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Katia Maciel is a professor at the School of Communication of the Federal University of Rio de Janeiro, artist and filmmaker. He holds a degree in History from the Pontifical University of Rio de Janeiro (PUC-Rio), a Masters in Cinema and History from the Ecole des Hautes Études en Sciences Sociales and a PhD in Communication and Culture from UFRJ. In 2001, he held a postdoctoral degree in interactive arts at the University of Wales in England and in 2013 at the School of Communication and Arts of the University of São Paulo (ECA-USP). She published, among others, the books: As borboletas voam no escuro: a fotografia de José Oiticica Filho (ebook), Instruções para filmes (e-book org. com Lívia Flores, 2013), Poesia e videoarte(com Renato Rezende, 2013), ZUN. (poemas, 2012), Letícia Parente (org. com André Parente, 2011), O Livro de Sombras (org. com André Parente, 2010), O que se vê, o que é visto (org. com Antonio Fatorelli, 2009), Transcinemas(org. Contracapa, 2009), Cinema Sim (Itaucultural, 2008), Brasil experimental: Guy Brett (org. 2005), Redes sensoriais (em parceria com André Parente, Contracapa, 2003), O pensamento de cinema no Brasil (2000) and A Arte da Desaparição: Jean Baudrillard (org., 1997). She makes films, videos, installations and participated in exhibitions in Brazil, Colombia, Ecuador, Chile, Argentina, Mexico, the United States, England, France, Spain, Portugal, Germany, Lithuania , Sweden and China. He received, among others, the prizes: Funarte de Arte Contemporânea (2014), Honorary Award for Art and Heritage (2013), Caixa Cultural Brasília Award (2011), Funarte de Stimulus for Artistic Creation in Visual Arts (2010), Rumos Itaucultural (2009), Sérgio Motta (2005), Petrobrás Digital Media (2003), Transmídia Itaúcultural (2002), Visual Arts Rioarte (2000). His activities of research, teaching and extension are linked to the relationship between contemporary art and film, in particular, the problem of image in temporized movement in exhibition spaces, such as museums and galleries, in the movie-installations. |
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MACIEL, Katia. Suspense. In: GONÇALVES, Osmar (org.). Narrativas sensoriais: ensaios sobre cinema e arte contemporânea. Rio de Janeiro: Circuito, 2014, v. 1, p. 159-170.
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The suspensions of time in the movie facilities
Description Contemporary installations operate with various time registers, including the time inscription on the exposed film and the timing of the experiment from the proposed projection architecture. On the one hand, we have the film, the image itself and what is proposed as extension, compression, dilution or even suppression of time, on the other, we have the proposition of an experience to the viewer that invents the time from the path traveled, Like a score that prints a rhythm to a presence that is no longer outside the movie. The facilities are placed between these two temporalities. In the present project, I highlight and analyze some experiences of artists who have pursued a strategy of suspending time - be it with the fixity of the loop and its indistinction between beginning and end, or with the multiplication of perspectives in a fixed image or even in the disparity of rhythms Discordant or still in the displacement of the time of the subject to the time of the object. This investigation has been carried out in the research group N-Imagem-PPGCOM / UFRJ and is bound to the line of research Technology of Communication and Aesthetics. |
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