Cine Esquema Novo Expanded
“As of 2014, CEN will be held every two years, and its competitive exhibition will be open to several audiovisual formats, not just films for the cinema theater, significantly altering its programming axis. This movement formalizes the hybridization of its curatorial field to other forms of expression resulting from the cross between image, sound, and exhibition environment.”
Conceived in 2001 and carried out for the first time in 2003, Cine Esquema Novo has grown over the years with the purpose of screening, thinking, and promoting Brazilian auteur audiovisual production, given the need to problematize films dedicated to aesthetic choices and proposals which, at that time, were not yet properly accepted in other festivals in the country because they were perceived as pieces external to the “established cinema”. These were “films”, “not films”, “videos” or “almost films” that moved other circuits, from the marginal to the conceptual, without fitting in with the logic of what was considered to be a film in a film festival.
The creators of CEN believed that there was a mismatch between the production and the observation of this exploratory production in multiple directions. Thus, this type of work was exhibited, thought about, and promoted throughout the many editions of the festival until it shaped the character of the current Cine Esquema Novo: a meeting point that shows works that tend to escape the dichotomy between "cinema" and "visual art" - this separation of bodies, formal and discourse, determined in the 20th century as if they represented approaches that were potentially different and distant from ea
What has been seen since the beginning of the activities of Cine Esquema Novo, exactly in coincidence with the new adventures of image in the 21st century, is a dizzying development of possibilities and legitimacy for the use of audiovisual as an authorial narrative resource. The desire to be able to reflect this challenging character of contemporary Brazilian production, but positioned as a “film festival”, made CEN a project without the expected rigidity of this type of project with regard to its rules and limits.The dilution of the gender, registration and format divisions contaminated the way of exhibiting, distinguishing and thinking about the festival, which from 2014 onwards becomes biennial, as can be seen here and here, and which has in this year's Cine Esquema Novo Expandado this year 2013 a special transition project.
Among competitive or special exhibitions, works by cinema and visual arts names such as Ruy Guerra, Cao Guimarães, Kiko Goifman, Paulo Bruscky, Beto Brant, Lírio Ferreira, Sergio Borges, Andrea Tonacci, Rogério Sganzerla, Lúcia Koch, Cinthia Marcelle, Sara Ramo, Carlosmagno Rodrigues, Sofia Borges, Marcellvs L., Jonathas de Andrade, Ricardo Alves Jr., Luiz Roque, Guto Parente, Cristiano Lenhardt, Alessandra Sanguinetti, Gustavo Jahn and Sissa Dullius (Distruktur), Rivane Neuenschwander and Pablo Lobato , among so many others. As well as participants in the international CEN Zona Livre project (György Pálfi, Steve McQueen, Jem Cohen, Harmony Korine, Koen Mortier, Alexis dos Santos, Cory McAbee, Amat Escalante, Shunji Iwai, Marianna Palka, Jan Balej, Young-Seok Noh, Jerzy Skolimowski, Olivier Smolders, Gregg Araki, Takashi Miike and Roichard Schenkman) and, in 2013, the British Willian Raban, who comes to Brazil for the first time in a collaboration between Cine Esquema Novo Expandado, Porto Alegre City Hall on 9th. Mercosul Biennial | Porto Alegre.
Cine Esquema Novo is: Alisson Avila, Gustavo Spolidoro, Jaqueline Beltrame, Morgana Rissinger and Ramiro Azevedo.
WILLIAM RABAN
a pioneer in the concept and practice of expanded cinema and whose career is dedicated to making films that go beyond traditional formats, he was the central name of the occupation of CEN-E at the Centro Cultural Usina do Gasômetro, where he taught a Master Class and held video installations also unprecedented in the country. The artist returned to represent the collaboration between CEN and the Bienal at the end of the year, during the 9th. Mercosul Biennial | Porto Alegre when his films were shown in joint sessions with works from the CEN collection that dialogue with the work of the English artist.
* Highlight for the exhibition of “Thames Film”, on a boat on the Guaíba River at the opening of CEN-E
RETROSPECTIVE SESSIONS
The invited Brazilian filmmakers / artists have trajectories that blend with the history of Cine Esquema Novo, and that have designed their work over the years to reach spaces such as the Cannes, Locarno, Marseille and Berlin film festivals, as well as the Biennials of São Paulo, Lyon and Istanbul. They had retrospective cinema sessions dedicated exclusively to their work, commented meetings with the public and critics about the intersection of cinema and art, in addition to unpublished video installations: Carlosmagno Rodrigues (MG), Distruktur (Melissa Dullius & Gustavo Jahn) (RS - Germany) , Guto Parente (CE), Ricardo Alves Jr. (MG) and Sérgio Borges (MG).
VIDEO INSTALLATIONS
Galeria Ecarta - Video installations Brazilian artists invited CEN-E
Lunara Gallery and Iberê Camargo Gallery - Usina do Gasômetro - William Raban Video Installations
FORMATIVE ACTIVITIES: Masterclass by Wiliam Raban, “Film as a common territory for visual arts and cinema: relations between space and time - ecstasy and movement” with Maria Helena Bernardes
NEW SCHEME CINE ON 9th. MERCOSUR BIENNIAL | PORTO ALEGRE
Island Race, by William Raban (UK); It's Early Spring and I Still Think About Winter, by Dellani Lima (BR / MG); Makumbacyber Manifesto, by Beto Brant (BR / SP)
