• Adventures in the Present / Out of Brazil – Carlos Sansolo

    Date posted: June 15, 2006 Author: jolanta

    Adventures in the Present / Out of Brazil

    Carlos Sansolo
     

    Erika Fraenkel, F�rias For�adas

    Erika Fraenkel, F�rias For�adas

     

    We began by holding screenings at a few art galleries, media art centers
    and museums in Brazil; after the first event, we thought it would be important
    to have international videos to establish a dialogue with our own national
    production.   Our situation
    here in Rio de Janeiro was uncomfortable, and we were not happy with the discourse
    of nativism that was emerging from some quarters of the national art and cinema
    community.  International
    collaborators, like Microcinema (USA) and Video Art Channel (Japan), sent us a
    lot of material.

    We encouraged videos that were political, polemical and experimental in
    format; and decided from the start not to exhibit traditional narratives,
    except for a few rare exceptions. The DVD laisle speciale
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’> came out
    of an exhibition of ours; it represents a part of the program, and a synthesis
    of what our screenings have meant to us.

     

    On the DVD, the Turkish artist Genco Gulan has a piece called Tele-Rugby
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>, which is
    about a dispute between two female teams who  push a T.V. inside a swimming pool from one side to the
    other.  The presence and activities
    of the girls suggests the media’s deceptive glamour, and the war it constantly
    wages to communicate. In a rather different vein, New York based video artist
    Matthew Gebhart has a strange and claustrophobic piece called Totem
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>, which
    evokes the schizophrenic relationship of new and ancient societies, a zone
    where the raw and the cooked get mixed up.  Pascal Lievre’s work Lacan Dalida
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’> is a
    strange and improbable encounter between pop music and the texts of Jacques
    Lacan, in which two shadows sing a text that speaks to the impossibility of a
    real encounter. Another of Pascal’s videos, Axis of Evil
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>, is again
    an improbable encounter: the couple, in love at Niagara Falls, mimic and sing
    the words to Bush’s "Axis of Evil" discourse as if it were a poppy
    love song.  Erika Fraenkel’s work Taxi
    Aereo, is a video where a girl in bikini recites a long text which splices
    together a discussion of globalization, Wittgenstein’s Tractatus Logico
    Philosophicus, and much else. By the same artist, F�rias
    For�adas, which means, "forced vacations," is a video about
    kidnapping, domestic violence, terrorism, and life imitating the TV news: it’s
    based on the true story of a businessman who was videotaped being spanked by
    his kidnappers, but was released after his captors realized that he owed more
    money than he could pay.

     

    Many of the videos we feature are both politically engaged and
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’> poetically
    experimental, concerned with interrogating the place of video as an art form.
    Katsuyuki Hattori’s Study on Media “education before education”
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>and
    Masayuki Kawai’s 
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>A not=A
    or For Devatas Who Keep on Dancing would, for me, fall into this
    category. Kazumi Kanemaki’s President
    style=’font-size:8.0pt;font-family:Verdana;mso-ansi-language:EN-US’>is about a
    girl who tapes herself in her flat and studies night and day with the aim of
    becoming president.

     

    This dvd project is a non
    commercial enterprise; soon, we will be showing it in Istanbul and Napoli, and
    look forward to other venues; and we look forward to receiving more work from
    video artists. Organizing such chaotic production into a coherent
    discourse is something that we have been very much trying to avoid.
    style="mso-spacerun: yes">  It’s difficult to make a history of the
    present, but we do feel very grateful to be contributing in many ways to this
    work in progress.

     

    Carlos Sansolo can be contacted at
    href="mailto:csaslo@hotmail.com">csansolo@hotmail.com
    name="_Hlt56944646">

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