A Maravilha do Rio de Janeiro
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.
View in the exhibition 'Remote' (2006), Plimsoll Gallery, Hobart, Tasmania.