|Presentation - Imperfect Field|
If, in the course of its history, the cinema consolidated processes and narrative forms, its domain is continuously crossed by other practices –subtler, more diffused and of different natures - that transform it from the inside and from the outside. The Imperfect Field Exhibition sits in the intersection between the cinema and contemporary art, investigating, in Brazil's specific context, some of these crossroads. In fact, if we amplify the cinematographic experience beyond its habitual circuit, we'll come across mise-en-scènes and scriptures that constitute the other cinema, or maybe a minor cinema.
To have access and watch this works, we need to revolve a little this history, watch the dust rise from under the canons. This was possible with the help of collections as important as they were disperses, from works of researchers and curators, and the spontaneous availability of some of them on the internet. Let us do justice, then, to these new circuits of cinephilia!
To watch this group of work that stirs after this "revolve" lead us to an unexpected connection: the kind that you notice, even if instinctively, between the artistic propositions of the 70s and experiences today. We don't mean to propose any generalizations, just as it wasn't our intension to do an exhaustive study. It's only about bringing together some works and see how they resonate executions and formal results, even in such different contexts.
Fundamentally, our research made us find procedures that, originating from art, make the moving image the place for a connection, let us say, plastic with the world. This way, the narratives become micronarratives, written by objects and bodies that experiment movement inside the picture. The plane, explored in its physical and sensitive dimension, becomes a surface area that ridges itself, folds itself and in which it's inscribed on a different kind of materiality. It's not about, however, a self-referenciality that closes the image in itself, in its formal autonomy: there's always, in varying degrees, the hand-to-hand with the world, which has been so dear to the art and cinema history in the last years. The plastic and performing nature of these works arises from a clash with reality, with its estrangement. However, if this clash is political, it's because historical approach of the world is also political: bodies, objects, time and space, their different ways of duration, circulation and visibility.
Curators: André Brasil, Eduardo de Jesus e João Dumans