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Marcos Bonisson

Historia

Marcos Bonisson is an artist with a Master degree in Science of Art (UFF) and PhD candidate in Contemporary Studies of the Arts (UFF). He lives and works in the city of Rio de Janeiro. He also holds a degree in Literature (UNESA) and a post-graduate degree in Art and Culture (UCAM). He studied engraving, drawing, cinema and photography at EAV Parque Lage (1977-1981). Participated in the 27th International Biennial of São Paulo in 2006. Published the book Arpoador (Editora Nau, 2011) and the catalog Pulsar (Binocular Publishing House, MAM, 2013). His most recent solo exhibitions were at the Museum of Modern Art in Rio de Janeiro in 2013 and the Maison Européenne de la Photographie (MEP-Paris) in 2015.

Películas

Director

"69" is an experimental film made from an extensive Super 8 archive filmed by Edmond Conilh de Beyssac, a French aviator. In context, everything was filmed in March of 1969, on a trip to Brazil. The film was transmuted into the idea of Anarchive, a concept created by the philosopher Erin Manning, activated in a process of audiovisual experimentation.

Kopacabana

Director

Film set in the neighborhood of Copacabana, elaborated through a collage of current and archive images (Super 8 and digital). An experimental work narrated by the significant speech of the poet Fausto Fawcett, and sonorized by the musician Arnaldo Brandão.

Tupianas

Director

Super 8 filmed in Brazil during the 70's. It's a reflection about the idea of Tupi, by elaborating a non-linear narrative with a collage of "antropofagic images", presenting the body and space as topology of desires, experimenting the choice in life, and language of the essential, instead of the accessory.

O Signo do Caos

Director of Photography

A customs agent, Dr. Amnésio, examines some reels of film, a documentary Orson Welles made about Brazil, and tries to confiscate the material. Then, a party in which repression agents celebrate their victory against freedom and creativity.

Reinvenção da Rua

Director of Photography

Helena Ignez's first film as a director is a homage to American architect and contemporary artist Vito Acconti, who made an urban intervention over a bridge in São Paulo, transforming that space for it to be used as shelter by nearby homeless people.

Razor in the Flesh

Still Photographer

Neusa Suely, a prostitute, is accused by her pimp Vado of stealing his money. To get rid of the accusations, she blames her neighbour, Veludo. The three characters then start to live a small tragedy set in the underground Rio de Janeiro scene.