The film is structured in sequences of frames found in a heterogeneous group of about 70 films, in which, at certain times, the actors remain hidden by the camera. In these moments, or those instants just before the actors enter the set, we are faced only with the scenarios. These scenarios thus suggest moments of pause, still lifes at mounting intervals. Divided into six “chapters”, or “movements”, each posing a different question (in fact, written as affirmations, but converted into questions), they function as rooms of thought, like worlds within worlds encased in the complex human condition (too human!). The sentences deliberately suspend the meaning and relate, in very diverse and associative ways, with different contents present in the frames immersed in light and objects (rooms with chairs, tables, lamps, televisions, clothes, books, etc., or spaces where attention falls on doors, stairs, or corridors). Without the presence of the human figure, the highest visual and sound manifestation in narrative cinema, the objects and environments of the décors offer a wide range of possibilities between text (questions) and image (planes), such as an open book.

biografia

His artistic practice covers different areas: installation, drawing, photography, video and sound art. The processes of memory in an archaeological and critical reading of the modes of representation of reality; the action of time in trans-narrative contexts; the phenomenological and anthropological deconstruction of objects and places; the relations between image and text; and the conceptualdiagrammatic praxis, are some of the themes and methodologies of work adopted in the development of their projects. He is a professor at the Faculty of Arts and Humanities of the University of Madeira. www.v-magal.co

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