Sights and Sounds: Brazil

January 31 - February 27, 2014

Sights and Sounds: Brazil features new work by Regina Parra, Rodrigo Cass, Cristiano Lenhardt, and Tamar Guimarães, selected by Luiza Proença.

Installation view of Sights and Sounds: Global Film and Video in the Goodkind Media Center. Photo by David Heald.

In a country with difficulties discussing historical trauma, videos by artists Regina Parra, Rodrigo Cass, Cristiano Lenhardt, and Tamar Guimarães represent a willingness to speak out. These videos, produced in Brazil in 2009 and 2012, each confront history—through ways of speaking, interruptions of a repeated speech, silences that question a fact or image. Such efforts are valuable in a country that has had difficulties, collectively, in discussing the traumas of its past social experiences. The videos are manifestations of a willingness to speak, to open a wound, to interfere in the present, or to make public an opinion. Language—or the lack of it—in the form of text, visual element, sound, or symbol, is a tool for revisiting an event or exposing an unresolved conflict.

Luiza Proença
Curator

Luiza Proença (b. São Paulo, 1985) is an independent writer and curator based in São Paulo. She is associate curator of the 31st Bienal de São Paulo and was assistant curator of The Insides Are on the Outside at Casa de Vidro, São Paulo (2011–13) and the editorial coordinator of the 9th Bienal do Mercosul | Porto Alegre (2013).

Video

Regina Parra (b. São Paulo, 1981; lives in São Paulo), 7,536 Steps (For a Geography of Proximity), 2012, video, sound, 20 min., 34 sec. Parra walks 7,536 steps from downtown São Paulo to the Brás neighborhood, guided by the sound of a radio tuned to an empty frequency. Official Portuguese broadcasts eventually give way to pirate radio in Spanish, Quechua, and Aymara—languages spoken by the Bolivian immigrants who live illegally in São Paulo.

Cristiano Lenhardt (b. Itaara, 1975; lives in Recife), Flag-Raising Ceremony—Live, 2009, Super-8 film, transferred to video, sound, 6 min. A military parade is playfully enacted, with flags raised on disused poles throughout Porto Alegre. This work evokes the official state presentations made during the Brazilian military dictatorship (1964–85), with equal parts humor and critique.

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