Activate to reflect, and vice versa
The public meetings programmed for the 18th Festival deal with the Videobrasil corpus and its history through approximations that are transversal to and convergent with the exhibitions that comprise it. Inside and outside the exhibition space, these meetings—on complementary fronts: activations and reflection zones—examine issues that have accompanied the Festival over the last three decades. From an overlapping of curatorial gestures to the re-staging of historic performances, the array of activators suggests broadened frontiers for the Festival.
Curated by Sabrina Moura for the 30 years anniversary edition of the Contemporary Art Festival SESC_Videobrasil, the Public Programs were structured into eight focus spanning the whole duration of the festival (Nov-2013 to Feb-2014). The seminars, debates and public discussions included: Counter-TV: experimental video practices in the 80’s; Residencies and routes for artistic research; Performance in three movements; The South in perspective; among others.
Download here the full program.
Datasheet
18th Contemporary Art Festival SESC Videobrasil
06 November 2013 – 02 February 2014
Sesc Pompeia
São Paulo, Brazil
Curatorship | Solange Farkas, Eduardo de Jesus, Júlia Rebouças, Fernando Oliva
Public Programs
06 November 2013 – 02 February 2014
Curatorship | Sabrina Moura
Largely taking place at Sesc Pompeia, which also celebrates its thirtieth anniversary in 2013, these activations draw upon the potential emerging within this heterogeneous territory to add new experiences to this apposition between the public and art. Between the Galpão [Warehouse] and the gangways that lead onto the sports courts in Pompeia, the series of exhibition routes highlights the disintegration of their original narratives and creates new situations in which to read the contents found within these spaces.
The second flank of the program revisits the reflection zone concept presented at the 15th and 16th editions of the Festival (2005 and 2007). Once again underscoring the transversal character of the public meetings, the discussions raised by reflection zones, which can go from informal debates to actual seminars, endeavor to move beyond the specificities of the art world to relate the featured works to their historical, political, social, and economic contexts. Taken together, these fronts represent a movement toward the gestural and discursive re-appropriation of the exhibitions, which, in turn, are grouped under a series of program blocks to be presented over the course of the Festival.