fluorescências
Fluorescências reveals São Paulo city as a body, a territory of crossings, streams and desires that come together in a natural kaleidoscope, whose backdrop of a civil war is dissipated by the media. Behind a skin covered by erotical out doors take it to the limits of latency of pornography. São Paulo can be seen as a city built on high skinny skyscrapers covered with mirrors, designed by a slow and heavy flow and remaining as an image of a body to assujeitado desire of the other and limited by the taboo that organizes public spaces. Fluorescências is proposed as a cut in this system, a hole in the bubble, a cut that displays exactly what we would never be shown in public in an overwhelming scale. Thus, this door to the very limit, reverses the game, shows the perversity dominant in relations in major contemporary metropolis, puts the viewer in question and suggests another navigation on the meaning of life.
This short film guards São Paulo city, but refers itself to the big contemporary metropolis situation. The images were filmed from a variety of studied and chosen locations in São Paulo city. The work has as a fundamentals the city as body, but not any given body, but the one we’re all referred to, a mortification which the citizen can not escape from and behind a skin covered by publicity outdoors that bring erotic content at the pornography latency limit, from a city of big skyscrapers covered by mirrors, designed by a heavy and slow flow remains the image of a body exposed to the Other’s desire and limited by the taboo that organizes spaces. It’s allowed showing any extreme violent or half-naked women images. But, what is not allowed to be showed is the image of an erect man or sexual act, defining, that way, what I believe to be structural taboo. Fluorescências is proposed as a cut in that system, a puncture in a blister, a cut that exhibits exactly what would never be showed in public in a gigantic scale. There for: takes the situation to its own limit, inverts the game, shows the dominant perversity in big contemporary metropolis relations, puts the spectator in question and suggests another sailing in the meaning of life.
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2008 _ FESTIVAL INTERNACIONAL DE LA IMAGEN DE MEDELLÍN, MUSEO DE ARTE MODERNO, MEDELLÍN, COLÔMBIA
2006 _ URBANLANDSCAPES NO.1, KUNSTRAUM WALCHETURN, ZURICH, SWISS
2006 _ CENTRE GEORGES POMPIDOU PREVIEW 2006, PARIS, FRANCE
2005 _ ART WEEK, NASSAU UNIVERSITY, NEW YORK, EUA
2005 _ CENTRE WALLONIE BRUXELLES, PARIS, FRANCE
2005 _ PARIS UNIVERSITY, PARIS, FRANCE
2005 _ ÉCOLE DE BEAUX ARTS, PARIS, FRANCE
2005 _ COMPAGNIE, MARSEILLES, FRANCE
2004 _ A-I-T HOUR MUSEUM, SUPERDELUXE, TOKYO, JAPAN
2004_ RED CUBE, TOKYO, JAPAN
2004_ A-I-T, TOKYO, JAPAN
2004 _ IMAGE FORUM, TOKYO, JAPAN
2004 _ ITAÚ CULTURAL INSTITUTE, SÃO PAULO, BRAZIL
2004 _ ATA ALTA TECNOLOGIA ANDINA, LIMA, PERU
2004 _ MALBA, BUENOS AIRES, ARGENTINA
2004 _ VIDEOTECA DEL SUR, LA HAVANA, CUBA signage
2003_ 14′ FESTIVAL DE ARTE ELETRÔNICA VIDEOBRASIL, SÃO PAULO, BRAZIL
2003 _ GALLERY EL ALEPH, ROMA, ITALY
2002 _ PAULISTA AUDIOVISUAL SCREENING, SÃO PAULO, BRASIL
2002 _ GOETHE INSTITUTE, SÃO PAULO, BRAZIL
2002 _ AGORA, RIO DE JANEIRO, BRAZIL
2002 _ TRANSFORMARTE PROJECT, MILAN, ITALY
2002 _ CASA DAS ROSAS MUSEUM, SÃO PAULO, BRAZIL
2002 _ LOS ANGELES CONTEMPORARY MUSEUM, LOS ANGELES, EUA
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direction, creation and script: RACHEL ROSALEN
assistance, direction and production: ANDRÉA PASQUINI
negative: DIGITAL FILMES / SÉRGIO MARTINELLI
photo: HÉLCIO ‘ALEMÃO’ NAGAMINE
first assistant: EDUARDO DE ANDREA - KIKO
seconds assistants: ÉRIK MAMMOCCIO and REGIS MAXIMILLIAN
telecinagem: MÁRCIO PASQUALINO
edition: EDU GEHRKE / VIDECOM
finalization: ROBSON SARTORI / ESPAÇO DIGITAL
composition of signage: RENATO FRANÇA / ESPAÇO DIGITAL
music: WILSON SUKORSKI
support: ESPAÇO DIGITAL, DIGITAL FILMES, VIDECOM, ESTÚDIOS MEGA, FALLMS FILMS, JKL CINEMATOGRÁFICA, COVISERV, TELEFONICA, ZETA FILMES, CIDADE INTERNET and MICROCOM INFORMÁTICA.