Photo: Miro Soares

FILMOGRAPHY - GABRIEL MENOTTI

Profissão de Fé - (2003, 50min)
A Fluo Dança! - (2004, 3min)
faca só lamina - (2008, 1min)
Primeira Paróquia do Cristo Sintético - (2010, 11min)

Photo: Miro Soares, o próprio

FILMOGRAPHY - MIRO SOARES

Antes dos Vermes o Clero Inteiro - (2006, 8min)
About the Leaves on the Ground - (2007, 4min)
Map of Flowers - (2007, min)
Trepadeiras - (2007, 10min)
Caminhante - (2009, 3min)
Cartographies on the Seas - (2009, 10min)
Imprecise Itineraries 1: First Impressions of a City - (2009, 41min)
Liminal Fields - (2009, 3min)
Long Distances in Small Places - (2009, 62min)
One of These Days - (2009, 1441min)
Passing By [Train from Budapest to Nagykanizsa] - (2009, 2min)
Red Lines - (2010, 5min)
Imprecise Itineraries 2: The Way to the Sea - (2011, 25min)
Imprecise Itineraries 3: Heimat is Now - (2011, 17min)
Geopolitics on the Streets [Pristina] - (2013, 3min)
Geopolitics on the Streets [Sarajevo] - (2013, 3min)
Padomju Latvija / Letônia Soviética - (2016, 8 min)
Sea Studies [Baltics] - (2010-2016, 12 min)
Tributaries [Amazon River] - (2018, 3 min)

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TRAILER

INSTAGRAM

Modern photography sought to give social relevance to the production of images. In its context, in the 1930s, this implied a concern with work and the ideologies of the human being. Cartier-Bresson would even react indignantly to the work of photographers such as Ansel Adams and Edward Weston, who he said would be “photographing rocks” as the world continued being devastated by World Wars. Today, we clearly see how natural exploitation is another face of the same colonizing system allied to the war-arms industry. Images of nature, more than ever, are objects of deep social relevance. Notwithstanding, there is no iconography of marble in the cultural context of Espírito Santo, despite the importance of this material for the local economy. Apart from institutional documentaries and videos produced by companies, most of which aim to promote the trade of the mineral, literally selling our soil to installments, we see few local cultural products dedicated to the creative and imagery exploration of this material.

Rocha Matriz is inspired by filmmakers, artists and photographers who explore some of the great themes of the Twenty-First Century, such as globalization, migration and exploration. In the field of cinema, we can point out some directors who articulate in a critical and aesthetically sophisticated way different objects within this socio-political context (Sekula & Burch, Benning, Paravel & Castaing-Taylor). The film also takes up aesthetic elements of the Düsseldorf School of photography, whose works from the 1970s have transformed the directions of artistic photography, colliding the impression of documentary objectivity with creative expressiveness. The construction of an iconography of extractivism from these references is fundamental to promote anthropocene sensibilities, capable of making the marble production chain felt beyond the economic aspects, in order to inform political action and socio-environmental transformation.

COMPLEMENTARY MATERIAL

Malin Barth’s comment about Imprecise Itineraries #1 - First impressions of a city 

Miro Soares work Imprecise Itineraries #1 - First impressions of a city is exhibited back to back with Farhad Kalantary´s work in the exhibition Trails of Water Behind a Passing Boat. They represent two different sides of our globalized world. Miro Soares, who has been on at an Artist in Residency program in Bergen for the past two months, benefit from the expanded mobility, and can be viewed as a ‘global citizen,’ while Farhad Kalantary who fled from Iran in the 1980´s can be viewed as a ‘global alien.’ He belonged to those forced into exile by war, poverty, or political and social upheaval. The ‘global alien’ will often be occupied with a sense of belonging, both from the country of origin and from the receiving country, while the global citizen’s presence is welcomed and his mobility is desirable.

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Dérives n°2 : Autour de Akram Zaatari et Tariq Teguia. Revue et DVD 

Cahiers du Cinéma, n° 658, juillet-août, année 2010, p. 44, texte de Nicole Brenez

Résumé de l’histoire du cinéma en deux films d’une minute : 1896 à Lyon, Louis Lumière réalise un gros plan, Bocal aux poissons rouges, concentré d’harmonie cinétique, calme triomphe de l’argentique ; 2006 au Brésil, Miro Soares filme les soubresauts d’un poisson agonisant jeté à terre dans une rue crépusculaire.

On trouve ce plan, intitulé Vitória-ES, dans le riche numéro 2 de la revue lyonnaise Dérives autour de Akram Zaatari et Tariq Teguia. Une éthique du désastre rapproche les deux cinéastes-plasticiens grandis dans deux pays en proie aux guerres civiles et militaires, le Liban et l’Algérie : structurés par la conscience que les images participent d’une occupation économique et politique du monde, ils élaborent des œuvres délicatement critiques (les essais vidéo théoriques et aimants d’Akram Zaatari) ou créant leur propre temporalité (les fictions de Tariq Teguia en forme d’insurrections plastiques).

Deux DVD attestent les réflexes premiers des deux artistes, filmant d’abord leurs proches, leurs lieux, le peuple : Tariq Tequia enregistre frontalement la fureur des jeunes gens privés de devenir (La Clôture, 2004) ; Akram Zaatari observe les articulations complexes entre vie quotidienne et images industrielles, qu’elles proviennent du cinéma, de la télévision ou des jeux vidéo (Lumière et série Image+son, 1995-96).

Entretiens de fond, excellente mise en perspective par François Cheval retraçant l’histoire de la photographie en Orient, analyses, photographies, présences mitoyennes des œuvres de Véronique Goël, Frédérique Devaux, Martine Rousset, beaux films de Dominique Dubosc, Philippe Cote, Soufiane Adel, Peter Snowdon, Edouard Beau, Eric Pellet et bien d’autres, alimentent ce numéro vibrant.

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MIRO SOARES’ WORK

"IMPRECISE ITINERARIES #1 - First mpressions of a city"

"LONG DISTANCES IN SMALL PLACES #1"

The Column (2013) by Adrian Pacci

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La Region Centrale, by Michael Snow

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Railroad/RR (2007) by James Benning 

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James Benning interview by Mark Peranson - Cinema Scope

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OTHER REFERENCES – ROCHA MATRIZ

The 3D model of the rocks was made from filmed material

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Gavin Singleton, composer of the soundtrack of Rocha Matriz

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DEBATE - 3ª Mostra Nacional de Cinema Ambiental at Festival de Vitória

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Interview with Gabriel Menotti at 1curador, 1hora (2021)

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Festival Besides the Screen 2019 video, curated by Gabriel Menotti

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Press coverture of 'Imagem-Passagem' exhibition, with Miro Soares (2016)

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Abaixo obras que exploram a visualidade dos diversos entre-espaços do mercado mundial de commodities, expandindo nossa compreensão dos diversos processos envolvidos na transformação da paisagem/natureza em objeto/matéria-prima como uma dupla reorganização geográfica. Na mesma medida em que dão vazão à produção industrial, esses processos organizam o modo como os seres humanos se distribuem pelo globo.

CLAUDIUS SCHULZE: STATE OF NATURE

A photobook about climate change, natural catastrophes, and to what extent disaster management became part of our landscape.

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HENRIK SPOHLER: IN BETWEEN

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THE FORGOTTEN SPACE: A FILM BY ALLAN SEKULA AND NOËL BURCH

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Abaixo filmes que empregam outras formas de captura óptica para produzir estranhamento e dissociação entre a audiência e o tipo de mundo que dão a ver. Essa estratégia pode ser uma forma de levar a câmera-olho às suas últimas consequências e desvelar o parentesco do cinema com os processos industriais que a imagem nos apresenta. Não existe paisagem imaculada.

LEVIATHAN: A FILM BY VERENA PARAVEL AND LUCIEN CASTAING TAYLOR

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Abaixo obras que, de diferentes maneiras, nos aproximam das particularidades da rocha como material (volume / superfície) e de suas possíveis relações com o corpo humano (ativo / passivo). Nos servem como um horizonte para realinhar a pesquisa do filme a parâmetros antropocêntricos dos quais não podemos escapar.

IL CAPO: A FILM BY YURI ANCARANI

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EXPOSIÇÃO CAMIRI, BY NELSON FELIX

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The Column Trailer by Adrian Paci (a Kube Studios Production)