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Associação Cultural Videobrasil is an institution geared towards the production and diffusion of information on contemporary art. The SESC_Videobrasil Festival has become established as an international reference for expressions of contemporary art from the South. Since the beginning of the decade, also in partnership with SESC São Paulo (Serviço Social Do Comércio), an organization that operates in the fields of culture and socio-educational leisure, Videobrasil has also been involved in the production of large contemporary art exhibitions in Brazil, such as Sophie Calle – Take care of yourself (São Paulo and Salvador, 2009), and Joseph Beyus - We are the revolution (São Paulo and Salvador, 2010).
Videobrasil is directed by Solange Farkas, a curator with an international career spanning twenty-five years. She has created the Videobrasil Festival and promoted a number of exhibitions in Brazil and abroad, including the Pan-African Exhibition of Contemporary Art (Salvador, 2005);
La Mirada Discreta: Marcel Odenbach & Robert Cahen (Buenos Aires, 2006); and Suspensão e Fluidez (ARCO, Madrid, 2007), by Eder Santos. She is also the curator of the Bahia Museum of Modern Art and a jury member for the Nam June Paik Award.
Also in partnership with SESC, Videobrasil maintains one of the most important video art collections in the Southern Hemisphere; an online data bank on contemporary art; a residency program; a series of documentaries about artists; and an annual publication on art. Nam June Paik, Bill Viola, Gary Hill, Marina Abramovic, The Atlas Group, William Kentridge, Kendell Gears, Marcel Odenbach, Kenneth Anger, Coco Fusco and Peter Greenaway are among the artists featured in its exhibitions, publications, documentaries and festivals.
Starting in 2009, Videobrasil enhanced its strategy of linking the promotion of large contemporary exhibitions to educational programs devised to potentialize the audience’s experience of artwork.
A profound change in format marks the 17th SESC_Videobrasil Festival (2011). In keeping with the nature of contemporary artistic practices, its competition is now open to all forms of artistic experiences produced in the South. The change seeks to meet the demands of the political-cultural debate and confront the huge production of representations that constitutes the territory of visuality today.