{"id":9144,"date":"2022-08-25T09:40:34","date_gmt":"2022-08-25T12:40:34","guid":{"rendered":"https:\/\/wp.ufpel.edu.br\/ppgartes\/?p=9144"},"modified":"2022-08-25T09:40:34","modified_gmt":"2022-08-25T12:40:34","slug":"videodancas-selecionadas-fivrs-2022","status":"publish","type":"post","link":"https:\/\/wp.ufpel.edu.br\/ppgartes\/2022\/08\/25\/videodancas-selecionadas-fivrs-2022\/","title":{"rendered":"Videodan\u00e7as selecionadas FIVRS 2022"},"content":{"rendered":"

Em sua terceira edi\u00e7\u00e3o, o Festival Internacional de Videodan\u00e7a – FIVRS 2022, homologou 142 inscri\u00e7\u00f5es, oriundas de 27 pa\u00edses: Alemanha, Arg\u00e9lia, Argentina, \u00c1ustria, Bol\u00edvia, Brasil, Canad\u00e1, Chile, Col\u00f4mbia, Equador, Espanha, Estados Unidos, Finl\u00e2ndia, Fran\u00e7a, Gr\u00e9cia, Holanda, Israel, It\u00e1lia, Mal\u00e1sia, M\u00e9xico, Pol\u00f4nia, Portugal, R\u00fassia, Tanz\u00e2nia, Uruguai e Venezuela – e de 16 estados do Brasil: Alagoas, Amazonas, Bahia, Bras\u00edlia, Cear\u00e1, Esp\u00edrito Santo, Goi\u00e1s, Minas Gerais, Par\u00e1, Paran\u00e1, Pernambuco, Rio de Janeiro, Rio Grande do Norte, Rio Grande do Sul, Santa Catarina e S\u00e3o Paulo. As videodan\u00e7as homologadas foram apreciadas pela comiss\u00e3o avaliadora convidada, formada por: Alexandra Dias (Brasil), Ana Sede\u00f1o Valdell\u00f3s (Espanha), Daniel Aires (Brasil), Denis Angola (Brasil\/Finl\u00e2ndia) e Natacha Muriel L\u00f3pez Gallucci (Argentina\/Brasil), que realizou as indica\u00e7\u00f5es que resultaram na sele\u00e7\u00e3o das 47 produ\u00e7\u00f5es que apresentamos a seguir:<\/p>\n

4’33” Of Sentence (2022, 04’33), de Silvia Marcantoni Taddei e Massimo Sannelli – G\u00eanova, It\u00e1lia<\/p>\n

A Portrait (2022, 7’12), de Vilma Tihil\u00e4 e Kauri Sorvari –\u00a0 Helsinque, Finl\u00e2ndia<\/p>\n

A que passo voc\u00ea est\u00e1 de perder o controle? (2020, 2′). de Pedro Carcereri e R\u00f4mulo Vlad – Juiz de Fora, Brasil<\/p>\n

Acerca de una desolaci\u00f3n (2021, 10′), de Mart\u00edn Alonso A. Reyes Catalina Balc\u00e1zar – Punta Arenas, Chile<\/p>\n

Anamnese (2021, 7′), de Sarah Gouveia de Assun\u00e7\u00e3o e Nathaly Benicio Lima dos Santos – S\u00e3o Paulo, SP, Brasil<\/p>\n

Anhelo – Flores a Oxum (2021, 3’28), de Dinah Schonhaut, Dolphin X-Ray, Guido Piotrkowski e Eva Soibelzohn – Buenos Aires, Argentina<\/p>\n

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Ballet Pand\u00e9mico Establet (2020, 10′), de Silvina Helena Grinberg, Diego Marcelo G\u00f3mez, Liza Karen Taylor e Mart\u00edn Berra – Buenos Aires, Argentina<\/p>\n

Caixa de areia (2020, 3’07), de Diogo Angeli Theotonio – Campinas, SP, Brasil<\/p>\n

Confinamento (2021, 7’18), de Fernando Vidal – Arauc\u00e1ria, Paran\u00e1, Brasil<\/p>\n

Cro\u0301nicas de cuatro cuerpos en un espacio sin contexto (2021, 8’38), de Fausto Jij\u00f3n Quelal – Ciudade do M\u00e9xico, M\u00e9xico<\/p>\n

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Cura ancestral\u00a0 (2022, 5’53), de Monica Seffair, Wilton Oliveira (imagens), Keandro Santos (edi\u00e7\u00e3o de imagens) – Parintins, Amazonas, Brasil<\/p>\n

De cuerpos y heridas (2021, 7’30), de Sandra Camila Torres Ferrer e Sofia Estupi\u00f1\u00e1n – Bogot\u00e1, Colombia<\/p>\n

Desmoronamento da Vontade pela Vontade (2020, 2’29), de Carolina Cony Dariano da Rosa e Ricardo Dias Gomes (m\u00fasica) – Rio de Janeiro, Brasil<\/p>\n

Desyerbe (2020, 1’37), de Miguel \u00c1ngel Gonz\u00e1lez – Col\u00f4mbia, Bogot\u00e1<\/p>\n

Duo de Sune (2022, 5’14), de S\u00e2mya de Lima, Matheus Carneiro e David Le\u00e3o – Fortaleza, Cear\u00e1, Brasil<\/p>\n

Er\u00eakau\u00e3 (2021, 1′), de Paulo Accioly Lins de Barros\u00a0 – Macei\u00f3, Brasil<\/p>\n

Esistenza x Gioia (2022, 8’44), de Andrea Hackl – \u00c1ustria \/ Amsterdam<\/p>\n

ExiT (2021, 5’45), de Simone Cita Kieltyka e Peter Heinrichs – Col\u00f4nia, Alemanha<\/p>\n

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Falar demais, chiclete azeda (2022, 3’20), de Luiz Guilherme Guerreiro, Cacau Gondomar, Casul, Cayo Almeida, Diogo Nascimento, Giselda Fernandes, Hilton Berredo, Ique Moraes, Luciana Barros, Luiz Guilherme Guerreiro, Maicon Lima, Mana Lobato, Marl\u00facia Ferreira, Raquel Oliveira, Samy, Tais Almeida e Wagner Cria – Rio de Janeiro, RJ, Brasil<\/p>\n

Fresta Po\u00e9tica:Tempo (2022, 7’25) Dan\u00e7a sem Fronteiras, Fernanda Amaral (dire\u00e7\u00e3o), Fernanda Amaral e Felipe Oliveira (concep\u00e7\u00e3o), Ana Mesquita, Fernanda Amaral, Lucin\u00e9ia Felipe, Gabriel Domingues, Icaro Rodrigues Grave, Carmen Estevez (performance), Cintia Domingues (artista convidada), S\u00e9rgio Zurawski (M\u00fasica) – S\u00e3o Paulo, SP, Brasil<\/p>\n

Grapi\u00fana (2021, 7′), de Giltanei Amorim (concep\u00e7\u00e3o e Argumento), Aldren Lincoln e Giltanei Amorim (roteiro), Aldren Lincoln, Gilmar Silva, Giltanei Amorim, Verusya Correia (elenco), Victor Quixabeira e Souza (dire\u00e7\u00e3o de fotografia e montagem), T\u00e1ken Roveran (Imagens a\u00e9reas), Wilson Oliveira (fotografia still), Chico Neves (trilha sonora) – Pojuca, Bahia, Brasil<\/p>\n

heart beats (2021, 4’07), de Anabella Lenzu – Argentina \/ New York, USA<\/p>\n

Heart of Glass (2021, 5’08), de Clara Vieira Silveira,Bol\u00edvar Alencastro e Ricardo Tetzner – Florian\u00f3polis, Santa Catarina, Brasil<\/p>\n

Innesti (Grafts) (2021, 8′), de Filomena Rusciano – Sant’Agata De’ Goti \/ It\u00e1lia<\/p>\n

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L\u00edmites (2020, 5’28), de Paula Quintas Santos e Margherita Morell – Santiago de Compostela, Espanha<\/p>\n

Lim\u00edtrofe (2021, 2’54), de Luiz Andr\u00e9 Cancian e Let\u00edcia Guimar\u00e3es – Garibaldi, RS, Brasil<\/p>\n

Monster (2021, 1′), de Mwinyimkuu Abdallah Mwinyimkuu –\u00a0 Zanzibar, Tanz\u00e2nia<\/p>\n

Murmullos (2020, 2’45), de Diego Mart\u00ednez, Guadalupe Gonz\u00e1lez e Jer\u00f3nimo Barriga – Cidade do M\u00e9xico, M\u00e9xico<\/p>\n

Na \u00e1rvore preta da minha deusa (2022, 4′), de Cristina Barreto de Menezes Lopes, Mateus Huber e Mariel Azoubel – Campinas, SP, Brasil<\/p>\n

Niebo\u015bcian. Freedom lives in a head (2022, 4’59), de Jagoda Turlik – Vars\u00f3via, Pol\u00f4nia<\/p>\n

noisy actions (2022, 10′), de Osvaldo Cibils – Uruguai \/ Barcelona, Espa\u00f1a<\/p>\n

NowHere (2022, 5’13), de SueKi Yee\u00a0 – Mal\u00e1sia \/ Kiel, Alemanha<\/p>\n

One Two Three (2020, 10′), de Victoria Donnet – Miscon, Fran\u00e7a<\/p>\n

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Rassvet (2022, 4’33), de Jader Monteiro e Ester Magalh\u00e3es – S\u00e3o Paulo, SP, Brasil<\/p>\n

Reflexo (2022, 3’08), de Davidson Jos\u00e9 Martins Xavier, Bernardo Morais e Caju Mateus brasileira – Aparecida de Goi\u00e2nia, Goi\u00e1s, Brasil<\/p>\n

Renascente (2022, 8′), de Andr\u00e9 Rosa, Ana Cl\u00e1udia Viana (performance), Meyriane Costa (voz em off), Gustavo Wanderley (roteiro e dire\u00e7\u00e3o) – Natal, RN, Brasil<\/p>\n

Retalhos: quando a cidade nos atravessa (2022, 8’52), de Maryah Monteiro, Diego de Almeida, Douglas Froemming, Maryah Monteiro – S\u00e3o Paulo, SP, Brasil<\/p>\n

Ru\u00edna do Futuro (2022, 4’50), de Ramon Zagoto, Dorottya Czak\u00f3, B\u00e1rbara Veronez, Gabriela Moriondo e Marcos Neves – Vit\u00f3ria – Esp\u00edrito Santo, Brasil<\/p>\n

Sa\u00edda 124 F (2020, 9’03) de Bruno Alexandre, Teixeira Alarcon, Bruno Alarcon, Clarissa Monteiro, Diego Pires, Hector Souza, Jaqueline Silva, Let\u00edcia Teixeira, Luiz Fernando Pican\u00e7o, Mariane Ara\u00fajo, Mar\u00edlia Gabriela Sales, Matheus Leit\u00e3o, Maycon Douglas, N\u00e1lia Costa e Thiago Aguiar – Duque de Caxias, Rio de Janeiro, Brasil<\/p>\n

Seliberation #2 (2021, 5’53), de Estela lapponi – S\u00e3o Paulo, SP, Brasil
\nSonho de valsa (2022, 4\u201930), Joana Ribeiro e Paulo Motta (dire\u00e7\u00e3o e roteiro), Joana Ribeiro (performance), Paulo Motta (montagem), Joana Ribeiro (fotografia), Maria Helena Del Pozzo (piano) – Minas Gerais, Rio de Janeiro e S\u00e3o Paulo, Brasil<\/p>\n

Sylphides 3.1 (2022, 4′), de Diego Mac – Porto Alegre, RS, Brasil<\/p>\n

Tactile: the part of the body (2021, 6’30), de Gabriel Led\u00f3n Flores – Tijuana, Baja California, M\u00e9xico<\/p>\n

Toda for\u00e7a que habita (2021, 5’11), de Marcelo Cabrera, Tati Missel, Airton Tomazzoni – Imb\u00e9, Brasil<\/p>\n

Vers la flamme (2021, 6′), de Blas PAYRI – Val\u00eancia, Espanha<\/p>\n

View behind the curtain (2021-2022, 6’06), de Johannes Christopher Gerard e Jana Schm\u00fcck – Holanda \/ Alemanha<\/p>\n

Within (2021, 8’04), de Anna Bajjou – Pol\u00f4nia<\/p>\n

ORGANIZA\u00c7\u00c3O
\nDiretoras
\nCarmen Anita Hoffmann \u2013 UFPel
\nRos\u00e2ngela Fachel \u2013 UFPel<\/p>\n

Comiss\u00e3o organizadora
\nCarmen Anita Hoffmann \u2013 UFPel
\nRos\u00e2ngela Fachel \u2013 UFPel
\nCarlise Scalamato \u2013 UFSM
\nRebeca Recuero \u2013 UFPel
\nLuana Arrieche Echevengua \u2013 UFPel
\nHamilton Bittencourt \u2013\u00a0 UFPel
\nMarcos J\u00falio Fuhr \u2013 Funda\u00e7\u00e3o ECARTA
\nAndr\u00e9 Venzon \u2013 Funda\u00e7\u00e3o ECARTA
\nVal\u00e9ria Och\u00f4a \u2013 Funda\u00e7\u00e3o ECARTA
\nStela Pastore \u2013 Funda\u00e7\u00e3o ECARTA
\nElisabete Crucillo \u2013 Funda\u00e7\u00e3o ECARTA<\/p>\n","protected":false},"excerpt":{"rendered":"

Em sua terceira edi\u00e7\u00e3o, o Festival Internacional de Videodan\u00e7a – FIVRS 2022, homologou 142 inscri\u00e7\u00f5es, oriundas de 27 pa\u00edses: Alemanha, Arg\u00e9lia, Argentina, \u00c1ustria, Bol\u00edvia, Brasil, Canad\u00e1, Chile, Col\u00f4mbia, Equador, Espanha, Estados Unidos, Finl\u00e2ndia, Fran\u00e7a, Gr\u00e9cia, Holanda, Israel, It\u00e1lia, Mal\u00e1sia, M\u00e9xico, Pol\u00f4nia, Portugal, R\u00fassia, Tanz\u00e2nia, Uruguai e Venezuela – e de 16 estados do Brasil: Alagoas, […]<\/p>\n","protected":false},"author":1258,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-9144","post","type-post","status-publish","format-standard","hentry","category-noticias"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/posts\/9144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/users\/1258"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/comments?post=9144"}],"version-history":[{"count":1,"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/posts\/9144\/revisions"}],"predecessor-version":[{"id":9146,"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/posts\/9144\/revisions\/9146"}],"wp:attachment":[{"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/media?parent=9144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/categories?post=9144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.ufpel.edu.br\/ppgartes\/wp-json\/wp\/v2\/tags?post=9144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}