18 DE MAIO - 21:30 /May 18 - 9.30pm
Jardim Botânico - Coimbra /Botanical Garden - Coimbra
Com a presença de Peter Snowdon, realizador do filme "Two Thousand Walls (A Song for Jayyous)". With the presence of Peter Snowdon, the director of "Two Thousand Walls (A Song for Jayyous)".
“IMAGEM CORPO” - ”Corpo Formal” (“IMAGE-BODY”- “Formalized Body”)
“Corpo Formal” é uma reflexão na qual a temática dos trabalhos apresentados, além do corpo, é também o meio. Neste caso, o meio é a linguagem do vídeo que se torna presente ao espectador. “Formalized Body” (May 18) is a reflection in which the theme of the presented works, besides the body, is also the video itself as a means of communication.
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“Tela Humana 2007”
Os corpos absorvem imagens. Os corpos projectam imagens. Um trabalho que apresenta o Videolab como agente criador.
“Human Screen” (1’13’’) 2007
Bodies absorb images. Bodies project images. A work in which Videolab presents itself as a creative agent.
“Corpo” (2’22’’) 2000 o habitante (Portugal)
Composição VDO 002 - para mais informações: vdo@habitante.org Obrigado _o habitante_
Composition VDO 002 – for further information: vdo@habitante.org Thank you _o habitante_
"Two Thousand Walls (A Song for Jayyous)" (6'30'') 2007 / Peter Snowdon (Inglaterra)
Seres quase translúcidos, fantasmagóricos, simbolizam a prisão dos corpos nos territórios palestinianos ocupados.
Night. A terrace on a hillside. Children's voices. A poem. A song. A fragment of time, a moment out of time. Ghostly figures, as if struggling to exist, even here, in their own land. Experimental documentary, filmed in the West Bank, occupied Palestinian territories.
“Manic Chinatown Bycicle” (1’48’’) 2007 / Jeremy Slater (EUA)
O autor utilizou a bicicleta como veículo da câmara para produzir um trabalho na China Town.
This video was shot on my bicycle handlebars. I was riding my bike from Chinatown to 23rd street. I felt very manic that day as I often do in New York City. The source of this video was used in a live performance with musicians. The video and soundtrack were played as a musician would an instrument.
“The Chase”(1’49’’) 2004 / Frode Klevstul (Noruega)
Reflecte sobre o anseio pelo corpo perfeito.
The chase for the perfect look is not as important to everyone.
“Empieza por la a” (2’22’’) 2006 / Johanna Reich (Alemanha)
A possibilidade de imprimir no próprio corpo.
Os corpos absorvem imagens. Os corpos projectam imagens. Um trabalho que apresenta o Videolab como agente criador.
“Human Screen” (1’13’’) 2007
Bodies absorb images. Bodies project images. A work in which Videolab presents itself as a creative agent.
“Corpo” (2’22’’) 2000 o habitante (Portugal)
Composição VDO 002 - para mais informações: vdo@habitante.org Obrigado _o habitante_
Composition VDO 002 – for further information: vdo@habitante.org Thank you _o habitante_
"Two Thousand Walls (A Song for Jayyous)" (6'30'') 2007 / Peter Snowdon (Inglaterra)
Seres quase translúcidos, fantasmagóricos, simbolizam a prisão dos corpos nos territórios palestinianos ocupados.
Night. A terrace on a hillside. Children's voices. A poem. A song. A fragment of time, a moment out of time. Ghostly figures, as if struggling to exist, even here, in their own land. Experimental documentary, filmed in the West Bank, occupied Palestinian territories.
“Manic Chinatown Bycicle” (1’48’’) 2007 / Jeremy Slater (EUA)
O autor utilizou a bicicleta como veículo da câmara para produzir um trabalho na China Town.
This video was shot on my bicycle handlebars. I was riding my bike from Chinatown to 23rd street. I felt very manic that day as I often do in New York City. The source of this video was used in a live performance with musicians. The video and soundtrack were played as a musician would an instrument.
“The Chase”(1’49’’) 2004 / Frode Klevstul (Noruega)
Reflecte sobre o anseio pelo corpo perfeito.
The chase for the perfect look is not as important to everyone.
“Empieza por la a” (2’22’’) 2006 / Johanna Reich (Alemanha)
A possibilidade de imprimir no próprio corpo.
The possibility to print in the body itself.
“Keyframe” (3’40’’) 2006 / Headvision - Roberto Zitolo (Itália)
Feito a partir de imagens retiradas de diversas fontes do audiovisual, “Keyframe” denuncia o obsessivo desejo de auto-representação presente no ser humano.
The video is based on the concept of mixed media, namely a work devised and composed of different sources of audiovisual language. It is a surveying on the human figure, on its obsessive desire of self representation.
“The Beach: (Closed Eyes. Strong Sunlight.)” (2’22’’) 2007 / Steven Jones (Inglaterra)
“Keyframe” (3’40’’) 2006 / Headvision - Roberto Zitolo (Itália)
Feito a partir de imagens retiradas de diversas fontes do audiovisual, “Keyframe” denuncia o obsessivo desejo de auto-representação presente no ser humano.
The video is based on the concept of mixed media, namely a work devised and composed of different sources of audiovisual language. It is a surveying on the human figure, on its obsessive desire of self representation.
“The Beach: (Closed Eyes. Strong Sunlight.)” (2’22’’) 2007 / Steven Jones (Inglaterra)
A short piece of videoart that attempts to portray the feeling of lying on a beach in strong sunlight, and the random images that one ‘sees’ through closed eyelids. Inspired by the work of Stan Brakhage and Carolee Schneemann.
“Lurk” (2'18) 2006 / Jeremy Newman (EUA) Um trabalho que reflecte sobre a natureza invasiva da lente da câmara.
This video examines cinematic voyeurism through a nightmare embodied in light. The work’s framing emphasizes the invasive nature of the lens—its labyrinth of ephemeral images suggests a beauty threatened by violence.
“...” (9') 2001 / Laetitia Bourget (França)
Alguns fenómenos ao nível da pele revelam um tipo autónomo de actividade física.
Disappearing bruises, wounds scarring, body hair growing… these body processes are shown in time-lapse through a succession of scanned images animated with computer morphing. These fascinating phenomena reveal body activities independant of our will.
“U.F.O” (58’’) 2006 / Moona (Reunion Island)
A metafísica do desvanecimento da alma escapa por meio dum corpo analógico em fuga pela incandescência digital.
The metaphisics of the evanescent soul escapes by an analogical body in leakeage towards the digital incandescence.
Alguns fenómenos ao nível da pele revelam um tipo autónomo de actividade física.
Disappearing bruises, wounds scarring, body hair growing… these body processes are shown in time-lapse through a succession of scanned images animated with computer morphing. These fascinating phenomena reveal body activities independant of our will.
“U.F.O” (58’’) 2006 / Moona (Reunion Island)
A metafísica do desvanecimento da alma escapa por meio dum corpo analógico em fuga pela incandescência digital.
The metaphisics of the evanescent soul escapes by an analogical body in leakeage towards the digital incandescence.
“Black White” (3’15’’) 2002 / Priyanka Dasgupta (Índia)
“Black White” é não apenas uma reflexão sobre a natureza sedutora de uma bandeira, como também sobre a forma como os indivíduos se deixam consumir pelas bandeiras dos seus países.
Black White is a reflection on the seductive nature of a flag and how individuals succumb to, and are consumed by, the flags of their countries.
“Siempre” (5’) 2006 Sophie Sindahl-Invernesse e Michael Lisnet (EUA)
Uma série de trabalhos interligados cuja função é questionar a forma como a identidade feminina tem sido definida ao longo dos tempos.
“Siempre” forms a narrative, moving back and forth in time that ask a question about female identity. What are the structures that have been used to define women? Media speaks the language of desire while fourteenth-century nuns become the spectators of our conscience. Who controls the narrative? Who creates the language.
“Black White” é não apenas uma reflexão sobre a natureza sedutora de uma bandeira, como também sobre a forma como os indivíduos se deixam consumir pelas bandeiras dos seus países.
Black White is a reflection on the seductive nature of a flag and how individuals succumb to, and are consumed by, the flags of their countries.
“Siempre” (5’) 2006 Sophie Sindahl-Invernesse e Michael Lisnet (EUA)
Uma série de trabalhos interligados cuja função é questionar a forma como a identidade feminina tem sido definida ao longo dos tempos.
“Siempre” forms a narrative, moving back and forth in time that ask a question about female identity. What are the structures that have been used to define women? Media speaks the language of desire while fourteenth-century nuns become the spectators of our conscience. Who controls the narrative? Who creates the language.
2 comments:
Hi Olga --I have just looked at the press kit; the event looks amazing... I wish I could be there. I'd love to see/feel the place and artworks together. Thank you for making me a part of it.
Best wishes,
Arzu
Hi Olga,
The event looks incredible! Thank you for including "Siempre". The gardens at night are a perfect setting. The whole program of works is really fascinating and I only wish I could attend. Great blogspot also, gives alot of interesting information about the event. Good luck and thanks for asking us to take part.
Sophie and Michael
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