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14:35 - 17/10/2023
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Laura Fraiz opens Pivô Satellite's third edition
Laura Fraiz, Nos Es Una Novela, video frame, 2021

The video No Es Una Novela, by Laura Fraiz, opens the curatorial project Sex, Lies and Videotape, by Raphael Fonseca, the third to occupy the Pivô Satellite platform. From July 9th, Pivô’s platform for digital projects will host Fraiz’s work, followed by proposals by Eduardo Montelli and Ventura Profana. The anonymous Instagram profile New Memeseum wraps the edition.

 

Watch here.

 

No Es Una Novela is divided into 3 parts that will be released weekly. In the video, the artist is pursued and filmed by a stalker, until the day she gains the courage to confront him. The artist says: “At that moment I steal his camera and run away. As I start to find out what is on the device, I discover that the man has followed me on five different occasions over a period of one month”. The shock of discovery gradually gives way to a fascination with the recovered images, increasingly blurring the boundaries between repulsion and desire. Fraiz continues: “I use my body on stage to transit between these conflicting feelings and investigate them, questioning whether revenge is, in fact, possible.”

 

About the curatorial project

 

Sex, Lies and Videotape takes its title from Steven Soderbergh’s 1989 film of the same name. One of the film’s iconic dialogues reads, “A liar is the second-worst form of a human being.” From this provocation, the narrative revolves around the notion of desire, sex, truth, and virtuality. In the 1980s, access to portable video cameras became popular – as did the notions of surveillance and fiction around our own filmed images.

 

The four artists gathered in this third episode of Pivô Satellite – Laura Fraiz, Eduardo Montelli, Ventura Profana and New Memeseum – constantly challenge the boundaries between documentation and fiction. Through videos, audios, gifs, and memes, they constantly explore their self-images, making public questions about faith, narcissism, hegemonic narratives, and institutional critique. Beyond the increasingly invisible limits between what could become a “truth” or a “lie” in 2021, there is another essential element that unites them: the ability to seduce the public eye.

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