2024, GES-2 House of Culture
Curators: Solange Oliveira Farkas, Alessandra Bergamaschi
Assistant curator: Rudá Babau
Co-curators: Dmitry Belkin, Andrei Vasilenko
Artists: Marina Abs, Victor Alimpiev, Ar Detroy, Dmitry Bulnygin, Calderón & Piñeros (La Decanatura), Guillermo Casanova, Vitória Cribb, Victor Davydov, Bakary Diallo, Otávio Donasci, Eletroagentes, Ludmila Gorlova, Cao Guimarães, Diana Kapizova , Sandra Kogut, Elena Kovylina, Marcellvs L., Wagner Morales, Alfredo Nagib, Paulo Nazareth, Rivane Neuenschwander, Timur Novikov, Armando Queiroz, Gia Rigvava, Luiz Roque, Eder Santos, Sergei Shutov, Walter Silveira, Natalia Skobeeva, TVDO, Pedro Vieira, Ezra Wube
Architecture: Sasha Kim, Ira Ten
Light: Ksenia Kosaya
Producers: Varvara Arkhipova, Sasha Chistova, Ksenia Makshantseva
Technical production: Andrei Belov, Artem Kanifatov, Artem Marenkov, Konstantin Petruk
Photographer: Daniel Annenkov
Сommissioned and produced by GES-2 House of Culture

The international partnership project between the Brazilian cultural association Videobrasil and the House of Culture ‘GES-2’ explores the development of video art in Latin America and, more broadly, across the geopolitical South from 1983 to the present. The Videobrasil exhibition brings together works by artists from Brazil, Argentina, Colombia, Ethiopia, Indonesia, and other regions of the Global South, alongside Russian artists engaging in dialogue with the exhibition’s key themes.

The architectural concept of the exhibition is structured around the curatorial division of video art’s evolution into four decades. Each era is represented through a distinct scenographic approach, reflecting the artistic, technological, and socio-cultural trends of its time. At the heart of the exhibition is a central installation by Edar Santos, seamlessly integrated into the spatial composition.

The graphic design seamlessly complements the content of the exhibition. Archival Videobrasil festival posters, photographs, texts, and artefacts are displayed across the walls, serving both as informational elements and as part of the exhibition’s spatial dialogue. Their arrangement interacts dynamically with the three-dimensional exhibition structures, creating a layered and immersive environment.

As video is the primary medium, technical considerations play a crucial role in shaping the exhibition’s artistic statement. Display devices emphasize the historical context of each era: from vintage CRT monitors and early television sets to contemporary high-definition screens seamlessly integrated into the exhibition modules. In this way, the means of presentation become an inherent part of the architectural narrative.

Despite the diversity of scenographic approaches, the exhibition maintains a cohesive stylistic language. A consistent material palette and structural integrity unify the space, ensuring both artistic and conceptual coherence while highlighting the evolution of video art over the past four decades.