She has created the majority of her work in video in the last years in San Francisco. In the Disneyland of Love was authored by Pat Richtmond, one of the pseudonyms of Susana Rabanal, in 1994. Her treatment of the images, largely recorded with a Pixel Vision camera, serves as a refernece to the order of her experience, altered and in conflict. The subject matter, apparently unconnected, makes up a discourse one couldn´t understand without the particular sense of humor of the artist, from the approximation to the figure of Dora Bauer as a model for the Freudian description and enunciation of hysteria, to her own personal experience with lacanian psychoanalysis.

Carlos Gil-Roig, Saragossa 1964.
Fit to Be Tied, 1995. 14'47".

For the last five years he has lived in different cities in the United States, chiefly Los Angeles and Chicago. Fit to Be Tied is a singular portrait of the community of politicions, brokers and businessmen of the city of Chicago, by way of a concise interview whose only question is “Why do you wear a tie?”. The richly varied answers, place before an individual analizing his own representation, and although less explicitly, the portrait comes together through the relationship each one of these individuals establishes with the camera, and with the person filming often recognized as a foreigner.

Glòria Martí, Barcelona 1965
SPFX, 1995. 4'

Martí developed her video production over the last years in New York, where she filmed and edited the images of SPFX. With a home video camera, and shooting from outside the Guggenheim museum through its glass walls, she documents the social activity provoked by the opening of an anthological exhibit of the work of painter Antoni Tàpies. Unnerving camera movement offers us these images to the tune of the soundtrack of the film The Critters.

Francisco Ruiz de Infante, Vitòria 1966
Los paseos nocturnos, 1994. 11'

Lives and works in Paris since 1991. Since the end of the 80´s he has alternated video work with audiovisual installations, in many cases overlapping these productions. This is the case of Nocturnal Passages. At the end of 1993 he began the construcion of what would become The Wolves, 1995. However, this first attempt gave way to another piece which became this video. Night Passages is constructed as a kind of prologue to The Wolves, a transitional work which speaks to the same theme, which in Ruiz de Infante´s words is “the initiation rites of survival, tied to the knowldge of evil.”

Xavi Hurtado, Barcelona 1961.
Kirlian Inc., 1996. 12'.

The editing of the video Kirlian, Inc. begun in the Interactive Telecommunications Program department of New York University, as part of the installation S/T, and was edited as a single channel version in the Hermes program of the Univerisdad de los Andes, Bogotá. The material used in this video comes from numerous sources: demos of video games, film by the author made in Super8 in New Jersey, South West Manhattan and Philadelphia, 16mm films from the field of psychiatry in the U.S. from the 40´s and 50´s, educational videos of the 70’s, etc. The audio material comes from a series of interviews with scizophrenic and/or paranoiac patients, conducted at the Frenopathic hospital of Sant Boi, between 1992 and 93. Starting with the notion of delirium as a “self-contained structure”, Hurtado attempts to create a comparison between two institutions and their respective productions: psychiatry, with its notion of the sick person-subject and its product, the pathological description, and aesthetics, with its notion of the artist-subject and its product, the artistic object.

Dins-Fora