro Conceptualismos del Sur, El desafio de la patrimonializació del arte conceptual: Grup de Treball. ·    Saõ Paulo (Brasil): Annablume 2007 Monográfico del nº 93 Revista Papers d'Art, Proyecto europeo Vivid Radical Memory, Fundació Espais, Girona. pp. 23-229.

2006·    Cuaderno central revista Telos, nº 67, Las TIC en los nuevos entornos de aprendizaje.

2003·    Algunas consideraciones, Exposición Monocanal.(Cat. Exp.), Madrid: Museo Nacional Centro de Arte Reina Sofía, pp. 39-59.

2003·    Cuaderno central revista Telos, nº 56. Arte Digital, ¿un supuesto válido? 2001 L'assignatura a toc de ratolí?. Revista Anàlisi, nº 27. pp. 181-189.

1999·    Grup de Treball. MACBA. Barcelona .(Cat. Exp.).

1998·    Postimatge, Catálogo exposición Mostra d'arts electròniques, Barcelona: Generalitat de Catalunya, pp. 22-24.

1996·    És l'avui ecologista de l'art atalaiar la confrontació i harmonitzar el conflicte? Catálogo Homo ecologicus, Barcelona: KRTU, 1996. pp. 268-274.

1994·    Una nova formulació cultural i artística sorgida dels ordinadors?, Revista Cultura, 59, pp. 29 i 30.

1990·    Cuaderno central revista Telos, nº 24, ¿Hacia un nuevo renacimiento?.

1987·    Flight Simulation and the Design of the Universe, Mediamatic, nº 2, Ámsterdam. pp. 92-97. Vídeo, ordinador i creativitat. 2es Reflexions crítiques sobre la cultura Catalana, Barcelona: Generalitat de Catalunya, 1987. pp. 137-162.

1980·    Coautor del primer libro sobre videoarte publicado en España, En torno al vídeo, Barcelona: Gustavo Gili, 1980.

ONLINE SELECTED WRITINGS URLGRAPHY·    (Mediateca CaixaForum. Barcelona)

2005·    Metanarrative(s)? ·    ¿Audiovisualización del arte? ·    ¿Qué es y qué ha sido el videoarte?

2003·    Nam June Paik. Global Friends

2002·    Cultura audiovisual y multimedia ·    Ull + orella (Ojo + oreja)

2000·    Pasajes imaginativos

1998·    Sensibilidad Multimèdia.