- Associação Cultural Videobrasil
- SESC São Paulo
During its formative years, the Festival acted as a hub for information exchange among producers, exhibitors, and pioneers. By its twelfth edition, the Festival gained increasing momentum as art diffusor and trendsetter for electronic art audiences. The partnership with SESC-SP grew stronger, and the event took place simultaneously in three of SESC’s units: Pompéia, Vila Mariana, and Ipiranga. International interchange remained strong, with the presence of important guests such as Fabrizio Plessi, from Italy, who produced a brand new installation entitled “Deposito del arte” when in Brazil. Besides Plessi, performances by the French duo Lafdup & Lafdup, the English group Antirom, and Brazilian groups Chelpa Ferro and Tetine were in the spotlight too. Attentive to 1990’s new experiments, the Festival extended the competitive exhibition to include new supports, such as CD-ROMs. Starting with this edition, the Festival now lasted a month.
The show received submissions from several countries in the Southern Hemisphere. For the first time, the Festival accepted CD-ROM works. Submissions exceeded 400 and the jury shortlisted 58 videos and 12 CD-ROMs, made in 16 different countries.
film and/or video screenings
Nils Röller 's curatorship featured a selection of eleven pieces that were produced at the German audiovisual art centre Academy of Media Arts, one of Europe's finest.
This curatorship by Hermann Nöring consisted of a selection of ten CD-ROM pieces, authored by six artists who took part in the ZKM Institute project. Since 1994, the project maintains an annual programme for resident artists to develop CD-ROM work.
Michael Mazière's curatorship presented new work by British video artists. The concept behind the curator's choice of pieces was the relationship between architecture, space, and the men who uses them.
Steve Seid's curatorship featured three videos that dealt with media-related ethnic issues.
The exhibition, a tribute to Yugoslavian artist duo Breda Beban and Hrvoje Horvatic, featured five of their videos. Beban gave a lecture prior to the exhibition.
The exhibition, a tribute to the renowned British artist David Larcher, featured three of his videos, screened for the first time in Brazil. The selection includes the world premiére of Ich Tank. Before the screening, Larcher gave a lecture on his work.
The exhibition featured Kutlug Ataman's Semiha B. Unplugged, a piece by the award-winning filmmaker Kutlug Ataman. The piece is a nearly eight-hour long documentary film, divided into nine episodes, featuring accounts by Turkish opera singer Semilha Berksoy.
Carlos Nader’s installation is an autonomous part of the performance by Waly Salomão. In the sports court, the viewer is faced with a vast empty space where a light goes on and off in sync with the sound of a basketball.
Curated by Solange Farkas and adjunct curator Rosely Nakagawa, the brand new "Deposito Dell'Arte" installation, by Italian artist Fabrizio Plessi, consisted of twelve pieces gathered into a single one. It was the result of a project first made public by Plessi in 1997, in his book "Progretti del Mondo" (Progress of the World). The installation was set up in large containers, or boxes, containing twelve different pieces. Each box had a meaning, a name, and an expression of its own, and the whole set was arranged in a specific sequence.
The "Making of the 'Deposito Dell'Arte'" exhibition featured photographs of the execution process of Fabrizio Plessi's "Deposito Dell'Arte" installation, taken by Cristiano Mascaro.
The performance by the American artist Michael Smith, portrays with tragic humor a character named Mike - a common man who, according to the author, "believes in everything and does not understand anything".
After experiencing the visual and narrative silence of Carlos Nader’s Cine Segredo installation, the viewer receives an animal mask and enters the performance venue, where Salomão recites poems to the sound of electronic music, with dancing mulatas and 100 chickens clucking.
The Tetine group presented two performances, Música de Amor (Love Music) and Eletrobrecht. Striving to reinvent electronic media, the group combines various video and musical elements.
The performance by Fabio Itapura and Gisela Domschke features video projections, scenographic elements, music, and sound effects, in addition to fragments from TV shows, creating an atmosphere of party and transgression.
The performance Home of the Page, by French duo Jérome Lefdup and Denis Lefdup, consisted in a live show combining Internet language and resources with music and video.
The performance by Chelpa Ferro consisted in a live music presentation combined with projections of edited, pre-recorded images.
The performance mixed up video, poetry, and music in a live presentation by the authors themselves. The title is a combination of the word "célula" (cell) and the words "pincel/ pincelada" (brush/brushstroke).
In The Antirom Performance, the British collective Antirom explored multimedia language onstage, in all of its resources.
A lecture on the preservation of the electronic medium delivered by Tomoe Moriyama, from the Tokyo Metropolitan Museum.
Box 21 was an automatic cabinet that allowed for audience members to record statements in video, which could be exhibited in Videonews or in the programming of Channel 21 during the period of the Festival.
Directed by Alex Gabassi, the making of featured the Festival’s program highlights, including statements from artists and producers.
The artists in Zebra and Burritos do Brasil, representing a brand new, highly-regarded generation of televisual creators, were entrusted with producing Videojornal this year, as well as the Festival’s exclusive coverage for the city of São Paulo on TV channel Canal 21.