A bookcase composed of 50 book-objects. When opened, a mechanism sets off a recording of excerpts from texts by different authors. The public thus composes a “palimpsest” of sound, although each visitor can hear the excerpt of the specific book in his/her hands. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Raquel Kogan is an architect, multimedia artist, engraver, and painter, represented by Galeria Leme. In 2003, she began the series Reflexão, which was presented at Ciber@rt 2004, held in Bilbao, Spain. In 2004, she developed the interactive artwork Projeção [Projection], at Paço das Artes, the intervention Fotoarte [Photoart], in Brasília, the installation 401 Lord Palace, in São Paulo, and interactive objects at the 11º Salão da Bahia, in Salvador.
This installation sets up an interference of four carp – who live in a climate-controlled pool – with the public’s MP3 music. The movement of the animals’ swimming is recognized by a special software. According to how the fish move about and in relation to each other, the system modifies the music tracks in real time. This creates a “fluid cacophony” in the artwork’s environment, allowing for a “collective hearing” of the private sounds. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Vivian Caccuri is an artist and researcher in the field of electronic art. She is the content coordinator and technical consultant for the Festival Internacional de Linguagem Eletrônica [International Festival of Electronic Language – File]. Her work explores the relation between sound, physical objects and information systems in electronic installations, audio performances and interactive devices.
An updated version of the installation VOID, in which the public observes the contents of a “black box” (actually, a mirrored acrylic sphere into which a virtual cube is internally projected), in which sounds are fused and inextricably blended with real and virtual images, giving rise to an unstable and inhospitable internal reality. A Rumos Itaú Cultural Cybernetic Art award-winning artwork in 2007.
Sandro Canavezzi de Abreu is an architect, and obtained his master’s degree in digital poetry from the School of Communication and Arts of the Universidade de São Paulo (ECA/USP), from 1998 to 2000. He also holds a specialist degree in generative systems from Codelab_berlin (2000–2002), and participated as a resident artist at Transmediale (Berlin, 2000–2002) and at V2_Org (Rotterdam, 2004–2005). He currently directs LAbI (Open Laboratory of Interactivity for the Dissemination of Scientific and Technological Knowledge), at the Universidade Federal de São Carlos (Ufscar).
A discussion about surveillance equipment and systems. The idea is to reverse the scheme of closed circuit television cameras, thus turning them into “open-circuit” television cameras. Simone’s deviating system explores new forms of narrative and reveals how public space is a direct result of negotiations – which are measured using codes – between desire, need, and randomness.
Sound design, application of videographisms, consulting and technological production: KAU Etnopop (Daniel Kau and Marcelo Reis).
Simone MichelinVisual artist, researcher and professor at the Fine Arts School at the Federal University in Rio de Janeiro, integrates the N-Imagem, ECO/UFRJ. She incorporates communication technologies and image production, performance, computer systems and architectural constructions in the production of situations within the scope of art.
Pioneering work in Brazil uses copier machines (Xerox) in the creation process.
Paulo Bruscky, who was born in Recife, is a fine and multimedia artist as well as a poet. He produces films, videos, artist’s books, photo-copy and postal art and organizes collective exhibitions.
A kind of travel diary that tries to rediscover the place and landscape, the work is a record of virtual and non-virtual spatial displacement, of the perception of relations generated during displacement and the association between places and anti-places. Using GPS, the author shows the path taken within Brazilian territory, with the lines of a native turtle shell.
Maria Luiza Fragoso has a Master’s Degree in Fine arts from the University George Washington and is an assistant professor in the Department of Visual Arts at Brasilia University. Her work has been shown in exhibitions both in Brazil and the United States. Her main current interest is the development of interaction between computer graphics, etching and video.
A fake online magazine on media art and post-modern philosophy composed totally of content created by automatic text generators. The objective is to satirize the universe of academic publications using apparently meaningless texts and articles. You can visit it here.
Cícero Inácio da Silva is a professor on the technology and digital media course at PUC/SP and is doing a PhD in communication and semiotics at the same University. He is one of the Brazilian experts in hypermedia languages, together with the creation and implementation of websites.
The result of research carried out by Bambozziover the course ofthe four last years, the work discusses the control and surveillance systems in modern society. The images, which are recorded by a camera, are installed on a spy robot that moves around inside the installation area, are treated and reconditioned, revealing comically, the intrusive aspect of surveillance cameras.
See also ADA – Anarquitetura of Affection, Simone Michelin’s work that also discusses equipment and surveillance systems, creating “external” circuit cameras.
Lucas Bambozzi has a degree in journalism from the Federal University of Minas Gerais. Since the 80’s he has developed artistic studies and works around the expressiveness of audiovisual language, with emphasis on electronic media. He works in various media with different supports. He has participated on exhibitions in more than 30 countries.
A documentary on computer error messages made with the participation of the audience via Internet, SMS and MMS with outlet in DVDs and on electronic panels located in the urban area in Sao Paulo. Based on the supposition that the lowest common denominator in the digitalization of daily life is the error (system, configuration, reading error, etc.) and that what previously used to be concentrated in computers, has now expanded into the Web. It has now invaded ATM machines, and taken over microwave ovens, DVD sets, and taken control of cellular phones and seems to have transformed itself into a new communication parameter.
Giselle Beiguelman creates experimental projects involving fixed and mobile telecommunication networks. She is a professor at PUC/SP and editor of the electronic magazine Trópico. She has participated in several international exhibitions, including among others, Net_Condition (ZKM), Arte/Cidade, 25ª Bienal Internacional de São Paulo (“Sao Paulo International Biennalle).
by Mauricio Dias e Walter Riedweg (Brazil – Switzerland, 2004)
Small video screens set up inside six cans deployed on a game board reveal the segregationist structures of the city of Johannesburg, in South Africa. The damage caused by racism, according to the work, is not only inscribed on the social fabric, but also on its relations with architecture, money and fantasy. The piece by the duo Dias & Riedweg is complemented by the video installations Night Shift and Video Wall, both from 2001.
See also Gaza Strip (Gaza Strip), a José Wagner Garcia’s work which elaborates, through bioesthetical elements, critical judgments about the conflict in the Middle East.
Mauricio Dias and Walter Riedweg, are Brazilian artists living in Rio de Janeiro, and their work discusses internal migrations in Brazil and the disparities that perpetuate economic colonialism both within that country and in the world as a whole. The duo took part in the Biennale in Venice, in 1999, as well as in the International Biennale in Sao Paulo, 2002.
Video-installation – complimentary pieces: Night Shift (2001) and Video Wall (2001)
