Archive for the ‘ video installation ’ Category

Braziliality at the V&A museum

As part of the Friday Late at V&A Hot Brazil, Braziliality produced and exhibited 2 installations.

Braziliality presents Frevo Drop

Installation in the Grand Entrance, designed by Alicia Bastos and Bianca Turner, Frevo Drop takes its inspiration from the colourful umbrellas traditionally used in Recife carnival.

Braziliality presents The Adventures of Vitória & Alberto in Brasil

Have you ever dreamt of being a soap star? Don’t miss your chance at London-based collective Braziliality’s telenovela spectacular. Pick up a prop and a script and act your heart out in the V&A’s take on Brazilian costume drama.  Those too shy to join in can watch the live transmission from the comfort of the V&A Café.

It is a video installation with live streaming.


I am braziliality festival and exhibition

In July 2011, as part of Hackney Wicked festival, and celebrating Braziliality’s 3 years of existence, we made the festival and exhibition ‘I am braziliality’. With more than 40 international artists and 3000 visitors, the exhibition was a success.

Created, curated, directed and produced by Brazilialiaty: Me, Alicia Bastos and Pier Tosta.

more info at

As part of the exhibition, I exhibited as artist a video installation of ‘Introducing new species’ done by the collective FrancoTurnerTchais.

The video show speaks for itself!


Two videos on MTV Brazil.

One talking about my ancestors, genetic memory and my video installation ‘Saray’ that was a work done on these theme, having as a starting point my grandmother who was born in Sarajevo, and me being nostalgic about a place which I have never been before.

The other video talks about Narrative. João Maia asked me if as a child I used to confuse narrative and reality. I say: “As a child I used to confuse narrative with reality, in fact I still do, as an adult. I believe that you create the narrative you want with the facts of your own life.”


The best thing of Exhibiting my work is the instant feedback that I get from the audience.

To hear what people feel when they watch the TV’s is a great learning process and it makes me go back to my methodology of work and into the way I developed this work t be able to analyze what works and what doesn’t work.

The most interesting thing is that people normally feel nostalgic about they own life, and start telling me this memories they have, about their family, and the little stories and fragments of their past.

It is so rich. It feels that is a complementary piece for my work. The audience’s own memories completes mine own memories.

And it becomes a final piece.

If by any chance you are reading this post and you have been to my video installation, I would appreciate some feedback and comments about you own personal feeling and sensations. Could be fragments.

tomorrow… ‘Saray’

As tomorrow I will be setting up my video and sound installation at the foyer of the RoundHouse, today the day was about making sure everything is working correctly. All the 7TV’s and 4 Dvd players are connected, my computer is burning the last DVD’s to make all the “brain connections” of this art work, for it to be alive again.

The installation will be part of the Accidental Festival from thursday the 19th oF May until sunday the 22nd.

fast, past present

time… space

Video wasn’t only used as interactive art works, it was as well used to create and define a space, as in Dan Graham’s installations. His works have as concepts subjectivity and objectivity and the observer and observed. “The artificiality of the video and of the projectors, aided by mirrors and showcases, had enabled Dan Graham to explore perceptive dimensions that were in no way dependent on Renaissance perspective: an orderly and scientific rebellion that surveyed every spatial possibility.”[1]

dan graham’s ‘present, continuous, past(s), 1974






Writer Brian Wallis has said that Graham’s works “displayed a profound faith in the idea of the present, [he] sought to comprehend post-war American culture through imaginative new forms of analytical investigation, facto-graphic reportage, and quasi-scientific mappings of space/time relationships.” The concepts behind Dan Graham’s artwork explore the effect that the space has on the viewer, physically engaging the viewer into the work. His pavilions are steel and glass sculptures, which create a different space that disorients the viewer from his/her usual surroundings or knowledge of space.

My first performance experiment consisted on one actor inside a flat, as showed in the diagram above (on the right) being filmed by a camera connected to a projector. The image from the camera is projected across the street, on the walls of another flat, creating the impression that the flat across the street is without walls and you can see through. The audience is whoever crosses the street on that moment. As a first experiment I wanted to check technical issues, if the projector was good enough, if the street was dark enough and to lead me to further thoughts. Everything worked and the main feedback I got was the relation between my practice and Dan Graham’s first installations, in 1970, which were in effect research into re-dimensioning space and time, on the basis of the viewer’s perspective. It is a interactive work with the viewer, depending on it to actually became an artwork.

“I’m interested in inter-subjectivity, exploring how a person, in a precise and given moment, perceives him/herself while at the same time watching other people who in turn are watching him/her. (…) I was interested in the relation between group perception and the perception of the individual spectator, the one who had time to ponder.” Dan Graham[2]

Relating the way Graham’s uses video, and his concepts to develop work – and also installations, sculptures and architecture – with the way video is used in theatre and performance, as I will exemplify soon, I am able to relate how time and space can be perceived and explored into different kinds of artwork: one in which the viewer is perceiving time and space because of his own interaction (on Graham’s) and other in which the viewer is perceiving it because of the performers interaction with video. And my practice is between the two, as has the viewer’s perception as well as the performer.

Moreover, the time delay is linked to drug-produced hallucinatory conditions where you re-insert into the present tense what you have just done, moving in a kind of mental space-time.” Dan Graham








[1] “Dan Graham, ARTIST, Maybe ARCHITECT”, article by Massimiliano di Bartolomeo. Massimiliano di Bartolomeu is an architect.

He lectures on environmental architecture at Milan Polytechnic and writes regularly for Domus.

[2] Artland, Dan Graham’s interview by Pietro Valle

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