Dot Fiftyone New Exhibition June 11 - August 8 2011 

Universal Melancholy



Opening reception is Saturday June 11th, 2011. 7:30 PM – 10:30PM

“Universal Melancholy “ by Liliane Eberle. Por una Mirada neutral 

In her second solo show in Miami, titled “Universal Melancholy”, the Swiss photographer Liliane Eberle presents her mostrecent work. In this new exhibition, she has focused on the visual documentation on her trips to: Tunisia, Morocco, Bali, Cuba and Cameroon.

Hidden beyond the lens of her camera, Liliane stands witness to the political and social issues that affect the daily life of the residents of those countries. Through Eberle’s photo series one discovers that a universal melancholy unites each of these countries in one common state of circumstance.


Day to day experience puts man in situations, which at times are difficult to interpret, thus making it a challenge to capture the complexity of developing life. Spontaneity, rhythm, movement, unconditionalness, nature, sensuality, and the present, are the conditions set to launch this show. The perception of external objects is easy at first glance, but the essence of a movement that emanates from the inside out is requires a certain degree of concentration. In other words, virtues are created with practice, and in turn are nourished when immediate material conditions do not affect the characteristics of the being. This work has a clear role in which it distances itself from the superficiality and the whirlwind, and enters the inner world, taking us to the threshold where we begin to be able to discover, and make good use of substantial wealth. Without external intervention of miseries, weaknesses, and the coordinates of time and space, a sample of spiritual value is never passive. This raises the heart and mind to a level that allows us to be lead towards an inner journey, freeing us from a distracted life, plunging us into a world of meaning from which it is easier to read the essence and content, deactivating immediate reality, evoking only the resonance of the soul.  

In her own words, Liliane Eberle describes her experience working on this project:

Photography is considered another dimension of language. It is at once a passion - a creative process that allows a more active perception of the world, accentuating empathy. It is a form of communication, where a glance can say far more, in a deeper, more profound and immediate way than would be possible with mere words.


The poetic content of a picture is of greater importance to me than documentary statements. Authenticity and the transitions between candid photos and arranged photos are sometimes fluent. The photographic view of the world is always subjective and requires getting involved with a situation in order to capture it intuitively.

The idea of making people¹s emotions and longings the focus of my photographic oeuvre and seeking to depict what can hardly be expressed in images fascinates me. Feelings exist beyond the realm of the representational but they leave traces; traces that I can follow through the lens.

Project Room Second Floor:

“Super 8”, political art films by Julio Neri (Project Room)


Venezuelan, Florida based filmmaker Julio Neri will be screening, for the first time in Miami, two anthological rare art/political films at Dot Fiftyone’s Galley Project Room:

 “Armada” (1977) and “Electrofrenia” (1978).


In the 1970’s Super 8 Cine became the worldwide New Art filmmaker’s format, as 16 mm, the format of Underground Film as well as the 1950’s and 1960’s avant-garde Film (Andy Warhol, Kenneth Anger, etc.) had become too expensive and was not accessible to New Film Artists.

Unlike many previous movements and film schools, Super 8 film was growing around the world. From Tehran to Caracas, from Buenos Aires to Toronto, filmmakers traveled all over the world shooting in this format. Either by attending festivals or giving lectures and workshops in other parts of the world is the manner in which this adoption took root and spread globally.


This occurrence is emphasized by the formation of the International Federation of Super 8 Film, of which Neri was its president. Super 8 Film marks the end of cinema as an individual or personal artistic expression through the imminent arrival of the video.

Armada and Electrofrenia represent the few cases of this type of cinema that took on a socio-political position, directed at predominant military dictatorships in southern countries of South America.


The Films:

Armada  (1978), Neri´s first political film, was made at a time in which several Latin American countries –most importantly Argentina and Chile—- had seen a turn towards military dictatorships. Neri questions authoritarian regimes through the narrative of a devoted but free-loving daughter, Armada, and her military father.Armada´s line of argument departs from the militant films made by New Latin American Cinema directors in the 1960’s.  Rather than openly opposing the violent and repressive regimes (represented by the father), Armada establishes a complex relationship in which the daughter is divided between the love towards her father and the love towards her freedom. However, Armada´s death at the hands of her violent father clearly condemns the use of violence and is thus a call to action against repressive regimes. As many Super 8 films of the 1970’s and 1980’s, Armada has a synchronized sound track rather than diegetic sound. 

Electofrenia (1979), Neri´s third political film, requires a critical distance in order to consider the reasons why Venezuelans choose their presidential candidate in the 1978 election. Electofrenia, signifying the chaos of the elections, proposes that many Venezuelans select the candidate who benefits them personally rather than the one who is good for the country at large. Not without irony, the film brings up Venezuela´s two decades of peaceful democratic government. If people choose what is good for them, can we call it a democracy?

Julio Neri, born in Venezuela (1947), belongs to the New Latin American
Cinema of the 1970’s and early 1980’s, and to the Super 8 movement. The New
Latin American Cinema aimed at creating cinematic identities for countries
under the influence of the Hollywood market. Latin American directors were
conscious of their need to come to terms with their countries’ colonial
and neocolonial history, as well as the economic and political challenges
faced by their countries in the 1960’s and 1970’s. Neri is also known for
his role within the international Super 8mm movement. He acted as
president of the International Federation of Super 8 Films from 1977 to
1981, and directed the famous, Caracas-based Festival del Nuevo Cine en
Super 8 from 1976 to 1982. A prolific filmmaker, Neri made both personal and political films. His political trilogy: Érase Una Vez en Venezuela
(1978), Armada (1977) and Electofrenia (1979) was created in the Super 8
format. Érase Una Vez en Venezuela (Once Upon a Time in Venezuela) takes a
humoristic look into the predominance of authoritarian regimes
in Venezuela´s history from its independence up until 1958.

Following the opening reception, gallery hours will be Monday-Friday, 12 P.M. to 7 P.M. On Saturdays private viewings will be available by appointment

Further information regarding the exhibitions is available by calling (305) 573-9994, via e-mail This email address is being protected from spambots. You need JavaScript enabled to view it. ">This email address is being protected from spambots. You need JavaScript enabled to view it. , and online at


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