Archive for the ‘abroad’ Category

As Farse : RECALL!

dezembro 1, 2006

Repeats Itself As Farse : FAQ-Regulations
International Video Exhibition – Urban Intervention
April 2007 – Vitória/ES – Brazil

What is Repeats Itself as Farse?

It is a video exhibition, to be held in a conventional projection space, with a big screen and such. It is also a seminar about the complex relationships between space, image and consumption, involving researchers, artists and even more interesting people.

What kind of work can participate?

Audiovisual records of urban interventions, in any format (MiniDV, super8 film, mpeg files, etc). By urban intervention, we mean critical and creative interferences in the public space of the city.

Can I send you an urban intervention proposal?

If in form of an audiovisual record, be welcome. But we will not provide space nor the necessary infrastructure for whoever wants to make urban interventions during the event.

Can I send you video-art or documentaries about the city?

At first, no. But the boundaries between audiovisual records, video-art and documentaries can be very thin – that’s one of the points we want to speculate about. So, if you think your work fits in the exhibition, please send it. Surprise us.

By submitting a work to the exhibition, what kind of commitments am I assuming?

You are giving us the authorization to exhibit your work during the seminar-exhibition and its occasional development.

And you?

We’ll provide a place for everyone who comes to the seminar-exhibition stay. If you can’t come, we’ll send you the event’s catalog by mail.

How can I submit my work?

We are accepting videos up to 10 minutes. Send a DVD copy of the work until January 19th 2007 to the following address:

Cine Falcatrua – Se Repete Como Farsa
Caixa Postal 010006
Vitória/ES
ZIP 29001-970
Brazil

Informations for the catalog (artist’s statement, technical data, hi-res pictures, etc) can be sent to comofarsa[at]gmail.com, subject “Repeats Itself As Farse – Call for Works”.

Where’s the other call for works? It was so poetical/ confusing!

Here.

Anúncios

As Farse : Call for Works

novembro 1, 2006

Repeats Itself As Farse : Call for Works
International Video Exhibition – Urban Intervention
April 2007 – Vitória/ES – Brazil

More than landmarks, urban intervention establishes cut markers. It particularizes places and, through decoupage, recreates landscapes where there wasn’t even space. Each action produces opportunities to diverge, platforms for the gaze’s jump cuts.

But how can this agenda be fulfilled through video, a tool not only for capture, but also for exhaustion? Through video, which wear reality out by repetition?

That’s the question Cine Falcatrua wants to pose with Repeats Itself As Farse, international exhibition for urban intervention videos.

Repeats Itself As Farse aims to remove urban intervention videos from galleries and museums and insert them in the projection room, considering them not as artworks, but as audiovisual records and electronic memories.

The exhibition accepts videos up to 10 minutes. You can send your work till January 12th 2007 to the following address:

Cine Falcatrua
Caixa Postal 010006
Vitória/ES
ZIP 29001-970
Brazil

Please, send artist’s statement, technical data and hi-res pictures to comofarsa[at]gmail.com, subject “Repeats Itself As Farse – Call for Works”

Really Free Movie Exhibition @ Piksel06

outubro 1, 2006

The Really Free Movie Exhibition is the most politically correct action of Cine Falcatrua, a Brazilian group that works in the borderline between cinema’s hyper-authorized architecture and new media’s fluid ecology. It consists of screenings of copyleft movies downloaded from the Internet, whose url sources are beforehand revealed to the audience. The spectators are encouraged to download the movies and organize their own exhibitions, becoming curators themselves. All movies exhibited at Piksel06 can be downloaded through Cine Falcatrua’s blog or Piksel website.

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This exhibition intends to redimension the value of curatorial work, which simply is a process of selection and compositing – just as creating electronic music, for example. Selection and compositing are, as Lev Manovich says and any remix-loving teenager knows by heart, “key operations of digital media”, widely available tools for creation in digital environments.

The RFME also works as a critical commentary on the movie theater’s transparency. As a medium, the movie theater denies its own existence; it conveys a message (the movie) as if there wasn’t any contingent code. The exhibition of internet movies on a big screen reveals the farse behind this, showing digital cinema in all its opacity: compression artifacts, pixelization, dvix watermarks.

* * *

[ Programme 01 | brazil, tactical media, licensing ]
Extra Warning, Brenda Make, 2005
TV Falcatrua 2.0, Cine Falcatrua, 2006
A Televisão Não Será Revolucionada!?, Media Sana, 2003
Rádio Muda, Rádio Muda, 2001
Creative Commons Brazil, Danny Passman, 2005
Trusted Computing, Benjamin Stephan e Lutz Vogel, 2005
State of the Union, Bryan Boyse, 2001
Mashin’ of the Christ, Negativland, 2004
Kuvastin, Tatu Pohjavirta, 2001

[ Programme 02 | bricollage, music, composing ]
The Grey Video, Ramon & Pedro, 2004
No Business, James Gladman & Negativland, 2005
Copyright Criminals: This is a Sampling Sport, Ben Franzen & Lembrew McLeod, 2005
Tá Como o Diabo Gosta, Re:combo, 2005
Unsquare Beat, Esquadrão Atari, 2005
Life Wasted, Pearl Jam & Fernando Apodaca, 2006
A Fluo Dança!, Primeira Paróquia, 2003
Profissão de Fé, Primeira Paróquia, 2003
Giant Steps, Michal Levy, 2001
Elephants Dream, Blender Foundation, 2006
Remarkably Bold Venture of the Rabbit, Tim Drage, 2000

[ Programme 03 | classics, public domain, fair use ]
I’ll Be Glad When You’re Dead, You Rascal You, Max Fleischer, 1932
Les Kiriki, Acrobates Japonais, Segundo de Chomon, 1907
Un Chien Andalou, Luís Buñuel, 1929
Story Without End, Vicki Bennett, 2005
Gimme the Mermaid, Negativland and Tim Maloney, 2000
Willful Infringement: Mickey and Me, Jed Horovitz, 2005

[ Programme 04 | digital cinema, p2p, piracy ]
O Gilbertinho Prefere Cópias Digitais, Cine Falcatrua, 2005
The Scene (ep 101), Jun Group Productions, 2005
Remix – History of Mashups, Brett Gaylor, 2006
The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn, Keith Sanborn, 1996
Steal this Film (Part One), The League of Noble Peers, 2006