(…) the video, showing negatives, reinforces the idea of the loss of referentiality of the images. But we must notice that this video has sound, and that sound evokes a projection machine (underlining the technical and mechanical aspects), and it is interrupted by a brief speech that sounds radiophonic or coming from the old television speakers, where a sentence is pronounced in a poetical tone.Read More
In this sentence arises the expression that gives the title: white horizons. What makes this audio recording the soundtrack of this projection? They bring the visioning and listening machines to the foreground, integrating the technical devices as fundamental elements (…)
(…) The narrative – the history of a life or the history of a community – is the (re)construction and constant (re)organization of the memories by which memory is established. The continuous construction and updating of a narrative implies an imaginative participation, a fictional participation that is revealed in the processing of the of events succession that is, as previously mentioned, filtered by oblivion (and lack of knowledge), in the dependence that memory has on information, communication or a dialogue that, moreover, not the subject with himself.Read More
It is thus perceived that the choice of what one chooses to remember defines the tone of the truth of each one, the tone of all truth about the man presented. It is this agency of temporality and remembrance that is proposed to us in Horizontes Brancos; the artist presents us with a new selection and succession of images in negatives – evidences of the unwinding and life of a lineage – invited to the thought and the dialogue, the testimony and the particiption in a new history that transcends the memory.