Events & Parties

“Terras Em Trânsito: Excursions in Contemporary Video from Brazil”

September 9, 2005

7:30 pm to 10:00 pm

58 North 3rd St @ Wythe St. Williamsburg, Brooklyn
New York

Terras em trânsito embarks on a journey in video through Brazil’s complex social fabric and visual culture. Designed for adventurous travelers, two excursions explore the ongoing dialogue between contemporary art and the rich history of Brazil’s avant-gardes, and chart a network of less-traveled roads. Before each excursion, four Connecting Flights offer live and multi-channel video performances that take us from Rio de Janeiro and São Paulo to Japan, Cuba, and New York.
Monkeytown is a singular new addition to New York’s video/performance scene. In this intimate environment (attendance is limited to 32 for each presentation), synchronized and multi-channel video works are projected on four surrounding screens/walls, creating an immersive, communal environment. Spectators lounge on low futons below each screen, and experimental cuisine, caipirinhas, and other libations complete the sensorial experience.The premiere US exhibition of Terras em trânsito was curated by Karyn Riegel and is presented in association with Cinema Tropical. Generous support and caipirinhas have been provided by Beleza Pura® Premium Cachaça.


Connecting Flight: Kino I - Vida - FELIPE LACERDA
Media artist and editor of acclaimed Brazilian films such as Central Station and Bus 174 (which he also co-directed), Felipe Lacerda’s oberservational essays search for individual utopias in the streets of Cuba and Brazil.

Excursion 2: A Useful Landscape
From intimacy in São Paulo’s urban jungle to the cutting edge of technology in Brazil’s interior, the topography of communication is surveyed in experimental documentaries, the poetics of movement and sound, and displaced livestock. Works by Andre Amparo, Colectivo Bijari, Daniel Lima, Edson Barrus, Nicolas Guagnini & Karin Schneider, Lucas Bambozzi, Marepe, Marssares, Rachel Rosalen, and Tetine.

Terras em trânsito is titled in homage to Glauber Rocha’s classic Terras em Transe/Land In Anguish (1967). Delirious and politically charged, the film ushered in the lush subversions of Tropicalia, an avant-garde that permeated cinema, music, literature, and the visual arts. In music, Os Mutantes riffed on class-based hypocrisy and appropriated British psychedelic; Caetano Veloso took Bossa Nova to meet the Beatles and Brigitte Bardot. Conceptual artist Helio Oiticica invented communal spaces at the border between high art and popular culture, incorporating rituals, humble architecture, and rarefied bacchanalia in performances and immersive installations. Hybrid and encompassing of earlier avant-gardes such as Anthropophagy and Neo-Concretism, Tropicalia’s re-inventive impulse set the stage for a range of contemporary practices.

Terras em trânsito was originally presented as two single-channel video programs for The Museo Tamayo de Arte Contemporaneo in Mexico City; segments have been exhibited at The Museo de Arte Moderno de Bogotá (Colombia), and the E-flux video rental program. The exhibition is a personal culmination of a one-year Fulbright research and curatorial grant in Rio de Janeiro. Themes of travel and dislocation emphasize the subjectivity of an outsider looking in, an attempt to discover rather than define Brazilian media art.

still: Marepe, Aquecimento corporal da seleção Sanantoniense, 2001
Courtesy of Galeria Luisa Strina

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