Space Invader

By unfluenza [ Raquel Rennó and Rafael Marchetty]

Videoman is the element that brings together the residual mediated urban support system with the technological means. He is made up of fragments and at the same time he generates fragmentation.

The project creates new ways (or extrapolated means) to create a narrative discourse. Videos will no longer be something where mobility is developed solely before us, to become something that makes us active participants and develops within ourselves.

The movement is in the walk of the people, the cars, city life. Videoman has created or has become a media device that provokes a generated reaction, resulting in elements that take us from architecture to video-art, videogames, biotechnology and even comics and street commerce.In this sense, Mexico City has become an international point of reference, where the unimaginable could be sold by individuals in constant movement, something that constitutes the typical form of commerce in the Brazilian beaches (could this be the next place for a Videoman intervention?)

The support systems within a physical space are altered and their significance is also transformed. The space itself acquires new uses. The idea of a screen within a protected and closed environment is shattered and the idea of images placed over other images is born. They will not be projected over neutral backgrounds. People, facades of buildings and trucks are some of the bases on which to project the videos. These new screens reconstruct the image itself, as if the physical space was itself reconstructed, as it happens constantly.

Videoman within an art gallery takes the form o an activist, where the technological apparatus may be seen as a weapon that shorts without respect, neither for the works of art being exhibited nor for the visitors, exhibiting then the relationship between people and the works of art within an “artistic space”. Videoman becomes one with the football fan and the member of the choir, placing another vibrant and euphoric element of commemoration to the scene. The airport with its neutral hygienic quality (the nowhere place by excellence) becomes an art gallery. It will open up our eyes to the fact that many museums and art galleries are very much like airports. The projections of gauchos on the statue of Paixão Cortez or on a city bus will bring forth discussions over the making up of the city and will place the authoritarian belief that has been the status quo on where art belongs. This is something that can no longer be ignored. Einstein’s principle of montage is reinterpreted and will no longer be limited to the cinematic photogram; now people, public as well as private spaces and the media apparatus, will become composite elements for the creation of two contrasting narrative sequences.

Vi_ long life to Videoman!