pt

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GILBERTTO PRADO

ABOUT

RECENT

PROJECTS

LINKS

CONTACT

Cajas (Cuchillos, Clavos, ¿Quién mira quem?)

Sky circuit/Time ruler

Sensor-necklace

Screen – aqueduct

Caixas de Choque 1, 2, 3

After Tourism

Caixa dos horizontes possíveis

Mirante 50

Ø25 - Quarto Lago

ZN:PRDM

Encontros

Catavento

Amoreiras

Desluz

Pedralumen

Cozinheiro das Almas

Acaso 30

Incógnito

Desertesejo

9/6 Fragmentos

de Mr. James

Depois do turismo

vem o colunismo

9/4 fragmentos de azul

M. A. (desejo)

wAwRwT

Moone

Réaction em Chaîne

Telescanfax

Connect

Fax Arte

A terra e seus terráqueos em 88

Videoscopio

Babel - torre de bambu

Welcomet Mr. Halley

Arte Alameda - 2018

BIENALSUR - 2017

Digital Biome - 2016

WRO Poland Biennale - 2015

Mauris sit amet tortor.6

Mauris sit amet tortor.7

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  • Videoscópio (1987-89)

     

    This series was carried out between 1987 and 1989 by Gilbertto Prado under the Project (with the production of the Center for Art Postal Unicamp), in order to give a new approach to previously cultivated contacts and exchanges in the experience of mail art. Starting from the saying of H. R. Fricker "After Dadaism, Fluxism, Mailism, eating Tourism", a series of artists began to travel by mail-art network and establish personal contacts. An attempt to transform this intimate space, generated by the movement itself.

     

    My idea was, with a portable video camera, to go through the network (some nodes of the network), without previous contact, ringing the door and surprise those artists who did not know personally and establish a dialogue-performance, a recorded encounter on video. I came into people's homes, in some places, without speaking the language fluently and without language and had the camera on me. The mood and disposition would dictate the pace of recording and time of visits.

     

    The recordings were made during trips to Europe (Germany, Italy, Spain and France), Argentina and Uruguay and some Brazilian artists.

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    Some of these interviews had the character and more formal document, others worked the playful aspect of surprise and the unexpected encounter, the (re) cognition.

     

    From the technical point of view the equipment was an amateur, heavy, uncomfortable and very poor conditions and transport / travel and registration very difficult. But the intention was the first record of this action and its ephemeral, even the portrait of "precarious" and "fragility" of those communications. Most of the material has not been edited, although part of this has been circulated in raw form by the alternative circuit and among the artists  themselves.

     

     

     

    Related Links

     

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