On Translation: Miedo/Jauf es una edición en formato dvd de Antoni Muntadas, realizado entre Tarifa y Tánger entre 2006 y 2007.El video conjuga el registro de las entrevistas realizadas a treinta personas relacionadas de modos diversos y directamente con la frontera entre ambos países. El proyecto trata de mostrar cómo el miedo -una construcción cultural/sociológica que siempre remite al ámbito político y económico- es una emoción traducida a ambos lados de la frontera desde perspectivas muy diferentes.

Published in conjunction with Muntadas’ exhibition, Protokolle (June 18 - September 10, 2006), at the Württembergischer Kunstverein, Stuttgart. In Protokolle, the Spanish-born, New York-based artist Muntadas explores the meanings, mechanisms and effects of protocols reflected in a cultural body of legislation - from written documents produced according to specific rules through conventions of societal demeanor, diplomatic, military and religious codes to digital network protocols.

ENG: On Translation, is a big project that the Catalan artist Antoni Muntadas has been running since 1995 and in which he reflects on the translation concept a linguistic perspective, covering cultural, political and economic issues.On Translation: Stand By is part of that great artist's proposal. It is a series of color photographs showing lines of people in different scenes and cities around the world (museums, exhibitions, airports, public institutions, cinemas, shops, etc.) In "Stand By" emphasize contemporary urban rituals.

ENG:A video work that explores the idea of fear in the border area between Spain and Morocco, using interviews with people on both sides of the border mixed with archival television footage and other documentary material.

In a year when Spanish curators directed the Venice Biennale for the first time, Muntadas, representing Spain in the Spanish Pavilion, told a reporter that the Biennale “takes its ideas from international fairs. It connotes the theme park. There was exoticism, invention, the new . . . but by now it is an obsolete structure.” Muntadas’s On Translation: I Giardini, the latest in a series of often site-specific “On Translation” projects completed over the last ten years, is here documented from its inception.

ENG: Muntadas began exploring television, film and video as far back as the 1970s and is considered one of the world’s first media artists. He has worked with nearly all genres of artists’ publications, creating an extremely diverse oeuvre that ranges from the artist’s postcard to net art. He concerns himself with various phenomena of society; a central aspect to his work is the critical analysis of shifts in public and private realms.

ENG: Bremen is a city of 500.000 inhabitants, with historical buildings and spaces whose imprint on the urban tissue traces the recent past of the city... Like Bremen many other cities in Germany (Ruhr area) and elsewhere in the worl are seeking attention to solve social, economic, cultural... problems. Strategies are diverse: city planning, novel architecture, international conferences, Olympic Games, World Cups, Congresses, Capital of Europe, Leisure events, Theme Parks, Exhibitions, Museums, Stadiums... Spectacle.

La exposición Proyectos de Antoni Muntadas es una selección de sus trabajos a lo largo del periodo de 1974 a 2004. Es también la producción de una obra realizada ex profeso para el Laboratorio Arte Alameda, On Translation : Alameda, que se compone de tres partes y que es el resultado de las experiecias y materiales recogidos durante visitas anteriores del artista a la Ciudad de México. 21 mesas de luz muestran la nutrida obra realizada durante todos estos años por el artista. Fotografías, cartelerías, collages, arquitectura. etc. Obra nueva, sin recorrido comercial.

EN: The act of compiling some of Muntada's different editions allows us to verify something that, paradoxically, we find at the root of all his works: each project falls within a specific context and time, a set of particular circumstances (geographical, historical, cultural, political, linguistic and so on) that in their day set definite processes of intervention in motion and inevitably influences their successive interpretations.This might seem obvious, granted, but I believe it might contribute to an understanding of this selection of Works, not so much as an archaeological or fetishist