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Made in China

vídeo timelapse

áudio gravado em uma fábrica de meias no bairro Vila Maria Alta em São Paulo

3,15''

2014

 

Para Letícia Parente.

http://www.leticiaparente.net/ 

Selecionado na MOSTRAIP - IV Mostra Nacional de Videos Intervenções e Performances - 2016.

Resume Art

 

Este trabalho versa sobre questões relacionadas ao capitalismo e neocapitalismo, suas causas e consequências. “Made in China” produtos originários de uma produção em escala global, onde produtos locais são ignorados, não há um planejamento ou política de inclusão para inseri-los em uma economia mais justa e solidária. O áudio que integra a obra é tão expressivo e importante quanto o registro imagético, é a extensão do fazer mecânico que estamos submetidos diariamente, uma máquina funciona sem parar e repetidamente, como o nosso corpo, o corpo como signo de uma máquina em linha de produção. O áudio foi captado em uma fábrica de meias em São Paulo. A escolha de captar o vídeo em timelapse não se dá por modismo, mas por sua rapidez, para se produzir algo nos dias de hoje é imprescindível a velocidade na linha de produção. Num momento subsequente a essa reflexão, deparo-me novamente com o trabalho de Letícia Parente, contudo, está releitura, não tem relação alguma com a temática do trabalho proposto por Parente, a única relação que ambos têm é no campo imagético.

Resume Art

Made in China
timelapse video
Audio recorded in a sock factory in Vila Maria Alta neighborhood in São Paulo.
3,15¨

2014

technology, capitalism, red, speed, time, human retrograde, globalization, exploitation, defragmentation, prostitution, immigration, theft, slavery, manipulation, domination, production ... for what? to go to disneyland?

This work involves questions related to capitalism and neo-capitalism, its causes and consequences. The words written above are the first ones that came to mind while reflecting on the term "made in china", labeled in almost every product currently consumed.
I look and I realize that is "made in china". Products from local production are totally ignored, and there is a plan or a policy of inclusion to insert them in the local market, is to meet small demands or try to solve the problem of local capital.
We live in a global economy and we approach the coefficient "The whole is more than the sum of its parts" theory of Max Wertheimer. However, with this endless questions arise: Those parts that make up the whole appear to be ill or at least contaminated? What is the purpose of this relentless quest for financial gain? What time do we have? What's our time? What is our true pace? What quality of life do we want? Where are the answers to these questions? Inside or outside of us?
The audio part of the work is as significant and important as the imagistic record. It is the extent of making mechanical that we are subjected every day: a machine works endlessly and repeatedly, like our body, the body as a sign of a machine in production line.
The choice to capture the video timelapse also refused to be a fad, but its accelerated speed. To produce something nowadays is essential to have the speed with the speed of production, here the artist can not afford to embroider a foot in an hour is a long time, it is counterproductive. Does the viewer could get a whole hour watching the video? He would have time for such enjoyment? Or would be worried and impatient with the time it runs? Image, sound, time, speed, signs and signifiers of space-time in which we are inserted, interconnected and interrelating it.
In a subsequent time this reflection, I encounter again with the work of Leticia Parente (Brazil, 1930-1991). Years before he had seen his video in the Museum of Contemporary Art, University of São Paulo (MAC-USP) and at the time I did not like. It was very shocking, perhaps for lack of emotional and artistic maturity. With time and studies I matured and could understand a little more his poetics.
However, this "reinterpretation" has no relation to the subject of the work proposed by Parente, the only relationship that both have is in the visual field.
 At the end of the first paragraph there are two questions: Why? To go to Disneyland? Disneyland is the name of a singer and music composer Jorge Drexler (Uruguay, 1964) also talks about such issues and helped me in the reflections proposed here.


For Leticia Parente.
http://www.leticiaparente.net/