Apresentando

Conde Ferreira
Daltonic Brothers


conde ferreira

daltonic brothers | Myspace Video

via Patrick Mendes. Obrigada.

Screentests.

B&W 16mm Screentests
Matt Porterfield

B&W 16mm screen tests from Matt Porterfield on Vimeo.

VULTURE.

UNTITLED (VULTURE IN THE STUDIO)

João Onofre

The absurd can often be a revealing window into reality. Items out of context, people out of place heighten awareness and make deliberate reflection inevitable. João Onofre’s work Untitled (Vulture in the Studio) is just such a confrontation, offering a seemingly innocuous set – the artist’s studio – and imbuing it with an irrationality that leads the viewer into another realm of interpretation. At first, we see nothing but an empty studio, clear in its purpose, harmless in its implications. Slowly, we become aware of curious sounds infiltrating the space: ominous scratching, dragging steps. Casually expecting a human being, we are immediately set off balance by the appearance of an enormous vulture, displaced and frightened. The animal takes its time exploring the details of its confinement, pecking randomly at books and papers, jumping awkwardly from floor to shelf. As it balances itself tediously on its makeshift perch, it stabs violently at the paper trail left behind by the studio’s owner, wobbling uncomfortably, breathing heavily, unsettled by the restricted space. It attempts flight but is unable to really go anywhere, and we are left feeling rather sorry for this poor soul, trapped in a world that has no markers of its existence.

In Egyptian mythology, the vulture has been allegorized as a purifier, while in alchemy, the vulture is the symbol of sublimation, the relationship between the fixed aspects of life and the chaotic. This role of mediator is made even clearer in Onofre’s studio, as the bird tries to make sense of this world, our world of tangible limits and boundaries.

The overwhelming image of the impressive animal in turmoil, questioning and challenging its surroundings echoes the daily human struggle to deal with the constructed nature of our being. We are reminded that we are also active intermediaries between the ordered and the chaotic, and that despite our best efforts, we are often equally as frightened and displaced. But beyond the allegorical, beyond the symbolism, within the stifling borders of the artist’s studio, this great bird is also brought down to earth, back to reality. Out of its element, removed of its majestic context, it is after all just a bird, a bit too big, not very attractive, and very unsure of itself.

YEAH!

LOS ANGELES PLAYS ITSELF
THOM ANDERSEN

: The Big Swallow

The Big Swallow
James Williamson (1901)

: Nostalgia

(nostalgia)
Hollis Frampton

"In (nostalgia), Frampton is clearly working with the experience of cinematic temporality. The major structural strategy is a disjunction between sound and image. We see a series of still photographs, most of them taken by Frampton, slowly burning one at a time on a hotplate. On the soundtrack, we hear Frampton's comments and reminiscences about the photographs. As we watch each photograph burn, we hear the reminiscence pertaining to the following photograph. The sound and image are on two different time schedules. At any moment, we are listening to a commentary about a photograph that we shall be seeing in the future and looking at a photograph that we have just heard about. We are pulled between anticipation and memory. The nature of the commentary reinforces the complexity; it arouses our sense of anticipation by referring to the future; it also reminisces about the past, about the time and conditions under which the photographs were made. The double time sense results in a complex, rich experience." - Bill Simon

: The Seventh Horse of the Sun

Suraj Ka Satwan Ghoda

Shyam Benegal (1993)

1/18

A ORIGEM DO SÉC XXI

De l'origine du XXIe siècle

JEAN LUC GODARD (2000)

1/2

1º filme de JLG

Excerto de 7min de

Opération Béton

JEAN-LUC GODARD (1954)

Música, Gráficos, etc, de autoria desconhecida