Mar 27, 2016 at 8:30 pm
CAO: Short films by Cao Guimarães
Conversation with Cao Guimarães and Moacir dos Anjos.
In conjunction with the upcoming Cao Guimarães first solo exhibition in New York and the publication of the monograph book Cao, UnionDocs, Cinema Tropical and Galeria Nara Roesler, present a special evening with the acclaimed Brazilian artist. The program includes a screening some of Guimarães’ short works, followed by a conversation with the artist and curator Moacir dos Anjos.
2011, 17 min.
A place out of place, an in-between. A hole in space and in time. Playground for the ones that came before, those who have gone early. Eternal windy Sunday.
2003, 3 min
Soap bubbles bursting. Flies jumping about. The beating of micro- phenomenon pulsed by a toy piano.
Quarta-feira de cinzas
2003, 7 min.
After the Brazilian carnival, in the melancholy aftermath of Ash Wednesday, the ants begin their own profane, multicolored feast to the rhythm of matchbox samba.
2007, 7 min
The air emitted from the chests of multiform voices in the flea markets is not the same air that shakes the multicolored awnings that protect the owners of those same voices from the sun and the rain. Two different weights configure the fragile life balance of the streets in Mexico City.
Concerto para Clorofila (Concert for Chlorophyll)
2004, 7 min.
This film is a conjunction of light and shadow, forms, colors and textures that herald the necessary interrelationship of all that is alive and vibrant.
Inquilino (The Tenant)
2010, 10 min.
The film follows the trajectory of a soap bubble as it floats through the empty rooms of a house under renovation. The bubble never bursts as it drifts from one room to the next in a permanent state of suspension. The soundtrack by Brazilian duo O Grivo consists of the sounds of an empty house, a human presence, and synthesizers.
De Janela Do Meu Quarto (From the Window of My Room)
2004, 5 min.
From the window of my room I’ve seen under the rain a lovely fight of two children.
Cao Guimarães works on the crossing between the cinema and the visual arts. With intense production since the late 80s, the artist has been collected by prestigious names such as Tate Modern (United Kingdom), MoMA and the Guggenheim Museum (USA), Fondation Cartier (France), Colección Jumex (Mexico), Inhotim (Brazil), Museo Thyssen-Bornemisza (Spain) and others. Is the author of nine feature films: The Man of the Crowd (2013), Otto (2012), Elvira Lorelay Alma de Drago?n (2012), Ex It (2010), Drifter (2007), Accident (2006), The Soul of the Bone (2004), Two Way Street (2002) and The End of the Endless (2001). Cao Guimarães has been invited to display his works at renowned international film festivals such as Cannes, Locarno, Sundance, Venice, Rotterdam and Berlin.
In 2011, MoMA held a retrospective of his films. In 2014, BAFICI (Buenos Aires) and Mexico’s Cinematheque also held retrospectives of his work. Is represented by Galeria Nara Roesler.
Galeria Nara Roesler is one of the leading contemporary art galleries in Brazil, with locations in São Paulo and Rio de Janeiro, in addition to a new viewing room in New York. Founded in 1989 by Nara Roesler, the gallery has consistently fomented curatorial and artistic practice through an ambitious exhibitions program, created in close collaboration with its artists and invited curators; and has participated in major international art fairs. Firmly committed in advancing the career of its artists, Galeria Nara Roesler collaborates in the publication of monographic books and extends continuous support beyond the gallery space.
Cinema Tropical is the leading presenter of Latin American cinema in the U.S.
Founded in 2001 with the mission of distributing, programming and promoting what was to become the biggest boom of Latin American cinema in decades, CT brought U.S. audiences some of the first screening of films such asAmores Perros and Y Tu Mamá También.
Through a diversity of programs and initiatives, CT is thriving as a dynamic and groundbreaking 501(c)(3) non-profit media arts organization experimenting in the creation of better and more effective strategies for the distribution and exhibition of foreign cinema in this country.