As you well know, 2013 is conventionally considered the 50th of videoart. Was in 1963 that Nam June Paik expose his first videoinstallation, in Germany.
To celebrate this event, Magmart Festival launch a new project: 100x100=900. 100 videoartists are be called to be part of project, realizing a video around one year of past century.
The artists are selected within the winners of previous editions of Magmart Festival, to assure the gross quality of project. The selection is done with the goal of include artists by five continents.
All these videos, will found a relevant corpus, a remarkable narration of this dense present perfect.
The project will start its exhibition stage in 2013, with a screening in Naples (Italy) in the course of Universal Forum of Cultures. After, we want take the project around the world, the must widely possible.
We are looking for partners, to bring the project around the world.
At partner, we ask to organize at least one full screening of the 100 videos, in their country. The look of any event must match the general guidelines of project. The name of partener organization will be listed as partner of project, au pair like all others, and the logos will be showed every where the project will arrive.
Any partner is free to find local sponsors for the project, and keep the contribution for the organization of local event; local sponsors will be listed and showed worldwide.
When the partners list will be closed, we’ll contact single curator to organize show in uncovered countries and – in case – in the same country of a partner but on different locations (always with the agreement of partner).
If you like to contribute at the project, we are at yours disposal to provide more exhaustive and/or detailed informations.

ARTUR FIDALGO GALERIA (curator: Fernanda Pequeno)

Artur Fidalgo galeria celebrated thirteen years in 2013, combining two apparently contradictory terms: continuity and change. Made up of opposites, this biorhythm reveals the crystallization of a path over time: that of renewal.
With this in mind, Artur Fidalgo exhibits the most vital contemporary art of various generations and provenances. With the characteristic malleability of renewal, its space has housed exhibitions by emerging artists such as Danilo Ribeiro, Deborah Engel, Derlon, Fernando de La Rocque, Flávia Metzler, Flávio Cerqueira, Gabriel Centurion, Khalil Charif, Malu Saddi, Nino Cais, Rafael Carneiro, Sergio Allevato, Sofia Borges as well as by renowned artists who do not often show their work in Rio de Janeiro, such as Albano Afonso, Carlos Bevilacqua, Edgard de Souza, Ernesto Neto, Hildebrando de Castro, Iran do Espírito Santo, José Damasceno, Paulo Climachauska, Rosana Palazyan, Sérgio Sister and Victor Arruda.
To this wide-ranging cast may be added names from international contemporary art such as that of North American vídeo artist Bill Lundberg.
Since its opening as Escritório de Arte in 1987, Fidalgo has been working with artists such as Amílcar de Castro, Artur Barrio, Carlos Vergara, Mira Schendel, and Tunga. Inaugurated in 2000, Artur Fidalgo gave a new form to the work he had already begun. Expanded in 2005, the growth of the physical space has been accompanied by the growth of its importance on the Brazilian and international art scenes alike.
This path has been built with exhibitions by Anna Bella Geiger, Artur Barrio, Antonio Dias, Eduardo Sued, Fernanda Gomes, Franklin Cassaro, Ivens Machado, Marcos Bonisson, Marcos Chaves, Marta Jourdan, Ricardo Basbaum, Rosângela Rennó, Vicente de Mello and Waltércio Caldas, among other important names in Brazilian contemporary art. A step-by-step path corresponds to a face-to-face mode of relationship. A personality of this nature, and its link with experimentalism, have provided exhibitions by artists like Cláudio Paiva and Umberto Costa Barros, whose work rarely appears in commercial galleries.
His personal style is reflected in the originality of his gallery’s location: in the Cidade Copacabana shopping center, designed by Henrique Mindlin, one of the most important architects of the 1960s, with its great retro-futurist circular ramp and its past of memorable shows in the Arena, Tereza Rachel and Opinião theaters, the building is part of a cultural history which the gallery renews. Artur Fidalgo’s motivation and that of the art he exhibits are one and the same: to go beyond.

(read about screening)