Michael Mazière | 11st Festival
In the interview, British curator Michael Mazière discusses the new generation of video artists, whose works started being shown at galleries and museums, rather than on television, as was the case during the 1980s
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Akram Zaatari | 11st Festival
Interview with the Lebanese artist shortlisted for the 1996 competitive show. Zaatari explains the use of images in different contexts in his work, and elaborates on the conditions for production in Lebanon
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Stephen Vitiello | 10th Festival
Stephen Vitiello explains the notion of poetry in his work, shown at the 10th edition of the Festival, in 1994, and discusses the poetical relationship between sound and image
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Rob Rombout | 10th Festival
The Netherlands’ Rob Rombout expounds on his reasons for making documentaries. More than portraying facts, his intention is to put forth a poetic view of reality, to convert the ordinary into extraordinary
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Jorge La Ferla | 10th Festival
The Argentinean curator Jorge la Ferla, who attended the 1994 edition, reviews the myriad poetics constructed from narrative and phenomenological image codes
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Danilo Santos de Miranda | 10th Festival
The director of SESC discusses the importance of Videobrasil Festival in consolidating the notions of innovation, technology, creativity, and in particular dialogue and interchange between Southern countries
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Breda Beban e Hrvoje Horvatic | 10th Festival
Guests to the 10th edition, in 1994, the Yugoslavian artists couple discusses the value of experience in conceiving a work of art, as opposed to the notion of inspiration
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Marcelo Tas | 9th Festival
“Reality does not exist,” in the words of Marcelo Tas. According to the artist, reality is always manipulated whenever one is working with television
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Timothy Binkley | 9th Festival
A guest to the 9th edition, in 1992, Timothy Blinkley expounds his views on virtual reality. Built using computers, virtual reality is defined by abstraction in opposition to the concrete nature of objects
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Wesley Duke Lee | 9th Festival
To Wesley Duke Lee, the artist must intervene if video is to become something more than just "a bunch of hardware that is good for nothing..."
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