andré parente

Circuladô, 2014. Ed. +2, 48 páginas.

Catalog for the exhibition "Circuladô" at Galeria Fayga Ostrower - Funarte Brasilia.

Design by Estudio Marcia Cabral

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Passagens Entre Fotografia e Cinema na Arte Brasileira, 2013. Ed. +2, 208 páginas.

Before the 1970s, there was a strong dichotomy between cinema and photography, but this has not stopped a number of artists and filmmakers of the postwar dissolve this cleavage in works that, as they approached the photogrammatic immobility, broke with the illusion of movement and narrative flow. The book starts from a number of problems discussed in a chapter of CINEMÁTICOS (2013) where I think the arrangement between photography and cinema films, videos and installations by Brazilian artists.

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Cinemáticos, 2013. Ed. +2, 152 páginas.

This book is the result of a research I have been doing since 2007 in order to map and analyze the production of audiovisual, films, videos and installations created by Brazilian artists. As we shall see, the production of motion pictures by the artists was not only extensive but includes seminal works that deserve highlight in any great cinematography, American or European.

In Brazil, the artistic cinema is responsible for much of what was done here in terms of experimental cinema. With rare exceptions, the Brazilian experimental film to be confused with the artistic cinema. In this regard, I enjoy to say that many may question the absence of this or that author or work in this book. In fact, I opted for a systematic approach, in terms of certain cross-cutting trends, rather than a chronological or simply descriptive approach.

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Cinema/Deleuze, 2013. Ed. Papirus, 288 páginas.

The texts brought together in this book are not comments and exegesis of Deleuze's taxonomy of types of images and cinematic signs. Neither applications of Deleuzian concepts. It starts from Deleuzian concepts to create new movements, show how his thinking applies to other filmmakers and other fields of experience of film art, due mainly to the appearance of a new creation field at the intersection of cinema, contemporary art and new media.

Tramas da Rede. Novas dimensões filosóficas, estéticas e políticas da comunicação,2004.
Ed. Sulina.

We aimed at bringing together, in this book, articles which have as their main objective making an ample and transdisciplinary public understand that, if we wish to understand the world we live in, whatever the domain considered, we shall have to think on the network nation. But if we elect the figure of the net as the main metaphor for us to understand the ongoing transformations, we cannot understand its importance and extension if we reduced it to the historical fact of the emergence of new communication and cyberspace technologies. The network notion perpasses nowadays almost all fields of the human and exact, pure and applied sciences. The network notion has been arousing such interest in the theoretical and practical works in fields so diverse as science, technology and art, that we have the impression of being before a new paradigm which lead to a thought of relations in opposition to a thought of the essences. The network thought is associated to at least three general themes, each of these comprising a part of the book: the network philosophy, the ethics and aethetic of the network as a new dimension of communication. Although the texts presented therein written by specialists in areas so diverse as philosophy, human and exact sciences, art and technology, provide us with different approaches as network issues, they share something in common: the network has become a dimension, indissociably ontological and practical, of model-setting of the world and of subjectivity.

Narrativa e modernidade. Os cinemas não-narrativos do pós-guerra. 2000
Ed. Papirus, 158 páginas.

This book discusses the opposition between narrability and non-narrability which crosses over a great part of the theories on the cinema and which works as a kind of protolanguage regarding the history of cinema, especially the cinema language notice. The author also proposes an analysis of three important movements of the post-war cinema: the experimental cinema, the direct cinema and the disnarrative cinema.

Cinema em Trânsito - Cinema, Arte contemporânea e Novas mídias, 2012.
Ed. Azougue, 208 páginas.

This book brings together some articles I wrote in the last six years in magazines, collections of books and catalogs. Its main theme the issue of cinema in the expanded field of contemporary arts.

The first part, entitled "Towards a relational aesthetics", gathers the articles written about the work of certain artists who have touched me deeply, for the reasons that the reader can appreciate: Sonia Andrade, Leticia Parente, Caetano Dias, Solon Ribeiro and Sérvulo Esmeraldo.

The second part, entitled "Device Cinema", consists of more general and theoretical papers that analyze the problem, very current, cinema device, video and contemporary.

A third part, entitled "Cinema reverse shot", consists of texts related to certain questions related more directly to my own body of work.

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O Virtual e o hipertextual, 1999. Ed. Pazulin,
110 páginas.

The virtual realm is an aesthetic category which always presents itself as a recreation of a repressed real realm, that is, of a real realm which blends with it dominating representation. It deals with understanding how to render the virtual image positive without falling into the traps set by the old oppositions and the new and the new technologies. The manual image, the technical image, the digital image, image networks, it little matters – the image technologies are multitemporal events, collective subjectivation equipment – what matters is knowing how the image can continue to keep its noetic/aesthetic function.

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Cinema e narratividade, 2005. Ed. L'Harmattan, 202 páginas.

This book discusses the opposition between narrability and non-narrability which crosses over a great part of the theories on the cinema and which works as a kind of protolanguage regarding the history of cinema, especially the cinema language notice. The author also proposes an analysis of three important movements of the post-war cinema: the experimental cinema, the direct cinema and the disnarrative cinema.

Ensaios sobre o cinema do simulacro. Cinema existencial, cinema estrutural e cinema brasileiro contemporâneo. Editora Pazulin, 1998.

The essays comprising this book are perpassed by an idea which bestows unity to the texts and launches the terms to lead to regarding the contemporary cinema as a sole operation-aesthetic and political – which amply defines the place the reflection on the cinematographic image should set now. This place, which amply comprises that of art criticism, needs, according to Giulio Carlo Argan, to be the one of a struggle for an "intrinsic 'politicity' of culture", a task taken up in its radicality. Divided into three parts, the Existential Cinema, the Structural Cinema and the Brazilian Contemporary Cinema, organized around specific elements in common which justify their periodization, Essays on the Cinema of the Simulacre places in circulation the themes, concepts and aesthetic ruptures perpetrated by the cinema images themselves and which necessarily relate with the other practices: "It is by the interference of several practices that things are made, the beings, the images, the concepts, all kinds of happenings, states Deleuze on the theory of the cinema.

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Imagem-máquina. A era das tecnologias do virtual. 1993. Ed. 34, 304 páginas. 

This collection is not a summation. It aims at recording the emergence of issues and thoughts on the new imaging technologies which highlight our current times, at an artistic and scientific level. The variety of viewpoints, at times antagonistic, in the reading of this compilation of essays – written by philosphers, physicists, mathematicians, semiologists, plastic artists, videomakers, in short, theorists and specialists in multiple disciplines, some of these in the process of birth, like infography – is enlightening: it takes us, doubtlessly to a transdisciplinary understanding of the power of image in the model- setting of the world and of the contemporary subject, in an indissolubly ontological and practical dimension.

Redes Sensoriais: arte, ciência e tecnologia, 2003. Ed. Contracapa, 336 páginas.

Collection organized by Andre Parente and Katia Maciel.

The collection profiles the first results of the research projects carried out by the Image Technology Center, part of the School of Communication at the Federal University of Rio de Janeiro, and the Centre for Advanced Inquiry in the Interactive Arts, University of Wales, Newport College, United Kingdom.

These projects have sought to articulate the theories of the new technologies of the image with the construction of new forms of electronic art. By establishing contemporary ways of thinking the relationship between art, science and technology as transforming agents of the narratives of mankind, the 32 authors have gathered reports about what has happened in topics still controversial, as interactive cinema, multi-user environments, immersive projections and post-biological structures.

The book contains texts from: Nina Czegledy, Michael Punt, Tania Fraga, Jim Gimzewsk, Victoria Vesna, Christa Sommerer, Laurent Mignonneau, Eduardo Kac, Roy Ascott, Margaret Dolinsky, Suzete Venturelli, Mario Maciel, Maia Engeli, Gilbertto Prado, Diana Slaterry, Donna Cox, Ron Wakkary, Peter Anders, Mike Phillips, André Parente, Ricardo Basbaum, Kjell Petersen, Karin Sondergaard, Simone Michelin, Yacov Sharir, Claudia Westermann, Dene Grigar, Lucas Bambozzi, Guto Nóbrega, Pia Tikka, Katia Maciel, Jill Scott e Roy Ascott.

Divided into two parts, the 37 texts that compose this book – preceded by an introduction by Katia Maciel, who seeks to define the term transcinemas, proposed by her to cover the new cinema situations in which hybrid surfaces of light and movement are connected with the participation and immersion of the audience – represent, within their interrelations, a vast and crucial outlook of what has been elaborated in the past years by many of the most important researchers and artists related to this theme in Brazil and all over the world.

Cinema em trânsito: do dispositivo do cinema ao cinema do dispositivo (capítulo)

Como ponto de partida, uma questão se impõe: de que modo as novas mídias estão transformando o dispositivo do cinema em suas dimensões primordiais, arquitetônica (as condições de projeção das imagens), tecnológica (a produção, edição, transmissão e distribuição das imagens) e discursiva (decupagem, montagem, etc.)? Como essas experiências criam novos deslocamentos ou pontos de fuga em relação ao modelo de representação instituído? Como ponto de chegada, a aposta de que a noção de dispositivo nos permite repensar o cinema, evitando clivagens e determinismos tecnológicos, históricos e estéticos. Ao contrário do cinema dominante, muitas obras cinematográficas reinventam o dispositivo cinematográfico, multiplicando as telas, explorando outras durações e intensidades, transformando a arquitetura da sala de projeção, entretendo outras relações com os espectadores.

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Moving movie – For a cinema of the performative and procedural (chapter)
Sensorial Narratives dedicates itself to think about a series of contemporary works that seem to compose a certain constellation, a family – yet unstable, in the way how they share some particular topics and approaches. It is about works that sustain themselves in the autonomy of the image, which rely on in its plastic and fragmentary power more than in its narration or in any other language articulation. Produced in the past 20 years, these films and installations reject the idea of art as representation, and assert a comprehension of the audiovisual that goes beyond “storytelling”. Surely, if there is narrative in these works, they are minimal or incipient narratives, of expressive forms connected to a logic of the sensitive. Our hypothesis is that these works put sensorial narratives in stake, expressive forms which work through blocks of sensation, through a system of diminished impressions, imperceptible, of what Leibniz and José Gil (2005) called little perceptions.

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In this number 12, the “Guest Editor”, teacher André Parente, presents to us a dossier that, besides being his own article, brought together the autors Raymond Belour, Luiz Cláudio da Costa e Victa de Carvalho to discuss the Cinema of Artist (Cinema de Artista).

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with Katia Maciel

Mathematical operations also apply to love connections. Relationships between two people often add and multiply; other times, they subtract and divide. These processes are accumulated through time, and are not excluding: they are juxtaposed during the time shared by two people who decide to walk together. The collection of works gathered here expresses some of these operations. The recurrence of gestures and actions makes up a love vocabulary that has a distinctive form, and that implies the construction, the deconstruction, the conflict, and the affection in the drawing of possible conversations. The exhibition Dois, curated by Paula Alzugaray, assembles works by artists Katia Maciel and André Parente, displayed for the first time in Brasília. The videos Rodopio [Gyration, 2012], Pontes de árvores [Tree bridges, 2012], +2 (2008), Dança das cadeiras [Musical chairs, 2007], and the performance/ installation Contorno [Contour, 2011] were created in partnership by the two artists. This work comprises a drawing, a video, and a performance in a live stage setting in the view of the public. The exhibition will also include the works Trilhos Urbanos [Urban tracks, 2006] and Estereoscopia [Stereoscopy, 2006], by André Parente, and Desarvorando [Deforesting, 2006] and Arvorar [Foresting, 2012], by Katia Maciel.

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Daniela Bousso (curator)

Katia Maciel and André Parente are both artists whose research has taken them down the path of the history of film, new media and the visual arts. The works they produce, contemporary par excellence, are built upon a hybrid practice which blends art with theory, either publishing books or coordinating editorial works, curating exhibitions and producing videos, installations or other interactive works. In the university environment, they work as teachers, which brings them into close contact and exchange with younger artists. They are the coordinators of the Núcleo Cultura e Tecnologia da Imagem (N-Imagem) at the Escola de Comunicação da Universidade Federal do Rio de Janeiro. In addition to individual publications, both artists have also put together a series of volumes which cover the issue of new media and new artistic procedures, such as Tramas da rede (2004), by André Parente, and Redes sensoriais (2003), by Katia Maciel and André Parente. Both works gather views from several different authors concerning the different issues analyzed. André Parente has published works which are today frequently quoted references in the field of new image technologies, including Imagem e máquina (1996) and Narrativa e modernidade (2005).

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Espectador em trânsito: o grito, o beijo, o vampiro, a paisagem e a nova imagem

André Parente
Luciano Mariussi
Leandro Lima & Gisela Motta

Martin Grossmann (curadoria)

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The Book of Shadows is painting, film and poetry. An object book by Luciano Figueiredo with poetry by Antonio Cicero.

Organization by
André Parente and Katia Maciel
Graphic Design by Estudio Marcia Cabral
Published by +2 and Oi Futuro
2010

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Biographical book about the life and work of brazilian video artist Leticia Parente. The book is beyond a catalog, it documents the exhibition tour in Brazil and portrays the entire trajectory of the artist. It is part of the collection Oi Futuro Art & Technology, a precursor and key initiative for the dissemination of technology as an artistic production tool. The volumes are produced in partnership with publishers and constantly integrate projects supported by the ICMS Law, sponsored by Oi and the State Secretary of Culture of Rio de Janeiro.

Organized by André Parente and Katia Maciel
Graphic Design by Estudio Marcia Cabral
Published by +2 and Oi Futuro
2011

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Luiz Claudio da Costa (Curator).

What differentiates art from other discourses? It would be easy to speculate on the subject if it weren’t for the pressure of the rambling modern conventionality that dominates our present times.

If the specificity of media and the autonomy of fields can seem far from the most recent artistic proposals, singularity may not be dead. Art is an experience of risk, Blanchot would say, a way to test oneself in the face of an immeasurable danger. But where is the threat if the world seems full of diversions, information and connections? Even when TV shows us images of an endangered land, we don’t see the ruins of the world, the social degradation, the mental deterioration or the subjective devastation of life. A false happiness systemically overwhelms and discourages ironic humor. How to split words of command and images of recognition so that some meaning may resonate on the surface of things? How to break the immense wall of images in order to produce some visibility, a critical knowledge of the visible? How to find the moment on the thresholds where encounters and struggles begin? Who may be reached, when we no longer believe in the individual as a subject (of will, of action or of knowledge), when we know that subjectivity is a mere endpoint of crossing indoctrinations?

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Fernando Cocchiarale (curator)

 A significant portion of Artists’ Films made in Brazil had as background the effervescence and the exchange of experiences and ideas during that critical period. Artists that were essential in building the spirit of the time were also pioneers in film experimentation between the sixties and the eighties, being still active today.

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Joana Mazza, Milton Guran e Jean-Luc Monterosoo

The portrait is perhaps photography’s most important subject matter, as it was during various centuries for painting. This is because it was the photographic portrait that gave a face – that is, an individuality – to the population as a whole, given that, owing to a portrait’s high cost of production, only the rich and powerful had previously had the right to a representation of their person. This act’s symbolic and material strength was so great that, to this very day, the word “portrait”* is synonymous with photograph.

Self-representation in the contemporary portrait marks a radical break with the genre’s previous concerns, as evidenced in the forms of expression, such as body and performance art, that appeared during the course of the last century. It places the author at the center of the work, not only as motive as the self-portrait tradition suggested, but also as an instrument and cathartic element of his own expression.

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Gustavo Torrezan e Melina Izar Marson (Curators)
What connects the work “Web / Caraxias” from the artist Cildo Meireles to “Pile” (“Pilha”) from the duo Detanico & Lain and to “The Processor” (“O Processador”) from Luciana Camuzzo? How to think, in a same exhibition space, Waldemar Cordeiro, SCIArts and the collective A_Factory Tranzmidia? Apparently unusual encounter between artists, works and distinct generations compose arrangements at a first look. The apparent disparity of moment is resized when we come across its curatorial project. Within the ample thematic of contemporary art, were contemplated works by artists who perform or have performed experimentations with the known news medias – video cameras (video tape or digitals), sound recorders, photocopying machines (analog or programmed) and latest generation scanners, computers – and works which, by appropriating materials and techniques, at first glance, more “simple”, such as books, minhocários ou game tables, construct extensive and intense artistic experiments.

Catalog for the exhibition "Preparations and Tasks. Letícia Parente," at Paço das Artes, São Paulo.

The exhibition brought together works made between 1975 and 1981, five of wich were shown for the first time after the restoration.

Organized by: André Parente
With texts from: Katia Maciel, André Parente, Cláudio da Costa, Cristina Tejo, Daniela Castro, Fernando Cocchiarale e Marisa Flórido.
Published by: Imprensa Oficial do Estado -
Paço das Artes, 2007

Katia Maciel (organizadora)

What remains from the cinema form? In the darkness of museum and gallery rooms, the projection of images moves and spreads over the space and, hence, generates other relations between space and time in the viewer’s experience.

This book gathers a series of experiences of contemporary artists whose works are showcased in the Cinema Sim – Narratives and Projections exhibition. It was divided into reviews and a cluster of texts written for the seminar that opens the exhibition. Image theorists have been invited to the seminar to give their input on the new relations proposed by the cinema status within art today. That status sets the foundations for staging a new exhibition form where the projected image engages the audience through sensory effects.

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The Event Cinema:
Interview with André Parente
by Susana Viegas, 2015

Interview published in the Portuguese Journal of the Moving Image where I approach the expanded field of contemporary art from Deleuzian concepts and from my works of video and installations.

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