Carte blanche to Ana Vaz, in her presence.
Light Cone offers a carte blanche to Brazilian filmmaker and artist Ana Vaz whose films, installations and performances elaborate relationships between myth and history, ethnography and speculation, through a cosmology of references and perspectives.
Embodied Fires: The Fire Within envisions the body as a medium and travels through a series of gestures in which the body is fragmented, multiplied, wounded, sensually stimulated, hypnotically disoriented, erotically entangled to the point of becoming other, disappearing. If the body is a perspective, then, how does a body see? What can be seen beyond the gaze? How can the cinema, in its cyborg alliance between body and machine, fill, negotiate or flirt with what it sees, with what it experiences? This cosmology of gestures seeks to negotiate from a space "between", between the lips, between here and elsewhere, between mine and yours. This space "between" is a political space because it leads to a (de)adjustment of our perception, to a redistribution of our senses. The protest becomes meditation, magic becomes sensation and the body becomes the place from which one thinks, feels, touches, the site in which the gaze becomes tactile.
- Mutiny (Abigail Child, 1982-1983, 16 mm, b&w, sound, 10' 00)
- Pond And Waterfall (Barbara Hammer, 1982, 16 mm, colour, sil, 15' 00)
- Viet-Flakes (Carolee Schneemann, 1965, 16 mm, b&w, sound, 9' 00)
- Piece Mandala/End War (Paul Sharits, 1966, 16 mm, colour-b&w, sil, 5' 00)
- Amérika: Bahía De Las Flechas (Ana Vaz, 2016, video, colour, sound, 8' 46)
- Syntagma (VALIE EXPORT, 1983, 16 mm, colour, sound, 18' 00)
- Palms (Mary Helena Clark, 2015, video, colour, sound, 8' 23)
- The Kiss (Ian Bourn & John Smith, 1999, video, colour, sound, 5' 00)