Entre Margens DV, Cor, 18' + Video installation 2003
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In Entre Margens (2004), I incorporate, by means of visual and sound landscapes, the intermediate, virtual, and metaphysical condition from Terceira Margem do Rio [The Third Bank of the River] (João Guimarães Rosa). On one end, the shot shows an image of the river. “The river changes continually: day, evening, afternoon, night. The light and the movement of the water show that time passes and does not pass, stops and does not stop, it circulates” (Maciel 2008). On the other end, the landscape in reverse shot: “the land remains, the land that, in the slow sway of the grass, looks at the river unhurriedly. Halfway through, in-between, the viewer that watches, as he hears a voice whispering the story. The voice floods everything with the word, where everything is continual, all the time. The word is strong. A drawing of the son that keeps the glance of time is made. Waiting for the father that has gone and does not return. Sadness of an absence that remains. The grandson on the lap of the daughter that comes to show the father that sees nothing. The silence of the mother that says nothing. The emptiness of the world on the edge of life: only landscape. Ultimately, the screens touch each other through a pan movement that turns the river into land and the land into river” (Maciel 2008). The film about the river ends at the beginning of the film about the land and vice versa inasmuch as the river and the land are like the two sides of the same film, just like the picture in the Moebius band. As a matter of fact, the topological relation of the shot/reverse shot in many of my works is seen through the Moebius band geometry. We always have one single sequence shot that travels from status A to status B projected so as to face the same shot but with a reverse synchronicity. We can, therefore, say that the shot film is always a permanent series of transformations of the reverse shot and vice versa. What they show, in each case, changes: a man fleeing from himself within a Kafkanian oppression context, where anything is a reason to feel being chased; a father that went to live nowhere, the third bank of the river; and a paradoxical love dialog (“I want to see what you are seeing of me in you”).
Direction: André Parente Photography: Luis Felipe Sá Edition: Leonardo Domingues Narration: Luis Fernando de Carvalho Actor: Fernando Rodrigues Music: Fernando Moura Production: André Parente
Hyper / relações eletro-digitais. curadoria de Daniela Bousso, Santander Cultural, Porto Alegre, 2004
Em Tempo Sem Tempo. curadoria de Daniela Bousso, Paço das Artes / São Paulo 2005.
Tecknô n. 5. Curadoria de Alberto Saraiva, Oi Futuro, Rio de Janeiro, 2007.
Espectador em Trânsito. Curadoria de Martin Grossman SESC, Rio de Janeiro, 2008.
Entre Margens. Curadoria de Alexandre Veras. Alpendre, Fortaleza, 2008.
Espectador em Trânsito. Curadoria de Martin Grossman MAES, Vitória, 2009.
Espectador em Trânsito. Curadoria de Martin Grossman. Sesc, Campo Grande, 2010.