Tuesday, August 03, 2010
Tuesday, July 06, 2010
Monday, June 28, 2010
Sentidos Privados
Sentidos Privados
na
Gesto - cooperativa cultural
(photos Adriana Oliveira)
Lançamento da publicação
All my Independent Women
Sunday, June 13, 2010
Saturday, June 05, 2010
Opera of frozen life
Opera of frozen life
Requiem, libretto, Video, installation
presented at Semi-Gloss, Cincinnati
“Opera of frozen life” or making poetry a gesture of linguistic noise.
Concrete poetry and deliberate formalist attempts to rupture realism are my entrance point to noise. I am attracted by noises, mumbles, Glossolalia, yearnings, sighs; devoid linguistic expressions filled with content.
In 2009 I was invited (in the context of the project Colector) to produce an project for a mortuary chapel in Porto, Portugal. The chapel is decorated with neo-baroque motives and frescos full of iconographic motives of music instruments and weaponry. The dome of the chapel has a fresco of musicians sitting on clouds, “playing in favor” of the admission of souls in heaven. It is truly, ichnographically, a Requiem.
The idea of mourning taints positively many of my projects. I am fascinated by the function of the mourning, and how it that process evaluates and marks the loss and the existence. There is a passage from Simone Weil vaguely embedded in my flesh. It goes something like this “To desire an existence that is not anymore is absolutely pure… the love we dedicate to the dead is perfectly pure. Because it is the desire for a finished life that nothing new can provide. We desire the dead existed, and they did.” (Simone Weil “La pesanteur et la grâce”).
From this conjuncture I decided to write a Requiem. This requiem would talk about thy mourning and its increasing loss of function in a society that lingers in a peter pan syndrome and makes of death a complex absurd taboo.
"Opera of frozen life" uses association of classical Greek mythology iconography to produce a text (libretto) that exposes the melodramatic tension of the loss of mourning.
Libretto summary:
Eolos (king of winds) talks to the four winds about the "loss track" of their
purposes. In order to stress it, he evokes the murder of Jacinth, Apollo’s lover, by one of the jealous resenting winds (Zephyr). This starts a conflict between the winds that point each other of responsible for such crime. Zephyr confesses it bluntly, unemotionally at beginning, in increasing grief for not being loved and for his destructive rage.
Eolos and the Chorus sack this collective pathos, advising the winds to reappraise the relation with their purpose of spreading change and carrying vigor.
I didn't want to translate the Portuguese text for English in order to stress the enactment of different idioms. The fact that none of the actors knows Portuguese underscores the performance of a form unaware of its subtract. The libretto (Requiem text) survives formally but the actor’s linguistic function is damaged.
The aspect that interests me is that of when dealing with languages one can’t decode, it doesn’t stop its experience. At some point clinging with (perhaps not verbal meaning) anticipation, expression, sentimentalism and so on can occur. The actors (being English speakers) are enacting a linguistic deployment, but for those who can understand the Portuguese, there is a chance to reconstitute meaning. This is a arduous task because the form of the idiom is damaged by the (mis)interpretation of its form . This passage between interpreters, receivers and re-interpreters is fascinating and marks the cause why this work came to life.
Requiem, libretto, Video, installation
presented at Semi-Gloss, Cincinnati
“Opera of frozen life” or making poetry a gesture of linguistic noise.
Concrete poetry and deliberate formalist attempts to rupture realism are my entrance point to noise. I am attracted by noises, mumbles, Glossolalia, yearnings, sighs; devoid linguistic expressions filled with content.
In 2009 I was invited (in the context of the project Colector) to produce an project for a mortuary chapel in Porto, Portugal. The chapel is decorated with neo-baroque motives and frescos full of iconographic motives of music instruments and weaponry. The dome of the chapel has a fresco of musicians sitting on clouds, “playing in favor” of the admission of souls in heaven. It is truly, ichnographically, a Requiem.
The idea of mourning taints positively many of my projects. I am fascinated by the function of the mourning, and how it that process evaluates and marks the loss and the existence. There is a passage from Simone Weil vaguely embedded in my flesh. It goes something like this “To desire an existence that is not anymore is absolutely pure… the love we dedicate to the dead is perfectly pure. Because it is the desire for a finished life that nothing new can provide. We desire the dead existed, and they did.” (Simone Weil “La pesanteur et la grâce”).
From this conjuncture I decided to write a Requiem. This requiem would talk about thy mourning and its increasing loss of function in a society that lingers in a peter pan syndrome and makes of death a complex absurd taboo.
"Opera of frozen life" uses association of classical Greek mythology iconography to produce a text (libretto) that exposes the melodramatic tension of the loss of mourning.
Libretto summary:
Eolos (king of winds) talks to the four winds about the "loss track" of their
purposes. In order to stress it, he evokes the murder of Jacinth, Apollo’s lover, by one of the jealous resenting winds (Zephyr). This starts a conflict between the winds that point each other of responsible for such crime. Zephyr confesses it bluntly, unemotionally at beginning, in increasing grief for not being loved and for his destructive rage.
Eolos and the Chorus sack this collective pathos, advising the winds to reappraise the relation with their purpose of spreading change and carrying vigor.
I didn't want to translate the Portuguese text for English in order to stress the enactment of different idioms. The fact that none of the actors knows Portuguese underscores the performance of a form unaware of its subtract. The libretto (Requiem text) survives formally but the actor’s linguistic function is damaged.
The aspect that interests me is that of when dealing with languages one can’t decode, it doesn’t stop its experience. At some point clinging with (perhaps not verbal meaning) anticipation, expression, sentimentalism and so on can occur. The actors (being English speakers) are enacting a linguistic deployment, but for those who can understand the Portuguese, there is a chance to reconstitute meaning. This is a arduous task because the form of the idiom is damaged by the (mis)interpretation of its form . This passage between interpreters, receivers and re-interpreters is fascinating and marks the cause why this work came to life.
Tuesday, June 01, 2010
Tuesday, May 18, 2010
Wednesday, May 12, 2010
Colector I Medeia
14 de Maio – 31 de Maio 2010
Inaugura Sexta-feira 14 de Maio às 19h00
com direito a entrada gratuíta na sessão de Drawing Restraint 9 de Matthew Barney
Colector olha através das linguagens das artes visuais espaços museológicos e/ ou instituições. Do resgate do seu acervo, colecção e história específica, Colector pretende expandir a interacção em confronto com os espólios.
A experimentação acontece deste encontro, abraçando a relação passado/presente, reapreciando os arquivos/espólios - a alma de quem os alberga. Pensar os modos de revisitar o que fora escolhido a resgatar, pensar as expectativas de um encontro com uma colecção, mostrá-la a quem a visita fincando nesse legado o espreitar de um comentário presente.
Projecto Colector
All Brain (Luis Xavier), Ana Efe, André Alves, André Silva, Cláudia Lopes, Dalila Gonçalves, João Bonito, Luísa Sequeira
Cinemas Medeia Filmes, Centro Comercial Cidade do Porto
Monday, May 10, 2010
Opera of frozen life
Almost a year after the writing of the libretto "Opera of frozen life" and the first attempt to bridge rhetoric of musical theater and semiotics with Senhorio, "Opera of frozen life" epitomizes the last kick of this first year in Ohio. Very soon, more words, and more explanations, and more much more of this great collaborative effort.
Saturday, May 08, 2010
Wednesday, April 21, 2010
"No one reads poetry: looking under"
After 10 poetry
Anarchic action consisting in occupying Cincinnati public spaces that after a specific time (10 pm) becomes private/interdict.
Wednesday, April 14, 2010
Expressão Crónica
"Expressão crónica"
Vinheta, no sentido da crónica literário-ilustrativa a trabalhos (por exemplo, obras onde o texto escrito são a forma visual e aparecem como "ditos a ter em conta") dos
meus contemporaneous portugueses.
Coisas vistas, sentidas, e que me arrastam para outras praias.
O trabalho da Crítica como diagnóstico é o que aqui me interessa, e a convocatória da desconfiança dos "ditos" dos artistas como algo a ter em conta por defeito. Obviamente tb eu me insiro neste grupo.
Em todo o sentido, esta série é (não um "after xyz") mas um "Pós-dito".
Aqui, os "Pós-ditos Francisco Eduardo e Dinis Santos; Mauro Cerqueira e Nuno Ramalho.
Vinheta, no sentido da crónica literário-ilustrativa a trabalhos (por exemplo, obras onde o texto escrito são a forma visual e aparecem como "ditos a ter em conta") dos
meus contemporaneous portugueses.
Coisas vistas, sentidas, e que me arrastam para outras praias.
O trabalho da Crítica como diagnóstico é o que aqui me interessa, e a convocatória da desconfiança dos "ditos" dos artistas como algo a ter em conta por defeito. Obviamente tb eu me insiro neste grupo.
Em todo o sentido, esta série é (não um "after xyz") mas um "Pós-dito".
Aqui, os "Pós-ditos Francisco Eduardo e Dinis Santos; Mauro Cerqueira e Nuno Ramalho.
Tuesday, April 13, 2010
Sunday, April 04, 2010
Wednesday, March 17, 2010
Monday, March 08, 2010
Wednesday, March 03, 2010
Friday, February 26, 2010
Thursday, February 11, 2010
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