The passages between the documentary and the experimental video, as well as the appropriation of cinematographic clichés, are some of the characteristics of the inciting work of Wagner Morales, which we present in this second edition of FF>>Dossier.

In his work, Morales draws trajectories that unfold themselves in video series which seek for articulations through thematic approaches and common references.

This procedure has generated the series Não Há Ninguém Aqui [There Is Nobody Here], the one produced in 2001/2002 and the current one, which keeps dialogues with cinematographic genres in the videos Ficção Científica [Science Fiction] (2003), Filme de Horror [Horror Film] (2003), and Cassino, Filme de Estrada [Casino, Road Movie] (2003). In these series the repetition of procedures generates unity between the works, creating an identifiable particular universe. We can perceive these dialogues in the fake publication of a newspaper classified ad in the first video of the series Não Há Ninguém Aqui, or in the exposition of the artist himself when he drives his car while listening to careless messages recorded on his answerphone in the second video of the series. Morales, who changed his name in the classified ad and hided behind an identity of a certain “Pedro”, appears in the second video, driving his car and listening to messages from his answerphone. These are narrative, structural resources in works that try to establish themselves in the realm between fiction and documentary, reality and imagination.

These trajectories are also present in the documentaries that frequently establish thematic relations between themselves and seek, in distinct ways, after a reflection about universes that can approach each other. On these subtle approaches, Morales touches the subject, in some of his documentaries, of the reality of people who establish a limit-relation with their bodies and the space surrounding them. Sometimes the body is exposed to the risk, as in the amateur boxing of Na Lona [On The Ground] (2002), and sometimes the relations between the body and the senses are explored, as in Olhos Opacos [Opaque Eyes] (1998).

Presenting the work of Morales, we release this second edition of the monthly publication FF>>Dossier, an open vehicle that displays the production of emergent artists and establish a dialogue between the members of the national and international artistic communities.

Further info on this artist available at the collection