by Anna Costa Silva
Brazilian Contemporary Movement Space (EMCB) presents “Assíntotas” (Asymptotes), solo show by artist Anna Costa e Silva, curated by Bernardo Mosqueira and produced by Cristina Burlamaqui.
Asymptotes is a 3 channel video installation that explores the abyss between two existences that are forever approaching but never touching. The films document an experiment with two actors interpreting young artists who are locked in their own rooms and develop a relationship communicating only through video projections. On a live process, in which the script was being constructed based on the experience, Asymptotes discusses the struggle for a connection between the characters as well as the layers that exist between interpretation and truth. The result is a collage of letters, projections, solitude moments, doubts, fantasies and conversations between director and actor.
Asymptotes consists of 3 synched 45min films with 6 channels of sound, projected on an “U” shape. On one side is His universe; on the opposite side, Hers – and they “look” at each other. The middle screen is the projection of one space into the other - simultaneously intersection and divider. The viewer is the fourth wall. A cinema screen is expanded as an audiovisual experience in which the viewer is immersed by the tension that is going on.
About the artist:
Anna Costa e Silva (Rio de Janeiro, 1988)’s work happens in the intersections between film, performance, visual arts and relational practices. Owner of an MFA in Fine Arts by SVA, NY, received the awards FOCO Bradesco ArtRio, 2014 and Funarte Visual Arts Grant 2015. Did the solo shows Asymptotes (Caixa Cultural, BR), Self Portrait (Muv, BR) and Eter (Phosphorus, BR) and participated in group shows at venues like Oi Futuro, Centro Cultural Justiça Federal, Casa Triângulo and Parque Lage (BR), Interstate Projects and Grace Exhibition Space (NY). Participated in film festivals around the globe, in countries such as France, United States, Australia and Portugal. Anna was an artist in residency at the School of Making Thinking, NY, Salzburg Academy of Fine Arts, Austria and Phosphorus, SP.
September 22nd – October 10th, 2016
Espaço Movimento Contemporâneo Brasileiro (EMCB) – Rua Fernando Magalhães 273 - Horto
Notes about Asymptotes
by Katia Maciel
To think of Asymptotes is to go beyond the Mathematics of the love form. The mathematical combination between two. How many can fit in each of two people? One, none, one hundred thousand, remembering Pirandello,in between multiplication and insanity? After all, each one of us is one, no one, one hundred thousand. And if we place ourselves in relationship to another, the equation is infinity. Between knots and labyrinths, Anna entangles, distorts and scratches us with that which cannot be a web or weft, but lines that are tangent to love and death. History and the void, projection and reality, work and success, life and suicide. The fragments of a relationship in the mathematics of paradoxes. In the affliction of variations, the impossibility to solve the question: who is it that you want me to be?
The editing and its sequences and repetitions marks the disjunction of the subjects. The couple, talk and non-talk with the director, who aligns and dishevels her characters. In her “Playing”, to mention our Eduardo Coutinho, Anna presents an invention game that starts on one, two, three screens. From the bedrooms to the spectacle room, a continuing dream and nightmare, and the solitude of a life without answers. Fear, pleasure and pain in days of sleep, low blood pressure, and tomatoes.
“Love me forever or never” by filmmaker Arnaldo Jabor, “The invention of Morel” by Bioy Casares, “A cup of cholera” by Raduam Nassar and “A Lover’s discourse: Fragments” by Barthes are pieces that establish dialogue with Anna’s writing in the way that she mixes thoughts about love to a form of expanded cinema; a transcinema that conjugates the logic of theatre, the architecture of installation and the use of text as a poetic discourse that insists on the darkness of the room, the film, and the projection space.