| Dionís Escorsa |  |
&
ROTOR |
 |
........s......l.....o....w...l.i.g.ht |
If you can't see the videos install quicktime7 |
| works
|
| 2008 |  |
in)civic |
video "Real", by Fran Blanes, 21' 52'' |
Strategy game based on the so-called "civic behaviour" by-laws introduced in the city of Barcelona. |
| 2008 |  |
La hivernació autoinduïda |
Collecting dreams during a process of self-induced hibernation. A caligraphic analysis of the state of semi-wakefulness. |
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| 2007 |  |
la poca casa (barely a house) | video 6' 48'' |
A series of forks in time or cracks that separate the possibilities of existence. |
| 2007 |  |
e-rails | video 03' 57'' |
The automatic track. Animation. Any object placed on a section of train tracks is subject to sudden acceleration. A commonplace scene of the detachment of objects. Emissions and receipts. Applicable to rails, footpaths and all kinds of continuous forms. Cable tracking. Linera pampering. Dialogues at beginnings, ends, or half-way stations. The relativity of the individual position in relation to supposedly fixed points. |
| 2007 |  |
RETRORRROTOR 1 Rotation. |
RoToR celebrate their first rotation by building a base camp at Reggio Emilia during July, August and September 2007. |
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| 2007 |  |
self-portrait | video 2' 22'' |
A return to the media silence of 1999. |
| 2006 |  |
beta4 | (alphabet) |
Transforming one's own present in the past by changing something that is still to come. |
| 2006 |  |
kidnapping the gallery owner |
linear interactive video 30' approx in total |
A cybernetic video-calender that tells the story of the kidnapping of a gallery owner on the day of the opening of a fake contemporary art exhibition. The idea is to subvert an exhibition context through a live action, by requiring the participation of the agents involved in a drastic way. |
| 2006 |  |
barulho de fundo |
11'
03'', 07' 13'', 08' 46'', 07' 16'' i 10' 57'' in simultaneous loops |
Video created as part of a video-installation by the artist Renata Lucas at the Sao Paulo biennale. (Directed by Renata Lucas.) |
| 2005 |  |
solo por placer (solo/only for pleasure) |
Solo por placer (Solo/Only for Pleasure) looks at the tension between the pleasure of dancing the the suffering involved in creative work. The immediacy of movement that dances comes up against the domestication of composed movement. The pleasure of gesture, the energy and emphatic nature of a body that expresses thougts and emotions at the moment they arise, and the sorrow of the distance, of writing and reflection. |
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| 2005 |  |
one |
Night falls in an anonymous city. Another solitary night for another anonymous man. A free man, with free time - time to reflect. |
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| 2005 |  |
air autonomy journeys |
interactive linear video 1 hour approx in total |
A series of psychophysical explorations on the roof terraces of Barcelon's Ciutat Vella, which take place over a two-year period. Routes through the rooftops, occassional meetings to examine different issues and finally a one-week festival in August 2005. |
| 2005 |  |
visionary projectiles | video 06'28 |
A drunk, disillusioned woman shoots the streetlims, sick and tired of their light which prevents her from sleeping, without considering the fatal incidents her action could provoke. |
| 2005 |  |
jardi d'arrels (root garden) |
interactive non-linear video 2 hours approx in total |
An experiment in non-linear narrative in which the actors-participants carry out each of the many possibilities of a multifaceted script, arising from an initial situation. Like the actors before him, the user has to choose from several possible decisions at the end of each sequence in order to continue the narrative. The result is a rhizomatic process of narrative experimentation, always individual and neverending. |
| 2004 |  |
room service for bombed buildings |
Six years after being bombed by NATO forces, some buildings in the city of Belgrade remain in the same state of destruction as immediately after the bombings. Inside, the women who used to be in charge of cleaning and maintenance come together again and return to work as though time hadn't passed. Their process of cleaning and replacing the objects in the now-abandoned rooms represents the metaphor of cleaning as revitalising and rescuing from oblivion, while also raising the need to reconsider the use of these spaces for the city, once they are rebuilt. |
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| 2004 |  |
the chairman | video 0'12'' |
Prelude for all screenings. Insert image of Slow light production company. |
| 2004 |  |
savage heart |
Roig has brought together an all-star team made up of larger-than-life artists, all outstanding in their own field of the arts. t mean, it's not easy for great artists to be part of a team, face to face, supporting each other. But Roig's poems act as a medium for a performance that allows time to feel and time to think. The poet from Tortosa, with his personal style of diction somewhere between singing, rhapsody and talking, like a madman or a master, gives off playfulness. (Francesc Bombí-Vilaseca). |
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| 2004 |  |
Como casas. (homes) |
COMO CASAS (Homes) looks at the less media-friendly aspects of the modern world's feeling of rootlessness, which is affecting a welfare society that keeps raising the bar for its own success while immersed in general indifference made up of curiosity and tolerance. Personal rootlessness that has to do with the lack of faith and certainties and a total lack of points of reference. |
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| 2004 |  |
alterrats links | video 10' 38'' | Opening of the aerial routes through the rooftops of Ciutat Vella, Barcelona. (with Rotor) |
| 2003 |  |
Shark aquarium | video 3'50'' |
A project that was never made, for a video-installation that would supposedly be projected on the façade of the National Tax Office building. |
| 2003 |  |
rabbits on sale | video 1' 58'' |
Knowing that even when rabbits are well-fed, they still tend to eat paper without it doing any harm, we are offered a vision of what could be called the empodiment of purity in the process of devouring the representation of impurity. A metaphor of the eternal conflict between the real and the way it is encoded. |
| 2002 |  |
poblenow | video 17' 33'' | Rutes aventureres i edició de mapes temporals al barri en transformació. Exploracions, Safaris i Planariae (for the collective Rotor) |
| 2002 |  |
frozen conversations |
video 2' 06'' |
Video animation in which there is a clash between archaic personifications of the concepts of death and time. |
| 2002 |  |
inner vision |
short linear video installation that depicts a short metaphor on inner vision and the self-damage that knowledge can produce. |
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| 2002 |  |
butterfly dust |
An attempt to put together a collection of images of human beings in couples, based on the aesthetic premise of the metamorphosis that takes place when two people unite sexually. The old idea of the new, single body that is thus created (according to Plato, the origin of humanity), is develped with a visual likeness to some insects, more specifically, arachnids. With the same scientific spirit in which these animals are captured, collected and displayed, couples are encouraged to allow an image of their union to be captured on film. Produced by galeria Dispari www.dispariedispari.org |
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| 2001 |  |
how to mistreat falseness | video 2' 57'' |
A video-installation made to be exhibited in the ruins of the former theme park at Montjuïc, Barcelona, during the first triennial Barcelona Art Report. The phantasmagoric image of a clown that refuses to leave the space that had once been his natural habitat. A new look at the stereotype of the killer clown, this time presented as a metaphor of the fragile nature of survival. |
| 2001 |  |
slow light | video 2' 23'' |
An attempt to assimilate the ownership of time, based on a careful analysis of the length of a day as the first, ancestral, profane unit of measurement, and of the permutability of its light, which defines images. At the same time, it aims to create a metaphor on its own condition, not only using video effects to accelerate reality, but also acting directly on it. The result is a short film in eternal progress (a 10 second squence deeds a whole sunny day of filming), in which daylight performs a dance with time that expands to many different objects. |
| 2000 |  |
vacanze | ( Directed by Ernesto Collado, Felix Pons & Xiscu Segura) |
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| 2000 |  |
to tell the truth isn't the truth | video 0' 37'' |
A video-installation that examines the paradox of representation as a temporal echo of the person represented, on entering in conflict with his original. The displacement of a shadow that gets ahead of itself makes its owner feel rather aggressive, in the parental sense. The keys to the house are the only element that remains when father and son re-stage their Oedipal confrontation once more. |
| 2000 |  |
l'absent (teh absent one) | video 3' 19'' |
A video installation that attempts to show the phantasmagoric nature inherent in all representations. The light of a projector hits a chair, casting its shadow onto a nearby wall. The image it projects shows a person who sits on this shadow. The real chair is empty. This absence becomes even more obvious when the person depicted doesn't seem to be there either. His undeciphrable gestures prevent viewers from trying to find a narrative thread. They are the movemnts of a madman, someone deep inside another reality, someone who is not present. |
| 1999 |  |
Circular routes at home |
A series of photographs related top a house that contains what we could call phantasmagoric traces of the different people who have stayed there over the years. |
|
| 1999 |  |
El llibre brut | video 3' 59'' |
Apunts pictōrics d'un viatge solitari per la Turquia interior: Capadōcia i la costa sud mediterrānia. |
| 1999 |  |
head to the ground | video 8' 13'' |
A series of images filmed on super 8, projected onto enlarged photographs, drawings and paintings. |
| 1999 |  |
media silence | video 1'32'' |
Last night of the millenium. The most expensive night of the year (for advertisers) |
| 1998 |  |
Acta de devolució de les imatges |
Ofrena bàsica abans d'iniciar qualsevol activitat audiovisual. Arxiu fotogrāfic realitzat a les basses de la caramella. Falda dels ports de Beseīt. Tortosa. |
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| 1998 |  |
Rivers of paint gradually make a delta. |
Cartography of impressionist pictorial routes threou the delta of the Ebro river. |