- Associação Cultural Videobrasil
- SESC São Paulo
Audiovisual poetry was the theme of the Festival’s tenth edition. In addition to the competitive exhibition, a panorama of the genre presented artists from different parts of the world. The event was renamed International Electronic Art Festival. A parallel event was specially produced by guest curators from Latin America, the United States, Germany, Spain, France, and England. The chosen theme reflected the direction of electronic art in Brazil and other countries, with increasing interest in artistic exploration of new supports. The Festival kept up with the trend, abolishing the categories of fiction and televisual language and shifting its focus to video art, documentary film, and animation. The competitive exhibition became more encompassing at this edition, taking in applicants from all over the Southern Hemisphere. Installations and performances by the likes of Marcelo Tas from Brazil, Robert Cahen from France, Jaap de Jonge from Holland, and Rita Myers from the United States were featured at SESC Pompéia, gathering a record-breaking crowd.
Visual identity and graphic design | Kiko Farkas
Photographic record | Marco Aurélio Olimpio and Walter Louzán
The exhibition set out to provide an overview of experimental video productions, with an emphasis on the theme “Poetry.” Out of 239 submissions, the jury shortlisted 37 pieces by 45 artists from Argentina, Australia, Brazil, Chile and Uruguay.
film and/or video screenings
The show was curated by Jorge La Ferla (Argentina), Solange Farkas (Brazil) and Ricardo Casas (Uruguay) and featured independent compilations of work by artists from Argentina, Brazil, Bolivia, Chile, Colombia and Uruguay.
Curated by Michael Mazière, the show featured three different sections highlighting intimate, unique subjectivity, in a bid to avoid a “strict modernist interpretation of the poetical.”
The program curated by Jean-Marie Duhard featured videos whose main focus is the dialogue between video and literature. The curator was in attendance and gave a presentation about the show.
In this program, Hermann Nöring set out to provide an overview of German early 1990s production, ranging from “classical” video art to computer-generated works.
The program curated by Carlota Alvarez Basso featured professionals and artists who work with video and somehow question the medium’s linguistic and artistic boundaries.
The program curated by Stephen Vitiello featured videos that reference memory, dreams and the past, and blatantly explore the strong connections between sound-image and image-sound.
The retrospective show of the work of Rob Rombout, one of Europe’s most renowned documentarists, featured six of his videos.
Videobrasil Retrospective (1983-1992) featured a selection of videos, photographs and objects culled from past editions of the Festival.
This video installation by Marcelo Tas is a high-powered version of the famous “House of Mirrors” of old amusement parks.
Guto Citrangulo’s video installation comprised a few monitors hanging above the lake at SESC Pompeia, showing broadly publicized footage of collective catharsis-inducing moments.
The video installation by Spain’s Joseantonio Hergueta is part of the Epistolario series. The piece is a construct about evocations of fervor.
Robert Cahen’s video installation explores darkness as a representation of expectancy, surprise and the emotions arising thereof.
In George Snow’s video installation, the viewer sits in a car replica, surrounded by screens showing fragments of footage taken on roads, reedited and interspersed with other images.
The video installation by the US’ Rita Myers attempts to define the human body as a place in which to express destabilized, reconstituted meanings.
This video installation by Bruce Yonemoto features two fringe cultural representations combined: one historical representation created in Brazil and another created simultaneously in the United States.
This video installation by Carlos Nader features a hallway, wind and video footage, and explores notions such as transiency, death and time.
This installation by Holland’s Jaap de Jonge is a visual expression of end-of-century war. The project was sponsored by the World Wide Video Centre.
In this video installation, the Yugoslavian artist duo Breda Bedan & Hrvoje Horvatic radically explores the physical, corporal participation of visitors, combining symbolic and sensory elements.
This piece by the German artist Dieter Kiessling is part of a series of installations about electronic media and their basic features.
Coordinated by Isabel Amado, the Videobrasil Retrospective exhibition featured trophies, posters and historical photographs of the earliest Videobrasil festivals and their participants.
A video installation by the American artist Edward Elliot, created through the editing of computer-generated images.
A performance de Stephen Vitello é uma apresentação de música integrada com imagens gravadas que fluem pelas telas e monitores presentes no espaço.
A multimedia installation by Eder Santos & Paulo Santos featuring music, spoken word, video and film footage, literary text, dancing and fine arts elements.
Otávio Donasci created Projeto Videoteatro (the Videotheater Project), spawning myriad multimedia expressions that involve audience interaction. During the 10th Videobrasil, the artist presented Videocópterus, Videomoite and Videomensageiros.
The conference “German Video Art in the 80s,” by Axel Wirths, provided a retrospective of German video production from that decade.
The concern over how to deal with electronic technologies at the service of art production was the focal point for “Debate Forum: Curating, Recording and Preserving Electronic Art.”
A workshop delivered by the Belgian documentarist Rob Rombout about the issues that permeate video documentary directing – the journalistic and authorial approaches, scripts, production – in the face of the unpredictability of reality.
The workshop on video streamer delivered by the artist Edward Elliot originated the namesake video installation shown during the 10th Festival.
Videojornal was produced by the Emvideo team and directed by Eder Santos. The program covered the Festival featuring interviews with the audience, artists and critics, plus news reports about the program.