Wednesday, May 24, 2023 7pm PDT
VIVO Media Arts Centre
2625 Kaslo Street
Unceded xʷməθkwəy̓əm, Skwxwú7mesh, and səlilwətaɬ territories
Vancouver, Canada
MEDIA LIBRARY & DISPLAY
Latin American Collections
WOMEN, ART & THE PERIPHERY
1987 Event Documentation
Cross-Generational Gendered Expressions of Home & Becoming in Latin American Video Art
This video art program curated by Gabriela Aceves Sepúlveda features works that broadly address the intersections of gender violence, diasporic identities, and conceptions of home and becoming from a female perspective. The program includes established and emerging artists, including Venezuelan born–Barcelona based Valentina Alvarado Matos, Brazilian Cynthia Domenico and Chileans Gloria Camiruaga, Tatiana Gaviola and Soledad Farina, which are part of VIVOs Women Art and Periphery Collection.
Video Descriptions
Cruce Postal: Del Otro Nuevo Viaje
Valentina Alvarado
Venezuela 2015 4:54min
From a geographical natal relief the artist begins to make reflections on the topography of memory: locating a link with a familiar space, the longing for the land and the reconstruction of the world with impossible and affective maps. Shot on Super8.
A partir de un relieve natal geográfico el artista comienza a reflexionar sobre la topografía de la memoria: ubicar un vínculo con un espacio familiar, la añoranza de la tierra y la reconstrucción del mundo con mapas imposibles y afectivos. Filmado en Super8.
Popsicles
Gloria Camiruaga
Chile 1984 5:00min
“This work is an interaction of the space, the symbols and the historical context in which I live as a woman on this side of the continent. It is a rosary of alarm, eternal and circular; the alarm of a woman who desires life, light, truth, and solidarity, but who instead sees and receives death and fear. It is a rejection of all that is destruction, and death, yet is depicted almost attractively as innocence.” Gloria Camiruaga
Video estructurado a partir de los signos y simbolos que conforman mi existencia. En este trabajo interactuan
el espacio, los sfmbolos y el contexto histórico que yo vivo como mujer en este lado del continente. La alarma
de una mujer que desea la vida, la luz, la verdad y la olidaridad y que ve y recibe la muerte y el miedo. Es un
rechazo de todo aquello que es destruccion y muerte, sinembargo esta representado casi atractivamente bajo
el aspecto de la inocencia.
Topologia I
Soldeda Fariña Vicuña
Chile 1983 6:00min
The shaving of an armpit as censure of the female body.
El afeitado de una axila como censura del cuerpo femenino.
La Gallinita Ciega
Tatiana Gaviola Artigas
Chile 1987 8:19min
The video elaborates about the threatening journey of a woman. The principal character is haunted by ghosts and the cries of extreme torture.
Video-arte elaborado en torno al trayecto amenazado de una mujer. Su escenario, un eriazo. La protagonista,
una mujer acosada por fantasmas-voces de la tortura en sus grados extremos y universales.
Enquanto Deu Lobo Não Vem
Cynthia Domenico
Brazil 2016 6:47min
The video elaborates about the threatening journey of a woman. The principal character is haunted by ghosts and the cries of extreme torture.
El video elabora sobre el viaje amenazante de una mujer. El personaje principal es perseguido por fantasmas y gritos de tortura extrema.
Yo No Le Tengo Miedo A Nada
Tatiana Gaviola
Chile 1984 5:56min
Translated “I’m Not Afraid of Anything”, this video combines the disarticulation of an affirmation, expressed in repetitious audio, with the visual representation of shadows, reflections, and reproductions of the exposed body/object.
Video-arte elaborado en torno a la desarticulación de una afirmacion, que en lo sonoro se expresa en la reiteracion y en lo visual en reflejos y sombras.
Autocriticas
Marcela Serrano
Chile 1980 5:00min
The artist organizes the tension between video-painting-body, by displacing the traditional pictorial support (the canvas) to the body as the zone of intervention. The body is naked, the body is painted.
Marcela Serrano organiza la tensión entre video-pintura-cuerpo, al desplazar, el soporte pictórico tradicional – la tela – hacia el cuerpo zona de intervencion . EI cuerpo es desnudo, el cuerpo es pintado.
Artist Bios
Valentina Alvarado Matos (b. 1986, Maracaibo, Venezuela) has a degree in Graphic Design from the Universidad del Zulia, where she was a professor in the Faculty of Experimental Arts. In 2014 she completed a Master’s Degree in Contemporary Artistic Creation at the University of Barcelona. She has been in different residencies like The Liaison of Independent Filmmakers of Toronto (LIFT), La Escocesa, Cultura Resident – Museu de Bellas Artes de Castellón, Fora de Camp, and Matadero Madrid. Her work has been included in the book Remains–Tomorrow: Themes in Contemporary Latin American Abstraction by Cecilia Fajardo-Hill and her films are distributed by Light Cone. She currently lives and works in Barcelona where she is an artist resident at Hangar. Website
Gloria Camiruaga (b. 5 October 1940 Santiago , Chile – 10 April 2006) belonged to the first generation of video artists in Chile She obtained a bachelor’s degree from the Universidad de Chile in Santiago in 1971 and studied video art at San Francisco Art Institute, graduating in 1980. Her videos explored women and transgendered peoples experiences.Her most well known work is La vendada (The blindfold, 200) and her collaboration with Las Yeguas del Apocalipsis. Camiruaga received an award at the eighth Festival Franco-Chileno de Video Arte (1988) and grants from John D. and Catherine T. MacArthur Foundation (1992) and Rockefeller Foundation (1993).
Soldeda Fariña Vicuña (b. 1943 Antafogasta, Chile) She is a poet, visual artist (video-art and photography), storyteller and university professor. She holds a Master’s degree in Literature from the University of Chile, and also studied Political Science at the same university, as well as a Bachelor’s degree in Philosophy and Literature at the University of Stockholm, where she lived for some years during the period of the Chilean military dictatorship. She was a recipient of the creation grant from the Chilean Fondo del Libro y la Lectura in 1992, 1995, 2002 and 2006. In 2006 she received the creation grant from the Fondo del Libro y la Lectura (Book and Reading Fund) and also the John Simon Guggenheim Foundation Fellowship. In 2007 she was nominated for the Altazor Award for her book Donde comienza el aire. She is currently a professor at the School of Creative Literature of the Universidad Diego Portales and in the continuing education program for teachers at the Faculty of Philosophy of the Universidad de Chile.
Cynthia Domenico (b. Brazil) is a performer, dancer, video artist, and a cultural producer and agent, which means that she is a contemporary artist that fulfills several functions within a creative process. She has a degree in Contemporary Dance and Dance Management at the University Anhembi Morumbi in São Paulo, Brazil. Since 2007 she has been researching transmedia in dance and creating choreographies through different media.In 2010 she won the São Paulo Biennial Foundation Artists Abroad Award to premiere the performance “How are the stars born?” at Mostra ZAAT010 in Lisbon, Portugal. She has a vast production in video dance: “Fuga em dor maior” (2010) premiered in the program Primeiro Passo of SESC Pompéia (SP), curated by Helena Katz. “Alone among Slices” (2011) has participated in more than 14 international festivals and exhibitions. It was selected for the Best Lakino II Film Showcase at Lakino – Berlin Latin American Short Film Festival (2011) and was a finalist at Plataforma Berlin Festival : UferStudios, Berlin(2011). Since 2011 she has been teaching workshops on video dance in Brazil and abroad.
Tatiana Gaviola Artigas (b. 1956, Chile) is a Chilean filmmaker. She studied at the School of Communication Arts of the Pontificia Universidad Católica de Chile. She began her career filming documentaries, using video as a format, which was more accessible and economical at the time. His first documentary was Nguillatún, which focused on the Mapuche people. In 1988 she released Ángeles, a medium-length film written with Diamela Eltit and Delfina Guzmán. The film won an invitation to the Museum of Modern Art in New York. She directed the Film School at Universidad Pérez Rosales from 2003-2006 and between 2007 and 2011 she was Audiovisual Director of Fundación Imagen de Chile.
Marcela Serrano (b 1951, Santiago, Chile) is a Chilean novelist. She studied at La Universidad Católica de Chile. In 1994, her first novel, Para que no me olvides, won the Literary Prize in Santiago, and her second book, Nosotras que nos queremos tanto, won the Sor Juana Inés de la Cruz Prize for women writers in Spanish. She received the runner-up award in the renowned Premio Planeta competition in 2001 for her novel Lo que está en mi corazón. She now teaches at the University of Vicente Pérez Rosales.
Curator Bio
Gabriela Aceves Sepúlveda is Associate Professor and director of cMAS (the critical media arts studio) located in the School of Interactive Arts and Technology (SIAT) at Simon Fraser University Surrey Campus that occupies the unceded territories of the Semiahmoo, Tsawwassen, Kwantlen, Katzie, the Kwikwetlem (kʷikʷəƛ̓əm), and the Qayqayt First Nations. Her research centers on the histories of women, feminism(s), art and technology, with an emphasis on Latin American and its diasporas. She is the author of the award-winning book “Women Made Visible: Feminist Art and Media in post-1968 Mexico” (Nebraska Press, 2019) and several peer-reviewed articles, book chapters and research-creation projects on feminist media art and archival practices in Latin America. Her multimedia installations investigate the body as a site of cultural, gendered and techno-scientific inscriptions.
cMAS is a research-creation studio directed by Gabriela Aceves Sepúlveda located in SIAT at Simon Fraser University Surrey Campus that occupies the unceded territories of the Semiahmoo, Tsawwassen, Kwantlen, Katzie, the Kwikwetlem (kʷikʷəƛ̓əm), and the Qayqayt First Nations. In cMAS, students and research collaborators explore how old and new technologies shape the historical narratives and practices of media arts through a feminist lens that considers how categories of difference, traditional disciplinary boundaries, and the legacies of colonialism continue to produce exclusions.
