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Introduction
The event “IMAGENS QUE VC JAMAIS VERÁ NA TV”(IMAGES U WILL NEVER C ON TV) is dedicated to video art and the production of digital images.
The intention of this event is to put the public of SESC in contact with art and technology, within the knowledge of video art language and digital art images.
The videos are developing questions about sound experiments and electronic music, abusing of the electronic resources of the present times, which are in constant evolution and developing all the time.
The purpose of the event is to have a comprising selection of video art featuring international artists from: USA, Japan, Turkey, Canada, Angola, Argentina, Spain, Italy, France, UK, Netherlands, Slovenia and Brasil.
There is a natural investigation about the poetics, built from local and universal dialectics.
The curatorship has a multiple focus because it tries to mix up different kinds and thoughts of video art and digital images, having in mind the geographic distances as a new factor of this dialectics.
The purpose of the exhibition is the interaction of videos and digital products that operate in different contexts: ethnologic, social and geographic. Those videos work almost as a treatise in these subjects, they are live clippings of the contemporary.
This effort represents part of the work developed by Carlo Sansolo and Érika Fraenkel. The effort of exchanging video art works with other artists and the search of places for exhibition, setting up an exchanging web, which has as an objective the interrogation. What happens there in the place where I am not present? What do they think there? What will they think about my work. Is there solidarity? Is there a reciprocal interest? This exhibition is a sample of all those interrogations, and it is an answer that generates new questions.
We chose part of the cream of those exchanges so as to serve as a demonstration of what is going on in the contemporary world.
Carlo Sansolo
Critical Studies – International Videos
Arbitrary Languages developed in different territories.
It is a hard job to try to chart international video art through territories and places. In fact, any kind of charting is very hard, even as themes, aesthetics or authors, since a near faithful image that includes everything would need so many hours and days of exhibition that it would cause a critic problem about marking out.
Artists from Angola living in Amsterdam, one Argentine living in Germany, one Dutch woman living in Australia are some of the examples of how this geographic moving can not be ignored and it can be fruitful, and contrary to the linear charting, it reveals something deeply contemporary; the des-territorisation of art is a symptom of the flow of contemporary economy and the velocity of communication; internet as an active tool in the changing of impressions, ideas and digital art.
The japanese videos selected have a politic meaning of interrogation and teasing about destiny of post-modernity, reflecting of freedom and control.
The videos of the Swedish artist Tobias Anderson are versions and parodies of the main classic films and characters Hitchcock. We are introducing also a serial poetic works where the image has a pictoric and photographic value, like the works of Kelly Richardson (Canada), Barry Anderson (USA), Lasse Raa (Nor), Arthur Liou (Thaiwan). Some of the videos explore the abstract capacity of graphic works using 3d softwares, like the two videos of Dennis Miller (USA) and Julio Soto (Spain). Videos that use allegories as a strategy are very representative too, like the video of Genco Gulan (Turkey), that talks about the power of media showing a rugby game inside of a pool frequented by women. We find videos that talk about minorities, like “Smile” by Harold Offeh (GBR), or “Placebo” by Miguel Petchkovsky, from Angola, where the relation between religion and colonialism is shortly examined; or female questions like the videos by Natascha Ampunant (Ger), or in the subjectivity and its own digital existence by Seyda Cesurl ( Tur ), where a female gaze and perceptions can be felt, and the way the female body is portrayed as to evidence this specific sensibility as opposed to the mainstream male gaze. The parody is usually explored when the context is international politics, like the video of Pascal Lievre, in “Evil’s Axle”, where the speech of George Bush is transformed into the love song of a couple during its vacation: the paranoia turns into an Opera.
More than a marked trail, digital art opens different possibilities of research. We are still in the beginning of the exploration of different formal preparations, with many routes that move away and come near, sometimes forking, making possible new ways and kinds of aesthetic explorations and new chances to rethink the world.
Carlo Sansolo
Video – Brazilian Artists
In this newest laisle.com exhibition, we introduce 10 new brasilian artists, fro São Paulo, Rio de Janeiro, Minas Gerais and Amazonas.
The video Aqui de novo (Here Again) by Lucas Bambozzi, develops an affected aesthetics, assimilating cinema and videoclip proceedings, playing with temporality of video and frequently introducing images from a sidelong look, bringing in the verbal universe of poetry. You can understand some taste of indeterminate allusion, made from fragmentation techniques, dispersion and constant variation in the performance of the image itself.
In another video, made in Thailand, which we consider sober and clean, shows faces of supporters, not fighting or the game that motivates the captured images. The focus of the camera is the glance of a foreigner, paying attention for the faces during a fight ritual.
Wagner Moralles (SP) reproduces the aesthetics of Tarkovisky, referring to the script when building the audio. But takes those referring out of context. It takes distance, conceptually, of Tarkovisky, although the reverence done, creating with that distance a surprise about the interesting language, purposely traced of the famous director.
André Sheik (RJ) explores in his two videos his own image in different places and circumstances. At one of the videos he exposes himself with the security light of the buildings, and in the other video he reveals the tiny universe of a sand grain, compared to the solitary universe of the atelier.
Fernando de La Rocque(RJ) explores the question about the vanity where the smoke comes and disappear, but is eternized and valorized as art object when captured as a video.
Raquel Castro (RJ) in the two videos of her she focus the temporality of urbanity in its acceleration. Besides exploring the geography of the city, refers to the language of Copolla, in Urban Scenes, we can contemplate and chart the city.
Simone Michelin (RJ) opposes questions about tragedy and celebration, terrorism and romance, collective and individual questions, communicating with history facts.
The video 7 gorgeous dishes, by Érika Fraenkel (RJ) talks of doubts about singularity and language in the work of art, questioning the potentiality of the existence of signatures, and reveals the dilution of what is useful and beautiful, like critics of consume and catharsis.
In the video Apart-Cisne, it happens a sigizia(union) and change of identity, in a sudden meeting.
In the videos of Carlo Sansolo (RJ) the virtual universe is explored, creating 3D images and transforming those into video-object. In the texts there is a discussion about philosophy and deconstruction of image in its own process.
Joacélio Seven (MG), in his amazing video, refers to the non-place, puts the image of a man sat in the center of video, changing the color of his shirt, going thru the spaces but always staying in the same place in the video, being crossed by the mutating world, in a vulnerable condition and fickeled, creating a very particular code.
Alberto Saraiva (AM) inserts letters, representing the words visually, but diluting his own language, literary, thru a chemical reaction, tied to a purpose of visual poetry and creating contemplation of an artificial happening.
Érika Fraenkel
Eduardo Guerreiro
Digital image – laisle.com
We are introducing 10 artists, 5 from Rio de Janeiro, 1 from Minas Gerais, 1 from São Paulo, Singapore(Asia), Netherlands (Europe), and Italy(Europe), each one with its own trial.
The digital image is being more explored from media and art from the 90’s, where there is happening the biggest contamination of this technology. In media it always has a route of meanings - a legend – from which it is fixed or directed to a single reason.
In art, there is an annoying and uncomfortable condition for the artist, that operates with the meanings, free from sudden form. When questioning consume and news as an utility of image, in the sense of being a vehicle of information and historic impressions, art sets free the significance as a creation of another space of reception of image, recreating references, uncontexting, producing doubts, simulations of reality, relations with politics or just playfulness. Also there is a talk back of different times and the wear and tear of past icons, as utopia.
Those images acquire another extension, like phantoms of the ruins of modernism as its own media tic banalization.
In the exhibition we try to introduce the diversity of language, showing the observation point of the artist, each one with its own universe, going through the different social landscapes, collective or individual, of our generation.
The work of Frederico Dalton (RJ), explores the landscape of the beach and simulates a move created virtually, as a collage, which title is landing and levitation.
Franz Manata (MG) explores the digital creation of a flag, revealing the need of expansion for new territories and politic conquers, even in the territories existent in art.
Clarisse Tarran (RJ) approaches he limit of look and reality in image, using icons of metal gravure techniques, which reveals characters from the past.
Edificio Galaxi (RJ) emphasizes an image of an important historic fact of contemporarity, just referring.
Érika Fraenkel (RJ) uses slides of the 40’s inserting graphic forms and color, changing the understanding of the information of the image.
Mauro Espindola (RJ) brings parody as a question in image, producing relations with media and science fiction, gathering different temporal signs, where past is a point, but aiming to the future problems of biotechnology.
Andréa Tavares (SP) reveals a simple daily landscape as a ludic form.
Gozde Zender (Singapore) cuts out icons of Asian traditions, revealing behaviors in that place.
Irene Hanenberg (Netherlands), in her digital draw, relates with surrealism and the myth.
Carlo Fatigoni (Italy), in his beautiful digital landscape, with the interruption of a numeric spot, surprises in the use of image, emphasizing the artificial characteristic as the imitation of a landscape.
Érika Fraenkel
Eduardo Guerreiro
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