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PORTUGUÊS

May 11

Livia Flores (BR)

Escola de Comunicação ECO, Universidade Federal do Rio de Janeiro, UFRJ, Brasil. 

Artist and Professor at the School of Communication of UFRJ and at the Visual Arts Postgraduate Program at the UFRJ School of Fine Arts. She has a Doctorate in Visual Arts (EBA/UFRJ, 2007). She has held recent individual exhibitions at the Progetti Gallery (Rio de Janeiro, 2008) and MAMAM no Pátio (Recife, 2007). She participated in Tempo-Matéria, at MAC Niterói (2010), Reading Room 1: Brazil, at MACBA, in Barcelona, The End. And... at Latincollector, in New York, and  The Serralves Collection 2009, at the Museu de Serralves, in Porto (2009). Her artistic production involves material and process research with a growing interest on the image itself and its repercussions. Recent published “Notas sobre a (Fotografia das Sombras dos Readymades)” in Revista Concinnitas nr 14. (Org. Sheila Cabo Geraldo) Rio de Janeiro: post graduation, 2009.


ABSTRACT

UNCUT/ How to make cinema without film?


We may say that cinema, like memory, rides on the arrow of time in order to better operate the commuting margins between that which would be possible and that which would be real. Precisely, would be: a tense contraction, the future in the past.

In the world we live in, the greatest benefit of its full cinematic blossoming is perhaps precisely the fact it constantly reminds us that an image is just another image being accumulated and less a proof of the past. And conversely: that which is shown may be only performing an image. In other words, the rims of Duchamp´s “more or less of the always possible” are still unfolding indefinitely.

In this context, the leit-motiv expressed by the question “how to make cinema without film?” is renewed and unfolds not only as an allegory of the digital but also of that without register. Considering that cut and repetition are prerogatives of the cinematographic, how to think the position of that which is “uncut”, how to operate the conditions of visibility of everything that creeps into our view? If film becomes facultative, how to keep its potency? How to transit between its presence and its absence?

* * *

In the conference we will attempt to investigate the incidence of the cinematographic on unstable modes of art production by referring to certain artists and thinkers, such as Lucretius, Duchamp, Bruscky and Pasolini, among others.

Targeted for students and artists, the interest of the workshop resides in developing the topics dealt with during the conference through the exchange of experiences and discussions on finished works and ongoing projects.

Canalcontemporaneo


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