Interview in Art Reveal Magazine N.14 from page 82 (english only)
On paper available on // em papel disponível (apenas em inglês):
Interview in video about/ entrevista en video sobre ∆ k ∆ ∑ ∆ r j ∑ n (aka marjen)
The mexican filmmaker Mauricio Novelo from Tygre Media made a interview with Ж about ∆ k ∆ ∑ ∆ r j ∑ n the instalation called DCP (Décio Pignatari) in the context of MAPA/Mexico. This installation was made in the Casa Mermejita a white space influenced by modern architecture done by Jorge Ramirez Salcedo.
El cineasta mexicano Mauricio Novelo de Tygre Media hizo una entrevista con Ж acerca de ∆ k ∆ ∑ ∆ r j ∑ n en la instalación DCP (Decio Pignatari) en el contexto del Mapa/Mexico. La instalacción ocurrió en Casa Mermejita un espacio blanco influenciado pela arquitectura moderna proyectado y construido por Jorge Ramirez Salcedo.
Interview for Mariya Nikorova about Co.Lab (autonomous film laboratory)
Mariya Nikorova– Can you explain briefly the choice of the lab’s name?
Ж– The Labs name Co.lab is an abbreviation from the word Colirio, which means eye-drop. We also know about the New York based group- Collaborative Projects that started working with this name after 1977.
In Portuguese – also in English- to hear the word Colab is a kind of interruption in the speech flux, in this case in the collaboration word/speech flux. So to use this name is a kind of self-arraignment of our precarious and individualistic filmmaking and artistic practice and perpetual claim to change and to finally say: Let’s collaborate!
M– When was the lab established? What was the primary catalyst for establishing the lab?
Ж– It’s always starting. The first moment was in 2011 ( I personally wasn’t living in Brazil in that moment) after a Labor Berlin workshop in Recife. Back to Brazil in 2013 I’ve noticed about this effort and started with, Amanda Beça,Lia Leticia, Kelly Saura, Silas Alexandre and the Jacaré Video members (collective of 4 filmmakers) to articulate a new foundation of this lab. So we’ve join in a artist gallery that ceded a room and made a hand made caffenol processing. The film stock was a 16mm made by some students of a workshop I done some months before. It was a really interesting experience that helped to generate thought about what is to collaborate and what is to make films using differents procedures than another films produced in the State. Notice that Pernambuco- and it’s capital Recife- is one of the main cities producing narrative/commercial films with public funding. And along then there aren’t one ore two films made using analog film stock and processes. Even in this, two or three cases the procedure, research and also the laboratory processes were commercial and really expensive! The need to resist to this comercial/narrative/heteronormative film making practice – along with Labor Berlin workshop- maybe was/is the catalyst for Colab.
M-How many members are there, and has this varied over time? How many very active, initiative-taking members are there?
Ж – For now there are 4 of was working on film. The other are more interested in digitalization processes – Kinograph machine- or in think about a real collective filmmaking process. It varied a lot but there’s a email group which is active since the new foundation (2013). The interested and collaborating fluxes are heterogeneous just like life is. So those 8 persons – considering Jacare collective- come and goes, aggregate and disappears responding to our precarious and limited conditions of being all of us part of the “international immaterial labor field”, which here have a radical expression of it’s severe precarization.
M– According to what model are decisions made in the lab?
Ж– The decision are mostly made in a consensus form. Sometimes there’s no time for that process or no interest for a particular matter and it has no decision. I mean sometime this chaotic form of organization don’t make possible to make decisions and in this sense we lost opportunities.
M-How is the lab financed?
Ж– The Lab have applied to different kinds of funds – in the Pernambuco State there is a permanent fund program that I’ve already mentioned – but we never got any. So all equipment and spaces are self-financed.
M-What are the primary activities that take place in the lab?
Ж– For now I think that thought is one important activity. I mean to put attention in a information about other filmmaking practices and procedures – that the public university here doesn’t teach for example. Or in our free time or also in ours day jobs to program, teach and of course make films. So to film using analog cameras to develop, paint and share knowledge about our practice is our primary activity for now.
M-What are the lab’s capabilities (what type of equipment do you have)?
Ж– We share: 3 16mm cameras (2 Bolex, 1 K-3); 2 super 8mm cameras, 1 16mm Splicer, 2 super 8mm film projectors, 1 16mm film projector, 2 lomo film tanks, and some 16mm film stock
M-Are there any special/unusual film practices? (custom-built machines, special development recipes, collective creative projects, etc)
Ж– Considering the international contexts there’s no unusual film practice.But if we consider the most of the other filmmakers in the local contexts, all collaboration, self-financing process in the ” production sphere” are unusual. Also the filmmaking procedures like the lack of script, non-narrative, use of notations, installations and expanded cinema proposals should also be considered something unusual here.Also one of our members is researching the kinograph digitalization machine and about the possibility to build process machine using 3D techniques.
M– How is the lab involved with the greater network (through traveling workshops or screenings, multi-lab projects, online resources, etc) and how long has this involvement been going on?
Ж– Since the new foundation in 2013 we form part of the film labs email group discussion. From this moment one some members have been solving doubts about Cafennol and other processes; participating- or trying to- gather in the film stock orderings; using the network to develop filmworks, making residencies and visits to other labs etc. In 2016 we are trying to have a person in the film labs meeting in Nantes too.
M-What is the outlook for the lab in 2016?
Ж – We are again in a transition moment. The first intent to establish a fix space to work has failed and temporally the developments have been made in “personal” but yet public lab. Maybe in this year the gallery that we’ve worked in the Caffenol foundational process will start to house the Co.lab definitely.
M-Could you provide the lab’s logo and explain what it represents/how the design was chosen?
Ж– Attached there’s our logo. The decision has been made based in some options that we have. Also the possibility to use Xerox machines and to keep the quality of it is important to us.All allusion to film, cameras etc were avoided too. The was designed by Carla Lombardo.
Entrevista do Ibercultura Viva sobre a Oficina de Filme e Midia Menor feita com Mbyas Guaranis (Português- Español)
No mês seguinte, em maio, se deu a oficina de cinema e mídia menor na Aldeia Mata Verde Bonita Ka’aguy Hovy Porã, localizada em Itapuaçu, perto de Maricá, na Região dos Lagos do Rio de Janeiro. Foram duas semanas de trabalho com crianças, jovens e adultos e um cineasta indígena (Miguel Verá Mirim). Ali foram realizadas cinco mídias de “palavras-afetos” e duas videocartas. O grupo também trabalhou num vídeo sobre educação mbya-guarani de Verá Mirim.
Os primeiros dias foram de acompanhamento das atividades da vida na aldeia. Como já existia uma boa relação entre Verá Mirim e os jovens cineastas indígenas com o Coletivo Cinema 7 Flexas (facilitador do trabalho), as coisas fluíram bem. “Partimos dessa relação já estabelecida para criar a nossa, tecer nossa relação e experimentar juntos. Então cozinhávamos, limpávamos, brincávamos até …. chegar a hora desse outro trabalho que era fazer filmes”, conta o cineasta e facilitador de oficinas Ж (KK, o “Kaká”).
“O trabalho de oficina, de cursos, para nós da .txt, é relacional. É desenvolver um saber-fazer radicante, dar as condições para que emerja o que já existe no lugar, o que está em potência. Para que isso possa se dar temos que estar perto, olhar de perto, ser visto, estar vulnerável no sentido pleno disso: aceitar ser ‘comido’ pelo outro e aceitar ser outro também”, ressalta Ж.
Crianças na oficina da Aldeia Mata Verde Bonita (foto: .txt texto de cinema)
No Brasil o grupo se dividiu numa escala geracional. As crianças nunca tinham participado das oficinas e filmes do Verá Mirim nem das oficinas com o Coletivo Cinema 7 Flexas. Com eles se desenvolveu então uma metodologia própria, baseada no ver-ouvir do cineasta Paul Sharits. “Fizemos um filme curto, com movimento e algumas cores que o Verá Mirim nos disse serem importantes para a cosmogonia dos mbya-guarani e mostramos para a meninada. Depois disso trabalhamos com mapas e espaços interiores para que eles identificassem na aldeia, feita mapa, os lugares, as situações que mais gostavam. Daí saíram as mídias, as palavras-filmes dos primeiros trabalhos”, explica Ж.
Os jovens e adultos já tinham participado de oficinas, puderam reconhecer o que já sabiam e repassar o que sabiam. Muitos dos adolescentes, no entanto, não tinham experiência prévia em cinema e mídia. A eles foi sugerida a elaboração das videocartas, tendo como tema o contexto socioambiental e as formas de re-existir neste tempo geológico. Das conversas e projeção de outras videocartas chegaram à forma-expressão dos videos “Ayvu Anchtengua “(Palavra verdadeira) e “Tapé Porã” (Caminho aberto).
A metodologia ds videocartas é desenvolvida há anos pela equipe do projeto Ventana a la Diversidad, com quem a organização .txt já havia dividido um projeto de formação no Brasil chamado “Fazer o mundo fazendo vídeo”. Ж e Guillermo se conheceram na Guatemala, em um encontro no Centro Cultural de Espanha, e desde então passaram a trabalhar juntos. “Ventana tem essa característica de ser agregador de potências. Por onde passam tentam construir redes de trabalho”, elogia Ж.
Link para entrevista completa em português e español: