[gmedia id=4]
ltdn (2 channel video installation, 7′, 2010) MIS – São Paulo
las terra’s de nadie
les terra’s di nadie (video, 5′, single channel, 2007)
Play Forward – Locarno Film festival 60, Switzerland“NOBODY’S LAND” in 5 languages in one only phrase (French, Portuguese, English, Italian and Spanish) is a non-place where oppression rules. The extracts of the memories of dictatorship in Chile and Brazil and original images converging in one only History, one of the most obscure pages of history in Latin AmericaPrêmio Walter da Silveira, best video, Festival Dimas Diretoria de Audiovisual da Funceb, MAM-BA, Salvador, Brazil, 2011.Prize winner best video, IV Inter-American Video Art Biennial IDB Cultural Center, Washington DC, USA, 2009.official selection 60th locarno international film festival >> play forward, switzerland
6th festival du film et forum international sur les droits humains, genève, switzerland
abstracta, mostra internazionale del cinema astratto, roma, new york, cairo, marseille
video d’autore made in italy – genio e sregolatezza, roma, italia
atlante latinoamericano, monterrey, mexico
19° festival internacional de curtas de são paulo, brasil
freewaves – 11th festival of new medias in contemporary art, los angeles, usa
iv inter-american biennial of video art, washington dc, usa
videoformes 2009 – prix de la création vidéo video and new medias, clermont ferrand, france
4° biennale interamericana di roma, italia
video arte – 27° festival de cine de bogota’, colombia
box 3 – la citta’ che muta, museu laboratoria de arte contemporanea de roma, italia
arte na tela – programa especial no 21° festival internacional de curtas de são paulo, brasil
mis – museu da imagem e do som, são paulo, brasil
videoguerrilha art in public spaces, rua augusta timeframe project – são paulo, brasil
sharjah biennial 2011 – plot for a biennal, sharjah, arab emirates
tio illar 2011, athens, greece
bienal de cerveira, september 2011 portugaltechnical schedule_
un video de_ a video by_ um video de _césar meneghetti
un poema di_ a poem by_ um poema de _antonio arevalo
interprete_ interpreter_ intérprete _patricia rivadeinera e carolina manica
sound design_ desenho de som _fabio pagotto e silvia moraes
música _telefon tel aviv
idioma_ languages_ idiomas_spanish, english, italian, french and portuguese
durata_ running time_duração _7’05”The political discourse becomes artThe creative use of video as a medium is, in many cases, the best tool to narrate tragedy poetically, a poetry of images but also – as is in the case of Meneghetti’s work – of words, following a strongly graphic mix that generates a formidable plot of signs. Les terra’s di nadie, based on repertoire images (found-footage) introduces a very powerful visual as well as conceptual layout. Very successful is the splitting of the shot in two portions in various moments of the movie, at times a bichromatic partition that traces a line on the screen, a sharp border. This is probably a metaphor of the limit between democracy and dictatorship, between good and evil, between a normal life and an existence violated, deprived of any rights. The black-and-white images, either TV movies or newsreel clips, despite their content showing soldiers, arms, scenes of repression and violence, in Meneghetti’s experimental aesthetics, become a mere texture, generated by continuous intermittences and interferences; a texture that maintains figurative elements but is anyway an abstract background on which the artist inserts a text, some words, sentences, thoughts, fragments of emotions.
Les terra’s di nadie is a political poem, prayer, warning, confession, testimony and denunciation. It is the tale of all possible dictatorships, both of the past and the present, and unfortunately of the future. A bewildering, syncretic and synchronic narration whose strength lies in the pulsating power of the image that becomes a sign. From the insertion of stroboscopic effects, where shadows of bodies describe a blinding and endless hell, to the epilogue in which we only see a military aircraft circling over the town buildings, fast and elusive, like the violence of power. Almost invisible, like the victims of a coup that vanish into thin air. Brazil, Chile, Argentina are the dictatorships that are geographically closest to the artist, but the language mix that, apart from Portuguese and Spanish, extends to Italian and French, makes this creative video a universal allegory. In Les terra’s di nadie the political discourse becomes art, because art is nearly always the only way to express a political vision and, above all, the only tool able to stage horror, in other words, the unperformable.bruno di marino _itsharjah biennial 2011 – plot for a biennal, sharjah, arab emirates
bienal de cerveira, september 2011 portugal
les terra’s di nadie (video, 5′, single channel, 2007)
Play Forward – Locarno Film festival 60, Switzerland“NOBODY’S LAND” in 5 languages in one only phrase (French, Portuguese, English, Italian and Spanish) is a non-place where oppression rules. The extracts of the memories of dictatorship in Chile and Brazil and original images converging in one only History, one of the most obscure pages of history in Latin AmericaPrêmio Walter da Silveira, best video, Festival Dimas Diretoria de Audiovisual da Funceb, MAM-BA, Salvador, Brazil, 2011.Prize winner best video, IV Inter-American Video Art Biennial IDB Cultural Center, Washington DC, USA, 2009.official selection 60th locarno international film festival >> play forward, switzerland
6th festival du film et forum international sur les droits humains, genève, switzerland
abstracta, mostra internazionale del cinema astratto, roma, new york, cairo, marseille
video d’autore made in italy – genio e sregolatezza, roma, italia
atlante latinoamericano, monterrey, mexico
19° festival internacional de curtas de são paulo, brasil
freewaves – 11th festival of new medias in contemporary art, los angeles, usa
iv inter-american biennial of video art, washington dc, usa
videoformes 2009 – prix de la création vidéo video and new medias, clermont ferrand, france
4° biennale interamericana di roma, italia
video arte – 27° festival de cine de bogota’, colombia
box 3 – la citta’ che muta, museu laboratoria de arte contemporanea de roma, italia
arte na tela – programa especial no 21° festival internacional de curtas de são paulo, brasil
mis – museu da imagem e do som, são paulo, brasil
videoguerrilha art in public spaces, rua augusta timeframe project – são paulo, brasil
sharjah biennial 2011 – plot for a biennal, sharjah, arab emirates
tio illar 2011, athens, greece
bienal de cerveira, september 2011 portugaltechnical schedule_
un video de_ a video by_ um video de _césar meneghetti
un poema di_ a poem by_ um poema de _antonio arevalo
interprete_ interpreter_ intérprete _patricia rivadeinera e carolina manica
sound design_ desenho de som _fabio pagotto e silvia moraes
música _telefon tel aviv
idioma_ languages_ idiomas_spanish, english, italian, french and portuguese
durata_ running time_duração _7’05”The political discourse becomes artThe creative use of video as a medium is, in many cases, the best tool to narrate tragedy poetically, a poetry of images but also – as is in the case of Meneghetti’s work – of words, following a strongly graphic mix that generates a formidable plot of signs. Les terra’s di nadie, based on repertoire images (found-footage) introduces a very powerful visual as well as conceptual layout. Very successful is the splitting of the shot in two portions in various moments of the movie, at times a bichromatic partition that traces a line on the screen, a sharp border. This is probably a metaphor of the limit between democracy and dictatorship, between good and evil, between a normal life and an existence violated, deprived of any rights. The black-and-white images, either TV movies or newsreel clips, despite their content showing soldiers, arms, scenes of repression and violence, in Meneghetti’s experimental aesthetics, become a mere texture, generated by continuous intermittences and interferences; a texture that maintains figurative elements but is anyway an abstract background on which the artist inserts a text, some words, sentences, thoughts, fragments of emotions.
Les terra’s di nadie is a political poem, prayer, warning, confession, testimony and denunciation. It is the tale of all possible dictatorships, both of the past and the present, and unfortunately of the future. A bewildering, syncretic and synchronic narration whose strength lies in the pulsating power of the image that becomes a sign. From the insertion of stroboscopic effects, where shadows of bodies describe a blinding and endless hell, to the epilogue in which we only see a military aircraft circling over the town buildings, fast and elusive, like the violence of power. Almost invisible, like the victims of a coup that vanish into thin air. Brazil, Chile, Argentina are the dictatorships that are geographically closest to the artist, but the language mix that, apart from Portuguese and Spanish, extends to Italian and French, makes this creative video a universal allegory. In Les terra’s di nadie the political discourse becomes art, because art is nearly always the only way to express a political vision and, above all, the only tool able to stage horror, in other words, the unperformable.bruno di marino _itsharjah biennial 2011 – plot for a biennal, sharjah, arab emirates
bienal de cerveira, september 2011 portugal
+ works /// 