Thesis Show: "EXIT"
"Something Happens"
Andre Alves
Friday, May 27, 2011
Monday, April 04, 2011
Silence it is
Silence it isperformance draft for my next solo show "Mute Moto" at Semantics, curated by Sheida Soleimani
Tuesday, January 18, 2011
Wednesday, December 15, 2010
Thursday, November 11, 2010
Monday, November 08, 2010
Apetite
Colectiva Sunday, October 31, 2010
Wednesday, October 27, 2010
Friday, September 10, 2010
O absurdo quer-nos de volta ou o melancólico enquanto duplo
Instalação "Contra o realismo"
Série “Os mesmos problemas”
# Degustar / Desgostar
# Imundo / Mundano
# Interno / Eterno
# Modéstia / Moléstia
# Presente / Pressente
# Revisa / Remissa
# Safar / Sanar
# Sudário / Sumário
Série “A dupla natureza da mudança”
# A absurda aflição do Sanguíneo
# A absurda aflição do Colérico
# A absurda aflição do Fleumático
# A absurda aflição do Melancólico
Série “Quase a viver”
# Suporte
# Revolução
#Sucessão
Imagens do vídeo "Serôdio"
A tragédia enleia-se no pensar como as pessoas falham. A tragédia não fala de um perdedor mas de eventual falha. Precisamente porque a tragédia não aceita ou permite o falhanço (porque a tragédia, deseja sempre a vitória, e a falha violenta o espírito), a tragédia aparece como grito, o sinalizar do inoportuno acontecimento.
A tragédia é sempre desapegada da ideia de impasse. O impasse é qualquer coisa de contrário ao espírito, porque bloqueia o sujeito na sua própria subjectividade. E aí o mantém refém. Nesse lugar, donde a tentativa de perceber o mundo é sempre irrazoável. Ainda que irrazoável, todas as contradições que o espírito mede devem ser vividas; sem a aceitação do absurdo, com a sua constante confrontação. E são elas, as absurdas e insólitas situações, que radicalmente pontuam as vidas de cada um.
Em O absurdo quer-nos de volta ou o melancólico enquanto duplo, procuro criar um percurso sobre “o que interessa” e é mobilizado para o agir.
A galeria não aparece apenas como motor metafórico mas parte de um sujeito - lugar. E neste caso, de um campo de estudo. Começo com essa ideia do falhar, e da aprendizagem para não falhar. E com a descoberta. E de quem a faz. E como.
O absurdo quer-nos de volta ou o melancólico enquanto duplo cria um contexto para uma mudança e a possibilidade de mudança: exibem-se as resoluções “contra o realismo”, e de que “o impasse é de ordem ética e não, estética.”
Ao longo deste percurso passam-se por “momentos” distintos, séries que traquejam a ambivalente relação sobre quem e o que se descobre. Há mais interesse pelo carácter de quem confronta a absurdez, antes de mais reconhecendo-o e aceitando-o. Por isso aqui chamo o melancólico e a sua conotada (e esquecida) natureza dupla, o defluxo que provoca ora resignação ora ânimo, e essa maravilhosa complexa gestão entre pousio e acção.
Em Os mesmos problemas, não interessa qual a natureza do complexo, mas a resolução do complexo. Em A dupla natureza da mudança examinam-se os “humores clássicos” (temperamentos pessoais que constituem os indivíduos), disfarce e farsa, o carácter de quem muda, de quem descobre. Em Quase a viver frisa-se que a escolha de um caminho complexo obriga sempre o olhar atrás, o legado, a tensão entre continuidade e permanência, corte ou reconhecimento. Em Serôdio somam-se estas questões pensando a ideia de papel a cumprir e sublinha-se (ou tenta-se) a crença de que todos devem ser empurrados e defendidos
Friday, September 03, 2010
Tuesday, August 24, 2010
Tuesday, August 03, 2010
O absurdo quer-nos de volta ou O melancólico enquanto duplo.
André Alves
Inaugura a 9 Setembro
Sopro – Projecto de Arte Contemporânea
Rua das Fontaínhas, nº 46 • 1300-257 Lisboa
www.sopro.pt
http://galeriasopro.blogspot.com
Horário: Terça a Sábado, das 15.00 às 20.00h
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
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