IMAGEM CONTATO - MOSTRA DE IMAGEM EM MOVIMENTO

                                     

Vai rolar em sampa a  Imagem Contato - Mostra de Imagens em Movimento. Quem estiver em sampa entre os dias 19 e 29 de julho vai poder curtiu  trabalhos de videoastas como, Num June Paik, Norman Mclaren Norman McLaren, Zbigniew Rybczynski, Gunvor Nelson, Stan Brakhage e Jan Švankmajer.  Pra que estiver fora pode sintonizar na TV SESC onde serão exibidos vários videos. Dente os vídeos  da Curadoria feita por Kika Nicolela com a colaboração de Gabriel Soucheyre do Videoformes estão duas de minhas animações.  "Se me calo por dentro, porque meus ouvidos se fecham para fora?" e " Se me pergunto, porque meus lábios me negam respostas?"

Pra conferir a programação acesse:

http://imagemcontato.wordpress.com 

Catálogo

http://issuu.com/kikanicolela/docs/imagem-contato

                               

CONTO O QUE VI. O QUE NÃO VI, NÃO CONTO.

Na próxima sexta-feira, será aberta oficialmente a nova exposição permanente do Museu Casa Guimarães Rosa. Tive a felicidade de participar da confecção do documentário ; "Conto o que vi. O que não vi, não conto". Agradeço o convite do diretor do museu, Ronaldo Alves e da coordenadora do projeto "Memória Viva do Sertão", Beth Ziani, pela oportunidade de imersão no universo Roseano.  Quem puder aparecer a bela cidade de Cordisburgo, terra natal de JGR, será muito bem vindo. Como manda a tradição meneira.

Para mais informações: 

http://www.cultura.mg.gov.br/museus/museu-casa-guimaraes-rosa

http://www.eravirtual.org/pt/index.php?option=com_content&view=article&id=114&Itemid=30

Abaixo um pequeno trecho do documentário.

POR UM POUCO MAIS DE PIXILATION EM NOSSAS VIDAS

Seguindo adiante com o post anterior sobre pixilation.  Aqui vão mais alguns pixilations com idéias muito legais pra  sua degustação.

Gulp da Aardman que segue com a genialidade dos stop-motions da turma do Wallace and Gromit. Depois de assistir essa obra prima da técnica vale a pena assistir  o making of. 

 Gulp / Aardman - 2011

A primeira vez que vi essa animação paraense numa sessão do Arte.mov eu pirei.  Segundo o diretor me contou. Em quatro horas ele faz um giro de 360° utilizando 991 caixas  "pinholes" de fósforos. 

Feito Poeira ao Vento /  Dirceu Manaués - 2008
 

Outro trabalho nacional a ser comentando é Só de conterrâneo Conrado Almada. Esses mestre das trucagens tem como principal caracteristicas em seus trabalhos a criatividade. Dono de um portifólio fantastico recomendo todo mundo assistir outros trabalhos dele como o  belissímo video clipe "Não só" do Pato fu.

Só / Conrado Almada - 2000

SE ME CALO, NO FESTIVAL MIDEN EM ATENAS, GRÉCIA

Festival Miden has been invited to present a special screening dedicated to Marshall McLuhan, at "The New Sensorium" symposium, 20-21 of April 2012, BIOS, Athens, GR. 

"The New Sensorium" is an international symposium organized by the Department of Communication, Media and Culture of Panteion University,  Athens, in association with the Coach House Institute (CHI) and its McLuhan Program in Culture & Technology (MPCT) at the Faculty of Information, University of Toronto. 

Festival Miden will present the video art program "Is. The. Message. Medium. The.", a video art selection with works that have been previously screened in Festival Miden (Kalamata).

Curators: Gioula Papadopoulou + Giorgos Dimitrakopoulos

Participant artists: Tal Amiran, Kelly Oliver and Keary Rosen, Ignacio Sanchez Bravo, Mary Zygouri, Krister Kennedy, Paul Freeman, Rajorshi Ghosh, Makis Faros, Tobias Zehntner,  Stefan Adamski, Jennifer Campbell, The ManosBuckius Cooperative, Timo Wright, Boe-lin Bastian, Joacelio Batista, Magdalena Pederin, Antti Savela.

Program: http://www.festivalmiden.gr/docs/Festival_Miden_McLuhan_ENG.pdf

Festival website: http://www.festivalmiden.gr
Catalogo on-line do festival: http://issuu.com/and-noise/docs/festival_miden_grecia

FEED ME

UMA NOITE DO FILME LIVRE.

A ultima sessão da MFL ja havia acabado a mais de meia hora  e ninguém arredava pé do lado de fora do CCBB. Diante de muitas possibilidades e a uma dúvida generalizada, foi consenso que  Guilherme Wintheker nos daria um rumo dentro de uma noite carioca. Sendo o mais prático o possível  nosso anfitrião escolheu um bar em Botafogo. Com alguma demora e difícil diluição a dezenas de cinéfilos e cineastas aparentemente indecisos montaram o comboio de taxis em direção ao bar Aurora. Amizades novas e antigas compartilhavam prosas sobre as mesas do bar.

Depois de servido a jantar a maioria dos colegas já haviam trocado as mesas pelo papo cinéfilo na esquina  onde ficava o bar.  Papo de cinema vai, papo de cinema vem, e veio o grito: - FOGO! - a entonação do grito já dava a certeza de que não era a comemoração de um botafoguense. O ruido metalico das cadeiras se  arrastando e o murmurio de pavor direcionou os olhares para o clarão dentro do bar. O ventilador   em curto, derretia na parede. Uma voz pedia que a energia elétrica fosse cortada, evitando que o incêndio espalhe-se.  De pronto atenderam o pedido, apagaram as luzes e como uma vela de aniversário as chamas iluminavam o bar escuro.  No mesmo instante as palmas começavam do lado de fora do bar e em coro os locais começaram a cantar: Parabéns prá você. Nessa data querida....

 Um viva as surreais noites cariocas.

Video by: Marcelo Ikeda

BOLSA PAMPULHA / BOOK INTERVIEW

Ana Paula Cohen: When and hou did you begin  your production as an artist?


Joacélio Batista: My work in video began at the end of my major in animation film at the Escola de Belas Artes da  Universidade Federal de Minas Gerais. In 2002, on a trip to São Paulo, I went to the exhibtion Estratégias para deslumbrar (Estrategies for dazzling), where I saw  the works by Bill Viola, The Reflecting Pool. 1977 - 1979, and Eder Santos, Mémoria, (Memory), 2001. The work by Eder opened a gap to another dimension, making it visible but intangible. The Relfecting Pool was like a painting that changed each time the viwer went past it; the landscape was the same, but actions of the subject within the scene were always different. I became immersed in total contemplation, watching the way he sculpted time. These influences, added to my previous experiences with animation, led to the video Se estou certo, por que meu coração bate do lado errado? (If I right, why is my heart on the left side?), 2003, witch I consider my firt work.
The partnership in the video performances and documentaries with artist Daniel Saraiva brought me into the contatc with CEIA, Centro de experimentação e Informação de Arte, where  other encounters important for my training  took place. In my artist residency in South Africa, as part of the project Blind Spaces, 2004 this path took form in the documetary Artifícios do olhar (Artifes of the gaze) and in the video performance Simuye, both from 2005. My affinity with video springs from this entire mix.


APC:  In the video Sala nova da casa ( New room in the house), it seems that there is a construction of history based on the practice of storytellingn or oral memory, which is very present in the cultrure of Minas Gerais. but the fact that you induce the telling of memories shared among three closely related people, a mother and her two daughters, seems especialy relevant to me since ther perspectives are different in various ways, generation, interfamily hierarchic relation (mother, elder sister, young sister) , and they all feel sufficiently intimate with each other to correct their own memories and construct a possible shared history/momory. Can you elaborate on that?


JB: The conversation at the end of the day is a especial moment set apart from the day-to-day life of families in the interior of Minas Gerais State. Its when we sit at the table, generally near the stove, to talk about the day, to get entertained with memories and storelling. With the coffe served at the table, the family hierarchy is no longer present, the imagination is guided by affecitve relaltion. My parents, grandparents, uncles, aunts and cousins are excellent storytellers. These convesations would normally last for hours, everyone could add to or challenge what was told. Nowadays theses conversations break up berfore the telenovela begins.

At one of these coffe sessions, I sae my mother and grandmother commenting on the houses. They had lived in; the subject triggered an immersion into memory. Each time one of them would speak, the narrative emerged full of increasingly rich details. I remember that I didn´t want to go loook for the camera so as not to lose a single bit of the story. But the wish to record remained.  Two years later, in the middle of the recording, my Aunt Edna - always considered among my grandmother´s  daughters as the one with the "best memory" of childhood events - appared and told about new episodes that were tucked away in each of their private pasts, like the custom in each or their private past, like the custom ther sister had of burying their dolls in the backyard. I had been recording my older relatives quite regularty in order to registre to registre their stories about the family, the customs, and whaterver else they wish to tell.  It´s a kind of "affective archeaology", that gives rise to stories, fillings gaps, tying up the loose ends of other events in life...

ANP:  It seems that in your work there is a border bewteen what can be told the public and what should remain invisible, similar to a magician's show, which would lose its meaning if everything were visible and explained. Can you talk about this elemet of your work?


JB: I think that this arises from the tricks work Sem passo, Sem Piso (Without a step, without a floor). The question "How did you do that?"  is often hear. The word "trick" comes from the films by French filmmaker George Méliès . Today he is know as one of the pioneers of cinema, but at that time he was acclaimed as a great illusionist. He used his films as tools for potentializing his magic. These tricks constituted the first steps toward the special effects used in filmmaking today. When I began to exlore thes filmmaking techniques in my animations, I focused on manual methods, present in the early-cinema of Méliès, in order to distance myself from the sort of computer graphics used pervasively in advertising. As a advocate of the "do-it-yourself" motto, studying the precursos of cinema and their tricks helped me with my impatience in waiting for funds to carry out the projects. If I had simply waited for this, I wouldn't have done one-third of things I have produced.