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Memory is an Editing Station

22nd Sesc_Videobrasil Biennial will present 140 works by 60 artists from the Global South

In 1983, when the pioneer and protesting first Festival de Vídeo Brasil was held, Brazil was experiencing the fall of a dictatorship. At the same time, video was spreading as an enabling device for new artistic and documentary languages. Today, 40 years later, with an expanded format and incorporating the most varied practices of the visual arts, Biennial Sesc_Videobrasil takes place in a different context, but one that is also significant in the history of Brazil and the world.

After a long pandemic period, the 22nd edition, entitled Memory is an Editing Station, occupies Sesc 24 de Maio (São Paulo, Brazil) with 140 works by artists and collectives from 38 countries of the Global South. In the opening week, between October 18 and 22, a series of debates and performances kick off the public programs that will run until the Biennale ends on February 25, 2024. Continuing the long partnership between Sesc-SP and Associação Cultural Videobrasil, the Biennale is artistically directed by Solange Farkas and curated by the Brazilian curator Raphael Fonseca and the Kenyan curator Renée Akitelek Mboya.

Based on a poem by Waly Salomão, the curatorial section presents different visions and ways of dealing with memory –and forgetfulness–, whether individual or collective, linked to various social, political, and cultural contexts. It is interesting to note how the many ideas of “memory” vary not only according to the generation of the contemplated artists, but also their geographical origin and, of course, the media they use. How one thinks about memory from video is, of course, quite different from the answers given through sculpture, painting, and performance. It is this artistic and existential diversity that this Biennale is especially interested in.


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