João Maria Gusmão + Pedro Paiva
29 Nov 2015 - 24 Jan 2016
João Maria Gusmão + Pedro Paiva
GLOSSOLALIA (“GOOD MORNING”), 2014,
16mm film, colour, no sound, 7:10 min., produced by Fondazione HangarBicocca, Milan, courtesy the artists and Galeria Fortes Vilaça, São Paulo; Galeria Graça Brandão, Lisbon; Sies + Höke, Düsseldorf; ZERO..., Milan
GLOSSOLALIA (“GOOD MORNING”), 2014,
16mm film, colour, no sound, 7:10 min., produced by Fondazione HangarBicocca, Milan, courtesy the artists and Galeria Fortes Vilaça, São Paulo; Galeria Graça Brandão, Lisbon; Sies + Höke, Düsseldorf; ZERO..., Milan
JOÃO MARIA GUSMÃO + PEDRO PAIVA
Papagaio
29 November 2015 – 24 January 2016
This exhibition brings together over twenty 16mm short films and two camerae obscurae, all produced over the last ten years. These works are presented within a site-specific installation, complemented by the titular film PAPAGAIO (DJAMBI).
Since 2001, Gusmão + Paiva have continually produced new experimental arrangements that are poised on the verge between the visible world and its withdrawal, questioning the borders between the concepts of the human and the inhuman. Translating paradoxes through cinematic media, the artists defamiliarize the visitors from her/his quotidian gaze and produce a “time machine” experiment: the films slow down reality until they reveal the different qualities within the visible.
The sometimes found, sometimes mounted settings are shot accordingly to strict formal rules: the camera stays within a fixed distance and angle from its subject, and focuses each time on precisely one motif, one sequence of movement, or one activity; all films operate purely visual.
Papagaio
29 November 2015 – 24 January 2016
This exhibition brings together over twenty 16mm short films and two camerae obscurae, all produced over the last ten years. These works are presented within a site-specific installation, complemented by the titular film PAPAGAIO (DJAMBI).
Since 2001, Gusmão + Paiva have continually produced new experimental arrangements that are poised on the verge between the visible world and its withdrawal, questioning the borders between the concepts of the human and the inhuman. Translating paradoxes through cinematic media, the artists defamiliarize the visitors from her/his quotidian gaze and produce a “time machine” experiment: the films slow down reality until they reveal the different qualities within the visible.
The sometimes found, sometimes mounted settings are shot accordingly to strict formal rules: the camera stays within a fixed distance and angle from its subject, and focuses each time on precisely one motif, one sequence of movement, or one activity; all films operate purely visual.