Boas Garotas (1st Season of Dança Videobrasil)

Clarissa Sacchelli

12

November
AUTHOR(S)
  • Clarissa Sacchelli
PERFORMANCE AND VIDEO
  • Performance
  • 1st and 2nd de November
  • 9.30 pm
  • Video
  • 3rd of November
  • 2.00 pm to 7.00 pm
DURATION
  • 60’ (aprox.)
LOCATION
TICKETS
CLASSIFICATION
  • M/12
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Synopsis

A group of video pieces – all part of the Acervo Histórico Videobrasil – was the departure point for the creation of BOAS GAROTAS. This cut – selected and organized through magnetism, one could say – operated not only as a conceptual reference, but also as a raw material made up of images, sounds and texts which were remixed, reinterpreted and/or redirected in this piece.
The relationship with these videos indicated narrow approaches between the action of editing and choreographing, and pointed to rationales that can be constructed from the point of view of the audience, suggesting questions on the modes of production and reception of a video and a performance. The investment in these questions, and also in subjects and images occasionally proposed by the selected videos, pointed BOAS GAROTAS towards the necessity of exploring eroticism as a way of deprivatizing, exciting and interrogating the relationship between seeing and being seen.

Synopsis of videos

1. DEEP PRESSURE
1984, 3’28” | Alicia Nogueira (Brazil, 1960)
Using an aquarium as a setting by juxtaposing images of fish with an ocean background, a woman, who appears immersed in it, delivers a speech whose sound pitch has been modified and made deep so as its meaning is unintelligible. Dancers, a dog, a television set, and a naked woman on the edge of the scene give the situation an almost surreal atmosphere which, together with the impossibility of understanding the woman’s speech, humorously alludes to the difficulty of female accomplishment in the professional field. Watch excerpt from the video.

2. ESCENARIOS II
2014, 15’ (loop) | Maya Watanabe (Peru, 1983)
In Spanish, escenario [scenery] means both the place where action takes place (scene) and the portion of the theater where the scene plays out (stage). There is no sign of human presence in the work but through the confirmation that something has happened—an abandoned car burns—and how Watanabe places the spectators themselves as witnesses of what they are watching. In a four-turn cycle, a 360° panoramic shows scenes that allude to personal memories of the artist, as well as to events of the recent history of Peru, her native country. Watanabe thus investigates where individual stories begin and where they intersect with collective narratives. Watch excerpt from the video.

3. HOMENAGEM A GEORGE SEGAL
1985, 3’32” (loop)| Lenora de Barros (Brazil, 1953) and Walter Silveira (Brazil, 1955)
Homenagem a George Segal [Tribute to George Segal] began as a photoperformance conducted in 1975 and became, ten years later, in Lenora’s first videoperformance, inspired by the lonely, pathetic figures by the American sculptor. Facing the camera, the artist brushes her teeth vigorously to the sound of the Beatles’ She Loves You. The foam gradually overflows, completely covering her face and head, giving her an aspect similar to Segal’s eerie characters.

4. JERK OFF 2 – PROJETO DÍZIMA PERIÓDICA
2007, 1’47” (loop) | Alice Miceli (Brazil, 1980)
How to represent the infinite space between two points? Making reference to Andy Warhol’s classic film Blow Job (1964), the work, part of the Dízima Periódica [Repeating Decimals} series, departs from this mathematical principle to create an image of sexual enjoyment, a situation connected to the limits of experience and imagination. By refusing the logic of the instantaneous, it invests in the image of what cannot be portrayed. Leaving aside naïve notions of the present time, it presents us a standard shattered by one of the most universal and common human activities.

5. LA PROFESORA
1993, 9’04” – English | Gérman Bobe (Chile, 1963)
A caricature of a professor teaching English to non-native speakers. Her mannerisms, her accent, the content of her speech—all are absurd, in the tradition of Eugène Ionesco’s characters. Images of the professor alternate with collages, many taken from Bobe’s other works, filled with elements of the European culture present in sensual scenes, religious symbols, artworks, and classical music. Through its ironic humor, La Profesora [The Teacher] foregrounds the absurdity of teaching English in a country where many cannot read their native language. The prevalence of the English language in post and neocolonial societies is thus called into question, both politically and socially.

6. RAPTURE (SILENT ANTHEM)
2009, 10’17” | Angelica Mesiti (Australia, 1976)
A camera in ultra slow motion shows high definition close‐ups of faces of teenagers who are in the front row of a rock festival. Unaware that they are under the spotlight of a hidden camera underneath the stage, and engrossed in a spectacle we can’t see, their faces wear expressions of intense emotional fervor redolent of iconic imagery of religious ecstasy. Rapture plumbs the sources of group catharsis and reflects on the spirituality and presence of ritual experiences in the contemporary life. Watch excerpt from the video.

7. SAMBA #2
2014, 3’04” (loop) | Chameckilerner (Brazil, 1992)
Samba #2 analyzes three essential images of Brazilian culture: Carnival, samba, and the butt. The slow motion camera exposes micro-movements that are usually imperceptible, revealing new images of a reality we assume to know. Approaching culture from its most visceral and corporeal element, the video de-constructs the habitual image of the female body to evoke a series of key Brazilian issues revolving around the body as sexuality, violence, beauty, and dance. Watch excerpt from the video.

8. TALK ABOUT BODY
2013, 3’49” – w/ subtitles | Hui Tao (China, 1987)
The artist appropriates the language of Chinese TV shows to discuss the coexistence of different times and cultures, of the urban environment and rural life, of tradition and progress that expire and reinvent themselves. Sitting on his bed, wearing the garments of a Muslim woman, the artist describes himself. The video subtly and powerfully discusses the randomness of the notion of belonging and the subjective detachment intrinsic to the concept of identity. Watch excerpt from the video.

9. THE OGRE
2003, 1’19” | Ip Yuk-Yiu (Hong Kong, 1974)
Fragments of old pornographic films are appropriated of through mirroring, gaining a kaleidoscopic aspect to this experimental video. The multiplication of fragments of moving images, just as in a kaleidoscope, creates new forms while revealing the dimension of pure plasticity and self-eroticism of the images. The face, mouth, hands, and other parts of the body become mere red and pink shapes that fold unto themselves. Fast, short-noted melodies interpreted by a string ensemble accompany the changing rhythm of the visual forms, taking us on a plastic and dreamy journey through sex. Watch excerpt from the video.

Technical Specifications

By
Clarissa Sacchelli

In collaboration with
Carolina Callegaro
Luisa Puterman
Renan Marcondes

Choreography and performance
Carolina Callegaro
Clarissa Sacchelli

Visual conception
Renan Marcondes

Soundtrack
Luisa Puterman

Voice (soundtrack)
Hwa Young Lee Lucy
Han Ah Lum

Subtitles and sound operator
Josefa Pereira

Scenic execution
Zang & Zagatti

Acknowledgements
Associação de Dança Tradicional Coreana
Casa Líquida
Julia Feldens
Flora Kountouriotis
Anna Turra
Artur Kon

Works from the Acervo Histórico Videobrasil used as references: Jerk Off 2 – Projeto Dízima Periódica, by Alice Miceli; Escenarios II, by Maya Watanabe; Rapture (Silent Anthem), by Angelica Mesiti; Female Sensibility, by Lynda Benglis; Homenagem a George Segal, by Lenora de Barros and Walter Silveira; Deep Pressure, by Alicia Nogueira; Samba #2, by Chameckilerner; La Professora, by Gérman Bobe; The Ogre, by Ip Yuk-Yiu; Talk about body, by Hui Tao.

Work commissioned by the Videobrasil Cultural Association for the 1st Season of Dança Videobrasil.

1st Season of Dança Videobrasil
Organized by
Associação Cultural Videobrasil and Estúdio Baile (Itinerância)

Concept and coordenation
Thereza Farkas

Consulting and curating
Carolina Mendonça and Marcos Gallon

Invited artist
Clarissa Sacchelli

Estúdio Baile
Associação Cultural Videobrasil

Clarissa Sacchelli

CLARISSA SACCHELLI is a choreographer and ballerina based in São Paulo, Brazil. In the last few years, she has developed her projects, moving between choreography pieces, performances and publications, while also collaborating on work by other artists. She was the artist selected by the program Rumos Dança 2012-2014 (Itaú Cultural), and recently the artist selected for the 1st Season of Dança Videobrasil. As a performer, she has collaborated on projects by João dos Santos Martins, Eszter Salamon, Tino Sehgal, Cláudia Müller, Bruno Levorin and William Pope L.
1st
November
Performance
Boas Garotas (1st Season of Dança Videobrasil)
Clarissa Sacchelli
9.30 pm, Appleton
2nd
November
Performance
Boas Garotas (1st Season of Dança Videobrasil)
Clarissa Sacchelli
9.30 pm, Appleton
3rd
November
Video
Boas Garotas (1st Season of Dança Videobrasil)
Clarissa Sacchelli
2.00 pm to 7.00 pm, Appleton
Free entry