Category Archives: _UNCATEGORIZED

DO OUTRO LADO DO RIO no LAXART

LAXART

EXHIBITION WALK THROUGH
WITH CURATORS GLENN PHILLIPS AND ELENA SHTROMBERG

SATURDAY, DECEMBER 9 2:00 — 3:00 pm
At LAXART

SCREENING of
DO OUTRO LADO DO RIO (Across the River)
by LUCAS BAMBOZZI 

SATURDAY, DECEMBER 9 3:30 — 5:00pm
in the LAXART LOFT
Join Glenn Phillips and Elena Shtromberg, curators of Pacific Standard Time LA/LA: Video Art in Latin America, for a discussion and tour of exhibition highlights. Featuring more than 60 time-based works from over 19 countries, this show surveys groundbreaking achievements and important thematic tendencies in Latin American video from the 1960s to the present.

Following the walk through, LAXART will present a special screening of the documentary Do Outro Lado do Rio (Across the River) (2004, 88 minutes) by artist Lucas Bambozzi, whose video Oiapoque-L’Oyapock(1998, 10 mins) in the Borders and Migrations program is a prequel to this feature length film. Exploring the highly transited border between Oiapoque, Brazil and St. Georges de L’Oyapock, French Guyana, the artist documents the stories of Brazilians who are dissatisfied with the conditions they live in and seek to cross into the French territory laying just across the river.

This exhibition is curated by Glenn Phillips, Curator and Head of Modern & Contemporary Collections at the Getty Research Institute, and Elena Shtromberg, Associate Professor of Art History, University of Utah.

Pacific Standard Time is an initiative of the Getty with art institutions across Southern California. The presenting sponsor is Bank of America. Major support for this exhibition is provided through a grant from the Getty Foundation. This exhibition is organized in collaboration with the Getty Research Institute.

Image Credit: Lucas Bambozzi, Do Outro Lado do Rio, 2004, 88 min., courtesy of the artist.

LAXART
7000 Santa Monica Blvd.
Los Angeles, CA
90038
www.laxart.org

Press contact: Amy Hood; [email protected]

DO OUTRO LADO DO RIO . Bienal Sur

Mostra de Vídeos e Cinema Expandido BIM em BienalSur: Território e Resistência

De: 4 a 9/10

Horários: 16h e 19h

Local: Sala Redenção – Cinema Universitário (Avenida Engenheiro Luiz Englert, S/N, Campus central da UFRGS)

Horários

Recordação

(Recollection | Palestina, Alemanha | 2015 | 70min) Direção: Kamal Aljafari

Recordação está composto inteiramente de sequências de filmes israelenses e estadunidenses rodadas na cidade de Jaffa entre as décadas de 1960 e 1990, principalmente do gênero denominado bourekas, que encenavam tensas relações românticas entre homens judeus mizrahi “toscos” e mulheres pertencentes às elites askenazis. Jaffa proporcionava o marco perfeito para construir novos relatos israelenses nas ruínas palestinas abandonadas. Como explica Aljafari, os palestinos fora “desarraigados na realidade e na ficção”. Em Recordação, todos os protagonistas são eliminados da metragem original, deixando um cenário vazio constituído pela cidade. Parece que alguém está retornando a Jaffa, como podia fazer a qualquer outro lugar depois de uma catástrofe. “Ele sabe tudo. Sou eu mesmo; meus avós que iam a caminho a Beirute e regressaram porque havia uma tormenta; um fotógrafo; uma combinação de todas as figuras marginadas. A memória mesma que filma. A memória de todo o cenário que resgata a tela”. Recordação indaga numa hipótese cinematográfica: como podemos voltar a frequentar e povoar o espaço num sono inquietante e febril?

04/10/17 – 16:00

09/10/17 – 19:00

Dial H-I-S-T-O-R-Y

(Bélgica | 1997 | 68min) Direção: Johan Grimonprez

Dial HISTORY é um filme de ensaio que percorre a história de sequestros de aviões como retratado na televisão convencional. Em contraste com um fundo de uma cronologia de sequestros de aviões, começando pelo primeiro sequestro de avião documentado em 1931, que foi inscrito imediatamente na arena política desde o primeiro momento. Dial HISTORY ilustra como os sequestros conseguiram progressivamente mais cobertura da televisão, que se fez mais e mais mortal. A natureza da televisão ao vivo permitindo um minuto a minuto atualiza o sequestro como uma situação desentranhada, apagando a linha entre o entretenimento e a tragédia. Questionando o papel do escritor numa sociedade saturada de imagens, a narrativa de Dial HISTORY é baseada num diálogo imaginário entre um terrorista e um romancista no qual o escritor considera que o terrorista sequestrou seu papel dentro da sociedade: “há um curioso nó que une os romancistas e os terroristas, há anos pensava que um romancista podia alterar isso. A vida interior da cultura. Agora os fabricantes de bombas e homens armados tomaram esse território”. Neste sentido, o tema subjacente mais profundo é que o sequestro dos sequestradores estava se transformando em si sequestrado pelas empresas de meios de comunicação. A obra estreou em 1997 no Museu de Arte Moderna de Paris Georges Pompidou e depois foi projetada na Documenta X de Kassel.

 

05/10/17 – 16:00

Do Outro Lado Do Rio

(Brasil | 2004 | 88 min) Direção: Lucas Bambozzi

Do Outro Lado do Rio é uma viagem aos limites do Brasil. Uma investigação sobre a área indefinida entre as cidades de Oiapoque (Brasil) e Saint Georges de L’Oyapock (Guiana Francesa), onde identidades são intercambiadas e um rio separa, simbolicamente, uma pessoa de seus sonhos.

Oiapoque é uma zona de intersecção entre o Brasil e a Guiana Francesa, a porta de entrada a uma nova vida em território francês. A cidade possui o maior fluxo migratório dentro das fronteiras brasileiras e dá conta de um mundo em estado de trânsito. As pessoas que vivem na região e suas histórias são o tema principal do documentário. Obstinadas, desconfiadas e inconformadas com as condições na Amazônia, estas pessoas buscam, sobretudo, a consolidação de um sonho tenaz, incerto e vago. Cheias de um notável espírito aventureiro e representativas de um tipo de Ulisses Amazônico contemporâneo, encontram-se no constante planejamento de sua Odisséia de uma terra sem fronteiras.

05/10/17 – 19:00

06/10/17 – 16:00

Toponímia

(Toponimia | Argentina | 2015 | 82 min) Direção: Jonathan Perel

Toponímia é o nome dado à disciplina que estuda a origem etimológica dos nomes dos lugares. O conjunto que Perel escolhe para analisar visualmente em seu filme é uma série de povoados no oeste da província de Tucumán, fundados pelo governo militar em meados dos anos setenta sob o projeto Operativo Independencia, que pretendia eliminar a guerrilha (principalmente do ERP, Exército Revolucionário do Povo) que operava nesta região. Justamente, os nomes escolhidos para estes povoados vieram de militares de alta patente mortos em enfrentamentos com a guerrilha. Com mínima contextualização histórica, limitada à revisão de documentos oficiais, Perel se volta para o registro da atualidade destes povoados e apela a uma estética tão austera quanto rigorosa: planos fixos de quinze segundos. Desta maneira, mostra como o tempo erodiu esta tentativa de imposição semântico-histórica, assim como a natureza e o esquecimento seguem apagando os traços da utopia que ali uma vez se tentou.

 

06/10/17 – 19:00

09/10/17 – 16:00

SynchroniCITIES: BXL – SP

Exhibition synchroniCITIES: BXL – SP at the gallery of Embassy of Brazil in Brussels.

Works by Gisela Motta & Leandro N Lima , Natalia de Mello , Lucas Bambozzi , Jacques Urbanska + Franck Soudan , Márcia Beatriz Granero, Ariane Loze, Marcelo Amorim, Charley Case, Fernando Velazquez, François Zajéga, Thomas Israel and Kika Nicolela (also the exhibition curator). 

Eu não vou juntar tudo isso

performance audiovisual pré-encerramento da BIM – Bienal de la Imagen en Movimiento

 

bim-flyer

Eu não vou juntar tudo isso é uma apresentação audiovisual que remixa trabalhos por mim realizados ao longo dos anos 1990 e 2000. A proposta é sugerir o entendimento dos vídeos como um único trabalho, em narrativas que se interconectam a partir de temas como o amor e a percepção do tempo.

Concebido originalmente para o Besides the Screen 2015 (em diálogo com a temática associada ao papel do curador daquela edição), a apresentação sugere a perspectiva de ‘auto-curar-se’ – como um processo de ‘auto-curadoria’ ou de revisão de cerca de duas décadas dedicadas à produção de imagens.

Link para a página do projeto aqui.

Museu dos [corpos] invisíveis

Um projeto de Giselle Beiguelman e Lucas Bambozzi

img_1480

Museu dos [corpos] invisíveis é uma série de micro-documentários sobre a cidade de São Paulo, pensados a partir de situações à margem da visibilidade. Criado de forma colaborativa, o projeto aborda cinco vertentes temáticas, colocando foco nos corpos que a historiografia tradicional subtraiu do discurso sobre a cidade: mulheres, homossexuais, trans, negros, os moradores da periferia e os sem-teto e o poder biopolítico exercido na cidade. As discussões envolvem sexualidade, feminismo e políticas de gênero, segregação racial, periferia, vigilância, emergência, tribos queer e a vida nas ruas. Participam artistas, ativistas e pensadores, somadas a imagens produzidas por um grupo de alunos do curso de Design da FAUUSP.

foto-de-capa

Museu dos [corpos] invisíveis

Câmera e edição:

Lucas Bambozzi e Lucas Gervilla

Produção:

Maya Messina

 

Colaboradores:

Alejandro Miguel Manzanares Chirinos Andre Traverso Barbara Gomes Beatriz Garcia Daiana Takara Edoardo Corna Erika Fernanda Ortiz Bolanos Gustavo Eda Hannah Stofberg Jana freitas Oliveira Laura Belessa Maisa Fernanda Maria Beatriz Camargo Mariana Tamashiro Marina Onoda Raphael Marcondes Renan Kikuche Suzana Maruya Tamy Gushiken Tomas Stephan Tomas Vannucchi Victor Maitino Willian Akira Mizutani

 

Entrevistados:

 

André Soler

Aluizio Marino

Jaime Laureano

Fabiana Faleiros

Sue Nhamandu

Luciano Pereira

Raquel Rolnik

Claudio Bueno

João Simões

Página em processo do projeto: http://sites.usp.br/outrosurbanismos/museu-dos-invisiveis/ 

Os micro-documentários:

 

 

3or4_questions jose-carlos

4 questions

Jose-Carlos Mariategui à Lucas Bambozzi

 

 

1. Jose-Carlos Mariategui: Do you think your work is in some way connected to scientific/

technological research?   I see your research much more connected to

contexts, in that sense not just to Brazil, but sometimes to global

problematics.  Also something interesting from you is that it can be

impossible to define your pieces as series, all your pieces are different,

which means you are always looking for new things.  How do you start

working, from a more theoretical process?

 

Lucas Bambozzi: You are right, my work deals with contexts. More than usual it also deals with site and social-specific conditions, which as I see, also point to how one could perceive the particularity of the context around, meaning its social, political and technological environment. In this sense the scientific/technological approach is not the driven motor but it plays a big role in shaping the context. Sure, it also does influence the research  behind the work. It would be risky to affirm that such research is the core of the work, but if we consider the research as a way to establish links between the social reality and the communicational/technological systems, I tend to agree with that. My background are more communication than art, the art I do is permeated with communication.

 

My pieces are not too different. More than often I use different media to point to the same point (problems or conflicts generated by the introduction of technologies in or society). So it is also not true that I am always looking for new things. I would rather say that I keep looking for the same things (let’s say: the media, mediating tools and communication systems). The problem or the fascinating thing, is that ‘these things’ are changing constantly. For me, to produce a work is not a theoretical strategy, but an observation process.

 

 

 

2. I believe you analyze quite a bit the users of the system in the spaces

it is being presented.  In that sense do you ‘tweak’ the installation after

watching the publics’ interaction?  Did you take into consideration the

publics’ interaction with your work to develop new ideas or works?  Did you

sometimes have found that your work is understood by people in a completely

different way?  Do you think that in that context the space of the

museum/galley is the best place to try out and present your projects, or you

think there might be better situated in other types of spaces?

 

I think that some kind of work, specially those involving interactions,  are never really finished by the time of its first presentation. This is different from all those assumptions that the public will shape the work as a participant (the co-authorship ideas). I would rather “learn” with the work when I meets the public and its related participations of how to improve it, by expanding or narrowing down its concepts. More in technical sense, my works always demand some tweaking care and I think this is related to the fact that we never have the ideal conditions (time + resources + technologies) for preparing it 100% before the due time to be presented. Among us Brazilians, this is usually considered a sort of syndrome, a typical Brazilian condition. But it does happen in other contexts as well, as some ‘new media’ works do demand some  kind of research that can not be conducted without proper support. In my case, even when the work is not being commissioned by the exhibition I took some exhibition’s opportunities as a way to further develop not only some ideas, but also some knowledge on hardware and software.

 

The museum/gallery space is not really the best place/environment to create, develop and test the work, but surely it can be the best place to tweak and fix the work, as in my case, it will be at the venue that the work will finally gain its ‘living’ condition, relating itself to the existing forces and specific conditions found in the space. However, more than often I have been trying to consider the public spaces as the place for such encounter.

 

So there are two things, sometimes being mixed up: the space itself, and the conditions proposed by the exhibitors – which would include available spaces. The first thing is more a conceptual issue and the latter is more related to production, financing issues.

 

In order to better deal with both, I am currently investing some money and time on a sort of atelier in São Paulo. I hope it will make it possible to work by my own, to build things independently from any invitation, without all that known pressure implied by an exhibition time-frame. With little exceptions, producers can help better when they are working for your work, not for the exhibition.

 

 

3. As for New possibilities, do you think the project has some industrial/

commercial uses and possibilities.  Do you think you can apply some of your

works to more commercial or extended interfaces or ‘products’?

 

Talking specifically about the Spio project, it happened that it was related to an inverted situation. When it was produced and shown for the first time (2004), I wanted to point it directly to the growth of controlling devices and pervasive technologies such as the CCTV cameras, the introduction of RFID tags in ordinary products and the spread  of automated and generative systems. It was a way of proposing the discussion of the physical presence of surveillance devices embedded in daily life. However I used a device (Roomba, the robotic vacuum cleaner) that was already absorbed by the industry and commerce. iRobot, the company behind Roomba, was developed like this, with a trajectory rooted in MIT labs and soon gaining a big market in the USA, not only in domestic appliances but also in more ‘sophisticated’ applications that would lead to some controversy, such as military use.

 

Spio was also inspired by the Fluxus’ and Nam June Paik’s use of irony and humour so as to highlight the contradictions of their time. We notice in Nam June Paik’s works the simulation of high-end techniques with excessive visual effects treatment, with references to science’s utopias such as robots and impossible gears, as well as the use of toys, furniture, domestic appliances or strange engines. Spio refers to some of these approaches,

 

Funny enough, the Roomba vacuum cleaner has evoluted a lot in the last three years. It gained an operating system and a serial port, which allows different way of programming with C++, Mobile Processing, MacOSX or Linux, via Arduino or Wiring. So it has been recently used as a platform for hacking purposes, driving attention from researchers, artists and potential hackers, from mecatronics, engineering and art fields. There is a book released this year called Hacking Roomba: ExtremeTech (by Tod E. Kurt) that teaches step-by-step many hacking possibilities.

 

Spio is not listed in the book as a hacking project there, but it could be, as it was really a sort of pioneer project dealing with Roomba (most projects are from 2006/2007). The version being presented at Laboral will feature many possibilities that was not easy to implement in 2004, but will now be possible (the tracking cameras will trigger some responses on the robot itself), improving and sharpening up the original concepts.

 

So, answering your question: No, Spio could not be really applied to commercial field (ate least as a product), as it is exactly the opposite: to bring a product to a different purpose.

 

As a system that is at the same time a sort of ‘found object’ and a surveillant/surveilled device, it produces confusion and misapprehension. It interfaces ‘nothing with nothing’ and this void may produce strangeness about a device whose functions, tasks or parameters one does not know for sure. It can be seen less as a finished object and more as a hub of linking possibilities.

 

 

4. You have been quite involved for a long time with elements around

locative media and mobile apparatus. Spio is definitively one of them.

What do you think of the possibilities of locative media, is it that the

media becomes much more context aware or context dependent?  Why it

interests so much to you?

 

Your question implies a sort of conflict: to be more ‘context aware’ is to become more ‘context dependent’?

 

I do not think about it this way, as I think I do both. My two feature films for example, deal with the context (anachronistic situations lead by substitutions in the way people work, the instability of life in the borders) as a result of an approximation, as a consequence to be immersed on a chosen/desired/given environment I do believe that this way we can better understand the context, and by doing so we can improve our lives, by means of real communication.

 

So, what does it means to become context-dependent? Is it something to avoid?

What I am particularly interested in locative media is that these

systems are to be considered naturally immersed in the public environment, and for this reason it is expected that they would help to effectively improve the experience of public life, re-shaping social reality, at least with less mixophobia (a concept proposed by Bauman, as opposed to mixophilia – we already talked about that, remember?). Mobile apparatuses are spread in Brazil in such a big figure: more than 110 millions of registered mobile phones in use. And I am truly interested on the networking capabilities of this phenomenon. Mobile media can be used stupidly, but not only. Instead of just connecting private bubbles (in a one-to-one connectivity), it can potentially empower networking in an effective way, puncturing sealed private environments, broadening relationship to a richer experience. I do expect to see and produce more works dealing with these ideas, as the context it relates to, has been a challenge for us living in mega-cities like São Paulo, where the public spaces has been decreasing so drastically. Spio is still a model for a protected environment, but I am working on a couple of projects in which I want to see these edges widened.

 

 

BIM – Bienal de la imagen en movimiento

LUCAS BAMBOZZI (BRASIL)

Artista invitado

Lucas Bambozzi

El artista brasilero Lucas Bambozzi presentará sus obras y dará una conferencia sobre el tema Transversalidades de la imagen en movimiento.

Aqui: los invitados y la programación de la BIM.

Transversalidades de la imagen en movimiento

Muestra comentada por el artista, de vídeos e instalaciones (trabajos entre 1988 y 2012) es un relato personal en torno a los pasajes entre el lenguaje del cine, el vídeo, las instalaciones y los nuevos medios.

+ sobre Transversalidades (apresentação em PDF)