WHITE CROSS. BLACK EARTH
A 3a via FILMS Production
WHITE CROSS. BLACK EARTH Directed and Produced by Roderick Steel
São Paulo, Brazil, January, 2019 – 3a via FILMS is proud to announce the completion of the hybrid performance documentary WHITE CROSS. BLACK EARTH (Cruz Branca. Terra Preta) directed and produced by São Paulo-based vídeo-artist and filmmaker Roderick Steel in partnership with Visual Artists Rodrigo Marques and Adriana Tabalipa, co-founder of the STAR collective.
Contact: Roderick Steel Rua Min. Roberto Cardoso Alves 845 . Alto da Boa Vista, São Paulo, SP CEP 04737-000 São Paulo. BRAZIL
TEL: 55-11-950390902 rodericksteel@gmail.com Technical info: 36 minutes, Color, Stereo Exhibition Format: 9:16 VERTICAL projection 3 x HD screens available: max resolution 1920 x 3240 Language: Portuguese Subtitles: English
For more details visit the site: http://rodericksteel.wixsite.com/whitecrossblackearth
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
short synopsis WHITE CROSS. BLACK EARTH brings together Performance Art, Live Art, Installation Art, Documentary and Fiction filmmaking to re-examine a 100 year-old myth about a dead slave and a giant diamond he safeguarded for his master. The end result is a highly innovative and visually seductive work that pushes the boundaries of filmmaking and cinematic montage within the dynamics of a 3-channel vertical moving image tower.
long synopsis WHITE CROSS. BLACK EARTH connects multiple perspectives on a one hundred year old myth through the eyes of an artist, a group of locals and two futuristic sensorial beings. The film shows Rodrigo – an artist and spirit medium – update a local story about a loyal slave who safeguarded a diamond for his master to the 21st Century. The Diamantina region, in the Brazilian state of Minas Gerais, is steeped in a troubled colonial past, where slaves were exploited by ruthless slave owners and a Portuguese crown hungry for gold and diamonds. Slaves that were left to rot without a decent burial, until the actions of one slave earned him a place next to his master: in a cemetery that now has his name.
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
PRODUCTION HISTORY
SLAVERY, GOLD & DIAMONDS Beginning in the late seventeenth century, and continuing well into the eighteenth century, the Brazilian gold rush transformed the virtually uninhabited backlands of Portuguese crown territory into a populated colony of settlers and their slaves. This was a frontier society and, as such, experienced continual changes, both in the size and nature of the economy as well as in the size and characteristics of the population inhabiting the region that came to be known as Minas Gerais (the Land of the General Mines). The principal historical actors in this frontier mining region belonged to three groups: the free settlers — known as mineiros — who came in search of a mining fortune; a much smaller number of royal officials who followed them in order to tax their gold and to govern them; and the much larger number of slaves brought to work the mines. The dynamic interactions between these actors in Minas Gerais were profoundly shaped by the accessibility and widespread dispersal of gold deposits. One result of the conflicts and alliances among masters, slaves, and royal officials in this context was a type of slavery that provided greater autonomy for slaves than would exist in large-scale plantation societies elsewhere in Brazil, or in other parts of the New World. This autonomy took several forms including physical and social mobility. In addition slaves exerted greater control over social relations forged outside the master—slave relationship, and greater power within that relationship both to limit the dominance of their masters and to impose contractual conditions upon their work.
FISH’S CEMETERY WHITE CROSS. BLACK EARTH was filmed in “Fish’s Cemetery”, an actual location in the northern part of Minas Gerais state which – in 2015 (On the 100th anniversary of the cemetery’s founding) when the film was shot – could not be found on googlemaps. The Fish Cemetery region contains a cemetery, a chapel and about 80 uninhabited houses that surround the cemetery and remain empty but for one week a year when families of the deceased visit the region for a religious festival.
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
FISH JOE WHITE CROSS. BLACK EARTH focuses on a local myth that dates back to 1915 in which a slave known as “Fish Joe” was found dead with a huge diamond in his hand. The Diamantina region was known for gold and diamond smuggling, and locals interviewed in the film believe that the slave Fish Joe patrolled the are looking for smugglers. Carts carrying contraband diamonds (usually hidden inside holes drilled into wood logs) would pass a checkpoint on the river manned by Fish Joe, who allegedly got his name because he was forced to live off fish he would catch in the river. According to legend Fish Joe was found dead with a huge diamond in his hand, but what interests us is what version of this legend people remember or wish to recount. Did Fish Joe sacrifice his life to save his master’s prize object? Did such loyalty earn him a decent burial? Wahtever the truth, Peixe (or “Fish”) as he was known, was buried alongside his master (known as “Canequinho”) in an officially sanctioned cemetery, next to which was built a chapel.
ARTISTIC RESIDENCY WHITE CROSS. BLACK EARTH was filmed in and around Fish’s cemetery during an Artistic Residency funded by the BRAZILIAN ARTS FOUNDATION (FUNARTE) in which dozens of artists occupied the region and turned the abandoned houses around the cemetery into individual exhibition spaces.
ART DIRECTION The film’s location is therefore a naturally occurring scenographic city, in a region built for and around a cemetery that remains abandoned, like a ghost town, for 51 weeks of the year. During filming, the region was transformed through a series of artworks and installations made by various Brazilian artists, that are also subtly incorporated into the film. This naturally occurring set, in the middle of a valley hrough which a river flows, has a unique atmosphere all its own.
PERFORMANCE ART FOR CINEMA If WHITE CROSS. BLACK EARTH is an experimental film, it is steeped in a desire to create an apparatus to document Performance Art. Indeed the starting point for the film is a series of performances whose main “action” is to “listen” to a specific site (Fish’s Cemetery) and transform the surroundings into a sensorial audiovisual experience. As such the sentient robed beings that appear in the film’s opening sequence are shown investigating their surroundings; illuminating, listening, and stitching together a film: the film we watch. And this is perhaps where WHITE CROSS. BLACK EARTH can claim to be truly unique, in its taking up of Performance Art for its potential to generate on-site specific actions that also formulate a FILM BODY. The performers’ actions were witnessed by incidental spectators, by these sentient beings also activated sounds and images beyond the performances themWHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
selves, within the film’s own performative body. These SENTIENT performers, in their black and white mirrored robes, act throughout the film like a visual chorus. Whereas a purely narrative chorus verbally conjectures and highlights the plot, these performers behave like a revelatory chorus: theirs is a language of showing and activating a 3-screen cinema world. It is, in some ways, a film-chorus: whereas a theatrical chorus ‘directs’ the audience’s perception of the characters and the story, these SENTIENT beings direct filmic relations: they co-ordinate and bring the different audiovisual layers together, and through their montage they activate and multiply relations. Theirs is a HIPER-SENSITIVE, SHAMANISTIC SHOWING. A performance of SPIRITUAL REVELATION that becomes materialized by the medium of film. It is a CINEMATIC PERFORMANCE of seeing. Thus they ILLUMINATE the world around them (like a lighting DP might), they listen to the people around them (like a Documentary filmmaker might), they activate the film’s montage (like an editor might). And as they do so, they also comment on what happens in the film through their performances (like a film director might). They are both diegetic and ex-diegetic in that they take the narrative to a place it would not normally go: THE ARTIST RODRIGO MARQUES Parallel to the cemetery is another “SET”: one of the many abandoned houses that the artist Rodrigo Marques has occupied, and in which he shows his artwork. There are around 80 houses that surround “Fish’s Cemetery” and remain empty 51 weeks of the year. They are occupied only once a year, during the week-long celebrations for the dead. It is inside one of these houses, seen repeatedly throughout the film, that Rodrigo analyzes the local myth about the slave Fish. It is here that Rodrigo breathes and exudes his personality. And as he welcomes local residents who have come by to see his artworks, they are all lit up by a quivering beam of light issued by the performers (off camera). These sentient beings compliment Rodrigo. Together they formulate a thinking-acting, thinking-feeling and self-performing entity. Rodrigo puts himself out there as an OTHER, a trance-other, half Spirit, half artist. Rodrigo is art as a filmic process: live, process-driven and in constant transformation. He constructs his self-image through poetic observation, through rhetoric and discourse. Rodrigo locates himself somewhere between the 18th Century and the 21st Century; between ghosts and the living. In his trance (he goes into a trance off camera) he is a slave, like Peixe (Fish Joe), and when out of this trance he is an African-Brazilian who lives in a Shanty town on the outskirts of Belo Horizonte, who begs the question: “Are we all really here just to serve the powers that be?” Along with the performers, he inculcates a collective mental atmosphere with his visitors, and exerts a powerful hold, a constraining force over an imagination that exceeds the confines of individuated experience. He reroutes myth, fantasy, and fable through reality, so that the distinction between the real and the imaginary is as clear as the lines that separate one screen from another on WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
the vertical audiovisual tower. If Performance is a mode of communication that signals the way a performer takes responsibility for the act of communication, then Rodrigo’s words and the film’s own images combine their communicative powers in WHITE CROSS. BLACK EARTH. It is this artist’s particular gift to connect Peixe’s myth with multiple realities through his work, his body, his discourse. Peixe’s myth presents locals – many who descend from slave master families - a façade to retreat behind as they recall an “honorable, servile slave who protected the master’s diamond”, whereas Rodrigo reminds them that everywhere, reality is contaminated with myth and that this particular myth is symptomatic of Brazilian society and many other society’s impregnated by slavery and its legacy. And the symptom isn’t a disease, but a web of relations that interconnect different territories. PERFORMATIVITY OF A CINEMATIC BODY When Rodrigo refers to the earth he shapes with his hands, he describes it as being enriched by the dead bodies of his ancestors. This is the earth he reshapes, re-signifies. Likewise, the stars he draws are black, not white. They present the viewer with a constellation of creative forces the artist summons and shapes in his work and through his own body as a medium, now transposed into a video-triptych body. His body and the film’s 3-layered body come together to re-configure the space around him into different constellations. WHITE TIME, BLACK SPACE These vertical screens present us not so much with a continuous flux of time, but a fragmented and perspectival time. Benjamin’s idea of historical time implies the simultaneous presence of different layers of time, all present in the actual moment. In WHITE CROSS. BLACK EARTH, these layers point towards Heaven and Earth, towards spiritual presences and buried bodies, to blood and tears, but also combine what Benjamin described as “chips of messianic time”: past, present and future. This is a model of nonhomogeneous temporality specific to cinematic time. Cinema experiments with various spatiotemporal forms of representation, and WHITE CROSS. BLACK EARTH allows for multiple combinations of different temporal and perceptual strata through its vertical tryptich. The montage techniques employed in this work do not adhere to narrative rules or formal arrangements, but invent a form of temporal clustering, which represents a critique of linear narration. And this is where Cinema and Performance Art come together in WHITE CROSS. BLACK EARTH, as the Sentient Beings, with their flashlights that illuminate most of the scenes in the film, perpetrate the cinematic medium to make visible fragments of time and their intertwining through the 3-screen format. Not only past, present, and future, but also actuality and virtuality, reality, and possibility can be represented in their entanglement through this specific technique of montage. It is primarily through their performances, and the implication these performances have on the vertical 3-screen format, that viewers witness a temporal cinematic process which integrates varying perspectives, fragmentation, plurality, and discontinuity. WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
Whereas some contemporary theories focus on a temporality constituted by technology that does not necessarily relate or adapt to human perception, the vertical 3-screen tower in WHITE CROSS. BLACK EARTH is inexorably linked to the Sentient Beings that appear in the films opening. One of them illuminates a window: which activates the film we are about to see. Through their investigative presence they induce experiences that affect the viewers on a perceptual level . The various technological temporalities activated by this visual dispositive within our contemporary digital culture are described as being fundamental to human perception, yet they are of heterogeneous origin and thus introduce a transcendent element into human perception.
† RODERICK STEEL BIOGRAPHY Visual artist, photographer, researcher and documentary filmmaker, Roderick majored in film in the US, and worked with documentaries in the US and England. He is currently a PhD student at the University of São Paulo’s College of Communication. His work stems from the need to create new entanglements between objects and images in order to interweave different temporal and spatial systems, to propose and reveal critical interactions between performance rites, the human body, and the audiovisual image. Rod is interested in the journey images take within other images, and he explores how we construct images of ourselves and project these into diverse territories. Rod participates regularly in ethnographic film festivals, experimental video and contemporary art exhibits. He filmed a series of documentary feature films on Afro-Brazilian religions, and currently experiments with artistic devices that force Performance Art and audiovisual performance into unusual circuits and feedback loops.
RODERICK STEEL FILMOGRAPHY 2019 . “White Cross. Black Earth.” (36 min). Director, Photography. Editing. Sound. (Genre: Documentary) · “The minimum of the Minumum”. (110 min). Director, Photography. Editing. Sound. (Genre: Documentary) 2016 · “Revelation”. (12 min). Director, Photography. Editing. (Genre: Experimental) · “Implementação”. (5 min). Director, Photography. Editing. Sound. (Genre: Experimental) · “Raining Pearls” . (11 min). Director, Photography. Editing. Sound. (Genre: Experimental) · “Markers”. (58 min). Director, Photography. Editing. Sound. (Genre: Documentary) 2015 · “Anthropomonopod”. (8 min) Director, Photography. Editing. Sound. (Genre: Experimental) · “Propagationo”. (8 min) Director, Photography. Editing. Sound. (Genre: Experimental) · “Prostration”. (5 min) Director, Photography. Editing. Sound. (Genre: Experimental) 2014 · “MOONOVOSOL” (“Mooneggsun”) . (52 min) Director, Photography. Editing. Sound. (Genre: Experimental) 2013 · “Meditation”. (10 min) Director, Photography. Editing. Sound. (Genre: Experimental) WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
delo da carta acordo
A presente Carta Acordo tem como objeto a autorização de uso, com a finalidade de ição no Cine Tornado Festival, da(s) obra(s) fílmica(s):
_____________________________________________________________________ _, cujo totalidade dos direitos, inclusive de propriedade intelectual e autoral pertence ao tor/produtor/ responsável legal supra citado.
A curadora tem previsão de realizar exibições dos filmes acima citados em Curitiba, Paulo, Europa em data ainda a ser definida (compreendendo o período de 2018/2019). mpondo quando possível, duas exibições por cidade brasileira ou país estrangeiro, totalido o máximo de 6 exibições, ficando a curadora como única responsável pela distribuição filmes na programação de cada localidade, estando vinculada a exibição pelo Cine TornaFestival.
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WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
2012 · “Neither Day Nor Night” (9 min) Director, Photography. Editing. Sound. (Genre: Documentary) · “The Balance” (110 min) Director, Photography. Editing. Sound. (Genre: Documentary) 2011 · “How Far Do We Go?” (3 min) Director, Photography. Editing. Sound. · “Kingdoms” (110 min) Director, Photography. Editing. Sound. (Genre: Documentary) · “Traço” (12 min) Director, Photography. Editing. Sound. (Genre: Ficção) · “Transfiguração” (3 min) Director, Photography. Editing. Sound. (Genre: Experimental) · “Primeira Photography” (5 min) Director, Photography. Editing. Sound. (Genre: Experimental) 2010 · “6 pistas” (3 min) Director, Photography. Editing. Sound. (Genre: Experimental) 2009 · “Água de PEji” (3 min) Director, Photography. Editing. Sound. (Genre: Experimental)
Awards, Residencies & Invites 2018 ·Encosta Residency. Ilha do Mel, Brasil. ·Memorial da Resistência Residency. São Paulo, Brasil ·Arkane Residency. Casablanca, Morroco. ·Mirada Video Festival AWARD for BEST FILM. Boiler Galeria, Curitiba, Brasil 2015 · “Pocket-films”: lycéens et aprentis du cinema – vídeo selecionado para ensino médio nas escolas da França – Centre National de la Cinematographie, Poitou-Charentes/França. · Hors Pistes/Centre Pompidou – Video oficial do evento – Rosário/Argentina. 2014 · Videoresidência na Galeria Mamute – artísta convidado – Porto Alegre/RS. 2013 · 15º Festival Internacional de Cinema da BIENAL DE CURITIBA – Melhor Video Experimental 2013 – Curitiba/PR. 2012 · Festival do Minuto – Menção honrosa – São Paulo/SP. 2011 · Caroussel: World Photography Organization Festival – selecionado “Slide Screening” – Londres/Inglaterra. 2010 · 5º Vivo arte.mov Festival – Melhor Video – Belo Horizonte e 6 cidades/Brasil.
Academic CV DEGREE in FILM STUDIES. Boston University. College of Communications. Boston/ USA. MASTERS degree in FILM STUDIES. ECA-USP. São Paulo/Brasil. PHD in FILM STUDIES (2021). ECA-USP. São Paulo/Brasil.
† WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
S.T.A.R. Collective (Adriana Tabalipa & Roderick Steel) CV
2018 – MOONOVOSOL expandido. GALERIA INTERARTIVIDADE. Batel Shopping Center, Curitiba, Brazil. 2017 — Fotografias do coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa). Revista Canguru. Editora Medusa. Curitiba, Pará. 2017 — Mostra de vídeos do coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) 1º Festival de Vídeo MIRADA. Boiler Galeria. Curitiba/Pará. 2017 — “Entronizando Estrelas” (Performance). (Exposição “Galeria Transparente: Lounge”) Centro Cultural da Justiça Federal. Rio de Janeiro/RJ. 2017 – Foto Performance (coletivo S.T.A.R: Roderick Steel & Adriana Tabalipa). Galeria de Fotografia Paulo Duque Estrada. Rio de Janeiro, RJ. 2017 – “Moonovosol” (coletivo S.T.A.R: Roderick Steel & Adriana Tabalipa) no PERFIDIA, Performance and New Media Festival. São José do Rio Preto/Brasil. 2017 –“PUPP expandido” – Live Performance (coletivo S.T.A.R: Roderick Steel & Adriana Tabalipa) no CCC na Bienal de Curitiba/Paraná. 2017 – “E S.T.A.R. no Cubo” Live Performance (coletivo S.T.A.R: Roderick Steel & Adriana Tabalipa) no Centro de Artes Calouste Gulbenkian. Rio de Janeiro/RJ. 2017 – “Aeroalquimíalux”. Instalação no “Projeto Infiltrações” . Solar do Barão. Curitiba/PR.
2016 – Fotografias do coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – Galeria Farol. Curitiba/Pará. 2016 – “Revelação (II)” – Live Performance com Vídeo (coletivo S.T.A.R: Roderick Steel & Adriana Tabalipa) – #33. p.ARTE. Bicicletaria Cutlural, Curitiba/ Pará. 2016 – Revelação – Live Performance com Vídeo – coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – (Exposição: “Showroom”.) Centro Cultural da Justiça Federal. Rio de Janeiro/RJ. 2016 – “Emane Expandido” – Live Performance – coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – Centro de Artes Visuais da Funarte / MinC, (Exposição: “Ponto Transição”) Rio de Janeiro/RJ. 2016 – “Moonovosol” – coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – V International Biennial of Performance. Bogotá, Colômbia. 2016 – “Rizolux” – Intervenção Urbana do coletivo S.T.A.R na ‘2ª Ocupação Cultural Morais & Vale’. Rio de Janeiro. RJ 2016 – Parallel Screen #1 na Academie Minerva Praediniussingel. Hollanda. 2016 – vários trabalhos do coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
— Mostra IP 2016. 2016 – Apresentação de “Moonovosol”. Cine MIS. São Paulo, Brasil. 2016 – Apresentação de Vídeos Autorais. 16ª Mostra do Filme Livre. Rio de Janeiro, Belo Horizonte, Brasília & São Paulo/Brasil. 2015 – “Regeneração” – Live Performance com Vídeo – Coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – Bienal Internacional de Bucaramanga “Desde Aquí”. Colômbia. 2015 – Mostra de “Moonovosol” na exposição “Outlet” – Galeria Desborde, Bogotá/Colômbia. 2015 – “Cruz Branca em Terra Preta” – Live Performance para Vídeo – Coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – Ocupação/Residência: “Morte e Magia nas artes visuais”. Cemitério do Peixe, Conceição do Mato Dentro/MG. 2015 – “Propagação” – Live Performance para Vídeo – Coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – Galeria Transparente. Rio de Janeiro/RJ. 2015 – Ipêrformatico – Apresentação de Vídeo Performance – Campo Grande/ Mato Grosso do Sul. 2015 — Obra gráfica do coletivo S.T.A.R. “Imagens Audíveis” (Livro). Curadoria Giancarlo Lorenci. Editora Hypnobooks. Porto Alegre/RS. 2014 – 6º MADATAC: Muestra de Arte Digital Audiovisual – Apresentação de Vídeo Performance – Palácio Cibeles. Madrid/Espanha. 2014 – Mostra Videoresidência Território Expandido – Apresentação de Vídeo Performance – Galeria Mamute. Porto Alegre/RS. 2014 – “Manifesta-ação” – Performance coletiva – Festival de Arte Serrinha. São Paulo/SP 2013 – “Emane” – Live Performance para Vídeo – Coletivo S.T.A.R com Afonso José Afonso (AjAx) – Galeria Júlio Moreira. Curitiba/PR. 2013 – Meditação, Contemplação, Manifestação – Performance – Coletivo S.T.A.R (Roderick Steel & Adriana Tabalipa) – Estudio Dezenove. Rio de Janeiro/ RJ.
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH
ABOUT S.T.A.R. COLLECTIVE
S.T.A.R. is a collaborative platform that aims to exchange, research, listen, experiment, collaborate, sensitise, create, propose and act in order to constellate and build bridges between people working in different media in a trans-disciplinary way within the territory of Art. S.T.A.R. came into being in 2012 to experiment artistic universes and sensibilities shared by fellow artists Adriana Tabalipa and Roderick Steel. Since then this partnership has been extended to other artists and creators. S.T.A.R. functions as a receptor and incubator for different disciplines and languages, as a way to constellate energies and give pertinent issues and situations a ST.A.R.T. It seeks to generate poetic knowledge and power capable of reflecting and transforming people through politically and aesthetically engaging works. Creating collective and collaborative actions in different registers and artistic languages – especially Visual Arts – nomadically, within different territories. S.T.A.R. is also a state of mind: open, alive, humble and wise beyond rigid systems of control, legitimation and appreciation, whether artistic, cultural or social. S.T.A.R. can be either a manifesto, a utopia, or a work. But most importantly, S.T.A.R. is aboovercoming challenges, distances and differences to create immanent and transcendent worlds, for those who simply want to be and be present here and beyond, espousing such values such as affection, respect, energy, love and light ...
WHITE CROSS. BLACK EARTH
WHITE CROSS. BLACK EARTH