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"Un proyecto de Screen from Barcelona" La historia del video ocupa un lugar importante en la totalidad de les colecciones de los FRAC. Con más de 1600 videos en las 23 colecciones de los FRAC, este medio se ha afianzado en 30 años como un campo de experimentación importante a nivel internacional. Performances, auto filmaciones, ficciones y auto ficciones, narraciones, experimentos tecnológicos, dispositivos, instalaciones, el video reinventa lo real y recubre una realidad en constante evolución. Con la coincidencia en el 2012 del 30 aniversario de los FRACs y el 10 º aniversario de Screen Festival / Feria LOOP se presenta, en colaboración, la exposición en Arts Santa Mònica que es la primera muestra en Europa que presenta este formidable corpus de imágenes los FRAC (Fondos Regionales de Arte Contemporáneo, de Francia). Este recorrido en imágenes desde los años 70 empieza por un homenaje a los grandes artistas del siglo XX. Georges Rey, Marcel Broodthaers, invitan a los visitantes a entrar en un laberinto de imágenes que van desde la frontera en el sentido geográfico y político de la palabra (Khallili, Roeskens, Atay), el viaje, entre exilio y sueño (Almeida, Sedira, Leccia, Tan, Garcia) y la arquitectura a partir de su dimensión simbólica y política (Colomer, Narkevicius, Zarka, Downsbrough).

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Videonale 12 is one of the most important video art festivals in Germany and presents over 40 different videos from all over the world...

Fischli/Weiss (1987)

"Cantaloup" (1980) by Steina Vasulka presents an outline of the Vasulkas' concept of the "instantly moving image" that begins with electronic imaging and developed through computer techniques of image generation. Steina explains the potential of the "Digital Image Articulator" to create complex forms of visuality which themselves expand the "vocabulary" of the operations of image simulation. "She describes the varying sizes of pixels (picture elements), the layers of color and tone that can be derived from one image, and techniques such as "grabbing" the image and multiplying it. Basically, the "Digital Image Articulator" generates constructive techniques of "image transformation" and "image as object" that are "open-ended" in a number of senses. Steina Vasulka presents the process of transfiguration in "Lilith" (1987), in which the constantly changing image field describes the shift from temporal to spatial image organization..."she alters and manipulates the face of a woman (painter Doris Cross) son that it is submerged within a natural and technological landscape". The flexibility of visual imagery, in particular, emphasizes the spatial dimension, as opposed to the temporal. Thus the image as object overtakes the medium presentation. The result is an "almost sculptural fusion of human figure and landscape". The optical image is transcended "when image becomes object in a stream of parallel events, where "image synthesis" also establishes a link between electronic transtormation and digital spatiality. In "Orka" (1997), she combines both techniques, processuality and synthesis, to rendering visual imagery in spatially condensed, flowing motion on the basis of a principle of musical composition, since it expresses motion, a motion that runs counter to the laws of physics and the dictates of the "frame-bound photographic image"..."Since my art schooling was in music, I do not think of images as stills, but always as motion...It is like a duty to show what c