Archivo de la etiqueta: videoart

“Contiguity and Incompleteness” is a curation effort by students in the Postgraduate Specialization in Art: Criticism and Curation at PUC-SP

Por: A.C. Videobrasil

This Saturday, beginning at 11 am, #GalpãoVB will show videos by Jonathas de Andrade, Clara Ianni and Mihai Grecu, among other artists in the Videobrasil Historical Collection. “Contiguity and Incompleteness” is a curation effort by students in the Postgraduate Specialization in Art: Criticism and Curation at PUC-SP, who picked through the Collection with guidance from professor Cauê Alves.

The Videobrasil Historical Collection, comprising artworks from all past Festivals, is the basis for the project, a PUC-SP/Associação Cultural Videobrasil partnership. The goal is to create a space in which to explore the formative role of the organizations involved, and to encourage the collective conception, discussion, and development of contemporary art curation projects.

Contiguity and Incompleteness is a snapshot of the artwork featured in the latest three editions of the Contemporary Art Festival SESC_Videobrasil. Their inspiration and general guidelines stem from the geopolitical South – Latin America, the Caribbean, Africa, the Middle East, Eastern Europe, South and Southeast Asia and Oceania – and its humanitarian, societal, political, and historical issues. The pieces in the show hint at distinct modes of analysis of particular realities from countries like Bolivia (Claudia Joskowicz), Brazil (Clara Ianni), Chile (Claudia Aravena), China (Liu Wei), North Korea (Mihai Grecu), and Zimbabwe (Dan Halter).

Memory, migration flows, the social fabric, the failure of social and economic models and of the modern project, the passage of time, historicity, repression and resistance, the visibility/invisibility of ideological, political and historical issues, and social/political conflicts all permeate the artwork and legitimize the pertinacity of bringing to light subjects that systematically converge towards vulnerable, recurring aspects of contemporaneity and of History.

Before the showing at #Galpão, the program designed by students from the subject “Experimental project in criticism and curation” will be available as a map on PLATFORM:VB, Videobrasil’s online art research, experimentation and curating tool, where users can intersect and connect different artworks. Here’s the link:
Check out the artwork list for the Galpão VB show on Saturday, December 10 at 11 am:

Contiguity and incompleteness (Continuidade e incompletude)
Students: Isabella Guimarães, Rachel Balassiano, Simone Nunes, Viviane Tabach
Featured Artworks:

Forma Livre – Clara Ianni – 2013 – 7’14”
11 de Septiembre – Claudia Aravena – 2002 – 5’39”
Round and round and consumed by fire – Claudia Joskowicz – 2009 – 9’12”
Unforgettable Memory — Liu Wei – 2009 – 10’15”
Beitbridge Moonwalk – Dan Halter – 2010 – 5’23”
Projeto Pacífico – Jonathas de Andrade – 2010 – 12’32”
Sitiado – Carlos Guzmán – 2012 – 14’30”
The Reflection of Power – Mihai Grecu – 2014 – 9’1”

Contiguity and Incompleteness
December 10 (Saturday) – 11 amGalpão VB – Av. Imperatriz Leopoldina, 1150, São Paulo
+55 11 3645 0516
Free admission / All ages



Por: Panorama Colombia



This year Kurator Rex will delight us with “Psychic Response Strategy”, his most recent selection of video art which reunites fifty seven works of forty colombian visual artist and filmmakers from distinct generations and trajectories.

Psychic Response Strategy is a selection of video art that arises from the expectation raised by the probability of accessing a special category, a social welfare state called “Post-conflict”.

The VIDEOART PROGRAM will be screened continuously during the duration of the festival in a specially adapted exhibition space.

Faced with the sensitivity that is required to process a complex and massive event like the one announcing the post-conflict in Colombia, the proposed program of video art, which consists of a compilation of audiovisual projects of Colombian artists from different generations, not only presents a social memory or sequences of fiction, but also constitutes true psychic states that, through metaphors, become valuable documents of a social and human conflict.

In the first instance, video art is a residual material from psychic processes of the spectator, a spectator who we will later call artist. In the middle of the conflict, the artist is a spectator or an actor so fortunate, that he has had time on his hands, time to confront historical and social documents, to record, to appropriate them and set a personal document out of these, a direct and intimate response which emerges as an imperative need expressed by deliberate and experimental actions, as staging and video editing or montage.

In January this year the Government of Colombia announced the initial investment of 470 million dollars in the implementation of the first phase of the post-conflict. This phase has been called “Rapid Response Strategy” and would be implemented by the recently created “Ministry of Post-Conflict”.

We are used to hear statements from military and political language in the news, such as: “Governments should take charge of a -quick response- facing global threats of increasing terrorism and the spreading of the crisis” or “NATO will increase its -Rapid Response Force- up to 40,000 people”. Nevertheless, within the framework of this trascendent, collective event, the function of time expressions like: “Post”-conflict and “Rapid” Response cannot only be assumed as a part of a deep and urgent need to enter a new social state, but, above all in a new psychic state. Perhaps it could offers the possibility of a much less conventional peace than we usually see in the news.

Curated by Julian Santana

[view selected works]