miguel soares

04′38”, 2014,
migso music video

migso – c21-18
06′02”, 2014,
migso music video.

migso – c18-22
04′30”, 2014

migso – c12-35
05′08”, 2014 (11-09-2014)

migso – c07-42
02′57”, 2014

migso – c03-19
03′46”, 2014

2011, HD video.
(video excerpt)
exhibited at: O Princípio da Inércia

2011, HD video.
(video excerpt)

05′38”
2008
no audio

Limousines without the “mous”.
I removed the middle section on some limousines, putting them back to the “original size”.

see also:
Liine 2008 prints

03′00”, 2007, video

when i throw away data cd’s that i’m converting to dvd, i scratch their surface with a x-cutter, so that the data cannot be retreaved.
I noticed that the data layer particles released by this action fall slowly against the black background of the garbage bag.

10′30”
2007
I reedited small portions of this concert in order to create 4 new tracks.
J. S. Bach, Brandemburg Concert n.5, 1962
Baker (Flute), Shumsky (Violon), Glenn Gould (Piano)

01′48”
2007
no audio

Limousines without the “mous”.
I removed the middle section on some limousines,
putting them back to the “original size”.

see also:
Liine 2008 HD video
Liine 2007  prints
Liine 2008 prints

06′17”
2007
no audio

Using Google Earth, I visit all the 51 places where the artist Bruce Nauman exhibited his work in 2006.

Timetable
2006
3′00”
dvd video loop on monitor

July 22 > September 11, 2006
Projecto Teleferico
Cais de Embarque, Teleférico de Guimarães
Guimarães, Portugal

this was a site specific group show that took place in a cable car in Guimaraes, north Portugal.
This cable car connects people from the city center to the sanctuary of Penha on the top of a hill.
The Timetable piece was put on the bottom station near the ticket office.
It shows the arrivals and departures to many cities and diferent countries, as if all cable cars
(and funiculars) of the world were connected in a big net.
Every 3 minutes an advertisement shows the various destinations you can go for €1.70. ”

02′42”
2006

the Power to Serve (1957), from the Prelinger Archives,
edited to the music landau, migso (2002, unreleased).

01′38′
2006

Operation Crossroads (1946), from the Prelinger Archives,
edited to the music sasp, migso (2003). Track 16 of  ZOOG, audio CD,  ed. Variz.org, 2006.

02′16”
2006

Let Yourself Go (1940), from the Prelinger Archives,
edited to the music gwen, migso (2003). Track 02 of  ZOOG, audio CD,  ed. Variz.org, 2006.

01′54”
2006

The Home Electrical (1915) , from the Prelinger Archives,
edited to the music bobft, migso (2003, unreleased).

03′40”
1999-2001
video projection, stereo sound
Music: “Expecting to Fly” Buffalo Springfield
footage: 1999, edit: 2001

Da janela de sua casa, segurando a câmara de vídeo na mão, Miguel Soares registou situações violentas que vieram
sobressaltar noites passadas frente ao computador: a agressão entre um casal; um carro capotado na avenida
deserta, que surpreende uma pessoa durante o seu jogging matinal; e um homem que tenta desesperadamente,
e em vão, apagar um incêndio.
Com base nestes registos, em tudo semelhantes aos vídeos amadores que as televisões exibem para dar conta de
acontecimentos chocantes, o artista realiza três obras em que a crueza da realidade se abre à ficção e ao delírio poético.
Miguel Wandschneider, SlowMotion, 2001

06′50”
1999
video projection, stereo sound,
music: “I can’t see you” and “song slowly song”, Tim Buckley

One night at home, my quiet was disturbed by these four people having a discussion that ended up in a fight. I grabbed my Hi8 camera and started shooting the scene from the balcony of my apartment, trying to pass unnoticed. My heart was beating fast. Months later I was looking at the Hi8 footage with sound turned off, and listening to one of my favourite cds: Tim Buckley’s first album,”Tim Buckley”, 1968, ed. Electa. I noticed how two diferent songs would give two different ways of percepting the same images. untitled (two) shows the footage shot from the balcony two times, with two different songs from the Tim Buckley album: “I can’t see you” and “Song slowly song”.
.
.
“From the window of his apartment, holding the video camera, Miguel Soares recorded violent events that have disturbed his long nights spent working in his computer. This video is the most distressing example of a series of three done in the same amateur video style, that contrast with his 3D animation work for which he is known. By commenting the image of a couple involved in a violent discussion that ends in a fight, with two different songs by Tim Buckley, one in a melancholic tone, the other in a passionate tone, the artist opens reality to a fictional construction and to poetic imagination.”
Miguel Wandschneider, in SlowMotion – Miguel Soares. exhibition depliant. ESTGAD+Art Attack. Caldas da Rainha. Portugal