Video VeritÈ Latin America, Caribbean Address National Problems in Film Competition by Serena Lei The Inter-American Development Bankís (IDB) Cultural Center proposed a unique challenge to artists in Latin America and the Caribbean: Create a piece of video art that addresses the social and economic problems in your country, do it with whatever resources you have available, keep it under five minutes in length, and make it visually interesting, creative and personal. In short, they had to construct an artistic expression of the very real and often harsh realities facing their countries. The results of this challenge can be seen in the IDBís First Latin American and Caribbean Video Art Competition and Exhibit. The jury for the entries was a multinational group, which included the executive director of the D.C. Commission for the Arts and Humanities. The Cultural Center organized the competition with support from the IDB Information and Communication Technology for Development Division. The aspect of technology was key here because the IDB was dealing with countries that may not have advanced video technology, education or knowledge of video as an artistic medium. This, in itself, is already a reflection of the social an d economic realities facing these countries, and how the artists overcame their lack of resources was part of their artistic journey. What resulted is a fresh and uniquely honest take on video art from artists who may not have seen or participated in the modern discussion of film and the manipulation of digital art. As FÈlix Angel, curator and general coordinator of the Cultural Center, explained, ìThe boundaries between documentary, short film, performance recording and video art are somehow blurred.î In some videos, the equipment may have been less than state-of-the-art, but the message is no less intense, and the images no less disturbing or beautiful. ìOur mission is to advance the idea that culture is a component of development. All the programs we do have the intention of showing to the international public the way artists, people involved in culture, are participating in the development process,î Angel said. ìArtists are usually excluded from the debate in government, so we wanted to include them and see what they have to say about the realities they are part of every day.î The Cultural Centerís gallery space has been set up with four monitors tucked into their own semi-private sections. Two chairs sit in front of each monitor. The experience should be private, as each video is an intense and concentrated punch. With a five-minute limit, each artist had to get to the point quickly and effectively. The two winning videos, ìAriaî by Brooke Alfaro from Panama and ìSonetos (Sonnets)î by Eduardo Baggio and Carlos Rocha from Brazil, as well as four honorable mentions, cycle on one video screen, while the other 47 videos chosen for the exhibit are split up into groups of three and played continuously on the other television screens. The winners were not the most technologically advanced videos. In fact, they are beautiful for their simplicity. Although the majority of the videos are in Spanish, the two winning videos are purely visual and without any language. Both pieces are elegant and powerfulócreative visual poetry. ìAriaî combines an abandoned building, once beautiful but now in disrepair, an off-key singer and a makeshift orchestra. ìSonetosî is a poem in chords of famine, violence and racism. However, too much of a summary takes away from the surprise, and although Angel has written eloquent descriptions in the IDBís brochure, the videos should be seen first without explanation. The four honorable mentions are equally brilliant. ìMira la Tele (Watch TV)î from Carlos Fernando Osuna of Colombia is a dark comedy about isolation and escapism. In ì0í00î from Humberto Polar of Peru, we see the flag of Peru formed from two growing bloodstains, as a voice in the background ironically informs us that no one was hurt during the making of the video. ìPara Llegar al Cielo (To Reach the Sky)î from Ester GuÌzar Mares and Maries Mendiola Galv·n of Mexico blends animation and photography to tell the story of a girl struck by lightning as she climbs a ladder, trying to reach the sky. The story is a metaphor for the number of children who die in the streets of Mexico. ìVuelo Terreno (Earthy Flight)î from David Morey of Venezuela comes closest to documentary. We see the Petare neighborhood in Caracas from above while smaller pictures of its residents pop up on the screen. The neighborhood is an impossible collection of houses stacked one on top of another along a mountainside. Roofs and windows are missing in the endless sea of buildings. The aerial tour emphasizes the astonishing size of this neighborhoodópoverty that stretches on for miles. Poverty and violence are the most common themes in the exhibit. Entries from Columbia are particularly marked by violence. In ìShot on Locationî by Fernando Arias, violence is turned into entertainment by the media. A man cuts open a block of cocaine as if skinning an animal, while we hear ìinhale, exhaleî whispered over the footage. In ìSao Paulo Fashion Weekî by Daniel Hanai of Brazil, a homeless man appears on a runway in torn and dirty clothes. From Uruguay, Silvia Beatriz Cacciatori Filloy gives us ìMala Sangre (Bad Blood),î where Catholic imagery and tampons form an odd discussion on womenís issues. Here, blood on a Maxi-Pad, which covers the portrait of the Virgin Mary, becomes the face of Jesus above the words ìDivine Protection.î ìViaje (Journey)î from Marcelo Gaete Ardiles of Chile, on the other hand, is a womanís daydream of defeat as she sits alone on a subway. More than half of the applicants were young artists. Angel surmised that 98 percent were seriously involved in filmmaking, and some had already received awards for their work. The 235 artists hailed from 21 countries in Latin America and the Caribbean. The countries that did not submit entries were, not surprisingly, the poorestóHonduras, Nicaragua and Jamaica, for example. The Caribbean countries, often lacking in resources, produced less technologically sophisticated videos, while Brazil, which is more open to outside influence and supported by a healthier economy, turned in videos of the most consistent quality. Mexico turned in the most videos, but Angel said that the range in quality was much greater. Angel said that about 90 percent of the artists used their own resources, while only a few used funds from grants. ìOne thing the contest makes obvious is the connection between economic well being and technology,î Angel said. ìA paradox for these countries, because how are they going to advance if they donít have technology? Technology has not fulfilled its promise of making life cheaper and easier.î Developing nations continue to fall further behind as technological improvements come at a rapid pace and poorer countries cannot afford to keep up. Nevertheless, Angel said the number of entries and the enthusiasm of the artists encouraged him. A side effect of the competition was the IDBís introduction to communities that may not have been familiar with the organization and its mission. The Cultural Center plans to make the contest a biannual competition. ìThis is a segment of society that has a lot to say,î Angel said. ìThere is unappreciated talent that many countries are not aware they have, also an eagerness of people to reach out.î The awards ceremony will be held at the end of the exhibitís run. In April, the exhibit will be moved to the Istituto Italo-Latino Americano (IILA) in Rome. It is then scheduled to be shown at various museums and cultural foundations throughout Latin America and the Caribbean. ìWe want to help disseminate the work of these people,î Angel said. ìIn Latin America, culture is behind in the agenda of the government Ö there is no money available [for funding]. We are trying to advance that concept so culture will be included in the developing agenda. All these people did not have access to funds. Imagine what they could do if they had funds.î The First Latin American and Caribbean Video Art Competition and Exhibit runs through Jan. 17 at the IDB Cultural Center Art Gallery, 1300 New York Ave., NW. For guided tours and more information, please call (202) 623-3774 or visit www.iadb.org/EXR/cultural/center1.htm. Serena Lei is a contributing writer to The Washington Diplomat.