PART 2: Documentary Perspectives of the Videobrasil Historical Collection (19.30 – 21.00)

Sun 1st July

18.00 – 21.00: Evening Screening Programme (K – 1.56)

The event is free but please register if you wish to attend (unless you are a conference delegate): BOOK TICKETS 

(n.b. if you have booked for part 1 you do not need to book again for part 2 of this evening’s screening programme)


PART 2: 19.30 – 21.00

Documentary Perspectives of the Videobrasil Historical Collection

Introduction from Dr Gabriel Menotti (Curator and Lecturer at UFES, Vitoria, Brazil)

Through a selection of works produced by brazilian artists in different periods and which had participated in important editions of the Contemporary Art Festival Sesc_Videobrasil, the  program Documentary Perspectives of the Videobrasil Collection seeks to investigate the historical imagery of colonialism from a powerful articulation between image, memory and narrative. The four works included in the program are part of the Videobrasil Historical Collection and revisit the search for founding images capable of illuminating, even briefly, some of the deadlocks of the present.

Vera Cruz

Rosângela Rennó

2000, vídeo, 44′

Vera Cruz is an experimental project founded on the idea of the “impossibility” of a documentary on the discovery of Brazil. Based on the contents of the famous letter by Pero Vaz de Caminha, this is the video version of an “(im)possible film” that oscillates back and forth between documentary and fiction. From the subtracted image, we see only the “film picture,” old, scratched, worn out by five hundred years of existence and overuse. The sound of the words has also been removed, seeing as the dialogue between conquistador and native, strictly speaking, did not take place. All that is left is the sound of the ocean and the wind, witnesses to the events. The account that remains takes the shape of subtitle-text.

 

O espírito da TV

Vincent Carelli

1990, vídeo, 18′

Documentary shows the reactions of the Waiãpi indigenous tribe, in Brazil’s Amapá State, on seeing their own images and those of Indigenous tribes Gavião, Nhambiquara, Krahô, Guarani and Kaiapó on TV.

 

Amérika: bahía de las flechas

Ana Vaz

2016, vídeo, 8′

This video revisits Lake Enriquillo in present-day Dominican Republic, where Christopher Columbus landed in 1492 and confronted the native Taíno people to establish the first European settlement in America. Using the camera as an extension of her own body, the artist evokes the cultural and ecological changes undergone by the land to make history emerge from the actual setting.

 

1978 – Cidade Submersa

Caetano Dias

2010, vídeo, 16′

With a language between documentary and experimental fiction, the video approaches the relationship of a fisherman and the memories of his old town. Part of the town of Remanso, in Bahia, was submerged for the construction of the Sobradinho hydroelectric power plant. All that remains from the old town as evidence of disappearances are partially submerged ruins, like those of a water reservoir. The fisherman navigates over his own memories, crossing the waters toward the past. The images themselves bear the tension and the poetry of a town swallowed by water in a favor of a so-called social progress. This work is the result of the Artistic Residency prize of the 16th Videobrasil Festival.

PART 1: Three Shorts (18.00 – 19.00)

Sun 1st July: Evening Screening Programme (K – 1.56)

The event is free but please register if you wish to attend (unless you are a conference delegate): BOOK TICKETS


Where were you in 1992?

2018, video, colour, 15’

Amanda Egbe and Rastko Novaković

We were fighting racism and fascism on the streets of London. We were trying to resist and survive the violent ethno-nationalism in Yugoslavia. Where Were You in 1992?: Rumours of War is the outline of the first part of a major audiovisual project. Moving between the personal and the collective, it explores actions and gestures of resistance. It seeks out those that persist and those that haven fallen away. In its expanded form Where Were You in 1992? investigates through films, archives and visual panels,  the global militancy of the 1990’s.

Amanda Egbe and Rastko Novaković

Amanda Egbe is an artist, filmmaker and Lecturer in Media Production at the University of Bedfordshire. Rastko Novaković is an artist working with the moving image, active in trade union and housing struggles. Together, over the past 17 years, they have created short and feature films, participatory videos, web-based projects, expanded cinema and a site-specific panorama. http://1992.maydayrooms.org/ 


Her Name in my Mouth

2017, HD Video, colour, 6’02

Onyeke Igwe

The film revisions the Aba Women’s War, the first major anti-colonial uprisings in Nigeria, using embodiment, gesture and the archive. The film is structured around the repurposing of archival films from the British propaganda arm cut against a gestural evocation of the women’s testimonies.

Onyeka Igwe

Onyeka Igwe is an artist filmmaker and AHRC funded PhD researcher at University of the Arts London. She has been published in MIRAJ and Alphaville: Journal of Film and Screen Media. Her video works have shown at the Institute of Contemporary Arts; London, Trinity Square Video; Toronto; The Showroom; London, articule; Montreal, and the London, Rotterdam International, Edinburgh Artist Moving Image, and Hamburg film festivals. Onyeka was awarded the 2018 British Assoc. of Film & TV Studies Best Practice Research Portfolio: Experimental.


Image Diplomacy

2017, 4k, Colour, 28’ 55”

Vladislav Shapovalov

During the Cold War both sides used photographic exhibitions as a tool to promote their political visions. While the USSR came up with the original format of a portable kit exposition, the United States assembled one ambitious show that toured the globe.

The film documents the battle waged between the two ideological blocs in the field of “exhibition diplomacy” and gives an insight into the unwritten history of Soviet soft power and socialist internationalism. It compares the forgotten archival materials left behind in Europe from the Soviet photographic exhibitions and films with the American Family of Man exhibition, on display today at Luxembourg’s Clervaux Castle and included in the UNESCO Memory of the World Register.

“Image Diplomacy” deals with history and the materials from which it is made. Dedicated to the re-composition of facts and narratives considered obsolete or forgotten, it ruminates over the question: Why do we look at the past?

The film is set inside the archive of Association Italy Russia (ex-friendship society Italy-USSR) in Milan, at the Film Archive in Bologna, and inside the reconstruction of UNESCO recognised photographic exhibition The Family of Man.

Vladislav Shapovalov

Vladislav Shapovalov (1981, Russia) is an artist and researcher living and working in Milan and Moscow. He graduated in Cultural Studies in Moscow and received his MA in Visual Arts and Curatorial Studies at NABA – New Academy of Fine Arts, Milan. He was a member of the art-group Radek Community (1999-2007). Since 2008 he has been working independently on projects that focus on rethinking images, cultural artefacts and the construction of narratives as a way to construe and analyse geopolitical configurations.

He has participated in the exhibitions The Way of Enthusiasts, held during the 13th Architectural Biennale in Venice (2012), The School of Kyiv. Kyiv Biennial (2015), Atlas [of the ruins] of Europe in Madrid (2016), A Thousand Roaring Beasts: Display Devices For A Critical Modernity, Seville (2017) and Holes In The Wall. Anachronic Approaches To The Here-And-Now, Vienna (2018). He was a fellow at International Fellowship Program for Art and Theory 2016–2017 at Künstlerhaus Büchsenhausen, Innsbruck.

His long-term project Image Diplomacy was presented in two solo exhibitions at Moscow Museum of Modern Art (with V-A-C Foundation) and Ar/Ge Kunst, Bolzano.

血指环 (Ring of Fury)

Monday 2nd July, 2018

19: 30 – 21:00: Evening Screening (K – 1.56)

The event is free but please register if you wish to attend: BOOK TICKETS

血指环 (Ring of Fury)

Tony Yeow and James Sebastian

1973  l Singapore  l 78 mins

Mandarin with English subtitles

Introduction from Karen Chan (Executive Director, Asian Film Archive, Singapore)

 

A humble noodle-seller refuses to pay protection fees to a gang of thugs, resulting in tragedy befalling his family and loved one. To exact revenge, he learns martial arts to deal with the gang led by an iron masked man.

Inspired by the kungfu craze sparked by Bruce Lee of the 1970s, Ring of Fury is Singapore’s first and only martial arts film featuring local karate master, Peter Chong, and a host of amateur actors.  With no budget for special effects, many of the unscripted, unchoreographed, and prolonged fight scenes in the film were raw and genuine fights between lead actor Peter Chong and the other stunt members.

Ring of Fury was banned for its portrayal of gangsterism and vigilantism at a time when Singapore was aggressively ‘cleaning up’ its national public image. The ban lasted for 32 years before the film made its long overdue debut at the 2005 Singapore International Film Festival.

Restored in 4K by the Asian Film Archive through Cineric Portugal film laboratory in 2017, the 35mm sole surviving print showed signs of severe deterioration, discolouration, and vinegar syndrome that caused differential shrinkage. A build-up of mould merging with the faded colours of yellow and cyan made the print images appear magenta. The mould proved to be so challenging that the laboratory specially wrote a new algorithm to resolve this problem.