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Video Art and Art & Essay Film in Portugal

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Video Art and Art & Essay Film in Portugal 20 200 20 100 ARTE 20 70 20 50 20 40 20 30 VIDEO ART AND ART & ESSAY FILM IN PORTUGAL p. 1 eentrevistas.inddntrevistas.indd 1 008/12/048/12/04 119:03:309:03:30 Número – Arte e Cultura Associação e Editora / Association and Publishers Rua da Guiné 2, r/c Dto. 1170-173 Lisboa [email protected] Tel/Fax: +351 21 813 00 09 www.numerofestival.com www.portuguesefestival.com p. 2 eentrevistas.inddntrevistas.indd 2 008/12/048/12/04 119:03:329:03:32 Índice Contents Agradecimentos p.5 Acknowledgements Tirésias: Arte Made in Portugal p.6 Tiresias: Art Made in Portugal Dinis Guarda Dinis Guarda Vídeo Arte em Jogo p.20 Video Art at Stake Nuno Aníbal Figueiredo Nuno Aníbal Figueiredo Videoarte e imagem em movimento no mundo e em Portugal p.24 Video art and the moving image worldwide and in Portugal Dinis Guarda Dinis Guarda O Vídeo é por excelência o medium do século XXI p. 64 Video is the default medium of the twenty-fi rst century Catherine Elwes por Claire Nichols Catherine Elwes by Claire Nichols A Apropriação do Impróprio p.74 The Appropriation of the Improper Pedro Lapa por José Marmeleira Pedro Lapa by José Marmeleira A Arte contamina o Cinema, o Cinema contamina a Arte p.90 Art contaminates Cinema, Cinema contaminates Art João Fernandes por José Marmeleira João Fernandes by José Marmeleira Sou um artista que conta histórias... p.102 I am an artist who tells stories… Julião Sarmento por José Marmeleira Julião Sarmento by José Marmeleira Uma sala com obras em vídeo é uma sala que se apresenta a si própria p.108 An exhibition hall replete with works in video is a hall that introduces itself Jorge Molder por José Marmeleira Jorge Molder by José Marmeleira Olhar criticamente o vídeo p.110 A critical look at video art Miguel Wandschneider por José Marmeleira Miguel Wandschneider by José Marmeleira Videoarte e real: Uma relação pouco explorada p.116 Video Art and reality: A little known relationship Miguel Amado por José Marmeleira Miguel Amado by José Marmeleira Da videoarte à videocriação p.118 From videoart to videocreation Sandra Vieira Jürgens por José Marmeleira Sandra Vieira Jürgens by José Marmeleira Iconografi a p.123 Iconography Momentos p. 147 Moments momento 1 p.149 moment 1 momento 2 p.201 moment 2 momento 3 p.229 moment 3 Filmes Sobre Arte e Artistas Portugueses (Selecção) p.253 Monographic and Anthological Portuguese Art Documentaries (A Selection) Contextualizando a Videoarte Portuguesa – Uma Cronologia p.255 Contextualizing Portuguese Video Art – A Chronology Videografi a p.259 Videography p. 3 eentrevistas.inddntrevistas.indd 3 008/12/048/12/04 119:03:329:03:32 p. 4 eentrevistas.inddntrevistas.indd 4 008/12/048/12/04 119:03:329:03:32 Agradecimentos Este livro surgiu da vontade de alcançar Tão importante quanto a refl exão teórica, nesta ideia e por ela lutou, procurando uma visão ampla e sistematizada sobre a este livro apresenta ainda informação de- conseguir o máximo possível de todas as videoarte e os fi lmes de arte e ensaio em talhada sobre perto de uma centena e meia fontes e pessoas envolvidas. Em especial Portugal. A ideia de analisar o seu contex- de artistas, reunindo dados biográfi cos e agradecemos a André Gonzaga, José to histórico e actual vitalidade advém da respectiva listagem de obras. Marmeleira, Margarida Mendes, Fernanda necessidade de uma refl exão cuidada e Lopes, Luís Alegre, Helena Murteira, Pedro Este esforço de compilação e pesquisa de uma recolha e inventariação exaustiva Cabral Santo, Paula Roush, Inês Amado, nunca teria sido possível sem o encoraja- do fenómeno de apropriação do Vídeo por Mónica de Miranda, Maria Lusitano e Dora mento e o contributo (intelectual e mate- parte das Artes Visuais. Santos. rial) de Manuel da Costa Cabral, Director Pretende-se com esta edição bilingue do Serviço de Belas Artes da Fundação A fechar, porque a eles é dedicado este Português / Inglês cumprir o objectivo de Calouste Gulbenkian. trabalho, gostaríamos de agradecer a to- circulação nos principais canais artísticos, dos os artistas que pacientemente nos aju- Estendemos esse agradecimento a todos académicos e educativos, enquanto ferra- daram ao longo deste tempo, contribuindo os investigadores que nos ajudaram, assim menta de estudo indispensável e obra de para este livro com o seu conhecimento, como à Direcção-Geral das Artes (ex- referência no meio. informação e imagens. A todos estamos Instituto das Artes) que, conjuntamente muito gratos pelo apoio. Os possíveis erros Por estas páginas de entrevistas, ensaios com a Fundação Calouste Gulbenkian, é a de facto ou de julgamento serão somente e testemunhos, encontraremos um retrato principal fi nanciadora desta publicação. da nossa inteira responsabilidade. específi co da realidade portuguesa, mas Uma palavra de reconhecimento a também referências implícitas à cena uma pequena mas forte equipa de Dinis Guarda internacional. Nuno Figueiredo colaboradores que desde o início acreditou (Editores) Acknowledgements This book emerged from a desire to pro- As important as its theoretical refl ections, alise this project, attempting to achieve as vide a broad and systematic overview of this book also provides detailed informa- much as possible from all the sources and video art and art & essay fi lms in Portu- tion about almost 150 artists, bringing to- individuals involved in the process. Special gal. The idea of analysing the historical gether biographical data and a list of their thanks are due to André Gonzaga, José context and current vitality of these works respective works into a single publication. Marmeleira, Margarida Mendes, Fernanda resulted from the need for a careful refl ec- Lopes, Luís Alegre, Helena Murteira, Pedro This project to compile and research video tion about the phenomenon of the appro- Cabral Santo, Paula Roush, Inês Amado, art in Portugal would never have been priation of video by the visual arts, as well Mónica de Miranda, Maria Lusitano and possible without the encouragement and as the need to compile a comprehensive Dora Santos. (intellectual and material) contribution of inventory of artists and works. Manuel da Costa Cabral, Director of the Finally, because this book is dedicated to This bilingual edition in Portuguese and Fine Arts Service of the Calouste Gulben- them, we would like to thank all the artists English seeks to circulate such information kian Foundation. who patiently helped us throughout the through artistic, academic and educational process of preparing this project and who We would also like to thank all the re- channels. It was conceived as an indispen- contributed to this book with their knowl- searchers who assisted us, as well as the sable tool for studies in this fi eld and is edge, images and information. We are Directorate-General for Arts (the erst- intended to be a reference work. extremely grateful to all of them for their while Institute of Arts) that, along with the support. Any factual mistakes or errors of These pages containing interviews, essays Calouste Gulbenkian Foundation, is the judgement are entirely our responsibility. and eye witness accounts provide a spe- main sponsor of this publication. cifi c portrait of the situation in Portugal, Our thanks also go to a small but formida- Dinis Guarda but also capture implicit references from ble team of individuals who had faith in this Nuno Figueiredo the international scene. (Editors) idea from the very outset and strove to re- p. 5 eentrevistas.inddntrevistas.indd 5 008/12/048/12/04 119:03:329:03:32 Tirésias: Tiresias: Arte Made Art Made in Portugal in Portugal PT EN Dinis Guarda Dinis Guarda Dinis Guarda frequenta o Mestrado em New Media na London South Bank Dinis Guarda is currently fi nishing an MA in New Media in the London South University. Fundou a Associação Número – Arte e Cultura em 1997. Desde Bank University. He founded Portuguese organisation Número – Arte e Cultura então organizou diversos eventos internacionais na Europa, Ásia e África in 1997. Since then he organised international events in Europe, Asia and Africa como director, produtor e programador de arte, cinema e literatura. Publicou as director, project manager and curator dealing with arts, fi lm and literatu- diversos jornais e revistas (N_Número Magazine, M_Mutantes), livros (Corpo re. He has published several newspapers, magazines (N_Número Magazine, Fast Forward, no contexto de Porto 2001 – Capital Europeia da Cultura) e M_Mutantes), books (Body Fast Forward, within Oporto 2001 – EU Capital web sites. Trabalha activamente como poeta e ensaísta. Radicado na Suécia, of Culture) and web sites. He works actively as an essayist and a poet. He is trabalha actualmente na Dinamarca. based in Sweden and presently works in Denmark. I. I. Mitos portugueses - Portugal e o mundo Portuguese Myths - Portugal and the World “(…) ao que impede a expressão das nossas forças enquanto indivíduos e enquanto “(…) to that impeding the expression of our strength as individuals and as a collective colectividade.” whole.” José Gil, Portugal, Hoje: o Medo de Existir José Gil, Portugal, Hoje: o Medo de Existir O século XX foi um século de profundas mutações em Portugal. O The 20th century has been a century in which profound changes tecido social, humano, intelectual e artístico mudou mais do que took place in Portugal. The nation’s social, human, intellectual and talvez em outro qualquer período na sua longa história de mais artistic fabric changed more dramatically than perhaps in any de 800 anos. Portugal sofreu metamorfoses várias, passou de um other period of its long history, which spans over 800 years. Por- país rural, profundamente religioso até aos fi nais da década de 70, tugal has undergone several metamorphoses. It went from being para um país na sua maioria laico e urbano no fi nal do século XX.
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