Author: Bruno Silvério Duque Affiliation: Universidade de Brasília Contact: contato@brunoduque.com Phone: 55 61 8511-8240 / 55 31 3317-6495 / 55 31 98572838 web: http://www.brunoduque.com

Collaborators: Diametral Collective ( http://www.diametral.info/#!galeria/c10fk)

Bios/resumes:

Bruno Silvério Duque

Multimedia artist, born in 1983 in Belo Horizonte, Brazil. Lives and works in Brasília and Belo Horizonte. Develops a research about relations between concrete and virtual image since 2005. Lived in Czech Republic between the years 1999 and 2000, and in Spain between 2006 and 2010, where started and interrupted a PhD in Art History about the "perception of photographic reproduction of paintings”. Founder and coordinator of the "Diametral Project” and the collective involved. Master student in the University of Brasilia in the Art and Technology field with a project about the “application of cosmology and quantum physics theories in the Telematic Arts. Prizes, individual and collective exhibitions in many brazilian states, in Argentina, Mexico, Portugal, Spain and Japan.

Exhibitions:

• Casa ArteFoto 3a edição, Cine Brasília, 2015• Piolho Nababo. Exposição coletiva no Ahorta da Pampulha. Belo Horizonte, 2015• Coordenadas Vagabundas. Brasília, 2015.• MIRADAS ENREDADAS 2015: DESEJO, exposição itinerante, 2015 - http://issuu.com/fabianepianowski/docs/miradas_enredadas_2015; ARTESTAÇÃO - Praia do Cassino - RS;• Trahere, Exposição individual na Galeria de Arte Mamacadela, Belo Horizonte. 2015• VII Bienal de Pintura de Pequeno Formato. Menção honrosa pela obra fotógrafos (II). Moita, Portugal. 2015• 14o Salão Nacional de Arte de Jataí, GO. 2015• Brasil Ficções. Armazéns do Chá, Porto, Portugal, 2015.• VII Salão de Arte de Itabirito Regional, Itabirito, Nova Lima e Belo Horizonte, 2015. Menção honrosa.• Antimônio - Galeria Mamacadela, Belo Horizonte, 2014.• Room Art Fair - Gallery Akaro - Madrid, Espanha. 2014 - http://issuu.com/ gal- leryakaro/docs/ catalogo • 1o Concurso Audiovisual Invisible - Invisible Gazette - Menção Especial para o video “Objetos de Cura” criado em co-autoria com Thatiane Mendes. Mexico, 2014

• Centro Cultural Banco do Brasil - BH. Site specific Diametral dentro do evento Noturno nos Museus, 2014. Belo Horizonte e Okinawa, Japão.• 20o Salão Anapolino de Arte. Anápolis, Goias. 2014• 1o Salão Estadual de Artes Visuais do Balaio de Arte e Cultura - Premiado em Segundo Lugar na categoria Pintura - Parque de Exposições Sebastião Alves do Nascimento, Patos de Minas, 2014.• Miradas Enredadas 2014 - http://issuu.com/fabianepianowski/docs/ catalogo_- me2014? e=5997390/9033826 Hall da reitoria da Universidade Federal do Vale do São Francisco, Petrolina/ Juazeiro, PE. Maio de 2014; Festival Photofluxo em Rio Grande/RS. Setembro de 2014; XI Simpósio de Arte - Dialogando com as novas tecnologias, UNICENTRO, Guarapuava/PR • 3o Balaio de Arte e Cultura de Patos de Minas. Exposição coletiva. Parque de Exposições Sebastião Alves do Nascimento. Patos de Minas, 2013.• Sesc Palladium, Videowall. Exposição do vídeo: “Objetos de Cura - Belo Horizonte” feito em co-autoria com Thatiane Mendes. Belo Horizonte, 2012.

• Novasmédias?! Evento 2 – Galeria Theodoro Braga, Belém, PA, Dezembro 2012 • Curadoria da exposição [ ENTRE ] em Patos de Minas, MG. Novembro de 2011.• ArteBa 2010, Bairro Joven – Exposição na feira pela Galeria Belizário. Buenos Aires, Argentina, 2010. • Galeria Kitchen. Vídeo “Objetos de Cura”, em co-autoria com Thatiane Mendes - http:// kitchengallery.blogspot.com . Barcelona, Espanha, 2009• Stripart 09: Exposição coletiva no Centre Cívic Guinardó. www.stripart.org . Barcelona, 2009. • Escola Guignard, UEMG. Exposição coletiva de formandos em fotografia. Belo Horizonte, 2005.• Escola Guinard, UEMG. Exposição coletiva de formandos em xilogravura. Belo Horizonte, 2005.

• Centro Cultural Buritis. Exposição coletiva de xilogravura. Belo Horizonte, 2005.

Congresses and publications

• #14.ART - 14o Encontro Internacional de Arte e Tecnologia - Experiências telemáticas técno-sociais. Aveiro, Portugal. 2015• 34o encontro da ANPAP - Simpósio. Acaso e controle na criação de contextos teemáticos. Em autoria com Thatiane Mendes. Santa Maria, RS. 2015 • Revista Audaz no2. Junho de 2014 - Divulgados: 23 pinturas, uma entrevista e o projeto Diametral. Páginas 1-24. http://issuu.com/revistaaudazbh/docs/revista_audaz_n002/1• Revista Juca - Diplomacia e Humanidades - A revista dos alunos do Instituto Rio Branco - no06. Fevereiro de 2012 - Ilustração dos poemas de João Henrique Bayão. Página 80. http://sistemas.mre.gov.br/kitweb/datafiles/IRBr/pt-br/file/JUCA/ Juca%206/Revista%20Juca%206.pdf • Palestrante “As diferenças perceptivas entre a obra de arte bidimensional e sua reprodução fotográfica” junto ao grupo de pesquisa MUSATEC. Belo Horizonte, 2011.

On the banks of the abyss - Participative installation - Resonances, echoes, reverberations ... Inserting noise inside the interpersonal chasms? Can you find the other and not yourself in these vortices? Who is other? Who is another to other? This art work is related to the space which always remains between people, no matter how close they get, be it trough love, trough communication, or by moving their selves in the scenery of their lives. Our point of view organizes the world around us. The term “mise en abyme" which is translated to “placed into the abyss”, refers to stories that take place within stories, the images within images, mirrors games, etc. Through cameras and projectors, is possible to create a “mise en abyme”, by capturing and presenting the same scenario. Because if what is captured is projected, and what is captured is what is projected, a repetition of the same image is repeated infinitely, one inside of the other. If instead of projecting the image captured by our own camera, we project the what another person captures (via Skype or similar), if this new person uses the same scheme: camera and projector pointing to the same place, the new frame will still be a “mise en abyme", but with the difference that this person will be included in the margins of our projection. This practice allows us to include many people in the banks of the abyss. Also, as one member choses to project one or another person the whole abyss is reconfigured, allowing more people to come aboard or returning to the repetition of the same images at some point. While inserting ourselves inside the projections, we are shown both inside and outside, like a "moebius belt”. It makes possible to change the position of everyone, by zoom in or zoom out, breaking or joining contacts, repeat or move further, close or open the contact circle, even delay or accelerate time, though relations in time-space end up being redefined as the distance between the speakers and delays in audio and video. It means that there is a delay which gets greater as the person (video) gets deeper inside the abyss. The scenarios where the event will take place should be the most diverse, and the participants will be encouraged (but not obligated) to prepare those places with references that locate than on geographic space. The preparation of this context is one of the most important set ups to be done before connecting all participants. It creates a theme and guides the communication, but should be discussed with participants, making the work actually participative. The more people is included by any of the participants, the more populated is the abyss becomes. We invite people to participate coming to the spots prepared for the event or preparing their own spots.

List of accompanying media and one-sentence descriptions for each item:

• Video projector • Laptop or smartphone • HD Webcam • Wide-angle lens for mobile (for the webcam) • Cables • Internet connection • Electricity

Presentation format with outline of technical requirements

• Inside or outside spot with Internet connection and electric power.