- Associação Cultural Videobrasil
- SESC São Paulo
The ninth edition, in 1992, marked a turning point for the Festival. The exhibition was now an internationally recognized event, joining SESC-SP in an enduring and essential partnership. For the first time, the Festival took place in SESC Pompéia. Thanks to a record-breaking budget, retrospective shows by two of electronic scene’s most prominent artists were brought to Brazil: Bill Viola, from the United States, and Gianni Toti, from Italy. The exhibition, now larger and more comprehensive, became biennial, establishing once and for all its status as an electronic art event, the first one of such proportions in Brazil, and the most important one in the Southern Hemisphere. The jury included big names of international video production, such as Julien Temple, from England, and foreign guests, included Barbara Hammann, from Germany, who presented an installation, and Jérôme Lefdup, from France, who ran a workshop.
The show had 304 submissions from 12 different countries within the Southern Hemisphere. The jury shortlisted 45 pieces on grounds of the experiences, languages and poetical contents they featured. The videos were made in Brazil, Argentina, Mozambique, Australia, Chile and Uruguay.
film and/or video screenings
The French show was curated by Jean-Marie Duhard and featured ten separate programs highlighting the connection between art and new technologies.
The retrospective of videos by the US’ Bill Viola provided an overview of one of the main contributing artists to the development of audiovisual language
This video tribute to the Italian video artist Gianni Toti featured three seminal pieces from his Poetronics – poetical experiments cross-pollinating technology and theater.
A retrospective of the video works of French writer, journalist, curator, filmmaker and video artist Jean-Paul Fargier, featuring productions that reveal his poetics, the recurrence of documentary language in his work, and his artistic influences.
A retrospective of video works by the fine artist, filmmaker and holographer Moysés Baumstein. Boasting a multidisciplinary background, Baumstein combines art and science in a bevy of fields of activity.
Each Competitive Show juror drafted one curated proposal. Jérôme Lefdup created a show featuring 11 of his own pieces.
Each Competitive Show juror drafted one curated proposal. José Ramón Pérez Ornia created a show featuring 14 pieces by major international artists.
Each Competitive Show juror drafted one curated proposal. Julien Temple created a show featuring music videos by prominent musicians and bands such as David Bowie, the Rolling Stones, Neil Young, Sid Vicious and The Kinks.
Each Competitive Show juror drafted one curated proposal. Marcello Dantas selected six pieces created in the two years before 1992.
Each Competitive Show juror drafted one curated proposal. Peter Callas selected eight of his own pieces.
The show featured 26 submitted videos that did not make it into the Competitive Show shortlist, but were worthy of being shown at the Festival. The videos were made by artists from São Paulo, Rio de Janeiro and Curitiba.
This video installation by Tina Keane, commissioned by the Riverside Studios Gallery, features contrasting images of people going up an escalator and footage of outcasts on London streets.
A hologram exhibit by the multimedia artist Moysés Baumstein, featuring a parallel screening of the video Por que e como faço holografias (Why and how I create holograms).
In this program curated by Rosely Nakagawa, 18 artists were invited to create artworks using resources from the Fotoptica Computer Graphics and Vision Division. Each of the images were digitized, reproduced directly onto color negatives, enlarged and shown with backlight.
This video installation by Luís Nicolau was inspired by Renaissance altars and devised as painting in motion.
This video installation by Barbara Hammann addresses flight and salvation.
This video installation by Ulysses Nadruz featured three huge electronic postcards on a video wall comprising 36 screens.
A video installation especially created for the Festival by Eder Santos. The piece portrays the Death Valley, USA, in images created using videodisc, evoking the desert’s barren landscape.
This show featured 12 sculptures by Marcelo Masagão, made from clothes irons, vacuum cleaners, floor buffers, TV sets and myriad other objects.
This interactive installation by Timothy Binkley employed a simple virtual reality technology, recording the images of visitors as they walked across masterpieces of universal painting.
Fausto Fawcett created a show of image and sound in seven pictures, telling the story of a female saint who heals with blood and a blond woman who heals with sex in Copacabana nights.
Otávio Donasci presented two performances as part of Videomáscaras (Videomasks), one at the opening and another at the closing of the Festival.
The debate on "Art and New Technologies" was mediated by Marcelo Tas.
The debate on "Art and Science" was mediated by Jean Marie Duhard (France).
In the conference “The Alphabet of TV: Dante’s Inferno, by Peter Greenaway & Tom Phillips,” the Italian film critic Sandra Lischi reviewed the works of Peter Greenaway and Tom Phillips.
The artist Bill Viola delivered a lecture on his work.
The curator Peter Callas delivered a lecture about his research work.
The Festival invited Marcelo Machado to coordinate the project "10 Questions for 100 Brazilians who Influence 100 Million," whereby 100 Brazilians were asked to give simple, straightforward answers to 10 questions, which were later discussed at the meeting.
Jérôme Lefdup administered a workshop on 2D and 3D creation at workstations of the production company Movie Pixel Computação Gráfica e Vídeo, using Amiga equipment.
The Videojornal, aka Videojornow, a "mini-TV station," reviewed, recreated and covered the Festival’s events. It was also a means for organizers and audience to communicate.