W.R. - Misterije organizma, directed by Dusan Makavejev.
"W.R." is pioneering sexologist Wilhelm Reich, whose precedent-breaking theories concerning carnal behavior and politics (including the invention of the orgone box) made him persona non grata in most psychoanalytic circles. By all accounts, Reich began his career brilliantly - as the next great successor to Freud and Jung; he then delved into extraordinarily controversial work that divided his critics, leading some to conclude that Reich had experienced a psychotic break from reality. Dusan Makavejev is the equally controversial Yugoslavian director fascinated by Reich's theories. This essay film by Makavejev - his first major work - constitutes a witty, free-form riff on the director's perception of Reichian philosophies as the basis of individual and collective sexual liberation. Makavejev elucidates the Reichian mindset via interviews with the doctor's relatives and colleagues (we even hear from Reich's barber!) Also illustrated is the ongoing conflict between the free-thinking disciples of W.R.'s sociopolitical attitudes and the adherents of sterile Stalinism. Over the course of the picture, Makavejev journeys to the U.S. and interviews such American sexual liberationists as Screw magazine editor Al Goldstein and Betty Dodson. Woven into the factual proceedings is a fictional plotline concerning the romance between Reich adherent Milena and uptight Soviet athlete Vladimir Ilyich. Though the film was never released in Makavejev's native Yugoslavia, WR: Mysteries of the Organism firmly established the iconoclastic filmmaker's international reputation.
Radmilovic: "Gentlemen, in our Democracy, everyone is entitled to a doughnut. Some get the doughnut, others get the hole in the doughnut."
Daisies, by Vera Chytilova (1966)
An exercise in avant-garde cinema that is freshly humorous and accessible, Daisies is a dark comedy that eschews a traditional narrative for a Dadaist construction of events. Perpetually dressed in vibrantly corresponding costumes and dark black eyeliner, Marie and Marie work together to create mischief. Seeing the world ruined and values worthless, they decide to "go bad." They stage various dinner dates with stale old men, eat and drink merrily while telling lies, and, in a fast-motion Chaplinesque bit of slapstick, they hop trains and lose the men. Always looking for new adventures, the girls get drunk at a nightclub and get kicked out in a grand physical comedy style. They sit around their apartment and destroy things with a deadpan whimsy, apathetic to the men professing their love. Pursuing adventure about town, the two Maries take a dumbwaiter up to a banquet hall and proceed to delightfully demolish it. Using both black-and-white and color film stock, the girls' antics are enhanced by innovative special effects and camera tricks by cinematographer Jaroslav Kucera. Historically a key film in the Czech New Wave movement, Daisies was banned and director Vera Chytilová was forbidden to work until 1975.
Allmovie.com
Tino Seghal at the Kunstverein Hamburg | Undressing the spectators as if we were all together in the sauna. What is the progress? The third wave Sonic Youth boy performer asks. I said evolution with accent.| Interview with Stephen Jay Gould, scientist.
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Hans Haacke - wirklich - Works 1959 - 2006
At the Deichtorhallen.
Peeping Tom, Michael Powell, 1960
'The cinema offers a number of possible pleasures. One is scopophilia.'
Laura Mulvey, Visual Pleasure and Narrative Cinema, 1975, published in Screen Journal
Sábado de manhã na Luisolãndia
Louisiana Museum of Modern Art
Gl. Strandvej 13
Denmark-3050 Humlebæk
Architects: Jørgen Bo and Wilhelm Wohlert; in connection with the Graphics wing also Claus Wohlert, who is solely responsible for the Children’s Wing.
Landscape gardening: Ole Nørgaard, Lea Nørgaard and Vibeke Holscher
The Louisiana Museum of Modern Art was founded in 1958 by Knud W. Jensen as an independent institution.
The Museum has this bizarre American city/state name, not so usual for Denmark, because it's founder got married with three different women, called Louise. After divorcing the third wife he decided to name his Institution Louisiana.
Matthew Buckingham screens 'Darwin's Nightmare'
France, Austria, Belgium|2004|Color|107 min|Celluloid dreams
The artist Mathew Buckingham, actually in the exhibition
Messages from the Unseen - Lund Konsthall, has screened the documentary "Darwin's Nightmare" by Hubert Sauper in Malmo Art Academy. A lucid description of weapon transportation from Russia/Europe to Africa.
"I could make the same kind of movie in Sierra Leone, only the fish would be diamonds, in Honduras, bananas, and in Libya, Nigeria or Angola, crude oil."
Hubert spacer
Two indecision moments between tears and stupid smile:
(take a deep breath for what's next)
- "Don't worry, be happy!" - sings a framed plastic fish, beating its mechanical tail, in the office of fish company's manager.
- A certain point one of the workers from the same company turns a page of the calendar hunged in his working area and you read a slogan, on the August's page - "You are part of the system".
ver trailler
WELCOME TO MALMO
No dia 18 de Setembro aterrei em Malmo e durante seis meses cá estarei a realizar um "Exchange Program" na Malmö Art Academy. As actualizações a este blog serão escritas em sueco a partir desta data! Upgradem os vossos diccionários!!
Irei ao IKEA até ficar azul e amarela e metamorfosear-me numa feminista violenta de fogo na boca, com um piercing no umbigo, sem eira nem beira pelas ruas de Malmo. Também vou deixar de fumar. E vou ser razoavelmente saudável e comer cenouras ao lanche. Vou divertir-me imenso a andar de bicicleta. E vou ser baixinha. E não loura. Vou ser uma ave rara! Vou ser uma dragona!!
Parabéns Miss Suécia
The gorgeous babes in the town are my best friends!Sofia, Carolina, Teresa e Andréses.
Sampling and Art
foto Miguel Manso
The roots of sampling can be traced back a long way in cultural history. They reach from the Cento poems of antiquity to the quodlibet (Latin for "whatever pleases you") in the literature and music from the 16th centuries, from Arcimboldo's portraits and Bach's fugues to the myriomas in the everyday culture and games of the 19th century with the help of which landscape motifs could be permutated horizontally into combinatory panoramas. Although sampling is not a standard or obligatory term it should not be confused with the different forms the quote, the copy, the replica, appropriation, or collage can take. In contrast to the quotation it is not about a purposeful transfer of meaning and context. it is, much rather, a method of fragmentation, de-contextualization and transformation. A piece consisting of foreign quotes or found footage is not yet a product of sampling. Only when the single parts, in their combinatory logic, are transformed, made rhythmic, and structured in a way so that the individual samples do not function as quotes anymore but as generative basic material for a logic going beyound the parts, we can speak of sampling.
Thomas Feuerstein,
Sample Minds - Materials on Sampling Culture, Stefan Bidner, Thomas Feuerstein (Hg./Eds.)
Ana Mendieta's formative years at the University of Iowa were fundamental to her development as an artist. she transferred as an undergarduate in summer 1967, remaining a part of the University community for ten years and completing two master's degrees, the first in painting and the other five years later in the university's new Intermedia Program. During the 1970s she progressed with powerful spurts of creavity to create some of the most truly innovative earth-body performance pieces by any artist working in those individual genres from 1973 onwards. A study of her background, training, and artistic influences during this fruitful decade reveals the origins of her art.
(...)
A further set of performative self-portraits made during this same period, Untitled (Facial Hair Transplant), 1972, would form the basis of a set of silkscreens submitted for her master's thesis for the painting program. In two different pieces in the Intermedia studio, Mendieta slowly and deliberated transferred the facial hair of a friend, Morty Sklar, onto her own face in a seemingly ritualized manner. In the first piece, she is seated at a table before a mirror in the Intermedia classroom. She begins by applying glue to her upper lip while her friend simultaneously begins cutting hairs of his moustache, passing them to Mendieta to apply to her own upper lip. At the end of the piece the two are photographed together, showing his moustache and beard transferred onto her face.
Julia P. Herzberg
Ana Mendieta - Earth Body, Olga M. Viso, Hirshhorn Museum and Smithsonian Institution, Hatje Cantz Publishers, 2004
Rose Sélavy
Julia P. Herzberg
Ana Mendieta - Earth Body, Olga M. Viso, Hirshhorn Museum and Smithsonian Institution, Hatje Cantz Publishers, 2004
JUNHO DE VERÃO, COLHEITA SEM GRÃO
Ana Bezelga
“Adriana Coman, Anke Gießner, António Ribeiro, Barbara Ziesch, Bia Lima, Céres Vidal, Delfina Monteiro, Elena Iancu, Elke Dumboeck – Bayer, Emílio Almeida, Eugénia Turcan, Cristina Cunha, Guilherme Dutschke, Hans Heidler, Hilário Lima, Inge Dzur, Isabel Lopes, João Basílio, José Monteiro, Karin Aguiar, Kellen Búrigo, Klemens Detering, Lars Meschke, Maria Júlia Pereira, Merete Vargas, Milton Castro, Ronald Grätz, Sabine Grüninger, Sven Mensing, Ulrike Tsichlakis, Ursula Kuhlmann, Vasco Maia”
Vinil 3 cores (vermelho, azul, verde), Dimensões variáveis, Fonte Eurostile Plain, Tamanho 53.
Exposição da MAUMAUS - Escola de Artes Visuais no Goethe - Institut Portugal
Inauguração 14 de Julho de 2006 às 19h00
Até 28 de Julho, de segunda a sexta-feira, das 9h às 20h
Festival Escrita na Paisagem
Ana Bezelga recorda artista cubana
O festival "Escrita na Paisagem" prossegue no próximo dia 14 de Julho, pelas 21h30, no convento do Carmo, com uma performance de Ana Bezelga de homenagem à artista cubana Ana Mendieta.
Performance na qual a artista portuguesa reencena a performance "Facial Hair Transplant" de Ana Mendieta, realizada na Universidade de Iowa em 1972.
Mendieta que advogou a necessidade de, "para produzir imagens, regressar à natureza e ao contacto com a mãe-terra", associou frequentemente terra ao corpo feminino (num encadeamento de sentidos que pode integrar também exílio, identidade, nação, género). Para Ana Bezelga este restaging de Facial Hair Transplant é o primeiro momento de um projecto em suporte vídeo que pretende questionar a identidade e o género na arte contemporânea, projecto a que o Festival Escrita na Paisagem se associa.
Ana Bezelga é uma jovem artista na area do vídeo e da música, com um percurso de formação diversicado e para quem o vídeo ocupa um lugar central. Os seus trabalhos, centrados nas questões de género e identidade, têm sido exibidos em Portugal e no estrangeiro. O seu trabalho foi comissariado por, entre outros, Jurgen Bock, Paulo Mendes, Filipa Oliveira, Miguel Amado e Miriam Sampaio.
José Alberto Ferreira
in Diário do Sul, 13 de Julho de 2006
O Samba do Crioulo Doido no Festival Alkantara
ESPECTÁCULO PÓS-OPERATÓRIO
Isabel Torres vs Jerôme Bel vs Luiz de Abreu
Ultimately, it can be said that the cultivated spectator derives the same values from Picasso that the peasent gets from Repin, since what the latter enjoys in Repin is somehow art too, on however low a scale, and he is sent to look at pictures by the same instincts that send the cultivated spectator derives from Picasso are derived at a second remove, as the result of reflection upon the immediate impression left by the plastic values. It is only then that the recognizable, the miraculous and the sympathetic enter. They are not immediately or externally present in Picasso's painting, but must be projected into it by the spectator sensitive enough to react sufficiently to plastic qualities. They belong to the 'reflected' effect. In Repin, on the other hand, the the 'reflected' effect has already been included in the picture, ready for the spectator's unreflective enjoyment. Where Picasso paints cause, Repin paints effect. Repin predigests art for the spectator and spares him effort, provides him with a short cut to the pleasure of art that detours what is necessarily difficult in genuine art.
Clement Greenberg, "Avant-Garde and Kitsch" (1939)
Tiger (Orange) and Trainer: With Three Figures (Red, Yellow, Blue), 2004
For your work Somewhere Behind Almost Right and Not Quite (With Orange), you used film stills from movies. What's the idea behind that?
When I first started using film stills, it was just because they were cheaply available. And what I was interested in was what you would call a profound imagery. It didn't necessarily have to be from film, it could also be from a photo album or on the street or in the newspaper. In other words, it would be imagery that's out in the world, and then you adapt it to your own ways. It's like words in a dictionary: you just use them, rather than make up your own words.
By that time, I was living in Los Angeles, where the movies are made. I found a place where film stills could be bought very cheaply. But I actually mixed them as well with photographs from newspapers. Then I realized that the movie stills fell into categories. Of course that seems obvious: the ones with guns would mean violence, people kissing would be love and so on. In the end, they're all clichés. I found the attempt particularly appealing to put some meaning back into something that has been completely emptied of meaning. It's almost like Dr. Frankenstein [laughs]. You try to make something come alive again, but it's never going to be alive as it was before. That's not a bad metaphor.
You made a series of works with photographs printed on canvas.
The dominant movement when I gave up painting was Abstract Expressionism. And the normal complaint you hear is that a child could paint like that. I just got tired of that, and so I thought, why not give people what they want? To me, it seemed the most obvious thing would be photographic imagery and text, words that you see in the magazines or newspapers. That would be more in their immediate experience. That's why I started doing that. I put those photographic pieces on canvas because it made them into art. If it's canvas, you don't even have to have anything on it and people still think it's art.
Ulrich Clewing, "It's almost like Doctor Frankenstein": An Interview with John Baldessari
John Baldessari: NOSES & EARS, ETC. - Galeria Cristina Guerra, 7Jun-9Set
Bairro da Malagueira projectado pelo Arquitecto Siza Vieira (iniciado em 1977)
O lote, a casa e a rua
A partir do agrupamento das casas em fita e sua inserção no sítio, desenvolvem-se distintas formas de conformação das habitações e seus espaços coletivos, que a semelhança de "quarteirões" de um bairro, caracterizam distintamente cada área, tendo-se na maioria das unidades construídas a seguinte sequência de espaços:
rua-pátio-casa-casa-pátio-rua;
público-privado-privado-público.
Cooperativas e produção habitacional
A construção do projeto Malagueira tem sido realizada na sua maior parte por associações cooperativas, cujos membros actualmente são os próprios moradores, que sob orientação técnica, administram a construção do projeto. Das 1.200 unidades realizadas, o sistema cooperativo foi responsável por 60% da produção; tendo a construção pública atingido 35% desse total, e a construção por particulares representar somente 5% do total. As cooperativas "Giralda" e "Boa Vontade", dirigem os trabalhos para a finalização das obras, abrangendo a construção de equipamentos e de espaços públicos.
Habitação social e habitação de custo controlado
O termo habitação de custo controlado é actualmente utilizado para traduzir a sistemática da produção que tem caracterizado a construção de habitações sociais na Malagueira, objetivando a redução do valor final do imóvel, através do controle de custos de material e mão-de-obra. As unidades têm o aval para a obra após a verificação final dos custos necessários para a construção. Os ajustes necessários são realizados entre o pessoal técnico responsável, reduzindo alterações no cronograma de serviços e improvisações que possam intervir na qualidade arquitetônica e construtiva do imóvel. As unidades foram inicialmente idealizadas para uma população de baixa renda, mas atualmente a população residente apresenta um nível de vida característico da classe média, sendo constituída por técnicos de nível médio, professores, pequenos comerciantes e funcionários de empresas públicas.
Excertos do texto Malagueira em Évora, no site Forum Arquitectura
Bairro dos Navegantes / Porto salvo / Oeiras
A conurbation is an urban area comprising a number of cities or towns which, through population growth and expansion, have physically merged to form one continuous built up area. It is thus a polycentric form of agglomeration.
A metropolitan area usually combines one or several conurbations with peripheral zones not themselves necessarily urban in character, but closely dependent on the conurbation(s) in terms of employment and commerce.
Oeiras
10 Freguesias: Algés, Barcarena, Carnaxide, Caxias, Cruz Quebrada - Dafundo, Linda-a-Velha, Oeiras e São Julião da Barra, Paço de Arcos, Porto Salvo e Queijas.
Área 45.8 km²
População Total 162 124
Resolving Conflict by Superficial Means // Mark Titchner
Analogue Fountain
(The Dreamachine and its principles.)
1. The Dreamachine, a device developed by artist Brion Gysin and mathematician Ian Sommerville, was designed to stimulate brain activity by corresponding a frequency of flickered light with the brain’s intrinsic electrical activity. The device can be simply constructed with only a cardboard cylinder, a light bulb and a record player.
The Dreamachine requires extended and concentrated use.
The Dreamachine is viewed with eyes shut.
2. Language and the world are one. Our possibilities and our potential are locked within the fold of a few abstract marks and there permutations.
Was this mankind’s greatest act of will or greatest act of submission?
As has been said many times before the universe is nothing but a huge permutation but let us consider a smaller proposition. Does a word mark its corresponding action? By unravelling and permutating a word are we able to stimulate or instigate action?
As the man said, "Rub out the word!"
3. Discussion dissuades action.
A simple interaction.
Turn the handle!
Begin the permutation!
Let the cylinder spin!
See the light dance!
Excertos tirados do info site sobre o trabalho do artista
Mark Titchner está nomeado para o Prémio Turner 2006.
documentino II
J. - Oh, you're such a Calvinist. The way I see it is if it is something that you enjoy, you should do it, why make things difficult. I guess it also has something to do with experimenting. Most people we know drink and maybe take drugs so it's just taking it and making art out of it.
(Douglas Gordon making an interview to Jonathan Monk)
"Monk invites a group of friends to spend an evening in a Bar. Nothing very original there, if not that certain tables in the Exhibition Bar and the Salat fedet are covered with blank canvas. You can guess the rest. The evening passes, the ash-trays fill up and the beers follow one after another. (...) in Monk's art bars are specially chosen from the new social habits for which they are the vehicle, for their capacity to develop new forms of Utopia based on everyday and for the contemporary mythologies which logically follow from them."
"in Capitalist society, work is the cause of all intelectual degeneracy of all organic distortion"
documentino I
Jonathan Monk with his collection of Sol Lewitt books
(photographed in the style of Ed Ruscha c. 1971), 2000
b/w photograph
24 x 18 cm
'In contrast, much of Monk's recent work emphasises the very aspects of modernist art with which art historians have difficulty. His piece, A Brush With Death, acknowledges a sympathy, maybe even a nostalgia for a timewhen Jackson Pollock could get drunk and paint masterpieces without any sense of irony. However, Monk clearly knows that these days are gone and that artists now operate in a social space where they must think as well as make, discuss as well as present.'
'His tongue-in-cheek methods often recall procedural approaches typical of 1960’s Conceptualism, but without sharing their utopian ideals and notions of artistic genius. Instead, Monk grounds his conceptual approach in more commonplace concerns, that of personal history, his family, even pets, whilst still alluding to the types of systems and processes that artists such as Sol LeWitt employed so rigorously. While much of his work is gently playful and tinged with nostalgia for the late 1960’s, it also challenges the idea of purity in modern art, demystifying the creative process and suggesting alternative models for how art and the role of the artist can be interpreted.'
Athens Video Art Festival
O vídeo 'In Spaces Between' foi seleccionado para integrar a programação da 2ª edição do festival em Atenas no dia 9 de Abril no Hall A.
AC#9 / DV#3 na Galeria Arte Contempo
Prototype Collector / Ana Bezelga
O presente momento do projecto «AC» é dedicado a Carlos Correira e Pedro Barateiro, que apresentam, respectivamente, CC.0017 (2006) e Antropologia abstracta (2006). No primeiro caso, trata-se de um conjunto de pinturas e desenhos que evocam desastres marcantes da nossa era, os dos vaivéns aeroespaciais, constituindo o objecto de estudo não as naves mas os destroços, analisando-se assim o conflito entre imagem mediatizada e memória colectiva. Na segunda situação, através de um conjunto de fotografias intervencionadas, textos vários e a edição de um poster, reflecte-se acerca das ideologias e modelos de ocupação territorial na contemporaneidade, chamando-se a atenção para os usos do espaço natural e construído – sobretudo urbano – e correspondentes consequências em termos políticos.
O terceiro momento do projecto «DV» é dedicado a Ana Bezelga e Sílvia Moreira, que apresentam, respectivamente, Prototype Collector (2006) e Ensaio sobre papel (2006). No primeiro caso aborda-se a problemática da autoria, manifestada na dualidade original/cópia, na medida em que é reproduzido um casaco da H&M a partir de um molde apropriado numa das lojas desta marca. Na segunda situação realiza-se um exercício acerca da imprevisibilidade dos gestos e intenções humanas, patente na repetição da mesma acção, o acto de amachucar, com as mãos, uma folha de papel branco.
Comissariado Filipa Oliveira e Miguel Amado
7 de Março a 15 de Abril de 2006
Opçoes & Futuros na Galeria Arte Contempo
Obras da Colecção da Fundação PLMJ
Aquisições recentes
Obras de Adriana Molder, Ana Bezelga, Ana Cardoso, Carlos Lobo, Cecília Costa, Célia Domingues, Daniela Krtsch, David Etxeberria, Eduardo Matos, Frederico Fazenda, Inês Botelho, Isabel Simões, João Belga, João Marçal, Marco Pires, Margarida Paiva, Mariana Ramos / Tiago Madeira, Marta Sicurella, Nuno Ramalho, Nuno Sousa Vieira, Patrícia Sousa, Pedro Valdez Cardoso, Raquel Gomes, Raquel Mendes, Rita Sobral Campos, Rodrigo Oliveira, Susana Barros, Susana Gaudêncio, Tânia Bandeira Duarte, Teresa Henriques
Sob comissariado de Miguel Amado, colaborador da Fundação PLMJ, a edição de «Opções & Futuros» relativa a 2005 mostra trabalhos de 30 artistas realizados em meios de expressão como a pintura, o desenho, a escultura, a fotografia e o vídeo. Dada a pluralidade de autores, percursos e posturas técnicas e estéticas, traça-se uma panorâmica das tendências criativas manifestadas no nosso país nos nossos dias. Na medida em que as obras expostas pertencem ao acervo da Fundação PLMJ, revelam-se as apostas por si efectuadas ao longo dos últimos anos. Este gesto traduz-se pela própria expressão que define os propósitos do projecto, na medida em que «Opções & Futuros» constitui um instrumento jurídico-financeiro actual que enuncia um atitude prospectiva e um sentido de risco.
Inauguração a 12 de Janeiro entre as 19H00 e as 23H00
Até 4 de Março
Porto e os artistas#1
Novo espaço de mostra de arte muito peculiar no Porto - Mad Woman in the Attic - título homónimo do livro de critica literária feminina de Sandra M. Gilbert e Susan Gubar.
Situado na R. Alves Redol, Nº407, 5ºDto, (casa do André Sousa) esta galeria não convencional é uma cave no sétimo andar de um prédio habitacional .
No meu caso eu recebi um papel antes de entrar na cave completamente escura, mas não sei se vai estar escura no próximo projecto e não sei se vai haver papelinho.
Recomenda-se uma francesinha no Buffet D'Oiro logo a seguir!
Pode-se ir ver a instalação sonora de Christine Fowler até ao dia 9 de Novembro que também tem um vídeo incluído no ciclo "Sem Gerações" do Festival Número, no Teatro Taborda.
Sem Geraçoes Video Art Screen
In Spaces Between / Ana Bezelga (Fundação PLMJ)
SEM GERAÇÕES :: Teatro Taborda :: Festival Número.
A exibição dos vários traballhos contidos neste “Video Art Screen” foram compilados pela Editora Variz e conta com vários artistas nacionais vindos de diferentes campos criativos (da dança, performance, artes plásticas, design, música e arquitectura, etc.). Ana Bezelga, Ana Borralho + João Galante, António Caramelo, Christine Fowler + André Sousa, Fernando Fadigas, Frau Muller, Gustavo Sumpta + Ivan, João Carrilho, João Vinagre, MIGSO, Pedro Barateiro, Pedro Cabral Santo, Pedro Pereira, Rui Viana + Tiago Costa Jorge, Sandra Dias.
8 a 13 de Novembro no Teatro Taborda
Carlota performa
Performance de Carlota Lagido no dia 9 de Novembro às 22h00 no Teatro Taborda, inserida na programação do Festival Número.
Querida Lagido, o "BOTOSHOP" ficou perfeito!
Lawrence Weiner
"Broken Off"
02:00/1970
"In this video, the artist states that a public work demonstrates what qualifies as art within his conception. Like Beached, it was also shot in a marshy area near the sea and in sequences separated by dissolves. One sees five different actions related to BROKEN OFF. The artist breaks a tree branch, scrapes and kicks the ground with his foot, snaps a stick in two on a fence, scrapes a stone with his fingernail. At the end he pulls the line plug from the video, drawing attention to the mechanics of the medium." www.vdb.org
Lumpen Trio na Gulbenkian #2
Lumpen Trio (António Chaparreiro: guitarra eléctrica; Jorge Serigado: baixo
eléctrico; Miguel Sá: sampler)
Instalação Vídeo (Ana Bezelga)
O terceiro concerto dos Lumpen Trio com uma instalação vídeo que consiste na sobreposição da filmagem de um ensaio realizado previamente, num concerto destinado ao público. As figuras com mãos e cabeças de recorte digital são projectadas sobre os músicos, vestidos de branco, para absorverem os seus duplos. Como se de um exercício de geometria descritiva audiovisual se tratasse, existe um músico e a sua projecção - M. e M.1
Obrigado Sirrr Ludger Lamers.
Revisitations
Exposição de Christoph Girardet e Matthias Müller no espaço da Solar - Galeria de Arte Cinemática. Paralelamente foi organizado um ciclo de filmes dos dois artistas que decorreu na Cinemateca . Obrigada Monsieur Godinho pelo convite para uma das sessões, na qual fiquei a conhecer o trabalho destes costureiros de cinema.
Lumpen Trio na Gulbenkian #1
IMAGENS PROJECTADAS / 3, 4 e 5 de Novembro 2005
Sala Polivalente do Centro de Arte Moderna José Azeredo Perdigão, Fundação Calouste Gulbenkian
O projecto "Doubling or Nothing" assenta na sincronização visual e sonora de tempos e percepções diferentes, introduzindo deste modo na improvisação-arte do único e do irrepetível - uma memória e uma história como elementos estruturantes sujeitos à reavaliação crítica do refazer. A uma gravação sonora e visual de um concerto sem público sucederá a apresentação públicade outro concerto, na qual o trio executará uma improvisação musical sobre o resultado do primeiro concerto, e em que a gravação visual desse primeiro concerto será projectada sobre os músicos. Deste modo, o processo de gravação, logo registo, marcação temporal de todo o processo de improvisação, se, por um lado, dispersa a sua nomenclatura, por outro, ao ser objecto de uma reimprovisação, reequaciona as margens do improviso, e da sua temporalidade diversa tanto ao nível da estrutura sonora como da construção da imagem. A natureza temporal da imagem é colocada em diálogo com a temporalidade musical, inserindo aparentes marcas de duplo, colocandoo espectador na fronteira entre o original e a repetição, e no modo como amúsica e a imagem podem desenvolver paradigmas dessa dualidade.
Anteriores concertos: Restart e museu do chiado
'What is an Author?'#1
Michel Foucault (1926-1984)
'Existencialism, indeed artistic Modernism in general, privileged the author.'º
Excertos:
'The coming into being of the notion of "author" constitutes the privileged moment of individualization in the history of ideas, knowledge, literature, philosophy, and the sciences.(...) it performs a certain role with regard to narrative discourse, assuring a classificatory function. The author's name serves to characterize a certain mode of being of discourse: the fact that the discourse has an author's name, that one can say 'this was written by so-and-so' or 'so-and-so' is its author.(...) it is a speech that must be received in a certain mode and that, in a given culture, must receive a certain status.
A private letter may well have a signer - it does not have an author; a contract may well have a guarantor - it does not have an author. An anonymous text posted on a wall probably has a writer - but not have an author.
The author-function is therefore characteristic of the mode of existence, circulation, and functioning of certain discourses within a society.
º_the organizor
Lonely Hearts Club Band
"Quando o cubismo começou a ser conhecido, falava-se sobretudo de Metzinger. Ele explicou o cubismo enquanto Picasso nunca explicou nada. Levou-se alguns anos para se dar conta de que não falar era melhor do que falar demais."
Marcel Duchamp
