Curitiba, 1970

An artist and lecturer, Fábio Noronha uses the university context as his field of artistic activity and investigation. Interested in the “trash” of computer programming and in Internet lingo, with its links, pop-ups and banners, the artist’s work combines writing, digital images, video, sound, installation and editorial projects. The appropriation of internet content serves as a method for building a repertoire that frequently develops out of editing and assemblage. Noronha’s platform of choice is the digital environment, and his works are available for free, online and for download.

At the Triennial, the artist presents three issues of the magazine Arminha, an editorial project that is part of his research at the university, and a set of four videos that marshal some of the poetic vocabulary he has amassed over the years.

In AUDIO 65a (2002), a computerized reading of William S. Burroughs’ Electronic Revolution (1970) is illustrated with a picture of an audiocassette, evoking experiments with recording and also ideas on the relationship between the written and spoken word. In the video MEGAFONE [MEGAPHONE] (2016), a montage set to a soundtrack composed by the artist runs through a list, in the form of subtitles, of 198 methods of non-violent action compiled by the American Gene Sharp, who published a series of studies on resistance strategies in contexts of dictatorship, oppression and war.

[Y. R.]

Obras

Megafone, 2016
vídeo digital, cor, som estéreo, 16’50”

Audio 65 a, 2002
vídeo digital, cor, som mono, 66’8”

Barba eXistenz, 2012
vídeo digital, cor, som estéreo, 54”

Vídeo-anúncio SCC_var_
Bouguereau, 2013
vídeo digital, cor, som estéreo, 9’2”

Cabeça, da série Insônia
valeriana, 2000/2002
vídeo, 1’38”

Banho personal 1950, 2006
vídeo, 5’30”

Revista Arminha V1: Insônia
Valeriana, 2015
Revista Arminha V2: Motosserra,
2016
Revista Arminha V3: Coded
Meaning, 2017