Derek Hart  

A Maravilha do Rio de Janeiro
2002, six-screen SD video, variable duration, no sound (excerpts).

In 2002, the Brazilian television network TV Globo conducted a state-wide television survey called A Maravilha do Rio, asking the people of Rio de Janeiro to vote for what they believed to be the most beautiful of six iconic locations in Rio: the Lake, Guanabara Bay, Maracanã football stadium, Sugarloaf Mountain, the Beaches or the Christ the Redeemer statue. The television survey represented these locations using dynamic aerial sequences shot from a helicopter. Facilitated by TV Globo, A Maravilha do Rio de Janeiro reshoots the six locations from the helicopter, but in durational images and with the camera locked off. Using televisual language as a point of departure, and drawing on concerns of Structural Film, it explores the situation of the camera in the environment: the helicopter is buffeted by air currents as it manoeuvres to hold its position hovering high in the air, or as it performs single formal movements such as turning 360° or tracking steadily forwards. It's presentation in a gallery, the six projected in turn onto a single suspended screen or together onto six screens, can be understood as a continuation of the original television survey.

This work is discussed in the article: ‘Distributed spatial practice, as applied to the art of exhibition’ / ‘Curatorial design: Remote exhibition and detailed example (Derek Hart, A Maravilha do Rio de Janeiro)’, by Vince Dziekan (Monash University, Melbourne). Published by InVisible Culture: An Electronic Journal for Visual Culture, Dec 2007 issue 11, University of Rochester, New York.

Link to InVisible Culture article.

Link to 'Remote' exhibition curator's statement, Leonardo Electronic Almanac, Vol 16, Issue 4–5.

View in the exhibition 'Remote' (2006), Plimsoll Gallery, Hobart, Tasmania.