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hi my name is kickin calella and from

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brazil and i am an artist i worked

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basically with video with installation

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video seagull channel videos and

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documentary and and I it’s my fourth

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year here in now see so sometimes I come

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and I show first time I showed a video

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second year I showed a bit installation

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and for the past two years this year and

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last year I brought a project called

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squeeze it corpse video project which is

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a project that I not only participate as

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a video artist but I also coordinate and

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it’s a collaboration project among of

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artists from all over the world and so

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it’s a pleasure to be here again

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bringing the same project for the second

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time so it’s interesting to have this

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dialogue with a festival for so long

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like in having a relationship that

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evolves well this project started in a

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pro 2008 it was a way for me as an

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artist to outreach and try to catalyze

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a project in which I could bring other

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artists together and we could create

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together people from various countries

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and that many many times don’t even know

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each other in person so it was a way to

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collaborate and at the same time each

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artist could maintain their own artistic

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voice so it would also be possible in a

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practical sense to just make this work

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and just keep on going so we’ve been

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doing this since April and now is the

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same almost december two thousand nine

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so it’s been almost a long fuse actually

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and it’s been great because it’s it’s a

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way of working collaboration but also

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discussing a lot the creative process

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with other people and I believe that

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video art can be a little lonely

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sometimes so I think that was what

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really made me I start this project was

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that I wanted to have more dialogue

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without an artist instead of just making

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my own work and showing it and and

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that’s it you know I wanted to involve

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more people and use the internet that is

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a really powerful and democratic tool

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that is there for everybody and use it

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as a way to produce this collaborative

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work and I think it has impact me and

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other participants in a very profound

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way like many of us

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have our kind of addicted to this

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process of creating in collaboration and

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are additive to have also colleagues

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that you can talk to and even if you are

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making like my newest works all of them

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I sent you some of them and have

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feedback before I start showing so it’s

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like a little international community

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that it’s it’s evolving and gaining I

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think strength and the way it works the

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squeeze it corpse is a very very simple

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and very it’s inspired by the surrealist

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movement of the exquisite corpse which

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is not so it’s not it’s just a just

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translated exquisite corpse I da to

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video so each person makes we built this

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line of artists and the first one makes

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a one-minute video and send the less

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than seconds to the next artist and the

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next artist takes this ten seconds and

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he can elaborate over this ten seconds

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you can change it he can incorporate

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into each of his own thing and then he

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makes his own piece of one minute and

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sent the last 10 seconds to the next and

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so on so on so we make that’s why I say

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that it’s a collaboration but also you

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get to keep this during 50 seconds

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that’s you and then the last 10 seconds

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is this next person just makes this

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transition to his own work so that’s how

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it works and that was especially the

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first volume it was exactly like this

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and we didn’t have any theme or anything

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to work with it was just working up of

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each other and then for the second

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volume we try to

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change some some rules or some

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parameters of this little game in just

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to try to do something different and to

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go deeper somehow so we decided to make

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it instead of one minute is between one

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and two minutes and the person can send

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between 10 and 20 seconds to the next

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one in the line and that is each artist

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choice and that makes that first subtle

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difference but it makes a very huge

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impact in the end I think because you

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never as an audience when you watch it

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you never know when it’s ending one

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piece a starting the next one is the

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transitions are more subtle and you

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never know and I think it drags you

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better the flow of the whole thing and

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that’s also something that I’m talking

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because of the talk we had after after

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the screening and so this is also from

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the feedback that I had with people here

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another city because they saw the two

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volumes so it’s perfect to have this

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kind of feedback to talk with the lodges

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that has seen both and and can tell me

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what they feel so I really I think

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that’s really important to listen to the

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audience and their responses so but that

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was the objective the goal of the second

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volume and also I each line of artists

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has to do with one thing that I choose

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beforehand I kind of proposed twelve

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theme to have themes for everybody and

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they would like they the artist could

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choose which theme they wanted to work

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with and then so also it I thought it

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was more challenging one more challenge

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you have to receive the 10 sec

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and have a response to that but also

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respond to a theme and how how which

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artist chooses to do that is really

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interesting to me the project right now

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as it is it has like 60 members and from

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25 countries so what happens is that

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they many of the art is not only make

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their pieces but they also helped a lot

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in the in defining more venues and

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disseminating the work they’re really

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interested in even though this is whole

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process takes place on the net through

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the net we we are very much interested

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in showing that these pieces in real

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encounters with the with the ages

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because it’s all about encounters really

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so it’s each time we show it we try and

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try to get as many participants of the

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project together as we can so for

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example last november nineteenth in we

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had an exhibition I screening Berlin and

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I couldn’t be there was here but I know

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that at least six of the project members

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were there and not only the German ones

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like two Germans but the rest were

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people from other places in Europe and

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also a Chinese woman so we try to pick a

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date to have the most amount of people

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that work Lee project and get together

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sometimes for the first time so it’s

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always a meeting of the minds they are

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something’s really it’s really becoming

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more or common this is happening a lot

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like we’ve been showing a lot in many

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many countries and many cities but also

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we’ve been meeting a lot and that that

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is i think is becoming the strength of

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the project really is this meetings and

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exchanging ideas and other projects

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being born because of this one sometimes

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i’m invoking them sometimes I’m not so

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and but I just I feel just the same that

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I’m kind of fomenting some new projects

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that even if I’m not participating and

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that really makes me happy that to see

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that people like I don’t know artists

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from Sweden that didn’t know each other

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they are like organizing exhibitions of

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one another after they met through the

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project for example so this kind of

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thing I think is really interesting to

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see well I’ve been making and I come my

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mind my background is in film my so I

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study film and not visual artists many

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other video artist says I’ve done and I

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think so film has been a major influence

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for me and I’ve been working a video

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since experimenting with video really

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since 2003 and I think my work has a lot

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to do with connecting with the other and

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booty like creating situations that

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people either usually me and the other

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person who I’m shooting with usually

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either an actor and dancer or a

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participant try try to make a situation

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that gets out of my control but I have

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some rules or some parameters but they

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and it gets out of my control and it

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makes me and the other person get out of

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our comfort or comfort zone so I think

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that really interests maybe to see what

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happens with people when they really

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start connecting with each other in this

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strange alien situations and in some

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sense I think all my videos do that they

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have this somehow and their and their

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strategy but I work in many different

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ways some of my work some are my videos

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are very elaborate with a lot production

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value even and like lighting and

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director photography and an act or or

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you know like I have a crew and

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sometimes it’s very straightforward and

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very simple like have a video that I

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just shot images from from the window

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inside a bus in a highway and that’s the

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video is just that and it was shot with

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a very low low quality camera and

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sometimes I should be very high-end

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cameras so I think it’s that all that is

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changeable but I think at the core of my

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work is really just trying to

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communicate with the other in a deeper

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way somehow especially because i was i

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think i was very i always leaked too

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much in my head inside my head all my

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life and it’s hard for me to get outside

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of my head and communicate so i think

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video head is my way of being this world

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really being like right now in this

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moment and that’s the i think really

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it’s it’s um it’s an inside that I got

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not long ago some of it

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then it’s very personal but I think

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that’s what makes that it’s all in my of

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my pieces and we we do have I think much

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more than in other countries in Latin

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America maybe we do have some support

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for art so we do have some grants some

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awards and some so we can’t complain too

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much but we are a very large country

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like 160 million people and my CD alone

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has 21 million people so it’s not enough

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I don’t think it is enough I think that

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for people who work with video it’s a

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bit tricky because we are in kind of a

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limbo between cinema and visual arts I

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am I know I am and and people don’t

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really know how to handle bus sometimes

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like galleries don’t know how to handle

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videos for example i know that in in the

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states for example some time in europe

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or even here they know more how to

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handle video commercially and that that

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is not true in brazil but that that is

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not something special i think it’s most

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countries have this difficulty and yeah

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that’s it for example right now I just

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ask for grant I got into this really

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cool residency in Austria and I asked

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programmed to to cover my flight that’s

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the only thing that the device this

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business over so I I asked for a grant

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in Brazil and is clearly art residency

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and my work is clearly not cinema and I

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got rejected because they said I was not

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it was not possible for them to cover

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audio-visual projects it was only visual

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art projects and so I was like trying to

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argument with them but it’s it’s it’s

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it’s it’s taking too long so it’s

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already almost there so I don’t have

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time anyway to prove my point and and

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have the grant so I was very upset about

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by then how come is not possible that it

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they didn’t see in all the papers that i

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sent them that this is okay i’m going to

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work with video but this is a visual

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arts project that end result is an

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installation inside a gallery and the

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thing is that art residency so how come

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they didn’t realize that so sometimes it

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really makes me angry that we do have a

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lot of support instantly some parts but

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still in others we get stuck in this

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kind of narrow mindless yes and actually

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the opening night of the festival i

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presented a program correo program that

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didn’t include any of my works i just

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decided that meeting all these

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interesting artists at the exquisite

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corpse i really wanted to also help

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promoting their own personal solidworks

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and also you know Sean little bee sees

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people here I see the exquisite corpse

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for the second time I wanted also to

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introduce who are these artists behind

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the squizzle corpse and so I had to

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choose a

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them not all of them but I chose like 20

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more or less and I decided to approach

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that with the theme of self and other

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representations is the title of the

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program so it’s just chose works that

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had this in common is they are either

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portrayed self-portraits or kind of

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Diaries of the visual Diaries and I was

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just trying to find a common thread

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between all these artists from countries

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like I don’t know like Sweden UK and was

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China and Slovenia and Brazil and

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Colombia so what they could have in

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common in this regard and the different

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approaches and also I try to mix the

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several strategies that I see in the

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words of these artists so some of them

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they come from more performative art

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some come from animation and others from

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something more documental documentary so

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that that I think is interesting to see

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different approaches to the same general

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idea so yeah so that was the program

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that I selected for for to show here

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you

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