“Colcha de retalhos” (Patchwork quilt) is embroidered; fabric remains woven by one or more people, while the memory talks.
Cinema has always been about montage, scissors, cut and paste trying to implicate the memory of the spectator in narrative lines. “Memory is an editing station” (Wally Salomão).
As the cinema of attraction, Marcio Botner & Pedro Agilson always fixed the fragment of a movie expanding the effect of movement in photography between intermittent plans.
In the installation (abrigo) (shelter) the artists celebrate cinema as hospitality. Shelter, as in Gimme Shelter from Rolling Stones, hosts the fears, the fantasies and the conflicts of the visitor. And we, increasingly assembled as Frankensteins, stay suspended in the wings of our desires.
The eye of the artist works as a knot in a net of relations in a decentralized plan in which the meanings of the images multiply themselves involving the spectator in the various surfaces of extended images.
01 love and sex
04 fears and phantasms
05 to be or not to be
06 dreams and fantasies
07 to live
The eye always in the center as a mark of the one who sees and is seen and who, above all, watches all the movies of the past and the future, while we are in the shelter of the suspended duration that welcome us. As in a patchwork quilt of memories of cinema projected in the dark of rooms lightened by a ray of light that insists in showing one image at time.