09-10 SEP 2017. Sala El Águila

PROYECCIONES  DE COMISARIADOS INTERNACIONALES +  VIDEOARTE LARGA DURACIÓN

Auditorio El Águila

En ellas se muestran distintos comisariados de Festivales de relevancia internacional que forman parte de la RED PROYECTOR y colaboran con el Festival a través de intercambio de contenidos.

Heure Exquise! (fra), Claudia Aravena (chi), VISUAL CONTAINER (ita), FONLAD (por)
09 SEP 2017
17h. Presentación de los comisarios de la red internacional de PROYECTOR. Presentación del libro “Visiones Laterales” por Claudia Aravena (chi).
17.30-19.30h Proyecciones Heure Exquise! (fra), Claudia Aravena (chi), VISUAL CONTAINER (ita), FONLAD (por)
19.30-20.30h Videoarte larga duración: Felicitações Madame (por)

10 SEP 2017
17.30-19.30h Proyecciones Heure Exquise! (fra), Claudia Aravena (chi), VISUAL CONTAINER (ita), FONLAD (por)
19.30-20.30h. Videoarte larga duración: UMA (por/esp)

HEURE EXQUISE!

Jean-Gabriel Périot (fra)
Les barbares/The Barabarians
5:00
2010

If politics were to come back, it could only be from its savage and disreputable fringe. Then, a muffled rumor shall arise whence that roar is heard: “We are scum! We are barbarian!” (Alain Brossat)

Véronique Sapin (fra)
Je tourne mon visage vers vous
5:25
2014

My name is Human Being. I have the right to choose everything in my life; just like you; because it’s only natural. ISN’ T IT ? That’s why I am turning my face towards you with complete confidence.
Véronique Sapin chose to speak about one of these acts which drive humanity to regress towards the animal: the acid attack.  1,500 cases are recorded around the world every year. However that is likely to be massively underreported. Most victims are fearful to report it to the police for fear of reprisal. The acid attacks are increasing.

Mounir Fatmi (fra)
Manipulations
6:50
2014

Manipulations (2004) deals with visual comparison in the form of a subtle insertion, as fleeting as a shot (its appearance and duration) as it is monumental as a motif (its symbolic content). In close up, a man’s hands hold a Rubik cube, and instead of becoming organized in green blue, red and yellow areas, this cube becomes totally black, all of a sudden an image of the Kaaba, around which mills the huge throng of pilgrims, slips in between shots. The hands become covered with a black substance which seems to liquefy the cube (name of the “Rubik” and French translation of “kaaba”), the hands become gloved in this opaque blackness, the substance even soils the walls, like fuel oil smothering birds on beaches, and bogging the Gulf states down in their politics.

Jean-Gabriel Périot (fra)
Eut-elle ete criminelle
9
2006

France, summer1944. At the end of the war, french people shaved the hairs of women supposed to have affair with Germans.


Pascal Lièvre 200
 (fra/can)
L’axe du mal
5:50
2003

A text by George W.Bush quoted in the newspaper “Le Monde”, dated January 31 2002,
” An axis of evil, arming to threaten the peace of the world” is sung to the music of the song “and when the rain begins to fall” originally performed by Jermaine Jackson and Pia Zadora.

Nathalie Bujold and Pascal Lièvre are the interpreters of this video which draws its inspiration from video-clip art and expresses the improbable crossover between this theo-geo-political text with the language of love.
The two actors are filmed in front of the Niagara Falls, a highly symbolical place for honeymoons, and they declare their love using the very words of Mr. Bush declaring war on terrorism.


VISUAL CONTAINER

Matteo Pasin (ita)
Weltanschauung – Il mondo come volontà di rappresentazione
5:50
2016

Alessandra Caccia (ita)
Dreammachine
05:16
2015

Rita Casdia (ita)
Animal
3:20
2016

Antonello Matarazzo (ita)
Your Body is Your Buddha
3:40
HDV 2014

Elisabetta di sopra  (ita)
Dipendenza Sensibile
3:05
2016

Lucia Veronesi (ita)
Fuori, una gran notte di stelle
4:00
2016

FONLAD

A mostra que se apresenta a convite da direção do Festival Proyector incide substancialmente sobre a arte da vídeo performance, na qual a ação do corpo promove o questionamento do ser vivo no espaço social e político em que vivemos.

Na sua 12ª edição o festival Fonlad prossegue a sua missão de promoção da vídeo arte e  da performance,  através da sua apresentação em variados meios, seja através de mostras e instalações, palestras e workshops, espetáculos multimédia e performances. 

Comissários: José Vieira e Sérgio Gomes
www.fonlad.net

FENIA KOTSOPOULOU (gre)
Dis)remembering
2:13
2014

An autobiographical video linked to the problematic but still intimate relationship with my father and the memories encompassed with it; the need to preserve them lead to the creation of an archive that became  the  cornerstone  of the  project  and  was  seen  as a material  and  metaphorical  mechanism speaking about power, and about maintaining power, about the power of the present to control what is, and will be, known about the past, about the power of remembering  over forgetting. It could be considered: an exploration of other ways of experiencing the present, and thus of viewing the past; a sort of autobiography where words aren’t necessary;  a sort of diary where  my body becomes  the messenger  of thoughts  and feelings;  where  Real and Imaginary are blended a sort of conglomerated visual traces of a confrontation with my past; a bunch of pixels becoming a digital letter with only receiver: my father Blog of project: feniak.wix.com/disremembering  Fenia Kotsopoulou born in Athens, Greece in 1981. Lives and Works in Lincoln/UK. Master Fine Arts in Choreographing Live Art by )University of Lincoln. 
Fenia  is  (dance)  performer,  producer  and  visual  practitioner,  her  works  and  the  work  of close.


APOTROPIA (ita)
Kiss
1:11
2016

A contact between two bodies. An intense sharing of information. A chemical cocktail in the brain. The Kiss is an audiovisual work that explores a simple gesture acted out between two lovers.
A work by APOTROPIA

Performed by Antonella Mignone, Cristiano Panepuccia
Music: Cristiano Panepuccia “


FILOMENA  RUSCIANO
 (ita) 
Hiden Tracks
5:18
2014

Signs at the border caught only by a careful look waiting. Footprints left by silent, emerge on the surface of the body to form an image map; an echo of past emotional. Weaving gesture reveals the physical permeability and seeks suspended traces that cloaks the daily life. Imperceptible sedimented noise.
Filomena  Rusciano  born  in  Pozzuoli,  Italy    in  1979.  Lives  and  Works  in  Naples.  Is  Degree in  Physical education by I.s.e.f. of Naples.Exhibits / work at the level of media, video art regularly since 2013. 


YAO CONG (uk) 
Under Blue
6:38
2015

Under  Blue  explores  gender  politics  through  beauty,  pleasure,  disgust,  danger,  violence,  the  erotic  and  the  artificial,  imparting  an  uneasy  feeling  of  voyeuristic  power  to  the  viewer.   
Under  Blue  broadly  speaking  fits  into  the  performance  and  body  art  trend  in  video  art,  but  its   exclusive  use  of  close  ups  and  the  effect  of  not  really  understanding  what  we’re  looking  at.    In   the  work,  the  fragmented  body,  color  and  textures  appear  between  real  and  surreal,  our   attention  to  those  colors  and  textures  is  greatly  rewarded,  even  as  we  understand  the  context   even  less.
Yao  Cong  born  in  Xi’an,  China,  in  1992.   Major  events: VIDEONALE.16,  Kunstmuseum  Bonn,  Germany,  2017; Pleasure  in  Progress,  Espronceda  art&culture  centre,  Barcelona,  Spain  (solo  exhibition, 2016);;  the  Bedlam  Film  Festival,  the  Edinburgh  Fringe,  Edinburgh,  UK,  2016;;   OFF  THE  WALL,  Arts+Literature  Laboratory,  Madison,  Wisconsin,  USA,  2016


FRANK MCCAULEY
 (usa)
Welter / Wallow
3:50
2016

Welter/Wallow”” explores a fascination with the relationships between private and public, reality and fiction, and the dynamic interplay between the individual and structures or masses. This work investigates the distortions of language and logic, by looking at ways in which technology can influence perception. Taking the figure as subject, it is put through a process in which its features are distorted, suppressed, or intensified in the service of expressing something beneath or behind the observable surface. That is, something that is best implied in the slippage between the recognizable and what is unexplained or mysterious.
Frank McCauley was born in Jacksonville, FL in 1980. Upon receiving his BFA in painting from Winthrop University in 2003, he moved north to Syracuse, NY where he attended Syracuse University and received his MFA in 2008. Frank has been the Director and Curator for Spark Contemporary Art Space in Syracuse, NY, the Assistant Director and Chief Curator for the Sumter County Gallery of Art, and is currently the Assistant Curator and Exhibitions Coordinator for VisArts in Rockville, MD. As an artist he has been in numerous group exhibitions both nationally and internationally and has had solo exhibitions in CA, NY, SC as well as South America.”

FRANCESCA LOLLI
 (ita)
The Dying Lillium
3:27
2016

The video performance is the transposition of men sacking Mother Nature.
Francesca  Lolli,  born  in Umbertide  (Perugia),  Italy in 1976.  She live and work  between  Roma  and Milano. After graduating at ‘Teatro Arsenale’ as an actress she attended the ‘Accademia di Belle Arti di Brera’ of Milano, graduating as a scenographer.  At the moment she’s taking a course of filmmaker at Centro di Formazione Cinematografico  Nazionale in Roma. She exhibit works at the level of video art and performances regularly since 2013. Major exhibitions / events: FONLAD The  International  Video  art  and  Performance  Festival,  Coimbra,  Portugal,  2013;  27es INSTANTS VIDEO, Marselha, France, 2014; 56th Venice Biennal (Tibet Pavilion, parallel event), Venice, Italy, 2015; VAFA -­ Videoart for all, Macau -­‐   China (2016); Time is Love 10 – worldwide festival, 2017.

KRISTINA PAUSTIAN (Ru)
Positions
8:22
2016

The work Positions shows uniformed, armed women in a pose of defense against the background of a sunny skyline. The camera brings the viewers very close to the protagonists and allows them to watch the situation securely. The viewer lingers in this state -­‐   at times in sight of the women, at times among them. The real action is dislocated outside the visible region, so that one can only guess what happens in the protagonists’ reld of vision.
Positions is a study of the posture, the role assignments and their fulrllment. Thereby the work does not aim so much at a statement about self-­‐defense against a particular person or group of people, but rather at a resistance to structures, systems or normative gender concepts; an ongoing struggle and celebration of an aesthetic of contradictions.
Kristina Paustian, born 1985 in Omsk in Russia, currently lives and works in Berlin. 2003 she moved to Germany to study at the University of the Arts in Berlin. She worked as DoP and editor for several video artists before starting out as an artist herself.
Today Paustian’s artistic practice covers video, rlm and installation. Her works are part of international media art festivals & exhibitions.)

Detalles