Author: João Bento

Duration: 2’47’’

A landscape that moves (through the reels found in an old and empty movie theatre), a static observer and a soundtrack.
This video corresponds to a period of research carried out in the late 1990s, in which I exhaustively explored some issues related with photography, film, video and sound.
Questioning these different but complementary supports, transforming them through the use of other artistic practices and preserving their archaic way of functioning through their own intrinsic characteristics. In this way, we got beyond the objectivity that characterizes photography, by a larger body of work which derived from it, I explored the way we look and mentally re-establish a static image. Photography establishes a fixation at a specific time that does not physically erase itself while moving into another moment. This erasing only occurs or may occur in our perceptual system. A human characteristic contradictory to the sonorously mechanized reproducibility of photography.
Between sound and image, this became a great question to me.

The Guarany (right and left)
Author: Letícia Larín
Year: 2018
Duration: 19’07’’

Accompanying the Carlos Gomes’ song, “O Guarani”, the artist’s right and left hands take turns in drawing circles on the center of the Brazilian flag, with a red ballpoint pen. Rather than creating an outcome, the movement is reiterated in a back and forth continuity: music and action are reversed, returning to the starting point.

The Blue Period
Author: Mané
Year: 2018
Duration: 11’45’’

A non-chronological revisiting of iconic works of 'the great masters of art' (from the 20th century to the present) centered on the blue color as a starting point for the narrative that (literally) unfolds on a roll of paper. It is successively rotated/drawn/rotated, in a mise en abîme movement that materially reproduces the immaterial loop of the image.
The construction of iconic (and ironic) images is initially done by using the traditional tools of drawing and painting, later replaced by domestic/intimate objects, culminating in a suggestive masturbation.
The loop reshapes the meaning of the actions and objects. The mirror effect between the loop and its reflection underlines the (systematic) repetition of a (systemic) tendency at significant moments of transition in Western art, signaling the constant in the replacing and substituted conventions. The page returns always as a blank one: ready to be rewritten.