{"id":2297,"date":"2023-10-11T14:58:36","date_gmt":"2023-10-11T17:58:36","guid":{"rendered":"https:\/\/www.bfvpp.com\/?page_id=2297"},"modified":"2024-09-12T11:01:13","modified_gmt":"2024-09-12T14:01:13","slug":"arlindo-machado","status":"publish","type":"page","link":"https:\/\/www.bfvpp.com\/en\/arlindo-machado\/","title":{"rendered":"Arlindo Machado"},"content":{"rendered":"\n<div class=\"wp-block-group alignwide\"><div class=\"wp-block-group__inner-container is-layout-constrained wp-block-group-is-layout-constrained\">\n<p class=\"wp-block-paragraph\">In an interview with the <strong>Brazilian Film and Video Preservation Project | BFVPP<\/strong> on March 8 2019, researcher, curator and professor Arlindo Machado talks about the origins of video art in Brazil, the specific conditions of electronic art production under the military dictatorship and more. His observations and reflections contribute greatly to contextualising the work of the BFVPP&#8217;s partner artists.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vivian Ostrovsky, Founder of the Project, Clarisse Rivera, Project Manager, and Julinha Cerione, Direct Sound Technician, also participated in this interview. Excerpts from the conversation are available here.<\/p>\n\n\n\n<div class=\"wp-block-stackable-columns stk-block-columns stk-block stk-77d76fc\" data-block-id=\"77d76fc\"><style>.stk-77d76fc{padding-top:0px !important;padding-right:0px !important;padding-bottom:0px !important;padding-left:0px !important}<\/style><div class=\"stk-row stk-inner-blocks stk-block-content stk-content-align stk-77d76fc-column\">\n<div class=\"wp-block-stackable-column stk-block-column stk-column stk-block stk-93a0da9\" data-v=\"4\" data-block-id=\"93a0da9\"><style>.stk-93a0da9-container{margin-top:0px !important;margin-right:0px !important;margin-bottom:0px !important;margin-left:0px !important}<\/style><div class=\"stk-column-wrapper stk-block-column__content stk-container stk-93a0da9-container stk--no-background stk--no-padding\"><div class=\"stk-block-content stk-inner-blocks stk-93a0da9-inner-blocks\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"684\" src=\"https:\/\/www.bfvpp.com\/wp-content\/uploads\/2023\/10\/DSC7780-scaled-1-1024x684.jpeg\" alt=\"\" class=\"wp-image-2290\" style=\"aspect-ratio:4\/3;object-fit:cover\" srcset=\"https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/DSC7780-scaled-1-1024x684.jpeg 1024w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/DSC7780-scaled-1-300x200.jpeg 300w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/DSC7780-scaled-1-768x513.jpeg 768w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/DSC7780-scaled-1-1536x1025.jpeg 1536w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/DSC7780-scaled-1-2048x1367.jpeg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-stackable-column stk-block-column stk-column stk-block stk-cf487b6\" data-v=\"4\" data-block-id=\"cf487b6\"><style>.stk-cf487b6-container{margin-top:0px !important;margin-right:0px !important;margin-bottom:0px !important;margin-left:0px !important}<\/style><div class=\"stk-column-wrapper stk-block-column__content stk-container stk-cf487b6-container stk--no-background stk--no-padding\"><div class=\"stk-block-content stk-inner-blocks stk-cf487b6-inner-blocks\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/www.bfvpp.com\/wp-content\/uploads\/2023\/10\/IMG_7656-1024x768.jpg\" alt=\"\" class=\"wp-image-2291\" srcset=\"https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/IMG_7656-1024x768.jpg 1024w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/IMG_7656-300x225.jpg 300w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/IMG_7656-768x576.jpg 768w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/IMG_7656-1536x1152.jpg 1536w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/IMG_7656-2048x1536.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div><\/div><\/div>\n\n\n\n<div class=\"wp-block-stackable-column stk-block-column stk-column stk-block stk-21aa995\" data-v=\"4\" data-block-id=\"21aa995\"><style>.stk-21aa995-container{margin-top:0px !important;margin-right:0px !important;margin-bottom:0px !important;margin-left:0px !important}<\/style><div class=\"stk-column-wrapper stk-block-column__content stk-container stk-21aa995-container stk--no-background stk--no-padding\"><div class=\"stk-block-content stk-inner-blocks stk-21aa995-inner-blocks\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"766\" src=\"https:\/\/www.bfvpp.com\/wp-content\/uploads\/2023\/10\/Arlindo_Machado_Arte-e-tecnologia-2_cropped-1024x766.jpg\" alt=\"\" class=\"wp-image-2292\" srcset=\"https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/Arlindo_Machado_Arte-e-tecnologia-2_cropped-1024x766.jpg 1024w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/Arlindo_Machado_Arte-e-tecnologia-2_cropped-300x224.jpg 300w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/Arlindo_Machado_Arte-e-tecnologia-2_cropped-768x574.jpg 768w, https:\/\/www.bfvpp.com\/v2\/wp-content\/uploads\/2023\/10\/Arlindo_Machado_Arte-e-tecnologia-2_cropped.jpg 1254w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n<\/div><\/div><\/div>\n<\/div><\/div>\n\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/www.bfvpp.com\/wp-content\/uploads\/2023\/12\/ARLINDO_PARTE_01_v01.wav\"><\/audio><\/figure>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>In an interview with the Brazilian Film and Video Preservation Project | BFVPP on March 8 2019, researcher, curator and professor Arlindo Machado talks about the origins of video art in Brazil, the specific conditions of electronic art production under the military dictatorship and more. His observations and reflections contribute greatly to contextualising the work [&hellip;]<\/p>\n","protected":false},"author":16,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_gspb_post_css":"","footnotes":""},"class_list":["post-2297","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Arlindo Machado - Brazilian Film &amp; Video Preservation Project<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.bfvpp.com\/en\/arlindo-machado\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arlindo Machado - Brazilian Film &amp; Video Preservation Project\" \/>\n<meta property=\"og:description\" content=\"In an interview with the Brazilian Film and Video Preservation Project | BFVPP on March 8 2019, researcher, curator and professor Arlindo Machado talks about the origins of video art in Brazil, the specific conditions of electronic art production under the military dictatorship and more. 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