FILE São Paulo 2017: Bubbling Universes
The 18th edition of FILE – Electronic Language International Festival in São Paulo takes place from 18 July to 3 September 2017 at the Fiesp Cultural Center. FILE São Paulo 2017: Bubbling Universes occupies many of the spaces, including the Art Gallery, the Digital Art Gallery and the Exhibition Spaces. The Art Gallery houses various interactive and non-interactive installations, as well as virtual reality works, animations, games and GIFs. The Digital Art Gallery is home to the FILE LED Show 2017, a public art display which uses the building’s facade to investigate different forms of artistic expression. From 18 to 30 July, the Exhibition Spaces present a variety of programs, including video art, media art and hypersonic art. Also to be seen are some of the animation works and games, as well as the installation The Flooor, by Håkan Lidbo & Max Björverud. The Exhibition Spaces are also busy from 18 to 21 July with FILE Workshop, a series of workshops and events which examine the creative use of different technologies. Entrance to all the exhibitions and events is free. . Bubbling universes The emergence of social networks has led to a multiplicity of events on a scale never seen before. The unchecked proliferation of information has now reached an astonishing level and is stored in an unprecedented amount of storage, accessed by thousands of networked data devices. This exponential increase in accessible information overwhelms us all in an incessant and overwhelming flow of concepts, images, opinions and desires. No one is exempt from this cross-contamination, no discipline succeeds in remaining within set boundaries. The proliferation of worlds and tendencies carries us into an indeterminate plurality. All and everything is expanding, like a star in its Red Giant phase, ready to explode at any time. What was immense and infinite has become small when faced with the multiverse. We live in an age of bubbling universes. Paula Perissinotto e Ricardo Barreto FILE Founders and Organizers. VIDEOART Nuances in Time in FILE Video Art 2017 In the 18th edition of FILE – the Electronic Language International Festival – in São Paulo, FILE Video Art 2017 presents a selection of 23 works by artists from 15 countries. Included are six award-winning works from the first edition of the FILE Video Art Award. First place went to “Performance Capture: Part 2”, by the Dutch artist Mike Pelletier; second place to “The Stream VI”, by the Japanese Hiroya Sakurai, third place to “Landscape for a Person, by the Argentinian Florencia Levy. The three Honorable Mentions went to works by women artists: “Forsaken Forest”, by Anna Beata Baranska from Poland, “Garden Conversations”, from the Colombian Diana Salcedo, and “Estado Liquido” (Liquid State) by the Brazilian Fernanda Ramos. Another highlight is the installation “Barragem” (Dam) by the Brazilian collective of Nivaldo Godoy, Panais Bouki, Élcio Miazaki and Marcos Martins Lopes. The works chosen for this edition of FILE Video Art demonstrate that when it comes to art, technique is less important than the poetic in its accomplishment. The videos presented in this exhibition include established techniques, such as live action motion capture, stop motion animation and edited found images, and newer technologies, such as software for motion capture in 3D animation, and movies in 360 degrees, which are viewed with virtual reality glasses. In all cases, independent of the technique used in producing the images, the works invite the viewer to perceive nuances in time. These nuances may emerge from reflection on the historic moment through which we are living or observations of the passage of other possible times, when we are engulfed in the frenetic routines of everyday life. In “Performance Capture: Part 2”, for example, Mike Pelletier creates images of humanoid beings whose bodies inflate and deflate as they move, creating a dreamlike setting, which is reinforced by a sound track. The artist comments: “what should be used to record, simulate and create perfect virtual realities, succumbs, on the contrary, to the exceptional, the abstract, and the unreal”. Hiroya Sakurai also creates extraordinary images in “The Stream VI”. But, unlike Pelletier, who uses new technologies, Sakurai’s video shows the flow of water in the ancient man-made rice paddies which changed the landscape, creating a poetic environment where the passage of time is shown through the current of the water. In turn, in “Landscape for a Person”, Florencia Levy suspends time, presenting images from all over the world – collected using Google Street View – which are matched with audio tracks of people in conflict of transit or being deported. The contrast between the words spoken at a normal speed and the slow-motion images creates a certain strangeness and highlights the violence involved in these situations of transit, although no images of violence are shown. The other videos in the exhibition show various situations which dialog with these propositions. In “Forsaken Forest,” by Anna Beata Baranska, the small details that show the passage of time in a simulated forest can be discerned. In “Garden Conversations”, by Diana Salcedo, nature, humanity and the machine dance together until they become a single being. “Estado Liquido”, by Fernanda Ramos, is a different case, in which she presents an experimental audio-visual work on rubbish, referring to the polemic collapse of a dam retaining mine tailings owned by the Samarco mining company in 2015, in Mariana, Minas Gerais. In the work, the rubbish represents fractures, or perturbations, in the flow of the passage of time and the natural landscape. A fortuitous dialog is created between this work and the installation “Barragem”, by the artists Nivaldo Godoy, Panais Bouki, Élcio Miazaki and Marcos Martins Lopes. The installation shows the city of São Paulo surrounded by an enormous concrete dam, after a flood that completely changes the logic through which the city operates. In an immersive experience using virtual reality glasses, the installation alludes to climate change and the use of natural resources. While “Barragem” presents a fictional scenario, “Estado Liquido” considers the real impact of private and governmental neglect. Both pieces indicate the importance of keeping in sight the use we make of these resources. The relationship between these works reinforces the idea that, as technique is less important than the poetic in art, decisions on what use to which the tools which we have are put are essential in choosing between making real imaginary dystopian scenarios or fighting the trend to ensure that they do not become reality. In this sense, making it possible to perceive nuances in time becomes essential in the discussion about the future we want. As when the “empty spaces” in cinema provide a moment of contemplation away from the action, the works in this exhibition open up cracks in the relentless flow of time experienced in the day-to-day and call attention to issues of the moment in which we live and of other imaginary and potential times. More details: http://file.org.br/highlight/file-sao-paulo-2017-bubbling-universes/
0 Comments
My video ”Emptiness Invites” is nominated for award in "VideoArt" category at Film Festiwal in Suwałki.
Details: http://festiwalfilmowysuwalki.pl 'Forsaken forest' was selcted to take part in 58. OKFA - National Festival of Independent Films. Festivale takes place 1-4 June 2017; Center of Culture and Art, Konin
'Side by side' was selected to take part in the cineRamafest - II New Media Film Festival
Festival takes place at Gdyńskie Centrum Filmowe, 24-25 June 2017, Gdynia, Poland |
Archives
January 2021
Categories |