kika nicolela // portfolio 2012

K I K A N I C O L E L A

portfolio

ARTIST STATEMENT 01

WORKSThe Film That Is Not There 02Media Memory Collection 04

Actus 05Tidelands 07

Mutating Landscapes 09Time-Lapse 10

What Do You Think Of Me? 11Flickering 12

Desesmetak 2 13Windmaker 14Passenger 16

Ecstasy Poem 17Face to Face 18Wheel of Fire 20

Woman Cries Out! 22Tropic of Capricorn 24

Fantômes 26Crossing 27

CRITIC ESSAYSAugmented Reality Paula Azulgaray 05

This Is Uncomfortable Arpi Kovacs and Gabrielle Moser 11Timor Mortis Conturbat Me Juliana Monachesi 14

Face to Face Carla Zaccagnini 18Contested Identities on Contemporary Brazilian Cinema Tatiana Heise 22

Digital Spectrum of the Body Caroline Rodrigues 24

CV 28

ARTIST STATEMENT

I am interested in the encounter with the other, mediated by the camera – mostly, the video camera. My works often involve participative methods, engaging communities in the creative process, as well as collaboration with other artists such as visual artists, dancers, musicians, writers, actors and performers. I construct situations that only exist in the moment that I add a camera to the equation; the camera itself and the situation I create provoke relationships and behaviors that would not happen in “ordinary” life. It’s important that I have only limited control over these situations: I propose a premise, but the development and outcome is spontaneous and depends of the participation and choices of others and myself.

Many of my works deal with a specific group, such as women, immigrants, transvestites, actors, inhabitants from a given place etc. These groups are frequently labeled according to the roles that society or common sense applies to them. I am intrigued by the roles we all play in the contemporary society, so through my artworks I aim to setup situations that take the participants out of their comfort zones, thus making

these roles apparent and at the same time proposing a shift on them. I believe that through the challenging of these roles, the relationships, the self-representation, the pre-conceived ideas, can ultimately become unstable.

My ambition is to incite – at least temporarily – a more truthful encounter with the other as well as self-awareness on those who participate of the project, on the viewers and on myself. In this sense, I consider my works as social experimentations.

Similarly, I am interested in destabilizing and shifting the traditional roles of the artist, of the audience and the role of the subject in the moving-image. I am particularly drawn to the classic cinematic narrative, in which the representation of reality through a careful mimetic construction and a process of identification between the audience and fictional characters take place. Some of my more recent works make evident the construction of characters and narrative and, in doing so, humanize the actor, shatter the illusion of representation and blur the line between representation and reality.

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THE FILM THAT IS NOT THERE

Since January 2010 I have been working in the project ‘The Film That is Not There’, which dismembers the idea of a feature film that will never come to existence as such.

So instead of utilizing the screenplay as a blueprint to make a film, I aim to face it as an open proposal of multiple and infinite possibilities of interpretation and translation. The actor is summoned not to embody one character, but to experiment and propose options and version of characters and scenes.

With the support of 4 international art residencies, I shot the project in Austria, South Korea, Singapore and Switzerland, with the participation of local actors playing in their respective mother tongues – an important part of the process was to translate and adapt the script, originally in Portuguese, to the language of the country. I have also presented work-in-progress versions of the project in these countries. Now I am preparing the exhibition of the completed project for November 2012, in Rio de Janeiro.

The final format of the project is a 10 screen installation using the scenes featuring about 200 actors from the 5 countries.

Based on a feature film script I developed during 3 years, I invite actors to participate of a casting audition. I provide them with scenes from this script and we shoot the tests in studio with the actors in pairs. But, while the goal of an ordinary casting audition is to choose one actor to play one particular role in a posterior shooting of the script, in this project the casting audition recording is the base of the artwork itself. The objective is to use all actors that were recorded, all versions of a same character and of the same scenes.

The actors’ faces shot in close up are projected in large scale over the several screens. Sometimes I place several actors together saying the same lines, other times I use more than one take of the same actor. Through the exploration of montage tools such as repetition, superimposition and fragmentation, besides the distribution of the footage across more than one screen, I intend to create a distance from the original meaning of the pre-established narrative of the script, in order to reach a fluid multi-layered narrative – one that is born from the unique experience of each spectator with the artwork.

In addition to this installation, the project also includes a video entitled ‘Behind the Scenes’, in which the Swiss and Brazilian actors reflect upon the process of working in ‘The Film That is Not There’. They receive the scenes of the script, but never the complete script, and I refrain from explaining to them the context of the scenes or the background of the characters, in order to provoke the actors to create their own scenarios. In ‘Behind the Scenes’, each pair of actors exposes their creative process and all the stories they raised in order to develop their characters.

Project winner of the Funarte Award of Contemporary Art.

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multi-channel video installation, dimensions variable, work-in-progress

installation view, ‘The Film That Is Not There’, work-in-progress versionRote Fabrik, Zurich, Switzerland

video still, ‘The Film That Is Not There’, work-in-progress version [Singapore]

MEDIA MEMORY COLLECTION

The first goal of the project is to return the digital copies in DVD to the participants along with the original material. These films ranging from the 1940’s to the 1980’s can be again seen by the families owning them.

By the other hand, this material will serve as base for a new series of videos and photos. ‘Media Memory Collection #1’ is the first work of the series.

With the project ‘Media Memory Collection, the artist collected temporary donations of old homemade films from families in the countryside of São Paulo, and transferred all the collected material to video – almost 30 hours in total. Project supported by LIFT - Liaison of Independent Filmmakers of Toronto.

multi-channel video installation, dimensions variable

video preview link :: https://vimeo.com/49565674 [password: kikolela]

The project offers a reflection about time – condensing and uniting elements such as memory, the time of the recording, the documentation of time passage in the lives of the families and the impression of time over the media itself (with the physical deterioration of the film). In addition, the artist intends to investigate the tensions between fiction and reality, History and personal stories.

ACTUS

AUGMENTED REALITYessay by Paula Alzugaraycatalogue of exhibition ACTUSCenter Maria Antonia, São Paulo, 2010

Actus is an essay about circularity; it is a meta-critical apparatus, wich defies the immersive condition of cinema. In this installation by Kika Nicolela, two different speech dynamics are presented in 3 screens. In the central projection, a couple engages in a discussion. This situation is fi lmed in a long take, with allows the spectator the perception of the events in real-time. The discussion grows to the climax and, later, shrinks back its initial tone. Each time the discussion restarts the camera assumes a more inquisitive role, and in its indiscretion, becomes a character itself.

In the third round of discussions, the camera becomes aggressive; it slides and escapes from the limits of conventional framing and breaks the

‘Actus’ proposes a reflection on representation and narrative. The main projection presents a continous shot that shows a couple trapped on its bizarre routine. Once the scene ends, the actors start repeating the same dialogues and action, while the camera - without cutting - shoots the scene from other angles, changing the audience perception. The scene happens 3 times in row, and in the third time the camera pans to reveal the crew and the filmmaking apparatus - shattering the ilusion of representation. Video winner of the Piracicaba Art Salon Acquisition Award.

i l lusion of imagined filmic space. The rotating camera completely unveils this i l lusional space. Going off frame, not only the shooting set is revealed, but also the installation space in which the spectator is placed. The circularity serves the speech in an addicted relationship. And the amount of nail polish tried by the woman is proportional to the amount of loops in the story.

Thru this maneuver, the artist express her interest about identification processes in fi lm, about the spectator ’s self-projection in the image. The speech constructed by the two side projections intensifies the questioning of distances in our relationship with image. Back to the position of observation, we’re invited to an intimacy degree towards images that is most uncommon in everyday life. By amplifying the facial expressions of the characters and time – 3 minutes turned into 18 with the use of a high-speed camera – this work achieves a dimension of subjectivity that does not belong to the real, the fictional nor the documental.

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3-channel installation with 1 videoprojectionand 2 videos on digital portraits, 18’ loop, 2010

video preview link :: https://vimeo.com/19446217 [password: kikolela]

video still, ‘Actus’

TIDELANDS

The Sihwa Wall - the longest tide embankment in Asia – and the homonymous artificial lake were constructed to improve the local industry and promote urban growth; however, these implementations had a huge impact in the ecological balance of these islands, and therefore over the lives of their inhabitants and traditional cultures. As a result, the local fishing community is gradually disappearing, moving out from the islands, changing occupation (mainly working in the grape cultivation) or just struggling to survive. Images of places and elements from the islands, such as the wide mudflats, fishermen’s abandoned objects and boats, their houses in precarious state, are mixed with images of the participants talking to the camera. The work distances itself from documentary mode by creating a multilayered fluid articulation between the images. The community was broken up by capitalist growth and the multi-screen projection allows this shattered identity to be slowly uncovered.

TIDELANDS focuses on the distinctive people and landscape of Daebu-island, located in South Korea, and its neighboring smaller islands. The 3-channel video shows men and women from the fishing community sharing their memories related to the sea and the islands before the construction of the Sihwa Wall. Project winner of the Award to International Exhibition by the São Paulo Bienal and the Brazilian MInistry of Culture.

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3-channel videoprojection, 60’ loop, 2010

video preview link :: https://vimeo.com/20677375 [EXCERPT]

installation view, ‘Tidelands’, Gyeonggi Creation Center, Daebu Island, South Korea

MUTATING LANDSCAPES

‘Mutating Landscapes’ is a series of photos taken on the Daebu Island, South Korea. The series explore the surreal quality of the island’s landscape – which is in constant mutation, both by natural processes (the tidal movements) and human intervention (never ending construction sites and land extensions). This perpetual metamorphosis makes each image ephemeral and unique. Together with the video-installation ‘Tidelands’, this series explores concepts such as memory, passage of time, transformation and resistance.

series of 15 photos, 90cm x 30cm each, 2010

photo from the series ‘Mutating Landscapes’

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TIME-LAPSE

‘Time-Lapse’ is an study on memory and passage of time, and it was made during an artist-in-residence at the Künstlerdorf Schöppingen, involving the community of Schöppingen, a small village in the countryside of Germany. I proposed that each participant chooses a personal object that relates to a very important memory. And then I shot a video in which she or he holds this object and tries to remember everything about that specific memory. The video also includes images of the local landscape, with signs of the time passage - the sound of the wind and the rain, the image of moving clouds and tree leaves, the sun moving in the sky... The recovered memories, side by side with images and sound of the nature in Schöppingen, form a dynamic and singular portrait of this small community.

3-channel videoprojection, 70’ loop, 2010

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video stills, ‘Time-Lapse’

WHAT DO YOU THINK OF ME?

Made at the Sumu Art Residency in Turku, Finland, in ‘What Do You Think Of Me?’ I invite gallery goers to shoot me with a camera and describe me in Finish. Part of the ‘Distant Aff init ies’ series, which deals with cultural stereotypes and identity.

THIS IS UNCOMFORTABLE: RELATIONAL DISSONANCE IN RECENT VIDEOessay by Arpi Kovacs and Gabrielle Moser[excerpt]catalogue of exhibition ‘ This is Uncomfortable’TPW Gallery, Toronto, Canada, 2010

The piece ‘What Do You Think Of Me?’ was originally created during a 2009 residency in Turku, Finland where the artist asked gallery goers to film her with a video camera and to narrate their impressions of her in Finnish. Their responses range from sincere and cheesy complements to racially charged exoticism. Since the language barrier prevented Nicolela from immediately understanding their comments, she stands before each spectator completely unaware of their perceptions and only able to respond to their smiles, laughter and other outwardly physical gestures. When she returned home, the artist had the comments translated into English and included as subtitles to the footage, which is presented sequentially and seemingly unedited in its final form.

The pauses that punctuate the comments remind viewers of the absurd circumstances that structures the encounter. Yet, despite the superficiality of the interactions, certain comments remain thoughtful and point to the function of language as a primary means of interaction. The voice of a young boy who seems to struggle with operating the camera, for instance, is remarkably earnest in his response: “Brazil is… I don’t have much information about Brazil. And I don’t know much about their culture because we haven’t had it in history class yet.” In contrast, the more mature

voices are indirect and disconcerting in their tone. One woman seems preoccupied with ascertaining Nicolela’s “true nature” through her physical appearance, wondering aloud if “maybe we met in another life.” A male voice, on the other hand, seems disinterested in anything but the artist’s physical appearance, describing her as dark and warm, “like Brazilian coffee.” The documentation cleverly reveals the relationship between language and power, as well as the direct role that language played – and continues to play – in inscribing colonial notions of sexuality and national character.

The relational structure of ‘What Do You Think Of Me?’ is derived not only from the interactions between artist and gallery goer, but also through the recording and replaying of these encounters for the viewer of the final work, which reanimates Nicolela’s original gesture of vulnerability. Although it is Nicolela who occupies the screen, her voice is rarely heard. Instead, it is those who wield the camera who contribute to the video’s defining narrative, and yet we cannot see her subjects as they speak. Nicolela does not employ familiar video tropes such as distortion, repetition, or delays to make the voices more enigmatic, but instead allows the limits of the medium to create an awkward imbalance between those who can speak and those who can only be seen. Though we might wish the speakers could be as visually exposed and vulnerable as the artist, Nicolela’s video denies this kind of transparency and is instead open to the sometimes conflicting and uncomfortable social encounters between the artist and her subjects that often go unresolved.

single-channel video, 16’, 2009

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video preview link :: https://vimeo.com/6866380

video stills, ‘What Do You Think Of Me?’

FLICKERING

From darkness to l ight and back to darkness; an emotional self-portrait.


video stills, ‘Flickering’

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DESESMETAK

‘Desesmetak’ uses Candomble (African-Brazil ian rel igion) as inspiration. Its rituals involve the possession of the init iated by Orishas (gods). Music and dance are essential to induce the trance that al lows the god to enter the possessed body. Taking off the rel igious context, the video explores the idea that music and dance can enter the body and manipulate the soul. Commissioned by Itau Cultural Institute.


video stills, ‘Desesmetak’


WINDMAKER

‘Windmaker’ was originally developed as an interactive instal lation involving 6 industrial fans, movement sensors, mobile sculptures connected to a computer and a video projection. As the viewer enters the room, he realizes he is provoking the changes in the artwork, but he can’t control them. I wanted to create this sense of “responsabil ity” in the spectators and involve them as “co-authors”, and at the same time avoid the simple “pushing a buttom” interaction. Later I edited a single-channel video with the same tit le, using the same footage I had for the instal lation as base. Project recipient of the Production Grant by São Paulo Arts Council.

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TIMOR MORTIS CONTURBAT MEessay by Juliana Monachesicatalogue of exhibition ‘Windmaker ’, Sesc Vila Mariana, São Paulo, Brazil, 2007

Activated by the presence of the visitor in the space, a video-projection shows images of a female figure in a natural landscape, sometimes a simple silhouette amidst the amplitude of nature, other times a troubled face in a close up. This character wanders in search of a place or of a meaning of a place and ends up fusing itself with something that is bigger than her or bigger than the meaning that she is able to grasp.

The narrative is not linear. In reality, it’s not even a narrative. There are many of them, depending on how the visitor interacts with the work. Various experiences are determined by the route the interactor takes inside the installation room, and by the amount of people simultaneously present in the space.

The ambiance in which the interaction system takes place is a dark room, filled with presence sensors, connected to fans. Each sensor activates a fan, producing the necessary wind to move the mobiles, which are made of crystal and

are hanged in different points of the space. The strings of each mobile are linked to pressure switches that, once the mobile moves, trigger keys of a computer, executing a different function of a real-time editing video software. The stronger the wind, more keys are activated and more frenetic becomes the video-projection. When the mobiles are still, the last video excerpt repeats in looping until the next “windmaker” disrupts the peace.

Kika Nicolela is an artist that transits between cinema and visual arts. In Windmaker, the incursion on the experience with the digital media and a complex group of interconnected gadgets that configure a working technological system takes place in a natural way in the creation process of the artist. In this piece, there is not a single element in excess; there is not a superficial fascination for the technology. Each part of the system is serving a materialization of a mature artistic thought, and the “novelty” of interactivity comes as a consequence of the exploit – technical and conceptual – of the noises in the patterned perception of the world and art, of alterity and identity. This collision with the usual mode of view marks her trajectory and it’s only natural that she deepens her research involving the audience in a more direct way with her works, making explicit the implication of each person in the act of looking at something.

interactive installation with video-projection, 2007single-channel video, 11’, 2007


video stills, ‘Windmaker’

PASSENGER

‘Passenger’ was shot inside a bus on the road to Paris, and testifies the effect of dusk and rain in the moving blurred landscape. The colors and shapes formed by the combination of light and movement on the low-resolution camera evoke a personal trip through an imagined land.


video stills, ‘Passenger’

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ECSTASY POEM

Side by side, two faces of the same woman looking at the camera are in an extreme slow motion. All nuances of her expressions can be perceived. In one portrait, she’s young, at the peak of her beauty. On the other one, she’s about 60 years old. The woman is the actress Liv Ullman, acting in two different films by Ingmar Bergman. ‘Ecstasy Poem’ is intended to be, however, more than homage: it raises questions of time, representation, authorship and the act of looking.

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video still, ‘Ecstasy Poem’



FACE TO FACE

‘Face to Face’ was initially a video-installation in which various men and women answer to 5 questions concerning love. These people were left alone with a camera, facing their own image on the video monitor. The questions, written over a paper, approached different aspects of love and provoked the participants to reflect and expose themselves. During the exhibition, I gradually edited the recorded material and projected the video next to the recording cabine. Later that video evolved to a 15 minutes single-channel video. The faces images that play in slow motion, added to the profusion of voices that alternate in both audio channels and the subtitles that translate them, defy the spectator: he must create his own narrative, combining his reflection to the material presented to him. Project winner of the Exhibition Grant by São Paulo Cultural Center and the Production Grant by Recife Arts Week. Video recipient of the Best Video Award at the Videoformes Festival in Clermont-Ferrand.

FACE TO FACEessay by Carla Zaccagnini[excerpt]catalogue of exhibition ‘Face to Face’, Centro Cultural São Paulo, Brazil, 2005

When Nicolela gives to the visitors your list of questions and invites them to answer in front of a camera in a reserved room, yet within an exhibition space, she is not demanding little. And there are many moments of suspension and silence sewing the answers. The video shows precisely those images. One after another, the faces of those interviewed looking thoughtful, without words, in moments of doubt and dilated hesitation summed in the edition. The images show what is not able to listen, what is not possible to say.

The sound - which sometimes comes from one sound speaker, sometimes from the other - overrides the answers. Every attempt to define love, whether yes or no, whether it sets free or imprisons, whether someone loves, whether another no longer loves anymore. It’s curious how the responses echo, are repeated and reverberated; we see the sum of particularities settling the universal.

essay by Paula Alzugaray[excerpt]catalogue of exhibition ‘Ocupação’, Paço das Artes, Brazil, 2004

In ‘Face to Face’, at the Paço das Artes, Kika Nicolela utilizes a common procedure of documentary films, the interview, but twists it, converting it in “auto-interview”. Facing myself at the LCD video camera screen, I answer the questions the artist left for me in a piece of paper. Alone in front of the camera, I have a time to answer the questions to myself. The work investigates our relationship to love. And, why not, with ourselves, with our mirror, with our shadow. “Love is a shadow theatre”, it occurred me to define.

installation, variable dimensions, 2004single-channel video, 15’, 2005

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installation view, ‘Face to Face’,Gallery 1313, Toronto, Canada

WHEEL OF FIRE

I was inside a building, looking at a scene taking place in the streets of the city of Recife (Northeast of Brazil). A couple waits for the bus, oblivious to the world around them. I start to take snapshots of them, and I realize they have a unique body language to them, because they are deaf. I take a continuous series of photos; framed by the bars of the entrance of the building where I was standing, the street scene gained the status of a constructed scene from a movie, with its protagonists and secondary characters. Curiously, many of the characters in the shots actually look at the camera, while the “protagonists” seem to never be aware of my presence - except perhaps in the last shot, when the man could be looking at me (at the camera, at the viewer). The prints of ‘Wheel of Fire’ are to be presented always positioned one next to the other, emphasizing the narrative over time, much as a film - the difference is that the viewer is provoked to move in order to see the evolution of the narrative, while in a movie theater the viewer has a fixed position and the film frames are in movement. In addition, in this series there are larger ellipsis of time between one image and the other.

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series of 45 digital prints, 30cm x 45cm, 2005

photos from the series ‘Wheel of Fire’

WOMAN CRIES OUT!

Fifteen afro-descendant women from São Paulo talk about their lives. They work hard to make a living, but they lead a parallel life: they are queens inside the carnival community and gods during the Candomble religious celebrations. Video winner of the Best Film Award at Cineesquemanovo Festival (Brazil) and Best Documentary Award at Cineport Festival (Portugal).

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CONTESTED NATIONAL IDENTITIES INCONTEMPORARY BRAZILIAN CINEMAbook by Tatiana Heise[excerpt]

(...) Shot on digital video and with a small crew to facilitate an atmosphere of ‘closeness’ between filmmakers and interviewees, Fala mulher! blends straightforward ‘talking heads’ documentary with techniques normally associated with more experimental filmmaking, such as: blurred images in slow motion; alternation between colour and B&W; animation inserts; and superimposition of the filmed image with textual information. What makes Fala mulher! distinctive is its political alignment. Fala mulher! leaves the spectator with a strong sense of the social and racial divisions in Brazilian society. In this film, such national manifestations as samba and carnival do not suspend racism and social inequality; they coexist with it.

(...) The most interesting aspect of the speeches registered in Fala mulher! is that, assembled together, they lead us to a counter-hegemonic view of what it means to be black, female and poor in Brazil. The choice of topics is particularly significant. The interviewees of Fala mulher! reveal their struggle against poverty, racism and all the stigma that is imposed on black women by a male-oriented society where the whitening ideology that prevailed in the past still has strong consequences in the present. The women’s way of reconstructing their social reality varies between, on the one hand, a cheerful optimism and fantasy of being ‘queens’ and ‘princesses’ of carnival, and on the other, a deep awareness of their disadvantaged condition as members

of a society where women, blacks and poor are treated as inferior citizens.

(...) The film confronts the devaluation of black women by reaffirming their racial identity and turning blackness into a positive and even poetic feature. This strategy is clear from the prologue of the film, which draws attention to the African ancestry of the interviewees and links it to their present-day experiences. By means of scratchy chalk-made text and illustrations and the use of African chants on the soundtrack, the prologue tells the legend of the Bambara people in the region of the upper Niger River.

(...) Fala mulher! remains one of the few examples in contemporary Brazilian cinema which systematically replaces dominant gendered and racialized discourse on women with a more complex representation of them as workers, ‘warriors’, militants, agents of social change and re-articulators of their own identities. The film is also an exception in the sense that it privileges the fluid and malleable aspects of black female identity, as opposed to fixing characters in ‘essential’ roles (mothers, lovers, whores, and so forth). The film proposes that women adopt multiple subject positions according to the different social contexts in which they find themselves. Moreover, rather than emphasize either the characters’ organic individuality or uniqueness, or their social role, Fala mulher! alternates between the two. We get both a sense of each woman’s singularity and of their part in a social and racial group which interpellates specific aspects of their identity.



video stills, ‘Woman Cries Out!’

TROPIC OF CAPRICORN

Four transexuals are brought in to a hotel room on the same night. Each trans woman is asked to lie on a bed in an empty room and reveal herself to a camera mounted on the ceiling. ‘Tropic of Capricorn’ was originally a site-specific installation developed for an exhibition occupying a bedroom of a declining hotel in downtown São Paulo. It is my first work that explores the ambiguous roles of observer and observed.

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DIGITAL SPECTRUM OF THE BODYessay by Caroline Rodrigues

[...] When the spatial configuration is changed, the time of perception is also transformed. Therefore, the central point of the discussion is the possible transformations in the phenomenology of perception inside the observer-art interaction. When the same digital image is yet converted into different media, its nature stretches. That is how Kika Nicolela works, an artist that browses through the possibilities of the digital world stretching the borders between observation and experience. ‘Tropic of Capricorn’ presents itself as the paroxysm of this choice.

Kika invited four transsexuals from São Paulo to expose themselves trough images produced in a cheap hotel bedroom. Despite being the working place of the majority of them, the performance here demanded was about talking about what the situation brings to mind: stories, desires, fears. The camera is high and vertical positioned like the bedroom lamp, lighting the centre of the bed, where they lie themselves down, one by one, and stay for a while, alone with the cine-eye. Jéssica, Jennifer, Márcia and Samara gift the curious observer with erotic stories full of fabling.

[...] The thirty minutes version is an intense documentary about the desires’ underground. Observed inside an art gallery it may fit as a glance at this distant world, and at the same time intimate in anyone`s skin. But from this voyeur observation an experience has been proposed: in

the installation with the same name, Kika rebuilds the scene where the images emerged in a bedroom with a simple bed, where the image is returned to by the projection in realistic dimensions. The transsexuals’ spectrum inhabits now the bed exposed to public.

The bed is not only initial work place of the transsexuals; it is future and potent media of being someone else in a dreamful sleep or in full immanence sex. A possibility of action is brought up here: who lies down in the Tropic of Capricorn’s bed may become another, may become the other’s fetish, the other’s dream, the other’s pain, whether lying aside the projection as an accomplice, whether receiving in the own body the hot skin of the projector’s light, feeling transformed by the trans-sexuality phantomized into art work.

[...] Who lies in Tropic of Capricorn’s bed joins skin’s surfaces and spectral image, mixes the reality of documental representation and the reality of experimenting a body`s spectrum.

[...] Expanding her images to diverse media - photography, video, cinema, installation - Kika not only shows that her work has a multiple character and a liquid autonomy like the Zigmunt Bauman’s liquid society wishes, but presents a kind of image liquidness that transmutes into horizons of subjective-universal glances. In this way her work streamlines an issue still locked in documental and aesthetic representation of the other in a Brazilian contemporary art, stretching this other’s conceptual existence until it’s inexistence, through the double spectrum of projected digital image.

video-installation, 80’ loop, 2004single-channel video, 30’, 2005


video stills, ‘Tropic of Capricorn’

FANTÔMES

‘Fantômes’ is a series born from the relationship between the photo camera and the television screen. Each photo is a unique and fleeting image, containing only traces of the original TV emanation. Taken with my first digital camera, it is also a crossing between the l ines of the analogue TV and the digital pixel. The photos were then printed to a large size, exceeding the images resolution, blowing up the pixels even more. The resulting image is a combination of noises that defies the photographic representational properties and the concept of original – the original f i lms that were being broadcast are dissolved into images that blend different frames into one new, almost abstract picture.

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series of 4 photos, digital prints 120cm x 180cm, 2004

photo from the series ‘Fantômes’

CROSSING

The simple act of crossing the street. A banal, daily act, shared by thousands of people in the same city in a single moment; a corporal mass without identity. In the flux, the comfortable sensation of being anonymous. Suddenly, a rupture happens. The body releases itself and becomes free. This body in suspense starts to express a will and to reinvent itself. But which way should it choose?

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In São Paulo, as in most megalopolis, we are used to block our senses and try to see less, hear less, smell less, just to avoid being overwhelmed by the excess of all this. We get habituated with this procedure to the point that we inadvertently numb ourselves. ‘Crossing’ is the attempt of breaking this pattern and let ourselves be affected. I proposed that the dancer Leticia Sekito and myself (behind the camera) should place ourselves in the middle of the Paulista Avenue - the most emblematic street of São Paulo city, and also one of busiest - during rush hour. I challenged Sekito to open herself and all her senses completely to the surroundings, using her body as an antenna, while I would do the same and plus be totally responsive to her movements. We only had one image we wanted to start with: her face, and her erasing her lipstick as she is denying the given identity/role she plays in a daily basis. This was the departure for an improvised one-take long shot. Later, on the editing, I manipulated time in order to emphasize feelings or expand/contract moments.


video stills, ‘Crossing’


CV

b. 1976, Brazillives and works in Zurich and São Paulo

Kika Nicolela is a Brazilian artist, filmmaker and independent curator. Her works include single-channel videos, installations, performances, experimental documentaries and photography. Graduated in Film and Video by the University of Sao Paulo, Kika Nicolela also completed film courses at UCLA University and is currently doing a Master of Fine Arts at the Zurich University of the Arts (ZHDK). She has participated of over 100 solo and group exhibitions in Austria, Brazil, Canada, Finland, France, Germany, Italy, Poland, Portugal, Slovenia, South Korea, Spain, Sweden, UK and US. The artist was the recipient of several prominent Brazilian grants and awards, including the 2011 FUNARTE Contemporary Art Award, 2011 Piracicaba Art Salon Acquisition Award, 2010 Exhibition Abroad Award by the Bienal Foundation and the Ministry of Culture, 2006 Visual Arts Production Grant by the São Paulo Arts Council, 2007 Production Grant by the Recife Arts Week and the 2006 Exhibition Grant by the São Paulo Cultural Center. Her videos have been screened and awarded in festivals of more than 30 countries,

such as: Kunst Film Biennale, Milan International Film Festival, Uppsala International Short Film Festival, Bilbao International Film Festival, Oberhausen International Short Film Festival, Japan Media Arts Festival, Videoformes New Media & Video Art Festival and International Electronic Art Festival Videobrasil. As a curator, Kika Nicolela has developed programs for the festivals Videofomes (France), Alucine Toronto Latino Media Festival (Canada), AIVA Angelholm International Video Art Festival (Sweden), CineDesign (Brazil), Experimenta! (Brazil) and for the projects Wikitopia (China), Directors Lounge (Germany) and Manipulated Image (US). Since 2008, Kika Nicolela also curates and coordinates the Exquisite Corpse Video Project, an ongoing collaborative series of videos that involves more than 70 artists from 25 countries. She has been an artist-in-residence at the Sumu AIR (Finland), Rondo Studio (Austria), Künstlerdorf Schöppingen Foundation (Germany), Gyeonggi Creation Center (South Korea), Casa das Caldeiras (Brazil), Objectifs (Singapore), Route Fabrik (Switzerland) and LIFT Liaison of Independent Filmmakers of Toronto (Canada). Nicolela is represented by Jaqueline Martins Gallery (São Paulo) and Vtape (Toronto).

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EDUCATION2012-2014Master in Fine Arts. Zurich University of the Arts, Zurich, Switzerland.2008Video Extremities: Processes of Critical Analysis. MIS – Audiovisual Museum, São Paulo, Brazil.Videos, Projections And Installations In Natural Environments. Bragança Paulista, Brazil.The Actor And Film. b_Arco, São Paulo, Brazil.2007Art And Technology, The Modern Alchemy. Toronto, Canada.2004Media Art Since Video. Tomie Ohtake Institute, São Paulo, Brazil.Cinema And Digital Languages. Usina do Gasômetro, Porto Alegre, Brazil.2003AFI Master Seminars. American Film Institute, Los Angeles, US.2002Screenwriting IFP Series. Screenwriters Guild, Los Angeles, US.IFP Director’s Seminars. Los Angeles, US.ASC Cinematographers’ Seminars. Los Angeles, US.Directing Actors For Film And Television. University of California UCLA, Los Angeles, US.Cinematography For Directors. University of California UCLA, Los Angeles, US.Feature Screenwriting. University of California UCLA, Los Angeles, US.Acting for Camera. Playhouse West, Los Angeles, US.1994-2000Film and Video. University of São Paulo, São Paulo, Brazil.

Languages: English (Advanced, TOEFL 267/300) and French (Intermediary)

ART RESIDENCIES AND STIPENDS2012LIFT Artist Residency. Toronto, Canada.2011IG Route Fabrik AIR. Zurich, Switzerland.Objectifs. Singapore. 2010Casa das Caldeiras. São Paulo, Brazil.COMP Crossing of Movements Project International Residency Program. Seoul, South Korea.Gyeonggi Creation Center. Ansan, South Korea.Künstlerdorf Schöppingen Foundation. Schöppingen, Germany.Rondo Studio Program. Graz, Austria.2009Sumu Residency. Turku, Finland.

AWARDS AND GRANTS2012Nomination to the Norberto Griffa Award to Latin-American Audiovisual Creation. Exhibition Grant. FUNARTE, Rio de Janeiro, Brazil.2011Acquisition Award. 43rd Art Salon of Piracicaba, Piracicaba, Brazil.2010 Special Mention. ShortFilmFestival. Bergamo, Italy.Exhibition Abroad Grant. Bienal Foundation and Ministry of Culture, Brazil.EMPAC Dance Movies Commission finalist. New York, US.Travel Grant. Cultural Diffusion and Exchange Program, Ministry of Culture, Brazil.Best Video of 2009 (nomination). One Minute Festival, Brazil.2009

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Rumos Itaú Cultural Cinema e Vídeo Award (finalist). Brazil.EMPAC Dance Movies Commission finalist. New York, US.Best Videoart. A Corto di Donne Short Film Festival, Naples, Italy.Best Video nomination. Blue Banana Video Art Contest, Landau, Germany.Best Video. One Minute Festival, Brazil.Best Video. Magmart International Videoart Festival, Naples, Italy.Exhibition Grant. Centro Universitário Maria Antonia, São Paulo, Brazil.2008Best Video nomination. Vivo Arte.Mov, Belo Horizonte, Brazil.Best Video nomination. HTTPVIDEO festival, São Paulo, Brazil.2007Travel Grant. Cultural Diffusion and Exchange Program, Ministry of Culture, Brazil.Nominated for the 7th Sergio Motta Award of Art and Technology, São Paulo, Brazil.Best Video (official jury). Videoformes New Media & Video Art Festival, Clermont-Ferrand, France.Honorary Award (students jury). Videoformes New Media & Video Art Festival, Clermont-Ferrand, France.Nominated for the UNESCO’s The Breaking The Chains Award for the Best Film on the Theme of Slavery and its Outcomes. Best Experimental Video nomination. São Carlos Video Festival, São Carlos, Brazil.2006Production Grant. São Paulo Arts Council, São Paulo, Brazil.Production Grant. Recife’s Art Week, Recife, Brazil.Exhibition Grant. Centro Cultural São Paulo, São Paulo, Brazil.Best Documentary Feature. Cineport Festival, Lagos, Portugal.Best Feature Film. CineEsquemaNovo Festival de Cinema, Porto Alegre, Brazil.Honorary Award. Alucine Toronto Latino Media Festival, Toronto, Canada.Best Film nomination. Mostra do Filme Livre, Rio de Janeiro, Brazil.2005Best Experimental Documentary. Sopot Independent Film Festival, Sopot, Poland.Honorary Award. Sopot Independent Film Festival, Sopot, Poland.Best Experimental Video. CineAmazônia Festival, Porto Velho, Brazil.Best Experimental Video nomination. International Izmir Short Film Festival, Izmir, Turkey.Honorary Award. International Experimental Film Festival Carbunari, Maramures, Romenia.2004Best Direction of Photography. Brasilia Film Festival, Brasilia, Brazil.2003Best Moving Picture nomination. Japan Media Arts Festival, Tokyo, Japan.2000Nominated for the Nascente Award, São Paulo, Brazil.

SOLO EXHIBITIONS2012The Film That Is Not There. Gustavo Capanema Palace, Rio de Janeiro, Brasil.Media Memory Project. Pinacoteca de Piracicaba, Piracicaba, Brazil.2011The Film That Is Not There. Rote Fabrik, Zurich, Switzerland.Kika Nicolela: Selected Videos. Rote Fabrik, Zurich, Switzerland.Kika Nicolela: Selected Videos. Objectifs, Singapore.2010Tidelands. MIS – Museu da Imagem e do Som, São Paulo, Brazil.Actus. Centro Universitário Maria Antônia, São Paulo, Brazil.Cinema de Artista: Kika Nicolela. Museum of Modern Art, Salvador, Brazil.Moving Pieces: Recent Videos by Kika Nicolela. Fridey Mickel Gallery, Berlin, Germany.Kika Nicolela. Atrium Gallery, Western Michigan University, Kalamazoo, US.2009Kika Nicolela | selected videos and photos. 16mm Café & Screening Room, London, UK.Distant Affinities. Titanik Gallery, Turku, Finland.

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Kika Nicolela: Selected Videos. Arnot Art Museum, Elmira, US.2008Kika Nicolela. 312 Online, online exhibition.Looking at Art: Kika Nicolela. Centro Cultural B_Arco, São Paulo, Brazil.Kika Nicolela Retrospective. Aza Film Festival, Thessaloniki, Greece.Re:Play Kika Nicolela. Eden343, São Paulo, Brazil.2007Kika Nicolela Retrospective. Espaço Unibanco de Cinema, São Paulo, Brazil.Kika Nicolela Retrospective. Film Klub Póznan, Poland.Windmaker. Sesc Vila Mariana, São Paulo, Brazil.2006A Arte de Kika Nicolela. Arte Sesc Flamengo, Rio de Janeiro, Brazil.Face a Face. Centro Cultural São Paulo, São Paulo, Brazil.2005Nós. MIS Audiovisual Museum, São Paulo, Brazil.2004Flux. Capela do Morumbi, São Paulo, Brazil.

GROUP EXHIBITIONS2012Bienal de la Imagen en Movimiento. Buenos Aires, Argentina.V. Velan Gallery for Contemporary Art. Turin, Italy.Dança no MIS. Museum of Image and Sound, São Paulo, Brazil.Art:screen. Kulturhuset Borgen, Gislaved, Sweden.AVer. Atelier Aberto, Campinas, Brazil.Cinema de Garagem. Caixa Cultural, Rio de Janeiro, Brazil.Male / Female. Museum Oscar Niemeyer, Curitiba, Brazil.SP Arte – São Paulo Art Fair. São Paulo, Brazil.Exquisite Corpse Video Project Vol. 3. Open Contemporary Art Center, Taipei, Taiwan.Supermarket Art Fair. Stockholm, Sweden.Movement. Vetlanda Museum, Vetlanda, Sweden.Manipulated Image. Torrance Art Museum, Los Angeles, US.2011Entre Nous. Dconcept, São Paulo, Brazil.Around the World in 80 Hours. LOOP, Seoul, South Korea.Ventosul, Biennale of Curitiba. Curitiba, Brazil.Biennale of Mercosul. Porto Alegre, Brazil.L’Oeil Sur les Rues. Parc de La Vilette, Paris, France.Meio Quilo. Galeria Archidy Picado, João Pessoa, Brazil.Time is Love. Bildetage, Vienna, Austria.Piracibaca Art Salon. Piracibaca, Brazil.Meio Quilo. Casa da Cultural UEL, Londrina, Brazil.I Am Braziliality. Forman’s Smokehouse Gallery, London, UK.Watertower Art Festival. Sophia, Bulgaria.Facing the Artwork. Werkleitz Centre for Media Art, Halle, Germany.Between Windows. Mindpirates, Berlin, Germany.Not a Car. Gallery 825, Los Angeles, US.A Century of Artists’ Films. Theatr Mwldan, Cardigan, UK.Extranatureza. SP Arte, Bienal building, São Paulo, Brazil.Art Show Cannes. Cosy-Box, Cannes, France.6 Billion Others. MASP São Paulo Art Museum, São Paulo, Brazil.Meio Quilo. Museu de Arte Contemporânea, Jataí, Brazil.Meio Quilo. Casa da Cultural UEL, Londrina, Brazil.Meio Quilo. Fundação Badesc, Florianópolis, Brazil.Meio Quilo. Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brazil.

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Meio Quilo. Museu de Arte Contemporânea de Campinas, Brazil.Exquisite Corpse Video Project Vol.3. Museum of Modern Art, Buenos Aires, Argentina.Contextual Face. Kharkov City Art Gallery, Kharkov, Ukraine.Exquisite Corpse Video Project Vol.3. Videoformes, Clermont-Ferrand, France.Meio Quilo. Pinacoteca de Santos, Santos, Brazil.Contextual Face. Photon Gallery, Ljubljana, Slovenia.Time is Love. Hexagon Space, Baltimore, US.What on Your Mind? The World Bank, Washington, US.Time is Love. CACT Centro Arte Contemporaneo Ticino, Bellinzona, Switzerland. Alter Cases of Ego. Online.2010 Rondomat. Rondo Studios, Graz, Austria.Traffic Jam#1. Espaço Matilha Cultural, São Paulo, Brazil.Exquisite Corpse Video Project Volume 2. Gallerie Carla Magna, Paris, France.Around the World in 80 Hours. Suwon Art Center, Suwon, South Korea.Island. Gyeonggi Creation Center, Ansan, South Korea.Highlights from the Cologne KunstFilmBiennale in Berlin. KW Institute for Contemporary Art, Berlin, Germany.Rain of Down. Pärnu Artmuseum’s Linnagalerii, Pärnu, Stonia.Rain of Down. Tampere Culturehouse Telakka, Tampere, Finland.Open Studios. Gyeonggi Creation Center, Ansan, South Korea.10 Years of Alternative Media. Seoul Art Space Seogyo, Seoul, South Korea.Wallpaper. Sala Fittke, Trieste, Italy.FILE Electronic Language International Festival. Centro Cultural FIESP, São Paulo, Brazil.Environments. Pátio da Inquisição, Coimbra, Portugal.This is Uncomfortable: Relational Dissonance in Recent Video. Gallery TPW, Toronto, Canada.Rain of Down. Linnagalerii/Kunsthalle, Tallinn, Estonia.Time-Lapse. Galerie F6, Schöppingen, Germany.I Was There. Stedefreund, Berlin, Germany.Frieze. MKL Medienkunstlabor, Kunsthaus, Graz, Austria.I Heart Video Art II. Critical Media Lab, Kitchener, Canada.Caged Bird Sings. Crypt Gallery, London, UK.Living Spaces. Maktab Anbar, Damascus, Syria.RED: The Gendered Color in Frames. Photon Gallery, Ljubljana, Slovenia.Neighbors. Rondo Studios, Graz, Austria.Woman Artists: An Invitational Show. George Waters Gallery, Elmira, US.SP Arte – São Paulo Art Fair. São Paulo, Brazil.Supermarket Art Fair. Stockholm, Sweden.Exquisite Corpse Video Project Vol.1. Santa Fe Complex, Santa Fe, US.Exquisite Corpse Video Project Vol.1. 16mm, London, UK.Wonderland: ações e paradoxos. São Paulo Cultural Center, São Paulo, Brazil.2009Vitruvian Woman. Velan Center for Contemporary Art, Torino, Italy.Kunst Film Biennale. Museum Ludwig, Cologne, Germany.100 a 1000. Escola São Paulo, São Paulo, Brazil.Act Art. London, UK.Manipulated Image: the Moving Still. Santa Fe, US.Contato Multimedia Festival. São Carlos, Brazil.International Artist Initiatives Istanbul Meeting. Istanbul, Turkey.New Filmmakers Series. Randall Scott Gallery, New York, US.The End Of The World Souvenir. Head Quarters, Melbourne, AustraliaExquisite Corpse Video Project. DConcept Gallery, São Paulo, Brazil.Water. Bananapark Gallery, Landau, Germany.Exquisite Corpse Video Project. Head Quarters, Melbourne, Australia.Infiltration, Usina Do Gasometro, Porto Alegre, Brazil.One Minute Film. Armenian Center for Contemporary Experimental Art, Yerewan, Armenia.

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Exquisite Corpse Video Project. AS220 Gallery, Providence, US.Mostra de Vídeos. FASM, São Paulo, Brazil. 37th Contemporary Art Salon of Santo André. Santo André, Brazil.Tolerance. Casadalapa, São Paulo, Brazil.Rosa dos Ventos. Teatro Tuca, São Paulo, Brazil. Exquisite Corpse Video Project, Formverk, Eskilstuna, Sweden.Supermarket Art Fair. Stockholm, Sweden.Berlin International Directors Lounge. Gallery Scala, Berlin, Germany.Water Preserves. State Of The Art Gallery, Ithaca, US.2008Minividfest2, Total Kunst Gallery, Edinburgh, UK.Body Language. Monkeytown, New York, US.Container Art SP. Villa-Lobos Park, Sao Paulo, Brazil.Exquisite Corpse Video Project. Rural Research Laboratories, Arnot Art Museum, Elmira, US.Dreams. Usina Unibanco de Cinema, Belo Horizonte, Brazil.Outcasting Season 4. Online.Exquisite Corpse Video Project. Monkeytown, New York, US.Video Smack. Randall Scott Gallery, Washington, US.Intimidade Pública. Eden343, Sao Paulo, Brazil.Exquisite Corpse Video Project. Formverk, Eskilstuna, Sweden.Loop Diverse. Galeria Dels Àngels, Barcelona, Spain.Videolab Caldas. Caldas Da Rainha, Portugal.200710 A Mil. Escola São Paulo, São Paulo, Brazil.Supermarket of Art International Biennial. Warsow, Poland.Dream’s Aesthetic. Usina Unibanco de Cinema, Belo Horizonte, Brazil.Livre Experimental Videos Exhibition. Usina do Gasometro, Porto Alegre, Brazil.Imagem-Corpo#2. Videolab, international tour.Recortar e Colar | Crtl_C + Crtl_V. Sesc Pompéia, São Paulo, Brazil.Situ/Ação Videos de Viagem. Paço Das Artes, São Paulo, Brazil.Space Invaders. Gallery 1313, Toronto, Canada.MIX. 3LD Art & Technology Center, New York, US.2006Coletiva do Programa de Exposições. Centro Cultural São Paulo, São Paulo, Brazil.SPA. Recife, Brazil.Marte é Aqui. São Paulo, Brazil.Situ/Ação Aspectos do Documentário Contemporâneo. Galeria Vermelho, São Paulo, Brazil.Videometry Video as a Mesuring Device in Contemporary Brazilian Art. Galeria Dels Àngels, Barcelona, Spain.Paris é Aqui. São Paulo, Brazil.2005Cartography of the South. Kunst Film Biennale, Cologne, Germany.Virada Cultural. Paço das Artes, São Paulo, Brazil.Ocupação. Paço das Artes, São Paulo, Brazil.Rencontres Internationales Paris/Berlin de Nouveau Cinéma et Art Contemporain. Centre Culturel Suedois, Paris, France.Povos de São Paulo. Point Ephémère, Paris, France.2004Lord Palace Hotel Interventions. Lord Palace Hotel, São Paulo, Brazil.Povos de São Paulo. Sesc Pinheiros, São Paulo, Brazil.Povos de São Paulo. Galeria Olido, São Paulo, Brazil.2000Realidades Sobrepostas. Centro Universitário Maria Antonia, São Paulo, Brazil.

CURATORIAL / JURY MEMBER2012IMAGEM-CONTATO. Curator of festival with over 200 international works shown in 4 venues, an itinerary container and

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broadcasted on a cultural channel. SESC, São Paulo, Brazil.Ängelholm International Videoart Festival. Curator of South American program. Ängelholm, Sweden.2011Prix Mobile. Award jury and chair. Paris, France.Director’s Lounge. Curator of 3 video screenings. Berlin, Germany.2010Traffic Jam #1. Project curator and coordinator. São Paulo, Brazil.EXPERIMENTA! Video Festival. Festival founder and curator. Sesc, Campinas, Brasil. CineDesign Festival. Curator of 3 video screenings. Fundação Joaquim Nabuco, Recife, Brazil.Absence / Ausência. Video screening co-curated with Alysse Stepanian, to be presented at Center for Contemporary Art, Santa Fe, US.Jury member at Videoformes New Media & Video Art Festival, Clermont-Ferrand, France.2009Self and Other Representations. Video screening presented at Alucine Toronto Latino Media Festival, Toronto, Canada.2008-ongoingExquisite Corpse Video Project. Curator and coordinator of this collaboration project that currently involves more than 60 artists worldwide.2006-2007É Aqui series. Co-curator and co-coordinator of series of 1-day exhibitions in the homes of artists or friends.

FESTIVAL SCREENINGS2012International Festival Document.art. Bucharest, Romania. Alchemy Film and Moving Image Festival. Hawick, Scotland.Festival Nacional 5 Minutos. Salvador, Bahia.International Short Film Festival Wiz-Art. Liev, Ukraine. Lucania Film Festival. Pisticci, Italy. Video Art Festival Miden. Kalamata, Greece.art:screen fest. Obrero, Sweden.Oslo Screen Festival. Oslo, Norway.Mostra Múltiplos Brasis. São Paulo, Brazil.AIVA Angelholm International Video Art Festival. Angelholm, Sweden.Videoformes. Clermont-Ferrand, France.Mostra do Filme Livre. Rio de Janeiro, São Paulo and Brasília, Brazil.Ascona Film and Video Art Festival. Ascona, Switzerland.2011InShadow International Festival of Video, Performance and Technologies. Lisboa, Portugal.V.art11 Art Festival. Varnamo, Sweden.Uppsala International Short Film Festival. Uppsala, Sweden.Bogota Film Festival. Bogota, Bolivia.Transitio_MX. Mexico City, Mexico.Milano International Film Festival. Milan, Italy.São Paulo International Short Film Festival. São Paulo, Brazil.Seoul international Extreme-Short Image & Film Festival. Seoul, South Korea.Cinefiesta. San Jose, Puerto Rico.Huesca International Film Festival. Huesca, Spain.EMERGEANDSEE media arts festival. Berlin, Germany.backup_festival. Weimar, Germany.art:screen. Gothenburg, Sweden.Mostra do Filme Livre. Rio de Janeiro, Brazil.2010Digifest Izolenta. Saint Petesburg, Russia.Mostra Audiovisual Paulista. São Paulo, Brazil.Bilbao International Festival Of Documentary And Short Films. Bilbao, Spain.Limite: Poéticas Do Real, Mostra De Documentário Experimental. Curitiba, Brazil.Cine Festival Inconfidentes, Mariana, Brazil.

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Exis Experimental Film and Video Festival. Seoul, South Korea.FreeNetWorld International Film Festival. Nis, Serbia.Cortopotere ShortFilmFestival. Bergamo, Italy.Semana de Cine Experimental. Madrid, Spain.VideodanzaBA Festival Internacional. Buenos Aires, Argentina.DA International Digital Art Festival. Sophia, Bulgaria.Asolo Art Film Festival. Asolo, Italy. Indie World Film Festival. Belo Horizonte, Brazil.Festival Images Contre Nature. Marseille, France.Pocket Films Festival. Paris, France.K3: International Short Film Festival Villach. Villach, Austria.Festival Internacional de Cine Digital. Santiago, Chile.IX Festival Internacional de la Imagen. Manizales, Colombia.Oberhausen Film Festival. Oberhausen, Germany.VideoChannel Cologne [self ] ~imaging. Cologne, Germany.International Film Festival of Uruguay. Montevideo, Uruguay.Videoformes New Media & Video Art Festival, Clermont-Ferrand, France.Tiradentes Film Festival. Tiradentes, Brazil.2009Alucine Toronto Latino Media Festival. Toronto, Canada.Vivo Arte.Mov. Belo Horizonte, Brazil.VideoDanzaBA. Buenos Aires, Argentina.Thess Short Film Festival. Thessaloniki, Greece.Portobello Film Festival. London, UK.Videoholica International Video Art Festival. Varna, Bulgaria.Video Art Festival Miden. Kalamata, Greece.Festival Images Contre Nature. Marseille, France.International Film Festival Yerevan. Yerevan, Armenia.Dança em Foco Festival Internacional de Vídeo e Dança. Rio de Janeiro, Brazil.A Corto di Donne Short Film Festival. Naples, Italy.Athens Video Art Festival. Athens, Greece.One Minute Festival. São Paulo, Brazil.Naoussa International Film Festival. Naoussa, Greece.Magmart International Videoart Festival. Naples, Italy.Muestra Internacional de Video Gen XY. Vera Cruz, Mexico.2008Alucine Toronto Latino Media Festival. Toronto, Canada.Vivo Arte.Mov. Belo Horizonte, Brazil.Festival Della Criativitá. Florence, Italy.Focfest Freedom of Choice International Video And Film Festival. Lisbon, Portugal; Istanbul, Turkey.Vad International Video And Digital Arts Festival. Girona, Spain.2007Festival Nacional de Video-Imagem em 5 Minutos. Salvador, Brazil.Mostra Audiovisual Paulista. São Paulo, Brazil.Mostra Videodança de São Carlos. São Carlos, Brazil.Festival do Livre Olhar. Porto Alegre, Brazil.Videoformes New Media & Video Art Festival, Clermont-Ferrand, France.International Experimental Film Festival Carbunari. Maramures, Romenia.Mostra de Cinema de Tiradentes. Tiradentes, Brazil.Mostra do Filme Livre. Rio de Janeiro, Brazil.Sydney Latin American Film Festival. Sydney, Australia.Cine Las Americas International Film Festival. Austin, US.Vídeo Festival São Carlos. São Carlos, Brazil.International Videofestival Bochum. Bochum, Germany.Zanzibar International Film Festival. Zanzibar, Tanzania.

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Festival Cineesquemanovo. Porto Alegre, Brazil.2006Euroshorts European Festival of Short Films. Warsow, Poland.Festival Cineesquemanovo. Porto Alegre, Brazil.Cineport Festival de Cinema de Países de Língua Portuguesa. Lagos, Portugal.International Non-Budget Film Festival. Gibara, Cuba.Mostra de Cinema dos Direitos Humanos da América Do Sul. Brasilia, Rio de Janeiro and São Paulo, Brazil.Festival Latinoamericano Da Classe Obreira (Felco). Itinerary.Alucine Toronto Latino Media Festival. Toronto, Canada.Mostra Do Filme Livre. Rio de Janeiro, Brazil.Aarhus Festival Of Independent Arts. Århus, Denmark.International Videofestival Bochum. Bochum, Germany.Inside Out Toronto Lesbian and Gay Film and Video Festival. Toronto, Canada.Videolab. Coimbra, Portugal.The First and The Last Experimental International Film Festival. Sydney, Australia.Canariasmediafest International Festival of Arts. Las Palmas, Canary Islands.Festival Luso-Brasileiro de Curtas-Metragens de Sergipe. Sergipe, Brazil.Videoformes New Media & Video Art Festival, Clermont-Ferrand, France.Zemos98. Seville, Spain.Belgrade Documentary and Short Film Festival. Belgrade, Serbia and Montenegro.Naoussa International Short Film and Video Naoussa, Greece.Festival Images Contre Nature. Marseille, France.Festival Nacional de Cinema e Vídeo de Pacoti. Pacoti, Brazil.2005Sao Paulo International Film Festival. São Paulo, Brazil.Zagreb Film Festival. Zagreb, Croatia.Forumdoc.Bh Festival do Filme Documentário e Etnográfico. Belo Horizonte, Brazil.Guangzhou International Documentary Film Festival. Guangzhou, China.Mostra Trilhas Negras e Indígenas. São Paulo, Brazil.Encuentro Hispanoamericano de Video Documental Independiente. Mexico City, Mexico.Sopot Independent Film Festival. Sopot, Poland.International Experimental Film Festival Carbunari. Maramures, Romenia.Split International Festival Of New Film. Split, Croatia.International Electronic Art Festival Videobrasil. São Paulo, Brazil.Festival De Cinema Gay E Lésbico De Lisboa. Lisboa, Portugal.Portobello Film Festival. London, England.Exis Experimental Film & Video Festival. Seoul, Korea.International Video Festival Videomedeja. Novi Sad, Serbia And Montenegro.Lausanne Underground Film & Music Festival. Lausanne, Switzerland.Festival Mix Brasil de Cinema e Vídeo. São Paulo, Rio de Janeiro and Brasília, Brazil.Kunst Film Biennale. Cologne, Germany.Vad International Video and Digital Arts Festival. Girona, Spain.Mostramundo, Festival da Imagem em Movimento. Recife, Brazil.Tirana International Film Festival. Tirana, Albania.Cineamazônia Mostra Internacional Vídeo Ambiental. Porto Velho, Brazil.International Izmir Short Film Festival. Izmir, Turkey.FAM Festival Audiovisual Mercosul. Florianópolis, Brazil.Mostra Audiovisual Dança em Pauta. São Paulo, Brazil.Festival Internacional de Video Danza de Buenos Aires. Buenos Aires, Argentina.2004Mostra Do Audiovisual Paulista. São Paulo, Brazil.Tiburon International Film Festival. Tiburon, USA.Festival Cineesquemanovo. Porto Alegre, Brazil.Festival De Cinema, Vídeo e Dcine. Curitiba, Brazil.Chilean International Short Film Festival of Santiago. Santiago, Chile.International Short Film Festival Hamburg. Hamburg, Germany.

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Videoformes Festival International des Arts Video. Clermont-Ferrand, France.Morbegno Film Festival. Morbegno, Italy.Mostra do Filme Livre. Rio De Janeiro, Brazil.Festival Images Contre Nature. Marseille, France.Japan Media Arts Festival. Tokyo, Japan.Tabor Film Festival. Zabok, Croatia.2003Mostra de Vídeo Vtudo. Vitória, Brazil.Bienal de Video y Nuevos Medios. Santiago, Chile.VAD International Video and Digital Arts Festival. Girona, Spain.Anchorage Film Festival. Alaska, USA.Backup Festival. Weimar, Germany.International Electronic Art Festival Videobrasil. Sao Paulo, Brazil.Festival de Video de Teresina. Teresina, Brazil.

SPECIAL SCREENINGS2011art:screen. V.art11 Art Festival, Knappfabriken, Varnamo, Swedenart:screen. Bio Roxy, Obrero, Sweden.CologneOFF Beirut. The Sunflower, Beirut, Lebanon.Exquisite Corpse Video Projet Vol. 3. Gallery West, Toronto, Canada.The Film That Is Not There#2. Objectifs, Singapore.Traffic Jam. GIV, Montreal, Canada.Love. Cinema Zavod Udarnik, Maribor, Slovenia.2010The Face. Cinema Zavod Udarnik, Maribor, Slovenia.Wikitopia/Videotage. Double Happinness Studio, Hong Kong, China.MUSICVIDEOART. Mons-en-Baroeul, France.Petite Pomme. Cinecycle, Toronto, Canada.Video is The Only Constant. London, UK.2009CologneOFF V - Taboo! Taboo?. Arnolfini, Bristol, UK.Exquisite Corpse Video Project Vol.2. Kulturpalast Wedding International, Berlin, Germany.Exquisite Corpse Video Project Vol.2. Artists Television Access. San Francisco, US.II Mostra (In) Dependente de Dança. Espaço Kasulo, São Paulo, Brazil.Exquisite Corpse Video Project Vol.2. Unit, Tirana, Albania.Exquisite Corpse Video Project Vol.2. Magacin, Belgrade, Serbia.Itinerância Videobrasil. Sesc Uberlândia, Uberlândia, Brazil.Exquisite Corpse Video Project Vol.1. Artists Television Access. San Francisco, US.VIDEO VORTEX 4 International Conference. Split, Croatia.Mostra Lanterninha. Galeria Olido, São Paulo, Brazil.Exquisite Corpse Video Project Vol.1. Kulturpalast Wedding International, Berlin, Germany.Sessão Corredor - vídeos de artista. Ateliê397, São Paulo, Brazil.Exquisite Corpse Video Project Vol.1. Community Screening Center, Berkeley, US.Exquisite Corpse Video Project Vol.1. Núcleo de Produção Digital Orlando Vieira, Aracaju, Brazil.MUSARAMA. Klubi, Turku, Finland.2008Exquisite Corpse Video Project Vol.1. Vansa Visual Arts Network Of South Africa, Cape Town, South Africa.Mixtoquente. Casadalapa, São Paulo, Brazil.2007The Best of Videoformes 2007. SCAM Société Civile des Auteurs Multimedia, Paris, France.The Best of Videoformes 2007. Lieu d’Art Contemporain, Reunion Island.Mostra Dia Internacional da Mulher. Cine Goiânia Ouro, Goiânia, Brazil.Mulheres da Frente de Trabalho. Parque de Ciência e Tecnologia da USP, São Paulo, Brazil.CineVideo e Educação. Aracaju, Brazil.Ação Cultural do MINC. Santarém, Brazil.

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Teatro Municipal. Santo André, Brazil.CineEsquemaNovo Awarded Films. CINUSP, São Paulo, Brazil.Especial Semana da Consciência Negra. MIS (Museum of Image and Sound), São Paulo, Brazil.II Curta as Mulheres. Aracaju, Brazil.

LECTURES AND WORKSHOPS2012Creative Color Grading. Gallery44, Toronto, Canada.Videoart in the World. AIVA Festival, Angelholm, Sweden.2011Art of Video workshop. Objectifs, Singapore.Artist Talk. Objectifs, Singapore.Art Practice and Strategies. Tote Espaço Cultural, Campinas, Brazil.Videoart Workshop. Sesc Pinheiros, São Paulo, Brazil.2010Strategies Of Constructing The Contemporary Artistic Work. Discussion Panel, UNICAMP, Campinas, Brazil.ECVP: Collaborating In Video. Sesc Campinas, Campinas, Brazil.DIWO (Do It With Others). Discussion Panel, Po Leung Kuk Community College, Hong Kong, China.Artist Talk. Gyeonggi Creation Center, Ansan, South Korea.Let’s Make This Uncomfortable. TPW Gallery, Toronto, Canada.Formas do Vídeo. CineDesign, Teatro Cine Apolo, Recife, Brazil.Expression through Video. Verbundschule Horstmar-Schöppingen, Schöppingen, Germany.B’Sides - Pecha Kucha Night. Rondo Atelier, Graz, Austria.2009Digital Territories and the Globalization of the Individual. Festival Contato, São Carlos, Brazil.Artist Talk. UFSCAR, São Carlos, Brazil.Subjectivities in Transit. Sesc Paulista, São Paulo, Brazil. Artist Talk. Unicamp’s Art Institute, Campinas, Brazil.Video as Artistic Expression Tool. Núcleo de Produção Digital Orlando Vieira, Aracaju, Brazil.Artist Talk. Turku Arts Academy, Turku, Finland.Video Collaborations. Supermarket Art Fair, Stockholm, Sweden.2008Nomad Aesthetics. Alucine Toronto Latino Media Festival, Toronto, Canada.Final Cut Pro for Artists. Eden343, São Paulo, Brazil.Photoshop for Artists. Eden343, São Paulo, Brazil.2007Video Art and Experimental Cinema. ESPM, São Paulo, Brazil.

PUBLIC COLLECTIONSPinacoteca de Piracicaba. Piracicaba, Brazil.Itaú Cultural Institute. São Paulo, Brazil.Museum of Modern Art. Salvador, Brazil.Casoria Contemporary Art Museum. Casoria, ITALY

SELECTED BIBLIOGRAPHYAlves, Cauê, “O Espaço da Arte e da Colagem”, Recortar e Colar / CRTL_C + CTRL_V, exhibition catalogue, Sesc Pompéia, São Paulo, Brazil, 2009Alzugaray, Paula, “Corpos Videográficos”, Isto É magazine, Brazil, 08/12/2009Alzugaray, Paula, “Aqui Passa o Trópico”, Situ/Ação: Vídeo de Viagem, exhibition catalogue, Paco das Artes, Sao Paulo, Brazil, 2007Alzugaray, Paula, “Videometry – Video as a Measuring Device in Contemporary Brazilian Art”, Videometry, exhibition catalogue, Galeria des Angels, Barcelona, Spain, 2006Alzugaray, Paula, “Ação Afetiva a 3”, Ocupação, exhibition catalogue, Paço das Artes, Sao Paulo, Brazil, 2005Anckar, Pontus, “Bjud en Brasilianska pa Middag”, Åbo Underrättelser newspaper, Turku, Finland, 02/21/2009Baima, Maria Claudia, “Arte na Idade Mídia”, Revista Ensino Superior, Brazil, November 2005

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Baker, Andi, “This is Uncomfortable: Awkward Artistries”, Canadian Art blog, July 2010Barreto, Silvia Paes, “Arte Porque a Vida Não Basta”, Revista Tatuí magazine, Brazil, 2006Bernal, Daniel, “Construyendo Cultura…Latinoamericanos Alucinando”, Toronto Hispano website, 06/02/2007Birac, Martin, “ZFF se Blizi Kraju”, X Portal, Zabreb, Croatia, 2005Carlos, Starling Cássio, “Com 300 Obras, Mostra Audiovisual Chega à 21a Edição”, Folha de São Paulo newspaper, Brazil, 12/11/2007Cassavana, Rita Tatiana, “Videodança: Território de Resistência”, indança.net, 11/05/2009Chagas, Paula, “Parafernália Tecnológica na Criação de Kika Nicolela”, Estadão newspaper, Sao Paulo, Brazil, 05/09/2007Chagas, Paula, “Guerreiras do Carnaval e da Vida, Jornal Estadão, São Paulo, Brazil, June 2005Corrieri, Claudia, “Exquisite Corpse Video Project: A Network First”, Artreview blog, 03/22/2010Costa, Claudia, “Imagens Captadas, Criadas, Transformadas”, Jornal da USP, São Paulo, Brazil, October 2000Fan, Grace, “Screen Time”, Time Out Magazine, São Paulo, Brazil, January 2011Farkas, Solange, “Cartography of the South”, exhibition catalogue, Kunst Film Biennale, Kunst, Germany, 2005Felix, Luciana, “Cineasta Quer Transformar Fotos Antigas em Videoarte”, Correio Popular newspaper, Campinas, Brazil, 04/12/2012Fidalgo, Janaina, “Mostra Fotográfica faz Mapa Genético de São Paulo”, Folha de São Paulo newspaper, June 2005Germano, Paulo, “Sensações Derramadas”, Zero Hora newspaper, Porto Alegre, Brazil, September 2009Gioia, Mario, “Arte em Contêiner”, Folha de São Paulo newspaper, 11/18/2008Heise, Tatiana, “Contested National Identities in Contemporary Brazilian Cinema”, Department of Latin American Studies of Leeds University, UK, December 2008Hernandez, Noelia, “La Incógnita Carioca”, La Vanguardia, Barcelona, Spain, 06/14/2006Howlett-Jones, Kate, “Rondo is a Special Place for Working”, GAT website, 03/24/2010 Jager, David, “Space Odyssey Alucine Group Show’s Lyrical Riffs”, critic’s pick, Now Magazine, Toronto, Canada, June 7 - 13, 2007Mercier, Marc, “McLuhan, Le Joycien Hippie”, BREF Magazine, France, 2011Mindêlo, Olivia, “Arte Contemporânea em Interface com a Cidade”, Continente Multicultural magazine, Recife, Brazil, September 2006Molla, Rani, “Split the Difference”, Santa Fe Reporter, Santa Fe, US, May 2010Monachesi, Juliana, “Viciados em Residências Artísticas”, Select magazine, Brazil, August 2012Monachesi, Juliana, “Digital Blind Date”, Exquisite Corpse Video Project, exhibition folder, DConcept Gallery, São Paulo, Brazil, 2009 Monachesi, Juliana, “Timor Mortis Conturbat Me”, Windmaker, exhibition catalogue, Sesc Vila Mariana, Sao Paulo, Brazil, 2007Monachesi, Juliana, “I’ll Be Your Mirror”, Ocupação, exhibition catalogue, Paço das Artes, Sao Paulo, Brazil, 2005Monachesi, Juliana, “Doll”, Flux, exhibition catalogue, Capela do Morumbi, Sao Paulo, Brazil, 2004Nader, Wladir, “Para Tudo Terminar na Quarta-feira”, Sem-Terra magazine, January/February 2006Maia, Luiza, “Namoro entre Design e Cinema”, Diário de Pernambuco newspaper, Recife, Brazil, June 1st 2010Nordlund-Hessler, Tita, “Videokonst Fran Hela Varden”, Eskilstuna Kuriren newspaper, Eskilstuna, Sweden, 03/14/09Oliveira, Cinthya, “A Voz do Povo”, Jornal O Tempo, Belo Horizonte, Brazil, 11/23/2005Pedersen, Christian, “O Talento Brasileiro no Maior Festival Latino De Curtas Da América Do Norte”, Brasil News, Toronto, Canada, 06/01/2007Pitkanen, Milla, “Suomalaisten Vieraana”, Turun Sanomat Newspaper, Turku, Finland, 03/16/2009Rancoule, Amandine, “Quand les Yeux sont aux Abois”, 20 Minutes Newspaper, France, June 2009Rodrigues, Carolina, “A Fantasmática Digital do Corpo”, critic essay, October 2009Rosele, Ursula, “What Do You Think Of Me?, Filmes Polvo Revista de Cinema, Brazil, January 2010Romagnolli, Luciana, “A Invenção no Documentário”, Gazeta do Povo newspaper, Curitiba, Brazil, 11/24/2010Quintela, Olga, “Imagem-Corpo#2”, exhibition catalogue, Lagos, Portugal, 2007Sammad, Daniella, “I Would Believe Only In A God Who Could Dance”, Kika Nicolela – Selected Videos and Photos, exhibition folder, London, UK, 2009 Sherwin, Brian, “ArtSpace Talk with Kika Nicolela”, ArtSpace website, 10/11/2007Stermitz, Evelin, “RED: The Gendered Color in Frames”, exhibition essay, 2010Trottier, Dan, “One Corpse, 36 Suspects”, Santa Fe Reporter newspaper, Santa Fe, US, January 2010Vieira, Cesar, “Zagreb – O Cinema em Ebulição”, Olho Vivo newspaper, Guarulhos, Brazil, March 2006Villalba, Patrícia, “Brasil Conquista Prêmios em Portugal”, Estadão newspaper, São Paulo, Brazil, 12/06/2006Zaccagnini, Carla, “Face a Face”, exhibition catalogue, Centro Cultural Sao Paulo, Sao Paulo, Brazil, 2006Zerio, Eveline, “Exposição e Serviço”, Gazeta de Piracicaba newspaper, Piracicaba, Brazil, April 2012

kika nicolela // portfolio 2012

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