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portfolio . lucas bambozzi

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selected installations [1997-2011]

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• title: Subterrâneos (Hades)• date: 1997• dimensions (height, width and depth): 10 x 15cm• multi-channel videoinstallation with 6 video-projections and 3 TV sets

description:

Site-specific installation created for the project Arte / Cidade III (The City and its Stories), occupying the building formerly housing the Matarazzo factories. Images were created in a documentary procedure, taking into account the social context of the region and the spatial issues of the site -- taken for months in the downtown area, the projected images portray the city always from top to bottom, as if the viewers were overlooking the city from a higher point of view, not immersed on the tense environment downstairs. In addition to video projections, small TV screens craved into the holes in the floor invite the public to follow actions taken from CCTV cameras.

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• title: Postcards• date: 2000-2007• dimensions (height, width and depth): 10 x 15cm each projection over a postcard• original technique and media: videoprojection over postcards• online documentation: part 1, part 2 and installation version 1

selected exhibitions of the work:

2001 . Carlton Arts (trabalho premiado). São Paulo

2002 . Plymouth Arts Centre, Plymouth, Inglaterra

2006 . Arco Madrid, Espanha

2007 . Balmoral Kunstlerhaus . Bad Ems, Alemanha

2008 . Paralela Bienal . Liceu de Artes e Ofícios . São Paulo

2009 . Continuum . Recife

2009 . km 500 . Kunsthalle Mainz, Mainz, Alemanha

2010 . Independent Media Arts Alliance . Gladstone Hotel, Toronto, Canada

2011 . What’s on Your Mind? . World Bank . Washington, EUA

2011 . About Change . Art Museum of the Americas . Washington, EUA

description:

The Postcards series project comprises a collection of places, curious situations and memories. It is a project in endless progress: to visit touristic places and perform comparative shots using a video camera. Relating the actual postcard to the scene it portrays, the videos are usually a result of different resources, seeking for situations and moments where sounds and images can reveal layers other than the landscapes might suggest. Conceived originally as a series of short videos for the web (2000) it is also a tribute to a series of videos called Cartes Postales (1987) by Robert Cahen, Stéphanie Hunter and Alain Longuet. The Postcard project has been presented in different formats, either over the web, or as a series of installation works.

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a panel version of the Postcards project at Paralela exhibition (São Paulo, 2008), this version consists of independent sets edited as a panel composition. containing 13 videos each

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• title: 4walls• date: 2003-2005 • dimensions (height, width and depth): 4 x 2 x 10 metres• technique and media: interactive videoinstallatioin using video-projection, proximity sensor, Cube digitizer interface, computer• employed software [first versions]: Max/Msp and Simple Nato (2003 and 2005) converted to Pure Date + Linux Ubuntu in 2011

description:

The project is an experience related to the public and private use of shared urban spaces. Based on interactions using the body as an input to control video-sequences, it uses moving images and real objects to bring into view conflicts of the human relationships usually hidden by ordinary public situations. It comments on the simulation of emotions that people usually avoid in social life. By inviting the viewer to get closer to a window it shows what is it to be an intruder in a private space, messing up watching and being watched, observing and being observed.

main exhibitions:

2003 . Intimidade Exhibition at Paço das Artes, São Paulo

2005 . Piemonte Share Festival – Turin, Italy

2005 . Videoformes . XX Manifestation Internationale d’art vidéo et noveaux média Clermont Ferrant, France

2011 . O Espaço Entre Nós e Os Outros . LAA . Mexico City, Mexico.

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a version of 4walls presented at Videoformes exhibition . Clermont-Ferrand, France, 2005- the work was always adapted to the language and cultural archetypes associated with the countries where it was exhibited -

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the first version of 4walls presented at Intimacy exhibition . Paço das Artes, 2003

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• title: 1+1 [taxidermia + outdoor]• date: 2001 • dimensions [height, width and depth]: 7 x 30 x 20 metres [required space]• technique and media: ribbed billboard 4x3m, ordinary taxi car, 3 video-projectors, 3 DVD players

description:

The installation is an appropriation of two kinds of ‘vehicles’ in the city: the taxicab and the ad billboard (in this case, a kind of ribbed mechanical outdoor billboard). Involving previous experiments with video projections over urban objects, the two “vehicles” of 1 + 1 installation triggers events and expose the city’s urban rather extreme way people make use of cars as an interface to get into the city’s secrets and taboos. The work shifts between the interstitial spaces such ‘vehicles’ occupy the city, an environment increasingly designed to overvalue the car as a means that lets us see only what shows up in a large scale, as excess.

The Taxi: a mixture of public and private vehicle is a kind of living memory of a city daily life. If a more networked group, they would be an effective measure of the boiling degree of the city. In cities such as Sao Paulo they have a voice, directly influencing politicians aiming for votes and do draw a strong presence in the city landscape, despite their discrete and relatively new white cars. Risking an archetype, the taxi driver in São Paulo is a typical inhabitant who considers the car seems as their most important good, making it less a public transport means and more a private moving home. In this installation, made through a documentary process, they report the excesses and follies of passengers, outlining their own portrait and revealing some blurred boundaries between private and public spaces.

the installation was commissioned for the Bienal 50 Anos (celebrating the 50 years of São Paulo Biennial)

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composition showing different angles of the installtion1+1 [taxidermia + outdoor]. it involves two merging projections over the bilboard and a small projection over the rear view mirror, inside the car. visitors would tend to enter the car to feel more ‘confortable’ to watch the rather hard scenes outside.

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• title: 1 de maio [logo x nologo] • date: 2002-2003

• technique and media: two video channel installation [after real time interferences]• video online: http://www.vimeo.com/5329512

synopsis/description:

Shot during the 1st of May in London, 2002, the video resulted from a performance aiming to wipe off the logos of multi-national store’s facades (by overlapping third part images, using ‘scratches’ and other live-video techniques).

In this new situation, the logo once promoted by multinational brands as an accurate representation of the product, be-comes mere noise and nothing else remains.

the performance format was created for the exhibition Imagem Não Imagem, curated by Christine Mello. Galeria Vermelho . São Paulo, 2003

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• title: Spio• date: 2004-2008• dimensions: variable. suitable space with approx. 5 x 5 x 10 metres [height, width and depth]• technique and media: CCTV cameras, 2 video-projectors, 2 computers, webcam, tracking positioning system• software: version 1.0: Mac OSX, Director e TTC Track Them Colors | version 2.0: Ubuntu, Pure Data• online documentation: click here

description:Spio is a sort of ‘de-generative’ robotic installation, originally designed as an autonomous system allowing the processing and transmission of images generated by surveillance cameras, mounted on a robotic vacuum cleaner (Roomba). It has been re-implemented in a way that tracking cameras trigger responses on the robot itself, improving and sharpening up the original concepts.

While the robotic vacuum cleaner scrutinizes the exhibition space and generates sounds and visual events, a computerized tracking system attempts to capture the robot and lock it into a confined area - in a limited movement routine. As in a struggle between Spio and ‘the system’, the robot, in turn, seeks to change such routine operation and eventually escapes from the controlled space.

selected exhibitions of the work:2004 . Emoção Art.Ficial 2.0 Itaú Cultural, (version 1.0 - original commission)2005 . Exposição individual na galeria Http (House of Technologically Termed Praxis . www.http.uk.net) London (version 1.0)2007 . Emergentes, Laboral Centro de Arte y Producción Industrial, Gijón, Spain (version 2.0)2008 . Emergentes, Fundación Telefonica, Buenos Aires, Argentina (version 2.0)2011 . O Espaço Entre Nós e os Outros . Laboratório Arte Alameda, Mexico City

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• title: O Tempo Não Recuperado• date: 2004-2005

• installation dimensions (min.): 5 x 12 x 10 metres• technique and media:

1) installation version: 5 video-projectors, 5 DVD players 2) DVD-ROM: computer, LCD screen or projetor de vídeo

• linear length: approx. 70 minutes

description:

Not Recovered Time resulted from a search of video images in a personal archive. The found footage was transposed to a series of experiences such as nonlinear narra-

tives and interactive formats. Existing both as a video-installation and as a DVD-Rom version, the work allowed new configurations to the existing images, bringing to the

surface original intentions that once motivated the shootings. Taking Marcel Proust’s novel Remembrance of Things Past as a reference, the compilation of recorded imag-

es and sounds in the piece constitutes a network of connections, revealing fragmented records of a dispersed memory.

the DVD was developed with the free software korsakow-system created by Florian Thalhofer at the University of Arts of Berlin.for the purpose of dealing with non linear

narratives.

the work was made possible with the grant by the 4º Sergio Motta Award, 2003

selected exhibitions:

2004 . Hiper . curated by Daniela Bousso . Santander Cultural . Porto Alegre2004 . Premiados Prêmio Sergio Motta . Paço das Artes

2005 . Exposição Corpos Virtuais curated by Ivana Bentes . Oi Futuro . Rio de Janeiro2005 . Bel Horizon . Annecy (Bienal da Imagem e Movimento de Genebra e Bienal de Lyon) . France

2006 . Interconnect . ZKM Center for Art and Media, Karlsruhe, Germany2009 . Arte Hoje - Galeria Nello Nuno, Ouro Preto

2011 . O Espaço Entre Nós e os Outros . Laboratório Arte Alameda, Mexico City

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O Tempo Não Recuperado: screenshot of the interactive version [DVD-ROM]online documentation: click here

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setting up the installlation version with 5 video-projectors in Annecy, France (2005)

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the installation at Corpos Virtuais exhibition (Rio de Janeiro, 2005)

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• title: Pêndulo• date: 2005• dimensions (height, width and depth): 21 x 20 x 30 metres• technique and media: video-projector, computer, microphone, wireless transmitter/receiver, webcam, tracking positioning system• software: Pure Date e Linux Ubuntu (version 2011)

description:

The installation behaves according to the noises on the ambient, being affected by collective participatory activities. The system captures noises and sounds in the environment and adds to the soundtrack, defining the intensity of the oscillating movements of the images – which is composed by shots taken from a zenithal point of view, showing the surroundings where the installation is located. While the pendulum is likely to remain unmoved, the images would reflect the noise activity in the ambient. The installation refers to unstable experiments, affected by uncontrollable factors, such as the one performed by Leon Foucault in 1851 in his attempts to dem-onstrate the rotation of the earth.

The version shown in Mexico City (2011) brings into oscillation images and maps taken from the web, bringing into confront with on-site recorded images.

The work was created originally for the exhibition Arte Eletrônica, at CCBB-SP, 2005. It was redesigned to the exhibition O Espaço Entre Nós e os Outros, at LAA, Mexico City, 2011

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the Pendule installation at CCBB-SPonline video documentation: http://www.youtube.com/watch?v=fXxIjcsZr_U

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xxvvideo version . english textsThe Pendule at the Laboratório Arte Alameda, Mexico City.

[on the back, the installation 4walls, in a re-contextualized version.

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description:A multitude appears. Slowly they are all coming, sort of together, facing a strong source of light, not sure about what they are doing there or what they are capable of do-ing facing such a strange situation. They stop, shading their eyes against the light with their hands, talking to each other and trying to figure out what is going on, looking further but hesitating to step forward. They stare for a while, observe, and slowly get dispersed.

This description refers to a long single shot, 15 minutes long to be projected onto a large surface of around 20 x 3,5m. Ideally the projection occurs over a facade or through large windows on the street level, using 3 projectors – as in a triple extended screen mode. The project alludes to both the possibility and impossibility of those people (that multitude, a community?) to inhabit that space. The large scale, the social and cultural profile of the group, their movement before the camera should hint at the fact that they exist there, rather than merely be projected.

originally created for the exhibition Luz da Luz, curated by Anna Barros at Sesc Pinheiros, SP, 2006

• title: Multidão [Multitude]• technique: videoinstallation - panoramic video-projection with 3 synchronized video channels• length: approx. 5 minutes (loop)• online documentation: click here

drafts and composition studies for shooting the sequences for Multitude

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the installation Multitude, as seen from the Rua Paes Leme, in front of the SESC Pinheiros, São Paulo.

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a instalação Multidão vista do saguão do Sesc, um espaço com grade circulação de pessoas.the installation Multitude, as seen from the SESC Pinheiros’ lobby, a space with a big flow of people.

video documentation: http://www.youtube.com/watch?v=buiF28-dziU

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a version of Multitude shot at Parque Alameda at the Mexico City’s historic centre planned for the exhibition O Espaço Entre Nós e os Outros, at Laboratório Arte Alameda..

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• title: Run: routine (2007-2008)• technique: two video-projections, computer routine script

• dimensions: room with 5m x 5.5m • projection # 1: 1.68m (L) x 3m (H) projection # 2: 3.7m (L) x 5m (H)

• video documentation: click here

description:

Run>Routine was created from the observation of common operations that people carry out everyday and which are based on computer routines. For instance, the choice of a song or of a video file in a player in which there is a graphic interface, a repetitive process which is foreign to the world we normally live in and listen to. The title is important: ‘run’, in computing language, is a kind of habit associated to the execution of commands, scripts, programs or programming routines. That is, it is a command that triggers events. The word ‘routine’ affirms the ironic character of the project, as it suggests something less than a habit and more like a repetition of small everyday life incidents. Run>Routine seeks to associate coding routines to domestic routines. If the former are ‘programmable’, supposedly unfailing, the latter are almost always unforeseeable. But both can cause tribulations. The work consists of a synchronized system, with two screens, one of them running the programming script that randomly triggers the videos and another showing the short clips of the incidents – things falling, producing a repetition of small chaotic sequences that capture the viewers’ attention for an instant in a singular fashion.

selected exhibitions:

2007 . exhibition Ctrl C - Ctrl V, Sesc Pompéia, SP [the work was created originally for this show, curated by Salete dos Anjos and Julieta

2008 . Expanded Box, during Arco Madrid 2008. curated by Claudia Gianetti

2009 . Restraint, curated by Julie Bélisle e Kiki Mazzuchelli. organized by Grupo Molior/New Media Art Montréal at Oboros, Canada [this version includes a second video-projection]

2010 . Restraint, curated by Julie Bélisle e Kiki Mazzuchelli. organized by Sesc Pinheiros [this version includes a second video-projection]

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an ironic piece about automation and repetition (and difference). more info here here

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• title: traquitanas 1 and traquitanas 2• date: 2007• technique: video transmissions using CCTV cameras• dimensions: total space area: 14 x 32 m variáveis• video documentation: click here

description:

A set of experimental projects involving wireless video transmissions using CCTV cameras and devices allowing different kind of interfer-ences by the public. Some customized objects were presented such as a modified blender and a longitudinal conveyor belt made with old bikes wheels. The objects were equipped with wireless cameras, whose images were transmitted to a set of projectors forming a panoramic viewing system in live video sessions. The works were installed in a large room sizing 14m x 32m, together with other projects created in col-laboration with Rejane Cantoni + Leonardo Crescenti, Vera Sala, O Grivo and Cena 11 (Tiago Romagnani and Alejandro Ahmed). The audi-ence would participate in a sort of performative session, conducted by the artists but allowing free circulation and participation in the pieces.

project created and presented in 2007 as part of the exhibition 14x32 no 3 º conducted collectively at the third floor at Sesc Paulista

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conveyor belt holding a CCTV camera transmitting to a panoramic screen formed by 3 video-projectors. the public would see themselves in a analog distorted way, unless they would follow the camera to match its speed.

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video documentation of the “traquitanas” set up at Sesc Paulista

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• title: Constrained Panoramas .1• date: 2006-2007• technnique: panoramic photography taken with mobile phones, photo animation [video]• size [still pictures]: 5 x 30 cm [variable] . size [videos] 720 x 480 [ntsc] . average length [videos]: 15 seconds each [variable]

Constrained Panoramas is a series of panoramic pictures of private spaces. The pictures were taken with mobile phones using specific software allowing panora-mas and then converted into video pieces, where sounds and movements ad other meaning to the portrayed situations.

The project challenges the production of intimate micro-narratives using pictures taken with ordinary mobile cameras and suggests different kinds of shifts, in distinctive levels.

possible presentation formats: installation, web, video, pictures

statement (2006)

People used to say: ‘oh, if at least I had a camera here! I wish I had one’. Well, camera capable mobile phones are to be found everywhere now. And then people started to picture whatever they are looking and experiencing, wherever they are. Me too, I started to take pictures of waiting rooms, nurseries, toilets, bathrooms, places one is somehow forced to go -- the most privates among the private spaces. At the beginning I felt a bit constrained about portraying those ambients, with their lack of beauty, their unpleasant environments, their locked air. Naturally, the images would include myself in those circumstances, those uncomfortable situa-tions. In addition, I started to use some software that would allow to portray the spaces as in a panorama picture.

Contrary to what normally is associated with panoramas (generally used to picture large landscapes and open environments), my series would narrow down the sight of the registered space. Instead of broadening the field of vision, they would be possible openings for closed, private environments.

I called it Constrained Panoramas and it slowly became a sort of continuous, work-in-progress project. As I see, it may respond to the challenge involved on the production of intimate narratives using mobile cameras by suggesting different kinds of shifts, in distinctive levels.

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description The sudden and de-centralized nature of the attacks on the 15th of May, 2006 in São Paulo had a massive impact on all of us living in the city. Certain situations can be more extraordinary than others according to a personal involvement. For millions of inhabitants, what was once just something ‘on TV’, started to produce impacts in many levels, in all social classes, astonishingly revealed as out ‘from’ TV, in its different layers, melting fiction with the hardest social reality.

The piece was commissioned for the Reakt platform <http://www.reakt.org/> organized and produced by Janes Jansa and Aksioma - Institute for Contemporary Art, Ljubljana

• title: The day São Paulo stopped [a re-enactement]• date: 2009• installation composed by a series of 5 single channel videos, a videomapping project and strategies of interventions in channels available online• dimensions: variable• length: videos between 30” e 10’• documentation of the Reakt exhibitions• essay by I-Wei Li at SidebySide Studio

selected exhibitions of the work:

2009 . RE:AKT! 3, reconstruction, re-enactment, re-reporting . ŠKUC gallery, Ljubljana, Slovenia

2009 . RE:AKT! 2 . Museum of Modern and Contemporary Art, Rijeka, Croatia

2009 . RE:AKT!, National Museum of Contemporary Art, Bucharest, Romenia

2010 . Crossing . Paço das Artes [curated by Priscila Arantes], São Paulo

2011 . RE:AKT! . Maribor Art Gallery - Rotovž Exhibition Salon, Maribor, Slovenia

RE:AKT! platform exhibitions:curators: Janez Janša e Domenico QuarantaProduction: Aksioma - Institute for Contemporary Art, LjubljanaProducer: Marcela OkreticLocal production: Paloma Oliveira

The day São Paulo stopped videos:assistance: Paloma Oliveiraperformers: Daniel Seda, Graffis, Rogerio Borovikhttp://www.vimeo.com/3004652

We live in a cynical society, Claudio Lembo (governor of São Paulo)

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137

RE:akt! #10

In 1993, some inmates of Taubaté prison (the maximum security jail of the state ofSão Paulo, 130 km from São Paulo city) founded an organization called PrimeiroComando da Capital, or PCC (First Command of the Capital). The PCC wassupposedly an organization created to defend the rights of prisoners in the country,but it was actually something more than that. Wikipedia describes it as “an anti-establishment Brazilian prison gang and criminal organization” which, “since itsinception, has been responsible for several criminal activities such as prison breaks,prison riots, drug trafficking, highway robbery and other supposed ‘terrorist’activities.” [1] The most impressive, among these criminal activities, were the attackscoordinated by the PCC in May 2006, held to be the largest wave of violence of itskind against security forces and civilian targets that ever happened in the history ofBrazil. Everything appears to start on 11 May, when a total of 765 members of the PCCwere put into isolation in the Presidente Venceslau maximum security prison, in theattempt to cut their links with fellow gang members outside prison. Among thesedetainees was one of the leaders of the PCC – Marcos Williams Herbas Camacho,known as Marcola – who managed to avoid being interrogated, and using his mobilephone, succeeded in ordering the start of a rebellion which was intended to spreadto the entire state of São Paulo. According to Wikipedia, on 12 May 2006, at 8 in theevening, “several attacks against police officers started, the 55th Police departmentwas attacked by 15 cars and a police officer was killed near his house, in the easternpart of São Paulo. Four civil police officers, a prison guard, four civil guard membersand a military were killed and other nine people were injured in 19 actions beforemidnight.” [2] The next day the disorder spread to several prisons and the entiremetropolitan area of São Paulo, but the police crack-down only came on 14 May. On the same day, the number of rebel prisons rose to 71, while in the city numerousbuses were set on fire, buses representing a vital means of transport for thepopulation of São Paulo. The consequences of these attacks made their presence felton Monday 15, the first working day following the start of the uprising. Local people, terrified by the media reports (which possibly exaggerated thesituation) and by what they saw on the streets, where possible avoided leaving theirhomes, buses did not circulate [3], and those who went to work by car tried to get

Lucas BambozziThe Day Sao Paulo Stopped~

essay by Domenico Quaranta, published on the book Re:akt! reconstruction, re-enactment, re-reporting, org. Aksioma /

Revolver, Berlim

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O Dia Que São Paulo Parou, at Re:akt! reconstruction, re-enactment, re-reporting, in Bucareste, Romenia,

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• title: Mobile Crash• date: 2010• interactive installation with 4 video channels, tracking system and 4 audio channels; • operating systems: Linux Ubuntu + Mac OSX 10.5.4 • software: Pure Date and openFrameworks• online documentation: click here

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description:

Mobile Crash is an interactive installation constituted by four projections in a room, with its respective direct sound, creating an immersive audio and video environment. Through public interaction a series of “sentences” or rhythmic sequences are reproduced in an increasing scale of intensity, sound and action. Images show devices and equipments in state of obsolescence being hammered. It invites the public to share the actions in a kind of catharsis, which can be collective or individual.

Interactions made by the visitors are a basic input for the system, triggering a series of audiovisual sequences. When modified by the interac-tor, the sequences produce rhythmic “dialogues” in a progressive sound and visual chain, escalating also in terms of intensity and power (as the bigger and noisier are the technological devices – mainly mobile phones - being smashed by the hammers. The sequences would reach up to 12 levels, according to the wishes of the interactors.

selected exhibitions: 2009 . Espacio Fundación Telefónica . Buenos Aires, Argentina [original commission for the work],

2010 . Centro Fundación Telefonica . Lima, Peru 2010 . ISEA 2010 . Dortmund, Alemanha

2010 . Ars Eletronica (documentação) . Linz, Áustria2011 . Laboratorio Arte Alameda . Mexico City

2011 . WRO Media Art Biennale . Wroclaw, Polonia

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An LCD screen at the entrance of the installation space shows the vector-tracking system and emphasizes the intuition-based interactions. The simple ap-proach towards one of the four screens or the gestures pointing to each of them would activate a video sequence corresponding to each screen. The graph on the image shows a triangle that is formed when the screen is activated.

The video sequences are activated from simple actions detected by the blob detec-tions system. The public makes the screens can be “played” in successive chains of clips, as in a virtually endless rhythmic possibility.

The audience can relate to the system in a free and intuitive way, by triggering instant “mash-ups”. The successive interactions will increase the intensity of the sequences in a progression that becomes increasingly tense, noisy and cathartic at the same time. In the absence of ges-tural interactions the sequences would backward to an initial quieter stage.

In emergent economies the mobile industry plays a central role not only in the field of communications, but also in the fast dynamics of planned obsolescence that animates the economy. Access to the Internet requires not only the infrastructure but also a range of commer-cial goods at one’s disposal. These being increasingly

the mobile devices, the socially excluded person today, is the ‘immobile’. Mobile Crash questions that situa-tion, giving to the audience the role of a player in the

planned obsolescence game.

It is an installation based on four interactive projections that react to the presence of visitors. A rhythmic se-

quence of short videos of technological devices being crushed by a hammer, exacerbate in response to the

intensity of the gestures of the audience. The more we move, the more quickly symbols of luxury are turned into e-trash. The result is an interactive process that

stresses a hypothesis by anthropologist Néstor Canclini who observes that the new communication technolo-

gies have expanded the notion of citizenship, incorpo-rating consumption practices to its exercise.

Giselle Beiguelman for ISEA 2010 catalogue

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Honnorary Mention Prix Ars Eletronica

Linz, 2010

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• title: Presenças Insustentáveis• date: 2010• installation with 8 video channels • description/technique: mapped video-projection over walls and objects • online documentation: click here

description

The exhibition ‘Presenças Insustentáveis’ creates an unstable architectural environment by using video projections that continuously changes according to the time spent on the space. From an empty residential apartment emerge concepts that fill the work with meanings and questions.

The scenes were captured over the past four years, when the artist was seeking to rent apartments for living. The environments evolves without rush, in thoughts ranging from what is seen and what is imagined, the space can be transformed according to the one’s subjectivity and inner time. Starting from the idea that the presence of another is always perceived in an unique way, the work discusses the evidence that punctuate our perception of the site in relation to people who had lived or inhabited the space. The images are transformed, the walls change, the space is reconfigured and the walls achieve a kind of personal or collective memory.

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Presenças insustentáveis at Galeria Luciana Brito]

crewassistance, editing and mapping [maquete/model]:

Paloma de Oliveiraediting:

Manoel Haynesimages:

Lucas Bambozzi, Lucas Gervilla, Manoel Haynesspace design:

Lucas Bambozzi and Ricardo Ushidawood model: Roger Satoro

set up at the gallery: Laésio Pixinguinha

acknowledgements

Analivia Cordeiro, Andrea Caruso, Gabriela Golder, Lea Van Steen

Kekei Mesquita, Jurandir Muller, Marcos Boffa, Marcus Bastos, Zé Carratu

produced by Luciana Brito Galeria

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Presenças Insustentáveis, at the exhibition O Espaço Entre Nós e os Outros (2011) Mexico City

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The first version of Puxadinho was a small house made with ordinary bricks, without finishing,

intentionally looking precariously, built on the front facade of the Luciana Brito Galeria. In a front LCD screen it would display videos showing doors and

surfaces being forced from inside out, as if someone was trying to open such closed environments. The

images and sound (muffled and restrained) from inside the small house, suggests a clash between

public and private spheres, a wish to escape into an external, opened space.

• title: Puxadinho • date: 2009/2010

• dimensions: 80cm (width) x 110cm (height) x 120cm (depth).• técnica: DVD, tela LCD e construção em alvenaria

• length: 3 minutes• documentação online em vídeo: aqui

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The version II of the Puxadinho was set up for the ex-hibition Paralela (2010, curated by Paulo Reis +), built as genuine ‘barraco’ made out from scrap wood and materials found as waste during the exhibition setup. The site chosen was an area outside the Liceu’s shed, reinforcing the principles of customization and adapta-tion the project to existing spaces.

lucas bambozzi

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technical detailsPuxadinho III

• 2 DVD players

• 1 TV LCD . 42 inches (720p, opaque screen)

• 1 LCD monitor . 22 inches (720p, opaque screen)

• 2 sets of sound amplifier systems - stereo 50 watts

RMS min. per channel (JBL, Mackie, KRK, Project or

similar)

Puxadinho III at O Espaço Entre Nós e os Outros (2011) Mexico City

lucas bambozzi

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ficha técnica:technological development: Equipe Amarela (Matheus Knelsen, Lina Lopes, Paloma Oliveira, Caio Bonvenuto).

assistance and sound design: Caio BonvenutoCoisa Vista was created for the exhibition ECO, in Recife,

curated by Maria Eduarda Belem and Lucia Padilha

• title: Coisa Vista [operações aditivas]• date: 2011

• dimensions: room with approx. 30 m2 (6x5m)• technique: dark room with audio capture feedbacks and video projection

PC Linux Debian Pure Date, video-projector . shotgun microphone and sound equipment

• documentation: clik here

description:

Coisa Vista [additive operations] is an installation that creates situations of real time audio and video processing, tending to pro-duce unexpected and / or chaotic results. The piece is based on the reproduction of a background audio in a continued process

of addition of sound noises captured in the environment where it is heard. The noisier the environment the more the video is accelerated and processed. As the images are mainly constituted by texts, inputs can result in an inability to read -- to enable a

comfortable reading is required a collective behavior in order to calm down the environment. The system for capturing and audio processing generates an indefinite addition, as a result of voluntary and involuntary interventions.

lucas bambozzi

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lucas bambozzi

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the installations 4walls and Pêndulo, re-created and re-contextualized for the exhibition O Espaço Entre Nós e

os Outros, at Laboratório Arte Alameda, Mexico City

lucas bambozzi

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lucas bambozzi

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lucas bambozzi

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Mobile Crash at the exhibition O Espaço Entre Nós e os Outros (Mexico City, 2011)

Mobile Crash at WRO Bienale, in Poland (Wroclaw 2011

making of of the exhibition: here)

lucas bambozzi

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net.art . projetos para Internet

lucas bambozzi

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• title: meta4walls • url’s http://www.comum.com/diphusa/meta http://rhizome.org/artbase/2857/meta/index.html• browsers: Internet Explorer 5 Mac or PC . plug-ins: Flash5 • a ‘context-specific’ project: no updates were produced - current browsers might not display te work correctly]

lucas bambozzi

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description:

meta4walls is a web-based work simulating a sort of meta-surveillance on the net. It uses mechanisms widely used to collect personal information and other data through forms, cookies and question-naires. The scripts generates automatic feedback that appear in the site among some content of interest [junk mail].

Inviting the user to visit a range of illicit links or to access “secret” information in a displaced context, it exposes the fragility of some systems and suggest to the visitors the feeling of being observed and having their privacy endangered – as they will experience their personal data being collected.

meta4walls is part of the 4WALLS PROJECT, a research on interactive systems dealing with surveillance, appropriation, subversion, privacy, power and resistance against oppressive mechanisms.

The 4WALLS PROJECT was developed during a residency at the CaiiA-STAR Centre [UK] from 2000 to 2001.

lucas bambozzi

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review de meta4walls publicado no Neural <www.neural.it>

Viravolta entre quatro paredes

article by Suely Rolnik about meta4walls

In meta4walls [4paredes] Lucas Bambozzi works with the living product of this relationship between receptor and image. Nothing to do with another offer of interactivity where the receptor is included in a game of marked cards, once that is excluded, the goal is exactly the perverse game of inclusion/exclu-sion.

It is not just any image that Lucas privileges as a support of his work. It is just about this vast universe of commercial emails, especially those offering sexual delight, that invade compulsively computer screens in a true harassment of the soul. Instead of the automatic gesture to delete all this junk that the market dumps on us, the artist collects them, forwards them, not without producing some interruptions in the flux of the offer and consumption using discrediting comments about privacy. In these unexpected insertions the receptor is caught in the act, not only in his/her sexual misery and onanist transaction with images, which is the most obvious; but also and more disturbing, in his passive submission to the harassment of images: he/she discovers that is being controlled even when he/she thought they were in their most intimate privacy, his/her most hidden erotic dreams, in the remote veins of their unconscious. It is the actual junk from the virtual market used as a weapon against its tyranny in the subjectivity of the recep-tor. The tables were turned.

meta4walls is the confluence and the development of the best in Brazilian art. Among others, a Cildo Meireles and a Lygia Clark from the 70s now cybernetic, are mixed in the genealogy of this art work. (…) The Insertions into the Ideological Circuit by Cildo which were carried out through objects of a “physical” nature such as Coca-Cola bottles or banknotes expand into cyberspace and move on to include the cir-cuit of virtual objects. The Structuring of the Self by Lygia intermediated a physical relationship between artist and receptor by equally physical Related Objects, and mobilised in the receptor the potential to be affected by the world and to participate in its creation, it expands now into cyberspace and starts includ-ing a virtual relationship between artist and receptor, intermediated by equally virtual objects.

The work is this event in the relationship between the receptor and the image, the commodity, the elec-tronic media, sex, art. It is impossible to predict if it will happen or not. One thing is certain: when the work happens a small but, powerful invisible sudden change will have taken place between four walls.

Suely Rolnik, September 2001

lucas bambozzi

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the work is entirely made by using content received via unsolicited e-mail and addresses issues to the increase of the spam in the year of 2000, when it was created.

lucas bambozzi

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selected exhibitions of the work:

2001 - Videobrasil International Electronic Art Festival . São Paulo, Brazil

2002 . 25th São Paulo International Biennial . Net.art . São Paulo, Brazil

2002 . Intimate Technologies/Dangerous Zones – New Media Institute, Banff, Canada (presented as a case study)

2004 . Videoformes . XIX Manifestation Internationale d’art vidéo et noveaux médias - Clermont Ferrand, France

2004 . VAE8 – Video/Arte Electrónico – Realidad Visual – Galeria CCPUCP – Peru, Lima

2005 . New Langton Arts, Cyphorg Citizens and Unwitting Avatars, Net Art Exhibition with Lucas Bambozzi, Radical Software Group and Brooke Singer, curated by Rick Rinehart, Berkeley, USA

lucas bambozzi

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• title: youtag . sistema gerador e de-indexador de vídeos online• url: www.youtag.org • palavras-chave: datebase movies . banco de dados . rede . indexadores . tags . metatag . vídeo online . interatividade• ano de produção: 2007

description e conceituaçãoInspirado no conceito de ‘datebase movies’ o projeto youTag: gerador e de-indexador de vídeos online é um dispositivo de busca de tags e palavras-chave na Internet, associados a vídeos e fotos, como forma de criação de peças audiovisuais remixadas, re-significadas e ‘desautorizadas’ (de autoria muitas vezes bastarda) a partir de material previamente existente e disponível na rede. O que está publicado geralmente está aceito, ‘normatizado’ e indexado. O projeto youTag: de-indexador de vídeos online propõe um deslocamento do estatuto de estabilidade associado aos tags e sistemas indexa-dores. youTAG é um projeto desenvolvido a partir do grupo Interfaces Críticas que envolve além do autor os pesquisadores Lucio Agra, Christine Mello, Priscila Arantes, Nancy Betts e Cláudio Bueno.

projeto contemplado pelo Rumos Itaú Cultural Arte Cibernética 2006/2007 e foi apresentado pela primeira vez na exposição Emoção Art.Ficial 4.0, no Itaú Cultural em 2008

novas interfaces para as formas de interação com o Youtag.org

lucas bambozzi

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projetos coletivos . live images

lucas bambozzi

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• title: Cubo• collective project conducted by the groups: A Revolução não será televisonada, Bijari, Cia Cachorra, Cobaia e Contra-Filé• date: 2005• online video-documentation projeto

The aim with the Cubo project was to produce interac-tion and dialogue with the specific environment of São Paulo’s city centre and its dwellers, those who effec-tively circulate there and who make of that environment their lives, a public that is normally at the margins of any kind of entertainment.

The project was planned in two stages: the first was based on a common proposal to seek immersion in São Paulo city centre’s often intangible social conditions. The second stage arranged for the presentation of the achieved results on a large-scale projective structure, constructed in the form of a cube (five 5 x 5 m screens). The groups involved would produce images to be pro-jected in all five visible faces of the cubic structure, building a common discourse to be presented publicly during three consecutive weekends, in the heart of the city centre.

The cube’s interior was equipped with all necessary gear for live presentation in open public spaces:five high luminosity video projectors, four video-switch-ers, eight laptops, DV players, handheld cameras,vinyl pickups, digital samplers and a powerful PA. The structure was inspired by some projects and‘dispositifs’ dealing with the concept of expanded-cine-ma such as the Corpocinema (1967) or Place - auser’s manual (1995) by Jeffrey Shaw.

lucas bambozzi

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lucas bambozzi

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The Cubo, at Vale do Anhangabaú

lucas bambozzi

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• title: FAQ/feitoamãos• collective project aiming for performances, immersive environments, live video narratives and improvisation• main activities [FAQ]: 2002 to 2005 [return in 2010-2011]• members: André Amparo, André Melo, Chico de Paula, Cláudio Santos, Lucas Bambozzi, Marcelo Braga, Rodrigo Minelli, Ronaldo Gino• video documentation: http://www.vimeo.com/8961219 e http://vimeo.com/23829456

lucas bambozzi

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performance Carro Bomba, commissioned by Videobrasil (2005)video documentation: http://www.vimeo.com/8961219

lucas bambozzi

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Breve História do Agora, presented in 2010 and 2011 celebrates the return of the FAQ/feitoamãos, a multidisciplinar group, leading activities with live-images since 2001latest performances documentation: Flickr http://www.flickr.com/photos/voltz2009/5204962250 Vimeo http://vimeo.com/23829456

lucas bambozzi

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• title: Outros Silverinos Remix• performance audiovisual

• date: 2009

• guests: DJ Dolores

Livio Tragtenberg Lenora de Barros

Toca Ogan e Dengue (Nação Zumbi)

• direction: Lucas Bambozzi Fernão Ciampa.

• realização: CCBB-SP

Outros Silverinos Remix was presented weekly at CCBB-SP during march 2009.

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rehearsing Outros Silverinos Remix at CCBB

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description:

act 1: Illusion The first part of the presentation includes an experiment in which the audience is asked for participation: people entering the theater are invited to leave their cell phones switched on. Once the presentation begins, the audience will be encouraged (through texts projected on the screen) to raise their arms while holding their cell phones with their lit displays turned upwards. A camera placed at the top of the stage captures the lights of the devices and transmits them to a semi-opaque black screen downstage, thus working as a reverberation of the audience’s actions. The people notice the interaction as they move and their motions are seen on the screen before them. It evolves and the interactors’ actions become gradually less effective and the lights projected increasingly gain their own motions, turning into drawings and patterns as they respond now to the music beats.

act 2: ConsumptionThe images, once abstract, appear with more explicit figurative outlines, reminding attempts of constant organization and deconstruction – they may, for instance, refer to deteriorated struc-tures, anachronistic situations or yet situations of abandonment.

ato 3: DeterminationThe images of this act comprise footage showing the systematic destruction (with a hammer) of a series of technological items, most of them obsolete or nearing obsolescence — media such as floppy disks, VHS tapes, wireless telephones, printer cartridges, cell phones, computer keyboards, printers and others. All of them are broken to pieces and produce a strong and typi-cal sound. It may be the desire of many to be on stage holding the hammer seeking to achieve a catharsis, a little revenge owing to the fact that people consume so many technological devices that will not be around for long in their lives.

title: Da Obsolescência Programada in 3 Atos

• audiovisual performance in 3 acts, with interactions via mobile phones by the public + screen duels; •• date: 2009• duration: approx. 35 minutes• guests/participants: Paulo Beto, Jarbas Jacome• online documentation: http://www.lucasbambozzi.net/projetosprojects/crash

• commissioned by Itaú Cultural for ON-OFF Festival • other presentations: Eletronika / arte.mov 2009 -- Instante, Sesc Campinas 2011

lucas bambozzi

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act 3: Over 100 sequences of short footage (two- to six-second length, recorded in high defini-tion) are manipulated with audio and video synchronism in a sort of duel or opposition formed by the two white screens upstage.

act 1: The audience see their own emitted lights on the screen and can actually participate on the set as if they were activating a big and collective multi-touch screen (via blob detec-tion process)

lucas bambozzi

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vídeos e filmes selecionados

lucas bambozzi

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• title: Ali é um lugar que não conheço • date: 1996

• technique and media: video and super 8 film (single-channel video) • script: lucas bambozzi / cristiane mesquita

• crew: cristiane mesquita• original soundtrack: Tetine (Bruno Verner and Eliete Mejorado)

• length: 6 minutes

Just There... is about the temptation related to the unknown, the seduction concerning with “something” that we do not have.

lucas bambozzi

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the documentary comments about the disappearance of some jobs and professions in Brazil, focusing the resistance against new cultural forms and technological trends.

• title: O Fim do Sem Fim• date: 2001• direction: Lucas Bambozzi . Cao Guimarães . Beto Magalhães• technique: video, super 8 and 16mm film • length: 91 minutes• soundtrack: O Grivo• screening format: 35mm and 2k HD

lucas bambozzi

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• title: I Have No Words• date: 2000

• soundtrack: Livio Tragtenberg• technique and media: video and super 8 (experimental)

Impressions and self-expressions tangled in a kind of game, suggesting possibilities to create meanings; sensations usually unlikely to be expressed in words

lucas bambozzi

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• title: Aqui de Novo [Here Again]• date: 2003

• technique and media: video and super 8 (experimental)

• length: 6 minutes

synopsis/description:

a video-essay about gaps, blurred definitions and contemporary

contradictions. it evokes a sentence by Felix Gonzalez Torres [somewhere better

than this place/nowhere better than this place] to rely on conflicts between public

and private spheres: what one wants and what one will effectively do; when

the other is desired and when he/she is avoided.

lucas bambozzi

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• title: Do Outro Lado do Rio• date: 2004

• technique and media: video and super 8 film (documentary)

• soundtrack: Livio Tragtenberg and Wilson Sukorski

• length: 89 minutes

synopsisdescription:

The documentary is a trip to the limits of Brazil. It is an investigation of the

undefined area between the cities of Oiapoque (Brazil) and Saint Georges

de L’ Oyapock (French Guyana), where identities are exchanged and a river

symbolically separates a person from his/her dreams.

Oiapoque is an intersection zone between Brazil and the French Guyana, the entry

gate to a new life in French territory. This city shows the highest migration flow of Brazilian boundaries and testifies for a

world in transit.

lucas bambozzi

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Brazil borders almost every country in South America. It has 23,127 km in frontiers, 15,719 of which are land and 7,408 water. Only a few nations in the world have so many neigh-bours. However, we know little about what happens along our boundaries. The Brazilian city of Oiapoque, in the State of Amapá, is known by many only as the extreme north of Bra-zil, “where the country begins”, says the landmark in the city square. Bordering the French Guyana, only few people know the movement that made it known as the gateway into European terri-tory – a phenomenon that constitutes the largest emmigration flow of Brazilian boundaries. There are many issues attracting Brazilians to the French Guyana. Job prospects paid in EUROs, the low airfare cost between Cayenne and Paris and the generous benefits provided by the French government are only some of the clues to explain the Brazilian flow toward the French Guyana.

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• title: Dois ou três encontros(hommage to Waly Salomão)

• date: 2003• technique and media: video Hi-8

(documentary)• length: 5 minutes

synopsis:description:

The video portrays an afternoon with Waly Salomão in Salvador, Bahia. The

search for images in a flickering, with meetings by chance through his book

Labia.

lucas bambozzi

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• title: Desvios, derivas, contornos[Deviations, drifts, contours]

• length: 8’30”• date: 2008

• format: dvcam• soundtrack: piano: Tetine (Bruno Verner and

Eliete Mejorado)• ambient and noises: FAQ/feitoamãos

• online version: aqui

synopsis/description:Urban conditions, no-way-out situations, shortcuts, ordinary things, ordinary life.

‘Deviations’ are avoided paths; ‘drifts’ are wanderings, involuntary movements; and ‘contours’ are long courses, not objective ways.The video puts in evidence some difficulties one would face in the social environment by trying to make sense and articulate possible responses from uneasy situations.

lucas bambozzi

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• title: 8 or 80 BH Underground• length: 54 minutes

• direction: Lucas Bambozzi and Rodrigo Minelli• produced by Chico de Paula . Arquipélago

• date: 2010• format: dvcam

• a Doc.TV Program project

synopsis/description:The documentary recalls the underground and post-punk scene of the 80’s in Belo Horizonte and beyond,

an effervescent period when the new wave rock bands, electronic music and audiovisual performances were taking place – and the term ‘multimedia’ was yet to be discovered.

lucas bambozzi

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in progreess, always...

www.lucasbambozzi.net blog | personal website

...www.comum.com/lucas

old personal website

www.lucianabritogaleria.com.brart gallery

www.artemov.netcuratorial project | festival

http://www.youtube.com/bambozzihttp://www.vimeo.com/bamba

spare videos