Daniel Lisboa won the 15th Videobrasil New Vectors award with an explosively political aesthetic discovery. Fast-paced, to the point, aggressive, his O Fim do Homem Cordial shows a group of hooded terrorists as they take over a well-known Bahia TV news broadcast-to announce, live on TV, the abduction of Senator Antonio Carlos Magalhães. A feature of post-9/11 actions by Arab groups, the strategic use of TV makes ironic sense, alluding to a kind of political power that relies largely on control over the media. “We have learned Audiovisual Terrorism from TV and we will do it,” goes one of the commandments in the Manifesto Cinematográfico Anticordial [Anticordial Cinematographic Manifesto], a set of principles listed by Lisboa and work colleagues, and rigorously followed in O Fim do Homem Cordial.
The intelligent articulation of political and aesthetic references-an example of which is the adoption of technical roughness to convey a poverty-stricken, violent, on-the-edge atmosphere-makes O Fim do Homem Cordial the best example of what the 15th Videobrasil New Vectors exhibition intended: to show work by young producers who expose emerging world views, and to reveal the thoughts and actions of a generation that was exposed early on to the possibilities of technology-based communication and creation. The themes and exercises that preceded O Fim do Homem Cordial in the trajectory of Bahia-based Daniel Lisboa, as well as the perspective it brings to his future output, are some of the issues discussed in this edition of FF>>Dossier.
Further info on this artist available at the collection
