© Gian Spina, Jordão, 2019. Detail.GIAN SPINA
IMAGES FROM
THE SAME FOREST
EN Departing from the idea of how we make, preserve and construct a past through the usage of images, this series of films will put in dialogue an attack on a colonial monument, the multiple usages of a river and an excavation of silenced past in colonial Rio de Janeiro. The different ways of recording and constructing the past in times of complete shift of status-quo; transitional images that demonstrate shifts from bodies and perspectives which were not necessarily the west-wished ones.
The camera shoots without cutting, a photograph with interlaced lines of definition, we know it’s a video, perhaps that’s what catches the attention, the subversion on the usage of a music made for converting a certain population, the erasure of names and neighborhoods for the erection of an hegemonic project.
All these trying to bring us the question of how can contemporary images help us reshape the past? _Gian Spina
The camera shoots without cutting, a photograph with interlaced lines of definition, we know it’s a video, perhaps that’s what catches the attention, the subversion on the usage of a music made for converting a certain population, the erasure of names and neighborhoods for the erection of an hegemonic project.
All these trying to bring us the question of how can contemporary images help us reshape the past? _Gian Spina
FR Partant des idées admises sur la construction et la préservation du passé à l’aide d’images faites aujourd’hui, cette série de films tente de mettre en dialogue la destruction d'un monument colonial, le multiples symboles d’un fleuve et l’excavation d’un passé tu dans le Rio de Janeiro colonial. Conscient de la diversité des modes de construction du passé à l’ère d’un changement de statu quo, à l’ère où les images en transition incarnent l’avènement de points de vues non souhaités ou envisagés par l'Occident, la caméra filme sans coupe.
C’est une photographie à la matrice entrelacée. On se doute bien qu’il s’agit d’une image en mouvement. C'est peut-être cela qui attire l'attention, cet usage subsersif du chant originellement destiné à convertir les masses, l’effacement des noms et la destruction des habitats au profit de projets hégémoniques.
Comment l’imagerie contemporaine peut-elle contribuer à la reconstruction du passé? _Gian Spina
C’est une photographie à la matrice entrelacée. On se doute bien qu’il s’agit d’une image en mouvement. C'est peut-être cela qui attire l'attention, cet usage subsersif du chant originellement destiné à convertir les masses, l’effacement des noms et la destruction des habitats au profit de projets hégémoniques.
Comment l’imagerie contemporaine peut-elle contribuer à la reconstruction du passé? _Gian Spina
Calabouço e os arrasamentos quando morro. [POR] 19 min 16. 2020. By Diego Crux & Gian Spina
On view 20.— 31.01.2021
The story of history which points to another history. 01 min 23. 2013. By Gian Spina.
On view 20.—31.01.2021
O dia em que a raiva acordou primeiro / The day when my rage woke up before me. 01 min 16. 2013.On view 20.— 31.01.2021
CONVERSATION
Images from the same forest | A Conversation with Gian Spina
28.01.2021
28.01.2021
READER
Taybe Salih, Seasons of Migration to the North, 1966.
Thulile Gamadze, Destruction Styles - Black Æsthetics of Rupture and capture, in RADICAL PHILOSOPHY 2.08 / Autumn 2020, pp 55—65
Michel Rolph, Trouillot, Silencing the Past. Power and the Production of History, 1995.
Joseph Massad, Colonial Effects, 2001.
Poems from Samih Al-Qasim
Judy Barsalou, Post-Mubarak Egypt: History, Collective Memory and Memorialization, in Middle East Policy, 19: 134-147.
Achille Mbembe, “Decolonizing Knowledge and the Question of the Archive”. Lecture given at the Wits Institute for Social and Economic Research (WISER), University of the Witwatersrand (Johannesburg), 2015.
Gian Spina, “Políticas de silenciamento e a necromemória” (Policies of Silence and Necromemory) [POR], Brazil247.
Taybe Salih, Seasons of Migration to the North, 1966.
Thulile Gamadze, Destruction Styles - Black Æsthetics of Rupture and capture, in RADICAL PHILOSOPHY 2.08 / Autumn 2020, pp 55—65
Michel Rolph, Trouillot, Silencing the Past. Power and the Production of History, 1995.
Joseph Massad, Colonial Effects, 2001.
Poems from Samih Al-Qasim
Judy Barsalou, Post-Mubarak Egypt: History, Collective Memory and Memorialization, in Middle East Policy, 19: 134-147.
Achille Mbembe, “Decolonizing Knowledge and the Question of the Archive”. Lecture given at the Wits Institute for Social and Economic Research (WISER), University of the Witwatersrand (Johannesburg), 2015.
Gian Spina, “Políticas de silenciamento e a necromemória” (Policies of Silence and Necromemory) [POR], Brazil247.
BIO
EN Born in São Paulo, Brazil, Gian is a writer, researcher and artist. He has taught in places as International Art Academy Palestine, Escola da Cidade (São Paulo) ,the Ionion Center for Arts and Culture (Greece) as well as CILAS (Cairo). Today he learns Arabic, speaks five other languages and is constructing an interdisciplinary body of work on the materialization of power in history, narrative and the public sphere. Gian was part of the residency programs between Capacete and Documenta 14 in Athens (2017), at the MMAG Foundation in Amman (2018), as well as GEGENWARTE/PRESENCES in Chemnitz, Germany (2020). He has written articles for Mada Masr, Arts Everywhere, World Policy Institute, Brasil 247 and several other independent publications.
Gian lives now Cairo, and teaches at CILAS (Cairo Institute of Liberal Arts and Science)
His work can be seen at http://gianspina.com
Gian lives now Cairo, and teaches at CILAS (Cairo Institute of Liberal Arts and Science)
His work can be seen at http://gianspina.com
FR Né à São Paulo, au Brésil, Gian Spina est écrivain, chercheur et artiste. Il a enseigné à l'Académie internationale des arts de Palestine, à l'Escola da Cidade (São Paulo), et au Centre Ionion pour les arts et la culture (Grèce). Aujourd'hui Gian apprent l’arabe, et parle aussi cinq autres langues. Son travail interdisciplinaire porte sur la matérialisation du pouvoir dans l'histoire, la narration et la sphère publique. Gian a participé aux programmes de résidence entre Capacete et Documenta 14 à Athènes (2017), à la Fondation MMAG à Amman (2018), ainsi qu'à GEGENWARTE/PRESENCES à Chemnitz, en Allemagne (2020). Il a écrit des articles pour Mada Masr, Arts Everywhere, World Policy Institute, Brasil 247 et plusieurs autres publications indépendantes. Gian vit actuellement au Caire, et enseigne à CILAS (Cairo Institute of Liberal Arts and Science). Ses travaux peuvent être consultés à l'adresse suivante: http://gianspina.com