Photo: PAWQARTAMPU, by Felipe Esparza Pérez. Courtesy of Videobrasil Historical Collection.

The films program Marcas brings together, for the first time in the Hangar, a selection of works by Latin American artists and directors from the Videobrasil Historical Collection. Constituted over the last 35 years and in constant expansion, the collection is composed by the videos that participated in the then Festival – now Biennial of Contemporary Art Sesc_Videobrasil – since its first edition in 1983. With focus on the artistic production of the global South, the Historical Collection has an inescapable political tone, distinctive feature of the poetics developed in this wide region.

Taking advantage of this uniqueness, Marcas presents works that claim as decisive the rescue of elements of the past in order to orient ourselves in the present. In exploring the oblique relations between art and history – or between art and politics – the selection also stands out for pointing out the central place of the extradiegetic field in the articulation of these instances. Therefore, plant species, photographs or rituals appear as fragments of an always lacunar history and emit, from their sudden emergence, a luminous flash in the present.”

With works by Gustavo Jardim, Laura Huertas Millán, Felipe Esparza Pérez, Victoria Sayago and Tatiana Fuentes Sadowski.

About Videobrasil

The Videobrasil Cultural Association emerged in 1983 with the Video Brasil Festival and today it is configured as an institution that seeks to map, research and disseminate the emerging artistic production of the global South, be it in its Biennial of contemporary art, or in its own exhibition space, the Galpão VB. Currently, the Videobrasil Historical Collection has about 1300 works originating in the twenty editions of the Sesc_Videobrasil Festival and is characterized as the largest video art collection in Latin America.

Gabriel Bogossian (Rio de Janeiro, 1983) is adjunct curator of the Associação Cultural Videobrasil, besides being an independent publisher and translator. Since 2007, he has developed research on the representation of indigenous peoples in Brazil, articulating the production of images of contemporary art, journalism and social movements. As curator, he held the exhibitions Nada levarei quando morrer, aqueles que me devem cobrarei no inferno (Galpão VB, São Paulo, 2017), O museu inexistente  (Funarte, São Paulo, 2017), in partnership with the artist Victor Leguy, Amanhã vai ficar tudo bem (Galpão VB, São Paulo, 2016), individual exhibition of Akram Zaatari, Cruzeiro do Sul (Paço das Artes, São Paulo, 2015) and Transperformance 3: Corpo estranho (Oi Futuro, Rio de Janeiro, 2014). He collaborates with the magazines Artelogie and BRAVO!, and was responsible for the translations of Americanism and Fordism, by Antonio Gramsci (Hedra, 2008), and Caos Calmo, by Sandro Veronese (Rocco, 2007), among others.