1st Vide Urbe Exhibition - Catalogue (translation: Manuela dos Santos LEal) >> copyleft

7/28/2019 1st Vide Urbe Exhibition - Catalogue (translation: Manuela dos Santos LEal) >> copyleft

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spectacles in the high-tech mannerism o 3D modeling-simulations. InRio there have been ewer cases o artists with video interacing with thestreets. In this sense, Vide Urbe responds to some demands by operating as acollaborative platorm or projects o video intervention. The idea is to support

the production o works capable o creating new visualities in the city itsel,through this language and its hybrids, understanding landscape as a networkor exchanges, thought, transormations, tensions and contemporary politicaland aesthetic intersection.

The conceiving o Vide Urbe sprung rom an interest omented by my own artresearch project, which Ive been developing since 2003. The research ocuseson expanded video on alternative suraces or in connection with perormances,

as well as on more open, collective and collaborative territories o the city. Inuniting so many interests I have sought to articulate increasingly collaborativecontexts that enable the convergence o artist proposals, collectives and otherparticipants in this feld, investing in their power in creating other intersectionsin contemporary art and poetic dialogue between video, the public and the city.

In this frst edition, I invited two veteran artists - Eder Santos and Simone

Michelin -,who in the past had worked on specifc pieces interacing withRio de Janeiros public space, and two young artists, Chico Joflsan and JooPenoni, who would be having this experience or the frst time. I oered eachone a dierent location in the citys open space. Through the course o one

week, between the south, central and north zones o Rio, our projections wereinstalled in public spaces, creating new venues or video itsel, creating poeticconnections with dierent themes and issues regarding the city.

During the nights o collective interventions, which were destined only orvideo projection tests, we had the goal o integrating similar artistic initiativeswith the creative input rom Vide Urbes students Workshops, (recentlygraduated rom Oi Kabum! Art and Technology School), which are residentsrom dierent communities in Rio de Janeiro. The young participants, two o

whom worked on the project as monitors, ormed the artist collective Vide

Urbe/ Oi Kabum! and worked together mixing a series o videos createdusing their individual routes through the city as starting points. At the lastthree locations, the exhibition also had the participation o the art collectivesFil de Peixe and Esttica Central, and the artists Julio Lucio and BernardoMarques, addressing these specifc spaces, operating in a stimulating andgenerous partnership with the project. Another platorm to join our route was


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Passeio Completo, which proposes bicycles as a means o transportation to thepublic in the city, through its various cultural events. The project Vide Urbe

was selected by the Oi Program o Promoted Cultural Sponsorship, and assuch, we rely on the support rom Oi, the Secretary o Culture rom Rio de

Janeiro, through the law o cultural promotion o the state o Rio de Janeiro,and through the cultural support rom Oi Futuro partnerships that wereessential or the accomplishment o this frst version o the exhibition.

The curatorial process o Vide Urbe began with an initial survey o projectablesuraces, which led to the contact with artists, producers and collaborators. Iacted as a mediator between artists and the urban context o the exhibition,my proposal being one o a video intervention, considering the singularities oits location in the public spaces o Rio de Janeiro. An important contingencyo this frst production process was the negotiation o the projection areas(building panels or aades), which required authorization rom their ownersor managers and by Rio de Janeiros city government through its responsibleagencies - except or UERJ (State University o Rio de Janeiro), which has itsown administration. Within the limits o maintaining the exhibition timelineand acing the time period needed or such (de)liberations, it was not possibleto complete strictly site specifc works. In this context, the challenge o creatingor articulating projects that in some way orientated themselves toward themesthat reerred to the available locations in short term ell to the artists.

Though developed a priori, the installation o the image and its devices, ora ew hours in ull view o the public passing by, made some experiences andmomentary redesigns o the (discursive and always under construction) citylandscape possible. In this booklet o texts, I tried to ocus especially on theassociations between the works and their presence in the contemporary urbancontext. From the relationships between the image and its temporality to thepoetic tension within the surace-support or its assimilation by the landscapethrough relations o continuity, the encounter also happened, sparked by a kindo extra-feld, circumstantial to the video (the machinery o lights): a transitoryconcentration o people living new sociabilities through unexpected networks

o contact and dialogue; the situation in the city at this intersection o so manydeections and possible social connections between the emergent imaginariesrom Rio. May Vide Urbe be always, as the city already is, by itsel, an invitationto critical reection and its multiple ree ways o occupation.

Moana Mayall, conception and independent curatorship


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Cave Canem (rom Latin, beware o the dog) besides being the title oa previous video rom Eder Santos (2004), is a very old inscription ound atPompeiis ruins, which then, already indicated dogs company as a mediatoro human security, and an old sign o his sedentary lie. The dog had beendrawn in a rightening way, alerting any unguarded person wanderingby, with or without suspicious intentions. The warning, common on signposts and gates, traces to pre-historic periods rom which wolves gradually

became (canis) amiliaris.In the actual mass media imagery, dogs more appealing and pacifc appeareverywhere, rom animal ood advertisements to ree internet services. Andaccording to marketing research, these images are aimed at being, along

with those o babies, the most capable o captivating the publics aection.Besides, they are popular characters in Rio de Janeiros south zone blocks,and a generous source o humanized metaphors, positive or negative.

Invited to participate in the exhibition with a video work that covered theextensive aade between a cultural institution (Oi Futuro in Ipanema) andthe street (Visconde de Piraj, where the upper classes o Rio and thousandso apartment dogs live), Eder Santos decided to re-signiy Dogville, whichhad already been shown in a dierent ormat,on television screens, as a videoinstallation at national and international art airs.

At the limit between thought and non-thought that which separateshuman rom animal1 - is the easy seduction o the imagery ohumanized animals (deterritorializated/ reterritorializated). The our

Dogville, by Eder SantosBeware o the image. Thats what domesticates you.

1 DELEUZE, Gilles.In The ABC of Gilles Deleuze. We stay at the limit betweenthought and no-thought. One should always be at the limit that separates himselffrom animality, but in a way one is not separated from it.

I know what I say because I live in an empty road and people take their dogs fora walk there. What I hear from my window is astonishing. Its astonishing howpeople talk to their dogs. This includes psychoanalysis itself. Psychoanalysis isso xated on animals connected to the family, or familial, that any animal theme,a dream, for instance, is interpreted by Psychoanalysis as an image of the father,mother, or son, in other words, as a family member) in a dream, for example,its interpreted by psychoanalysis as an image of the father, of the mother or ofthe son, that is, the animal as a member of the family. I believe this is odious, Icant stand it..1

[ Video created in partnership with Andre Hallak, Leandro Arago andAna Beatriz Moraes]


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characters in the projection are in act docile and well-cared-or samples,very ar away rom the Deleuzian concept o Becoming-Animal. Whatare the mirror-ings between these canis amiliaris and us, humans,complying by ree will to so many other cultural and social mentalimprisonments?

The video consists o a loop sequence o our dogs, in a kind o cyclicalpresent, with a ew cuts and ellipsis, showing that the animals wereinside a certain spatial limit with a transparent barrier that is revealed

when some o them touch against the glass . Nevertheless, they are notwild beasts that would aggressively strike against the glass, fghtingor reedom. They are canis amiliaris, animals that are much closer tothe human being, and used to the limits o a certain territory (tamed/

domestic).

On the street, many passers-by were caught by surprise. The empathywith the image was almost instantaneous, igniting the imagination opeople walking by, wondering about its dimension, and producing somemore direct identifcation with people walking their dogs. To otherspectators, according to reports rom the same evening, some rustration

was caused, given the serious expectations o a more site-specifc

intervention, or one that would relate more critically to the city. Thisside o Dogvilles repercussion made Eder remember the impact o his

work Fever, installed on the aade o a hotel in Leblon, and publicizedas a virtual thermometer that would measure Rio de Janeiros ever,turning white rose petals into red ones2.

The dosage o red in this ever was based on violence statistics in Riode Janeiro, a piece o inormation that bothered the hotels owners a lot,leading the artist to hide the real diagnosis o the citys ever. Two yearslater, Eder decided to show docile charismatic dogs, temporarily lockedup inside a giant architecture-box, domesticating the many looks rompeople passing by. They didnt let me put thieves in them, so I put thedogs in, Eder mocked.

But here, cave canem became cave imagon: the danger is that the image

easily seduces and anesthetizes me. At a certain line o continuity romEders video intervention work, exhibiting the dogs rom Dogville thistime also came to me as an answer to the recurring censorship pointedat the strength o a more political and insurgent public art discourse.

2 Fever, from Eder Santos, participated from Lumen Project, with curatorshipfrom Paulo Reis, in 2009.


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3 SHELDRAKE, Rupert.In Dogs that Know When Their Owners AreComing Home. Crown Publishers, 1999, hardback edition. Three Rivers Press,paperback edition, 1999.

The dogs dont make me think o security or violence issues in the city.In a commentary in which some authentic irony is unveiled, the artistexhibited his own feld-experience through the video art in the publicspace in Rio de Janeiro. In his city o birth (Belo Horizonte), Eder alsoplays, settling the urban landscape with his images, intending to build

worlds and poetry.About Dogville on the streets, the artist says: The dog is imprisonedinside the image. At the same time, we know hes imprisoned by theimage only, but the one whos imprisoned is on the outside. Thespectator is captured by the image, in a context that diers rom theone o TV or advertisements . The dogs shots succeed, but withoutmessages or other vectors or this gaze thats passing by. Alluding to

the city o dogs that Ipanema has become, as well as the prison-cityrom Lars Von Triers flm, Eder also provokes, with this enigma, thematter o the place occupied by the video at the citys expanded feld,already saturated by other imagery insertions. Another reerence used byEder is the research rom biologist Rupert Sheldrake3 on the telepathicgit o dogs and their ability to know when their owners are arrivinghome. From this point o view, its possible to assure that men were alsodomesticated (made sedentary) by dogs, guardians o the kitchen pantry

and other goods: those somehow delineated the captive human space,their own home, sweet home, and not the opposite.

It is at this point o the eye domestication who domesticates who? -that the choice o the dogs image points to the artists strategy. Its notthat the dogs are ree on the streets, but the general situation we usuallyhave at home: the eyes surrender (adherence) to the moving images otelevision, in ragments that are displaced onto other perceptive contexts.

The dogs on the projection and the domestication or docilizationtheme make me rethink the old question: is art thats ree on the streetsreally reed rom the institutional context? Projected on the aade o acultural center, Dogville evokes, beyond the aspect o the new dimensionthat dogs acquire in the projection, other possible metaphors or the dog,and or the interace architecture (another domus) and the actual context

itsel rom so many institutional flters or public art in the city.Dogville reects a city o images, above all.


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Inhabited Windows, by Chico JoflsanThe public is on the move, and its through this ux

that it inhabits the street.

With Inhabited Windows, Chico Joflsan covered a building panelo a large parking garage at Rua das Marrecas, a building inhabited,day-by-day, only by cars, humanizing it, making it dream. At acentral location in the city, near Lapas Arches, buzzing with theexcitement o a typical Saturday night, the projection could be seen

rom dierent points o this cultural corridor.At Rios downtown, dominated by commercial, unctional buildings,cars overload the streets and also occupy parking garages with bigelevators customized or cars. In contrast, and yet existing in closeproximity to the actively commercial real estate o downtown, thereare also many dysunctional empty spaces, abandoned buildingsthat, or this very reason, have been claimed by a number o social

movements to be used or squatting, as, or instance, collectiveoccupations by homeless activists. Furthermore, not very ar romthere, the provisory and planned deserts o Olympic building sitesincrease in size, branded as the citys new revitalization project,an approach which does not ocus on the uxes o living humansthat already inhabit these places, articulating their subsistence, as

well as their subjectivities. For example the traditional communitieslike Morro da Providncia, where many houses were marked or

demolition against the will o its residents, disregarding a century ohistory, culture and resistance.

(...) But even being identifed with the eminine and the domestic, the windowoers an escape rom home without the need o leaving it. Its the street circulationwithout its dangers. Its contact, interchange, economy. Not to know and stay,not to see and move on, this is called hope. A principle o social and politicalorganization, the window is less o a limit than it is a threshold. It determines thepoint at which the personal and the other, space and time coverage. At the truegenealogical chart, the window bows to the frm and uid, shuing sentences

and capable eects with ephemeral and irrelevant dierences.1

1 ANTELO, Raul. Introduction o The street enchanter soul, rom Joo do Rio


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In Lapa, the initiative o revitalization through entertainment withmore bars than homes in its cultural corridor - oering an escaperom the day-to-day o Cinelndia and downtown ofces. Its also

the most heterogeneous bohemian area in Rio, where a mixture othe mainstream and the alternative is ound, alongside erudite music,pop, noise, a crossroads or all o the citys zones, with the increasingtouristic visibility, with antasies or every taste, rendezvous andcasual encounters.

It is in this environment that Chico decided, through the languageo animation and video scenes captured at his own home, to inhabit

the wall o a car park building. They are visual micro-narratives withsnippets rom dreams and daily lie, where, or example, a huge plantprogressively grows and occupies this same space, and it appears

welcoming to the imaginary residents, who only remove the leavesthat obstructed their vision rom the outside.

The projection combines video scenes and animation with no linear

narrative, leaving the passerby ree to absorb each movie scene asa micro-story. The spectator, on the move, could then ollow someexcerpts, or the whole narrative cycle in loops, across the architecture,rom various points o view in Lapa. The support or these stories isthe empty surace o the steel concrete, but in this case the video canalso create a kind o interior or the object in question, the inhabitedbuilding. In that sense, the projection is capable o simulating a lie inmovement through this skin or material interace, an eect sought

by the great majority o video mapping projects or even those oaugmented reality.

One looks at the moving image as it is immersed in its own temporality.But there are other temporalities and rhythms around. There are otherimages. The spectator, in transit, is all o a sudden, interrogated bythe video. Captivated by the image, the spectator can also give moreattention to his or her surroundings: How could one inhabit and

produce cognitive or aective experiences in this space, already takenby so many other sensorial layers? These urban interventions alreadyoccupy environments decoded by those who live them daily, when, inact, there is always more to decipher and create


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Situated next to the Passeio Pblico, a historical eighteenth centuryarea in Rio, the work presented continues with the windows theme,evoking a time when windows were the privileged interace or publicand private interaction. The building project o Passeios garden was

inspired by the wish o a beautiul lady who lived in this area, as itwas heard by an engineer, then standing by her window, one whowould, later on, bring it to ruition. As a result o this particular, andother episodes, Rio became known as a window civilization.


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Circuit, by Joo Penoni.What is an (animated and projected) body on space

capable o?

Circuit placed the artists acrobatic body on the concrete-made aade oa nightclub in Lapa, turning it into a kind o gate to a promenade arounddierent areas o Rio and other hiding places, guided by a hal-real and hal-imagined character. Very ar away topographically and aesthetically, the

videos landscapes switch between urban and rural, in a circular narrative,also suggested in its title, which is typical o mythological constructions.

In addition to the characters metamorphosis, another narrative elementis the characters own deconstruction or unveiling, when the settingup and removal rom the acrobatic bars is shown, beore and ater hisimaginary parcours through the city. The moving image also decomposesand reconstructs itsel through the quasi hand-made intererence on thephotographs.

The photo animation, according to Penoni, allows or the preservation o

characteristics specifc to this very support, with transition eects romvideo or flm photograms. For the most part aithul to the artists bodymovement, the movements are intermixed with their own traces, throughthe long light exposure, through the meticulous process o capturing eachphotograph. With his own body appearing on the video, the acrobat artistalso reinvents his own movements at some parts o the movie, throughthe uid combination o analogical and digital animation and videotechniques.

As it has been observed rom various points o view, the video rame,ollowing contours o the building aade , could also gain dierent ramesdistinct rom the urban landscape, juxtapositions, overlaps, usions etc. assemblages that could only be apprehended though the lens o the eyein motion, as it were. Images capable o releasing this fction, throughthe displacing this lie in movement through this skin, or concrete-madeinterace and replacing it within another imagery-world, opposite romthe utilitarian and dominant view rom the citys day-to-day lie.

When Foucault mentions theatre and flms as examples o heterotopias1,these examples are mediated by a closed interval-nature space that

1 FOUCAULT, Michel. Dierent spaces.


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creates certain conditions (and rules) or an immersion in this otherincompatible place (what I mean here is that the place is incompatible

with the reality), such as, or instance, the architecture and environment othe dark exhibition room. Digital video projections, in turn, are becoming

increasingly more requent on the so-called public spaces, amid thegeneral - and unsuspecting - looks rom spectators in transit. When thisplace is created in the heterogeneous city space, other places come into thescene, through new conditions and de-conditioning.

On a Monday night in Lapa, the projection o Penonis work, even as alarge scale project, was closer to the sidewalk and to the passerby. Withoutcompeting with the weekend noises, the video creates a dierent feld oexperience, dierent rom what would take place inside a gallery space,gathering not only artists and art-world insiders, but also the exhibitionsta, the cyclists invited by Passeio Completo, as well as pedestrians,

workers rom the area and street dwellers, who stopped by to share thatsame sense o instant collectivism. A ar cry rom the agenda o thequintessential Lapa nights, Circuit was able to create an unusual meetingo the expected and unexpected, individuals brought together and groups

initially disconnected, thus becoming visible to each other, establishingdialogues, asking questions and giving eedback on the work, back to theartist and to the co-spectators.

From the previous internal (automatic) temporality o the urban passerby,to the video s own temporality, a situation o possible diversion o theprogrammed routes was experienced, as rom which the gaze could last,

the length o which would be in tandem with the citys own rhythm. Inthis sense, Circuit can be experienced as a time capsule: virtual time ux,crossing the real uxes rom the whole web o movements around thelandscape.

Big cities are congenial to what we call adrit. Adrit is the technique o walk-ing aimlessly. It blends itsel with the inuence o the scenario. All houses arebeautiul. The architecture must arouse passion. We wouldnt know how toconsider building in a lesser scale. The new urbanism is inseparable rom the

ortunately inevitable economic and social transormations. It is possible tothink that the revolutionary claims o a certain time correspond to the idea ohappiness that was prevalent at that time. Giving value to leisure is not a joke.We do insist that its necessary to create new games.2

2 DEBORD, Guy.In Potlatch, n. 14, november 1954


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Having had the artist really perorm his acrobactics, and having had himshow pieces o his perormance at so many open places in the city, includingthe Praa Marechal Floriano in Cinelandia, when he returned his bodyand the landscape back to the city in the projection, made me think o

the regulation o bodies moving through the urban space. As we walk ina straight line, and preerably with a defned direction and pace, we areollowing the normality o the pedestrian trafc. Assuming this kind ohandbook o social choreography that is internalized in individuals, thedance or the perormance and unusual movement immediately enter the

world o attractions, where, frst o all, the proposal o being watchedby a (passive or interactive) spectator is understood - its also a rule othis hypothetical manual, that may involve more than one time the granto authorities in order to occupy the so-called public space.

On the other hand, its interesting to notice how these spectacular actionso the body are appropriated and recreated by dierent everyday peoplerom the public space. Like the many street sellers in the city centre, playingtheir parts at the theatre o hand-to-mouth struggle to survive, acingunderemployment situations in Brazil, where ability to think on their own

eet is oten required. Other interesting examples are the outdoors-contactimprovisation-jams and the art o parcours displacement, deep into theinterace o body and city. What are the possibilities and limits o thesepowerul bodies dtournements, at the transgression o the automationsrom human movements through the city?


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Fireworks, by Simone MichelinCaution. You dont have only one option.

The city and the public space are research felds very present on SimoneMichelins artistic career. Video is an expressive aesthetic medium toarticulate interdisciplinary data and to activate semiotic, political andtechnological questions. Projected over a building aade on the campuso UERJ, at Maracan, acing the communities o Mangueira and ParqueCandelria, Fireworks sparked a combusting poetic dialogue, connectingimage, inormation and two adjacent but social geographically quitedissimilar places in Rio de Janeiro.

It is to this feld that the artist, also a theorist, directs her work o publicart - spaces she defned as polysensorial zones, rom urban territoriesalready requented by various media to cyberspace as a new contemporarycommunal space. The urban landscape is already a locus that is aected bymultiple intererences. Intervening on the venues o the urban landscapealso means interacting with a myriad o discourses o power and itsemerging imaginaries. We experience the public space predominantly, asa large open-air market flled with advertising imperatives. On the otherhand, when the insertion o images or open-source messages comes intothe scene promoting a transgression o the consumerist appeal, that means

were transiting through aesthetic and semantic felds capable o reversingthe eyes insensibility and o creating other spaces.2.

In the case o the I Vide Urbe exhibition, the large scale video interventionsuggested immediately to Simone the take-over o a territory dominated by

1 MICHELIN, Simone.In Poly-sensorial zones: sensitive restructuration of the urbanspace. (Artists research on public art, representation technologies and urban space produc-tion) http://www.simonemichelin.com/sm/mmm/tx01por.html

2 FOUCAULT, Michel.InOf Other Spaces. Third principle. The heterotopia iscapable o juxtaposing in a single real place several spaces, several sites that are inthemselves incompatible.

The utopia o part o the classical avant-gardes thought it was possible to con-stitute a urban space completely overcome by constructive logic, the logic o theproject, planned by the urban planner, the architect and artist. However, what wasestablished, was an uncontrolled chaos, pulsating at an abstruse rhythm orchestratedby the capitalist logic. In this context, how and what kind o art could turn to be asignifcant intervention in the city? Is it still possible to interere at the citys visualspace in order to rescue, recover aective bonds (o value) that may restructure thehuman dimension o existence? 1


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advertising macro-engravings. More common in orm o printed billboards,now the expanded video language has also been appropriated by the market,through sophisticated open-air video mapping projects. I see Fireworks asa counterpoint to this tendency. The images simultaneously generate and

comment a kind o contrasting alchemy. The 3D-modeling techniques wereused to visually synthesize molecules originated rom narcotics, pulsatingin a circular motion, sometimes coalescing, sometimes spreading out intospace, like freworks. The scene is interrupted by events, becoming, a giant,unusual advertisement billboard explains Simone.

In the area o the UERJ campus there was, until the 1960s, a slum calledEsqueleto. It has since been removed ater occupying the surroundings

and the (dysunctional) structure o a public hospital that was still underconstruction and later on was abandoned by the government. Nowadays,the area belongs to a public university - and its academic community andsits across rom another very popular and traditional, though marginalizedcommunity: Mangueira, an environment o resistance and intense culturalproductions through the ages, rom the old Aro-Brazilian sambas heritageto the aesthetic inspirations o Helio Oiticica and unk music. Like somany other avelas in Rio, it is also a target in the war against drug dealing,intensifed by the installation o the 18th UPP in its territory.

Today freworks orm part o the citys imaginary in a number o dierentways. In great rveillons at the beach they are used to celebrate New YearsEve or goals scored by Rios most popular soccer team, Flamengo in allcity areas, in Rios hill slums they are also a typical drug dealers warningsign, announcing the arrival o policemen in the community. Through 3D

simulation, Simone abstracts the image o the public enemy (the narcoticsand its active ingredients) into a graphic representation o their microscopicorms.

In another moment an obscure virtual character pulls the trigger againstsome o these molecular drug models, revealing a certain irony: is it reallypossible to permanently eradicate this terrible problem rom the ace othe Earth? Is there only one way o thinking about it?

The issue is complex, and it needs to be widely considered and discussed,addressing the vicious web o relationships and conicts that it has generatedin the city or decades. In the orbidden territory, the interpretation o thegraphisms that explode like freworks at Simones work would also need a


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translation based on the artists texts, or a text rom a scientist. Without thisdecodifcation, or spectators in general, the particles would blow up at theurban surace as frework-images, just as, or some time, the codes createdby drug dealers and his ogueteiros (fre-workers - term that designates

the person in charge o announcing the arrival o the policemen at theslums by setting o freworks) remained sae rom the police. In the spacebetween UERJs academic and scientifc sphere and the ground relegatedby a certain international division o labour to perorm the duties o thismarginalized market, Simone also creates a series o text messages oeringa dierent view, along the lines o covert manipulation, separate rom bothpolice news and TV ads. Its also embedded in the terrain o advertisementmacro-engravings rom a pro-accumulation, lottery-like capitalism, that the

artist announces to the public a new possible ethic: Attention. Think aboutit: instead o the model in which one takes it all, a model in which everyone

wins. Believe its possible.


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Collective Interventions Nights

Vide Urbe also partnered with other projects that dealt with video ex-

perimentation and urban interventions, carrying out their actions inthe context o the exhibition and enhancing their proposals with thecontact to the public at the citys open space. During the nights o col-lective interventions, the ollowing partners participated at the I VideUrbe exhibition:

Artist Collective Vide Urbe/ Oi Kabum! (Adrizia Muniz, Ana

Moura, Bruno Callado, Deg Ribeiro, Daniel Matil, Flavia Viana, Ga-briela Pimentel, Igor Laurentino, Jeerson Arcanjo, Raael Galo, RicardoAleixo, Tatiana Martins, Vinicius Ladeira, Yago Furtado) :: Vide Urbeexperimental workshops showed the art rom graduate students rom OiKabum! Art and Technology School that participated in all three nightso collective interventions o the I Vide Urbe Exhibit with through thecollective Vide Urbe/ Oi Kabum. The monitors Jeerson Arcanjo and

Raael Galo decided to use joysticks as more riendly media controllers,also including the public passing by in a kaleidoscopic game o real timeintererences over the images.In every mind there is one whole world. In every vision there is a city. The

vision o one, same city, is made thus out o infnite points o view. VideUrbe, in Latin, means the imperative tense see the city: how do you see

yours? This was the theme-guide or the Vide Urbe workshops, which in-cluded the artistic production o recent graduates o Oi Kabum! Schoolo Art and Technology. Personal or shared experiences, taking the par-ticipants own daily lives and their journeys within Rio as a starting point,

were the raw material or the creation o videos that were recombined liveduring collective projections throughout Vide Urbe exhibition week.

Portal Central > Lapa - Esttica Central Mobile Medias Festival(Coordination: Emanuel de Jesus/ Manu) :: Selection o videos made inopen workshops at Brazil Central Station. Estetica Central also collabo-rated through its Mobile Nucleus van, with the image capture in VideUrbe workshops. Location: Marrecas garage building, downtown, with

visibility between the street Evaristo da Veiga, Lapa and surroundings.


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Esttica Central Central Aesthetic is a estival that began in 2009 andwas created to promote the use o more accessible technologies amongthe population and to oer various creative possibilities ound on mo-bile media through mobile phones and small video cameras.

http://www.esteticacentral.com.br

Pirate Session #28: Urbe Muda, Collective Fil de Peixe(Alex Topini, Felipe Cataldo e Fernanda Antoun) :: Public exhibitono an originally audio-less video art selection, with the duration o onehour, without inorming its contents previously, without the authors

permission, not even inorming them. The content o each Pirate ses-sion is then revealed later on the collective Fil de Peixes website.Locations: Marrecas garage building, Center, with visibility betweenthe street Evaristo da Veiga, Lapa and the surrounding area, and casa

Alto Lapa, at Travessa Mosqueira, with visibility between Lapa andPasseio Pblico.

Since 2006, the collective Fil de Peixe has perormed urban interven-tion actions based on the audiovisual and artistic occupation projectsat non-conventional spaces. Since 2009, it has developed the projectPirato, that, in the same manner and using the same prices rom bigurban centers pirate vendors, commercialized over 4.300 videos romclassic and recent authors, belonging to the national and international

video art production. Pirato is an artistic practice that investigates and

simulates the inormal and pirate economy as a scenario or integration,visibility, access and circulation o video artworks.www.coletivofledepeixe.com

Marginal appropriation, rom Bernardo Marques :: Interveningwith video and video mapping, the perormance proposes to re-assign theaade o UERJs building, recalling previous appropriations, as, or in-

stance, the act that this same area was once inhabited by the Favela doEsqueleto, removed in the 1960s by Governor Carlos Lacerda. Using theso-called marginal aesthetics, such as grafti tags, and textures o materialsused in the construction o several precarious houses in the slums o Rio, heperormed these plastic manipulations live on the light table in the struc-


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CreditsGuest artistsEder SantosSimone MichelinChico Joflsan

Joo Penoni

Partner artists and collectivesBernardo MarquesEsttica CentralFil de Peixe

Julio Lucio

Passeio CompletoArtist collective Vide Urbe/Oi Kabum!Adrizia MunizAna MouraBruno CalladoDeg RibeiroDaniel Matil

Flavia VianaGabriela PimentelIgor Laurentino

Jeerson ArcanjoRaael GaloRicardo Aleixo

Tatiana Martins

Vinicius LadeiraYago Furtado

Conception and independent curator(research and texts)Moana Mayall

Production

Fase 10 - Ao ContemporneaProduction coordinatorNelson Ricardo Martins

Executive productionLisiane Mutti

Vide Urbe workshops/art educatorMoana Mayall

Vide Urbe workshops/monitors

Jeerson ArcanjoRaael Galo

Educational supportOi Kabum! - Escola de Arte e

Tecnologia

Curators assistent

Bia Pimenta

Production assistantMonique Anny

Graphic and webdesignMultistudium/Otto Kohlrausch

LocationsOi Futuro IpanemaEd. Garagem Marrecas

Alto LapaUERJ, campus Maracan

Videomaker (DVD conception)

BeguProjection production

Visualarm

PhotographersOdir AlmeidaRaimundo Bandeira de Mello

Press ofceBinmio Comunicao

TranslationManuela Leal


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Support

site: www.videurbe.com.br/ contact: [email protected]

Sponsorship Cultural support


28/28

Sponsorship

Cultural support

Esttica Central + Vide Urbe workshops

Passeio Completo + Circuit

Marginal appropriation,Bernardo Marques

Fecundation,

Julio Lucio

Pirate Session #28: Urbe MudaArtist collective Fil de Peixe

Artist Collective Vide Urbe/Oi Kabum!,In every mind there is one

whole world

Documents

1st Vide Urbe Exhibition - Catalogue (translation: Manuela dos Santos LEal) >> copyleft