Associação Cultural Videobrasil

The Southern Panoramas show works that require screening in a dark room will be shown at CineSesc and, later, in open air night exhibitions at Sesc Pompeia, grouped up by similarities, strategies, or thematics. Check out the curated programs below and view the schedule to book yourself.

PROGRAM 1: History, returning and belonging, 58’02’’
Father’s Footsteps, Vygandas Simbelis, 4’54’’
The Sun Glows over the Mountains, Nurit Sharett, 53’08’’
The ways in which art approaches history are constant and dynamic, weaving new threads and promoting synchronic readings of social facts. By means of a politically-charged exercise, the artists build intimate, affectionate perceptions of narratives built on various micro-histories. The films in this set subvert religious and ethnical canons aligned with the political and ideological control over the ways history is retold. These cinematic narratives are founded on physical or symbolical returns and the notion of belonging.

PROGRAM 2: The experience of the human space, 42’30’’
Des deux côtes, Andrew de Freitas, 3’58”
Cuculí, Daniel Jacoby, 11’32”
Hidden Cities, Gusztáv Hámos, 27’
The reorientation of spatial perception without resorting to the exactitude of the conventions of measurement and documentation is an aspect of contemporary audiovisual production. Using literary, visual, and cognitive resources, these artists appropriate figures of speech in order to represent their own spatial experiences, alluding to various urban contexts. These new narratives deliver private cities that only come into existence in the experience of the other, of he who tells.

PROGRAM 3: Political conscience and sensitive experience, 40’
Brisas, Enrique Ramírez ,13’
The Night of the Moon Has Many Hours, Mauricio Arango, 12’
Cordis, Roberto Bellini, 15’
The apprehending of specific landscapes and the symbolical comprehension of certain social contexts are part of the fabric of readings – both affective and political – of constituted historical and geographical realities. From observations of sensitive experience there arise fictions that provide acute views of characteristic themes of Latin American culture, both urban and rural. What sets these works apart is how they approach time, through both historical reflection and camera action, and taking into consideration the specificities of each location they portray.

PROGRAM 4: Immersions in Brazilian sociocultural space, 71’
Rabeca, Caetano Dias 71’
Through distinct processes, contemporary artists share a perceptible interest in developing documental strategies that reveal the more sensitive aspects of our sociocultural reality. Upon dissolving and reworking issues like authorship, reality, and fiction, they subvert the nature of documentary film. The pieces are also in-depth looks into our historical processes of socioeconomic formation and the duality between the countryside and the city. In this immersion, reality and fiction become condensed into a near-fantastical reading of Brazilian rural traditions. They retrieve the memory of an immaterial culture whose music, instruments (like the fiddle) and forms of interpretation are mechanisms that keep it alive.

PROGRAM 5: Devices and identity constructs, 43’01’’
Mirror, Tiécoura N’Daou, 5’01’’
WYSIWYG– What You See Is What You Guess, Lucas Bambozzi, 20’
The Day You Arrived in Buenos Aires, Iván Marino / Aya Eliav, 18’
A permanent, disquieting reinvention of image production and screening devices is in the order of the day, and is made sharper by urban spaces. Experiences using these resources put the individual in contact with his own self, allowing him to respond to his environment, and thus the idea of otherness is manifest. The recognizing of oneself in the other and in their material and virtual spaces of experience leads artists to conceive new media experiences. The immediate observation of what surrounds the individual and of the most trivial day-to-day aspects seems to be a starting point for the breadth of narratives and the multiple media seen in these works.

PROGRAM 6: Ambivalences of architectural spaces, 53’15’’
Into Thin Air into the Ground, Haig Aivazian, 30’45’’
Lago Onega N.8, Jacinto Astiazarán, 22’30”
Contemporary architectural space is of an ambivalent nature. Such condition is further enhanced by the context it is part of, especially in situations where modern Western tradition reverberates in ambiguous, at times belated, at times precarious fashion. By observing architectures as characters, video productions have tackled these urban figures aiming to reveal the power of mass media, the prevalence of technological subterfuges over projectual rationality and the more pressing issues of cities today – spaces where architecture presents itself as an element of distinction and power.

PROGRAM 7: Immersions in Brazilian sociocultural space, 75’
Doméstica, Gabriel Mascaro, 75’
This piece also represents the new documental strategies employed by artists to compose in-depth investigations of our socioeconomic reality, spinning out an ambiguous take on the domestic labor relations that have become established in Brazilian households, harking back to a secular, patriarchal culture.

PROGRAM 8: Deconstruction of  narratives, 60’14’’
Journey to a Land Otherwise Known, Laura Huertas Millán, 22’17”
Vive le capital, Orit Ben-Shitrit, 15’05’’
Malleable Tracks, Gregg Smith, 22’52’’
The narrative tradition of cinema has become an element of experimentation in myriad audiovisual practices. In this program, three different approaches to building a narrative put temporal data in tension, appropriating references from documentaries, dance, and American and French cinemas, respectively. In the first two cases, social history narratives are deconstructed and adapted to film. The last film features a story in suspension, an interruption of time, metaphorically reminiscent of the first main theme of the programs, putting forth an open reading of contemporary culture.