Fuso, the Anual International Videoart Festival will be in Oeiras

Oeiras will host FUSO, the only festival with continuous national and international video art in Lisbon. It will take place on the 30th and 31st of July, at the Contemporary Art Center - Palácio Anjos (CAC – PA), in Algés.
30 Jul 2021 - 00:00:00 Palácio Anjos

Oeiras will host FUSO, the only festival with continuous national and international video art in Lisbon. It will take place on the 30th and 31st of July, at the Contemporary Art Center - Palácio Anjos (CAC – PA), in Algés and offers a program that meets the festival's objectives of promoting video art in Portugal, as well as training new audiences and stimulate critical thinking among the local population. ​​​​​​​

There will be two sessions, on the 30th and 31st of July 2021 (Friday and Saturday), at 9 pm, with free entry (limited to the capacity of the space and in accordance with DGS regulations).

The first, curated by Jean-François Chougnet, is dedicated to the production of national video art, presenting the works selected and awarded at the Open Call 2020.

The second session, by curator Cristiana Tejo, features videos that radically re-imagine the world from multiple femininities and dissident bodies and sexualities. FUSO was created in 2009 and comparing already canonical languages ​​to more contemporary ones, it shows video works that cross visual arts, performance, cinema, literature and digital media, proposing a new opening to the moving image of the 21st century. The works are selected and presented by national and international curators who design an exclusive program for the festival.

FUSO circulates through several cities in Portugal and other countries, fostering the development of national art, contributing to cultural diversity and to the dissemination of Portuguese artists inside and outside the country.

 

SCHEDULE

July 30th | 9:00 p.m.

Session: Structuring Time

Curator: Jean-François Chougnet

Duration: 60 min

. "We Are All on The Same Bus", 2019, Nuno Serrão

. "Extraction: The Raft of the Medusa (for interdependence)", 2019/20, Salomé Lamas

. "Metalheart", 2020, Welket Bungué (Prémio Aquisição Fundação EDP/MAAT - escolha do júri)

. "Letters to Nowhere", 2018, Kopal Joshy (Prémio Incentivo RESTART - escolha do público)

. "I Have a Dream", 2020, Júlio F. R. Costa

. "Próxima Paragem", 2019, Florence Weyne Robert

. "O Pecado de João Palolo", 2020, Rita Azevedo Gomes

. "Hello Tomorrow", Nuno Cera (Prémio Menção Honrosa - escolha do júri)

. "My father has a gun", 2019, Ana Mendes

. "Corpos P̶a̶l̶i̶m̶p̶s̶é̶s̶t̶i̶c̶o̶s̶ Mnemónicos", 2020, Renata Ferraz e Flávio Almeida

 

More than ever, FUSO's Open Call revealed - in the difficult context of the pandemic - the diversity of video art practices made in Portugal and/or by Portuguese artists. 176 projects were submitted to competition, which is another sign of the vitality of the Portuguese contemporary scene. A set of works that surprise for the persistence and diversity of views were selected. This set of films shows, in fact, unusual and provocative paths, and challenges our perceptions of video art.

 

July 31st | 9:00 p.m.

Session: Bodies Frictions/ Fictions: Is the Future Female?

Curator: Cristiana Tejo

Duration: 47 min

. "Heaven", 2016, Luiz Roque

. "Apesar do apocalipse, há o tempo", 2019, Laryssa Machada

. "La voz digital", 2018, Ana Esteve Reig

. "Sargaço", 2018, Frutífera Ilha

. "Antes do Azul", 2019, 14’ _ Romy Pocztaruk

. "Faz que vai", 2015, Barbara Wagner e Benjamin de Burca​​​​​​​

 

We live in a historic moment when the world seems to have come to an end. In a kind of continuous present we watch the gears of global capitalism slow down and an entire lifestyle is suspended because of a virus. Bodies frictions/fictions: is the future female? does not seek to answer this question, but to bring as a counterpoint to the dystopian present, works by artists who radically re-imagine the world from multiple femininities and dissident bodies and sexualities. At the same time, these videos appropriate the language of science fiction in an attempt to decolonize the imaginary of the future, kidnapped and exhausted by a technocratic ideology, an extension of the extractivist colonial mentality. Therefore, questions are also present about our relationship with technologies, nature, desire and the senses, with music being presented as a manifesto and ritual. ​​​​​​​

 

OEIRAS 27, Inventing the Future