ExposiçõesExhibitions . 2015 . SOLON RIBEIRO . PERDEU A MEMÓRIA E MATOU O CINEMASOLON RIBEIRO . LOST THE MEMORY AND KILLED THE CINEMA

Cerca de trinta mil fotogramas de cinema pertencem ao arquivo que Solon Ribeiro herdou de seu avô. Este, quando dono de uma sala de cinema no interior do Ceará, selecionou minuciosamente cada um dos frames que compõem a coleção.

A partir deste universo, Solon cria aproximações insuspeitas entre imagens de filmes diversos que passam a dialogar tanto na estrutura fílmica quanto na disposição espacial de suas videoinstalações. É o caso da fabricação de projetores escultóricos que, construídos de maneira low tech, atualizam as brincadeiras do artista – na infância Solon fabricava projetores feitos com caixa de papelão e lâmpada com água.

Em outros trabalhos reintroduz movimento à “cena” através do manuseio do projetor. Por exemplo, as projeções feitas em lugares específicos da cidade – elencados não gratuitamente – onde Solon assume o papel do projecionista e – ao invés de uma câmara na mão – tateia a cidade com o movimento pelo qual maneja o projetor.

A dramaturgia do espaço e a relação com cada frame projetado adensam questões pertinentes à linguagem cinematográfica e nos força a pensar no monopólio do dispositivo cinema como costumeiramente o entendemos.

YURI FIRMEZA

Around thirty thousand photograms belong to the archive that Solon Ribeiro inherited from his grandfather. As the owner of a movie house in inner Ceará, he carefully selected each one of the frames that compose the collection.

A part of these frames lies conditioned to albums and so retain the aura implied in each one of those small organisms – each one catalogued, named and dated. In other words, even though they are dislocated from their initial structure, they are still circumscribed by the taxonomic exercise to an impeccably demarcated space and time. It is with the lightness of one who recognises the historic weight of the collection without letting himself be overwhelmed by it, that Solon Ribeiro travels among thirty thousand ghosts. In rearticulating the archive, Solon gives voice to the ghosts and hauntings of our own time.  Creating unsuspected associations between images from different films as well as with the spacial disposition of his video installations. This is the case in the construction of sculptural projectors that, built in a low-tech fashion, bring up-to-date the artist’s childhood games – when Solon built projectors made from cardboard boxes and lamps with water.

In other works he reintroduces movement to the “scene” with the handling of the projector. For example, the projections made in specific places of the city (which are not chosen gratuitously) where Solon takes on the role of the projectionist and – instead of a camera – gropes his way through the city using the movement with which he handles the projector.

The drama of space and the relation with each projected frame deepens the questions pertinent to cinematographic language and forces us to think about the monopoly of the cinematic instrument as we usually understand it.

YURI FIRMEZA