Andre Alves

Massa Falhada / Failed Mass at Dama Aflita

2012-01-23T06:50:00.000-08:00

Massa Falhada / Failed Mass

2012-01-09T11:11:00.000-08:00

Massa Falhada | Failed Mass
Solo show at Dama Aflita
21 Janeiro 15:00

Sempre que entro na Dama Aflita, deslumbro-me com belíssimo gancho metálico de tom encarnado que mantém a porta escancarada. O que resulta na exposição "Massa Falhada" tem uma forte ligação com esse elemento, e a lembrança da a expressão "estar no prego" e a sua contrária, estar "off the hook" - sem problemas, livre de pensar em demasia.
Em "Massa falhada", encontrará um ensaio visual pouco colorido, com representações de serras, ganchos, fitas, cordas, texto, e coisas sem nome particular à mistura, em torno de um sentimento de estar perro, limitado e suspenso, não causado por uma branca criativa mas pelo seu oposto, um ruminar excessivo, cansativo.

In "Massa Aflita" i am working from the idea of over-thinking and getting stuck due to that. The visuals of the show consist in series of drawings of hooks, ropes, ribbons, text, and, well, things that have no name or proper identity.
Text and language play is a fundamental element of the show and the message pointing at the expression "off the hook".

2011-09-03T08:06:00.001-07:00

"Excavated Material"
Framed book-collage
30 x 30 cm
2011

for Musao Porto

Técnica e Arremeso: Fundíbulo

2011-09-02T11:26:00.000-07:00

The tactic of the spectator

2011-08-17T05:15:00.001-07:00

"The tactic of the spectator"
work in progress for Musao Porto - MASC FOUNDATION

Escala

2011-08-07T08:31:00.000-07:00

"Escala" - série Afasia
grafite s/papel
42x29,7cm
2011
para a exposição "CATAVENTO"

review of Mute | Motives

2011-07-29T03:38:00.000-07:00

Andre Alves’ Mute Motives at Semantics
by - Chris Reeves
in AEQAI

Que tempinho de caca

2011-07-10T12:04:00.000-07:00

"Que tempinho de caca" - drawing for cowboy Ze Cardoso

"Mute | Motives : Silence it is"

2011-06-06T22:52:00.000-07:00

Mute | Motives

2011-05-27T13:24:00.000-07:00

"Mute | Motives"
Andre Alves
Saturday, June 4 · 7:00pm - 10:00pm
Semantics

“Mute Motives” is an investigation around the ideas of intensity, affirmation and power.
Combining a series of delicate monochromatic drawings with a (collaborative) performance entitled “Silence it is” the exhibition explores bodily tension, the deconstruction of silence as form, linguistics and sexual phantasmagoria.

The performance "Silence it is" will start at 7.30 pm sharp!

“Mute Motives” proceeds from an interest in juxtaposing visual and non-visual languages (here referring to the non-instrumental musical composition by Jennifer Jolley) and the translation of the tension between the will to say/act and the capacity to do so.

for more information:http://semanticsgallery.wordpress.com/

Something happens

2011-05-27T13:10:00.000-07:00

MFA UC Class 11
Thesis Show: "EXIT"

"Something Happens"
Andre Alves

Aborrecido

2011-05-01T20:10:00.001-07:00

Silence it is

2011-04-04T07:28:00.000-07:00

Silence it is

performance draft for my next solo show "Mute Moto" at Semantics, curated by Sheida Soleimani

Voodoo

2011-03-23T13:27:00.000-07:00

"Voodoo" for Wallpaper

2011-03-23T10:02:00.000-07:00

Turning point.
__________________

Now on you will see two types of drawings: one more research based, closer to the inspection of processes or projects, and some more illustrative. I will tag them as i go along.
This separation comes from the ongoing realization that i am interested in editorial material that doesn't necessarily follow an aesthetic investigation but rather an illustration of narrative.

And it is starting with this series "Estados dependentes: mudo"

[series] Halt

2011-01-18T20:15:00.000-08:00

sometimes you just gotta draw a beast

2011-01-18T20:14:00.001-08:00

The Blind Points the visible

2010-12-15T18:31:00.000-08:00

2010-11-11T13:32:00.001-08:00

Projecto Colector
Quinta de Santiag

desktop drawings

2010-11-08T12:23:00.001-08:00

Apetite
publicada por Christina Casnellie

Colectiva Dama Aflita
Dezembro 2010, Porto

We've decided to move

2010-10-31T13:13:00.000-07:00

Mind Fuck

2010-10-27T20:30:00.000-07:00

O absurdo quer-nos de volta ou o melancólico enquanto duplo

2010-09-10T18:23:00.000-07:00

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

Don't you love rentrée's? Find me here

2010-09-03T08:18:00.000-07:00

"Kunstroute 2010: For queering the archives, one does(n’t) need art space"
COC Leiden

"Memórias"
Santiago da Guarda Ansião

"O absurdo quer-nos de volta ou o melancólico enquanto duplo"
Sopro

"Ópera da vida gelada"
Lofte

série: Dupla natureza da mudança

2010-08-24T11:05:00.000-07:00

O absurdo quer-nos de volta ou O melancólico enquanto duplo.

2010-08-03T13:58:00.000-07:00

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

série: Os mesmos problemas

2010-08-03T13:57:00.001-07:00

2010-07-06T10:57:00.000-07:00

Sentidos Privados

2010-06-28T10:38:00.000-07:00

Sentidos Privados
na
Gesto - cooperativa cultural
(photos Adriana Oliveira)
Lançamento da publicação
All my Independent Women

Sentidos Privados

2010-06-13T06:26:00.000-07:00

Sentidos Privados
performance for
All my Independent Women
Teatro de Bolso, Coimbra

Opera of frozen life

2010-06-05T16:24:00.000-07:00

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.

Sight of an escape

2010-06-01T17:46:00.000-07:00

"Sight of an escape"
at
Museum Gallery-Gallery Museum
June 4th 2010
Cincinnati

If you want me too

2010-05-18T08:35:00.001-07:00

Colector I Medeia

2010-05-12T02:51:00.000-07:00

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

Opera of frozen life

2010-05-10T00:50:00.000-07:00

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.

American Vernacular

2010-05-08T19:49:00.000-07:00

"No one reads poetry: looking under"

2010-04-21T22:20:00.000-07:00

After 10 poetry

Anarchic action consisting in occupying Cincinnati public spaces that after a specific time (10 pm) becomes private/interdict.

Expressão Crónica

2010-04-14T22:57:00.001-07:00

"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.

2010-04-13T06:38:00.001-07:00

the sort of windows one needs

2010-04-04T20:12:00.000-07:00

leftovers baby

2010-04-04T20:10:00.000-07:00

Pieces

2010-03-17T15:10:00.000-07:00

Pieces
Fluorescent Gallery
2010

Dandy

2010-03-08T18:53:00.000-08:00

Melodrama 14 and more: a men

2010-03-03T11:49:00.001-08:00

Melodrama 14 and more: a men from Andre Alves on Vimeo.

Melodrama 14 and more: foundations IV

2010-02-26T20:00:00.001-08:00

Politics of visibility, my ass!

2010-02-11T13:20:00.000-08:00

Hold in breath

2010-01-30T07:01:00.000-08:00

Hold in Breath
Andre Alves & Gabrielle Lanza
DAAP, Cincinnati
2010

Melodrama 14 and more: a men

2010-01-27T20:29:00.001-08:00

soon...

2010-01-20T09:00:00.000-08:00

2010-01-19T10:44:00.000-08:00

Melodrama 14 and more: foundations III

2010-01-04T21:11:00.000-08:00

Princípio de Apaziguamento

2009-12-30T13:57:00.000-08:00

Em laçar

2009-12-30T13:51:00.000-08:00

Glossolalia [series for dead relatives in a period of unimportant crisis]

2009-12-30T13:45:00.000-08:00

Melodrama 14 and more: foundations II

2009-12-22T20:11:00.000-08:00

Melodrama 14 and more: foundations

2009-12-15T19:20:00.001-08:00

Untitled peephole # history or i love you, you dead pillow - annotation on attachment and affection

2009-11-26T13:17:00.000-08:00

Untitled peephole number history or I love you, you deed pillow – annotation on attachment and affection

Stressing the association between history and significance, between selection and identification, “Untitled peephole…” forces an intimate situation where participation, voyeurism and endurance are the key aspects. The installation begins with the spatial transformation of normal a room in a convergent lane close to what perspective does.
At the center of the perspective for the room distortion or setting is a wall set upon a bed frame. This wall reaches the ceiling leaving an open triangular gap that tensions the rigid structure and from which some light is cast upon the wall. Light washes the surface that blocks the view of the light source.
The bed frame is set inclined on the floor creating a ramp. On top of the frame an almost fitting (or almost unfitting) board allows one to step over and safely feel the wobble.
The wall rigidity is interrupted by a round discreet hole. If looking into this round hole, one will be surprised by the view of an octagonal rim that outlines the limit of the view. This “passage” is meant to bring the awareness of the transformation of perception. The view rests finally on a video projection.
This is the film of a staged action. A sort of machinery splinters and smashes pieces of wood that are visual metaphors for book pages being torn apart. In the soundtrack sounds of books flipping pages and a voice uttering “Here”. This highlights the continuous transformation, incorporation and reinterpretation of reference, identification, recognition and belief. The impossibility is to trace or map the place of that “Here” when the piece motions to reinstate and to bring shift.
The video is extremely long considering the simplicity of the recorded action being necessarily an endurance test to will and affection, to persistence. In the end of the video some “leftovers” are shown, things that are also part of the transformation and selection process but deprived of the sound of flipping pages or the “Here”, because leftovers lack affection and attachment and worthy consideration.

Em canto

2009-11-19T23:25:00.001-08:00

A pintura é cousa lixada

2009-11-18T21:45:00.001-08:00

mas não há como evitar o risco

2009-11-18T21:44:00.000-08:00

Novos princípios

tracing

2009-11-07T16:05:00.001-08:00

Melodrama 14 and more: Unsettled setting

2009-11-07T09:37:00.001-08:00

2009-11-07T09:32:00.001-08:00

Melodrama 14 and more: In light meant

2009-11-06T20:51:00.000-08:00

In light meant from Andre Alves on Vimeo.

Moths

2009-11-01T06:56:00.001-08:00

2009-10-27T21:49:00.000-07:00

Melodrama 14 and more: Blockade-runner

2009-10-24T15:23:00.000-07:00

Blockade-runner from Andre Alves on Vimeo.

2009-10-19T19:58:00.000-07:00

a fotografia ganha um corpo cada vez mais presente na captura das instalações que tenho produzido ultimamente. O descuido tantas vezes demonstrado na recolha dos melhores olhares sobre as minhas obras parece ter desaparecido. Um rigor novo e uma certa paixão pela qualidade do estetismo pleno, o prazer do detalhe especial, do capricho, um certo onanismo...
fica um novo pormenor de um momento brevemente documentado e visualizavel com qualidade

principles

2009-10-19T19:57:00.001-07:00

Melodrama 14 and more

2009-10-10T13:29:00.000-07:00

Melodrama 14 and more is a complex installation that depicts a specific concept of Melodrama that i believe to be the uttermost fundamental experience of humanity. This project endeavors in mapping the range for which melodrama is not a mere theatrical aesthetic but a form of organizing reality percepetion.

The Diderot Paradox is one of the principles that define the neuralgic structure between person and reality

finding space

2009-10-05T11:10:00.000-07:00

finalmente a escultura a manifestar-se, ainda que com timidez

proximidades

2009-10-03T08:03:00.001-07:00

America colateral

2009-10-03T08:02:00.000-07:00

primeiros efeitos estéticos

Viarco Express - Viarco + Maus Hábitos

2009-08-30T10:44:00.000-07:00

Vi Arco

Single Combat

2009-07-25T16:25:00.000-07:00

Acercado

2009-06-08T03:49:00.000-07:00

REFLEXUS ARTE CONTEMPORANEA

Redux de
Acercado
2008

Patente:
6 Junho - 27 Junho 2009
Sextas & Sábados das 15h às 19h

(cortesia fotos: Carla Cruz; Paula Lopes)

Não tenho nenhum complexo de culpa, mas procuro-o

2009-06-07T07:15:00.000-07:00

Estudo para o remake de Não tenho nenhum complexo de culpa, mas procuro-o .
Braça de Prata
Lisboa
06-27 Junho
Leilão Identidades - Gesto Cooperativa Cultural

A ordem dos fingimentos

2009-05-22T10:12:00.000-07:00

"A ordem dos fingimentos"
André Alves
para o projecto Colector
na
Casa Museu Abel Salazar

A ordem dos fingimentos nasce da leitura de O Ensaio de Psicologia Filosófica (escrito por Abel Salazar por 1915). A ordem dos fingimentos consiste num desenho cuja representação (gráfica e caligráfica) descreve uma espécie de jogo de mesa que tenta materializar o contributo de Abel Salazar, face ao entendimento da consciência.
O “percurso” deste jogo de mesa descreve uma leitura sobre O Ensaio de Psicologia Filosófica, (especialmente a desconfiança ante um existencialismo sólido, fechado, íntegro da mentalidade). De acordo com Salazar, a ideia de voluntarismo é ilusória, e a mentalidade como estrutura ontologicamente relacional, facilmente será permeável a mal-entendidos que se enraízam como ilusões psicológicas.
Quanto à determinação constitutiva da consciência, Abel Salazar indica-a como um resultado da flexibilidade de abstracção da mentalidade, graças ao concurso de três factores: a existência de determinantes exógenos; a formação gradual de relações; e a propriedade de persistência dessas relações, sem a qual a mentalidade seria apenas uma rápida fulguração de momentos (sic).

O fingimento (dado o enquadramento da perspectiva de Salazar) constitui uma ilusão psicológica! Porque a continuidade da sensação do sujeito impede o voluntariar-se a ser fingido, não estando ele a criar forçosamente um estado de fingimento, mas a instaurá-lo – colocá-lo em práctica. Portanto, o sujeito não está a fingir, mas a ter a ilusão de que está a exercer um fingimento (quando na realidade está a exercê-lo). Paradoxalmente, e concretamente, o sujeito finge ter a consciência de fingimento!

Em A ordem dos fingimentos joga-se pelo escape das ilusões psicológicas e da zona negativa da consciência, pelo acesso à pirâmide da mentalidade, à possibilidade das imagens, das ideias, dos julgamentos e dos raciocínios, onde a consciência brota como meta gloriosa deste desafio.

Colector Project at Casa-Museu Abel Salazar / Projecto Colector na Casa-Museu Abel Salazar

2009-05-18T05:02:00.000-07:00

Projecto Colector na Casa-Museu Abel Salazar

Inauguração 18 de Maio (Dia Internacional dos Museus)

Colector um projecto dirigido à promoção das Artes Visuais, que pretende aliar diferentes vertentes ou disciplinas emergentes das artes visuais aos espaços museológicos do país.

Partindo do espaço museológico, do seu acervo, colecção e história específica pretende-se potenciar uma interacção e confronto diferente com o próprio espólio do Museu. Dadas as condições para a experimentação, inovação e desenvolvimento de novas linguagens plásticas (fortemente centradas na relação passado/presente, arquivo/espolio do próprio museu) permitir-se-á a criação de um roteiro artístico que introduz o público numa interacção e confronto com diferentes tipos de expressões artísticas sobre a colecção.

Ana Efe + All Brain, André Alves, André Silva, Claúdia Lopes, Dalila Gonçalves, João Bonito, Paula Naughton.

De Segunda a Sexta
Das 9:30h às 12:30h I 14:30h às 18h

Casa-Museu Abel salazar

Rua Dr. Abel Salazar, s/n

4465-012 S. Mamede de Infesta

encerrado provisoriamente
sábados, domingos e feriados

Visitas guiadas (marcação para grupos)
Entrada gratuita

Transportes: STCP: 600 (Aliados / Barca ou Maia)

Tel. 22 903 98 26

Fax. 22 903 98 28

cmuseu@reit.up.pt

http://cmas.up.pt/

colectivo.colector@gmail.com
http://colectivo-colector.blogspot.com

____________________________________________________

História d'H

2009-05-15T09:01:00.000-07:00

2009-04-15T18:05:00.000-07:00

Nós, Medusas

2009-04-13T07:50:00.000-07:00

em produção

Histoire d'H

2009-03-11T09:40:00.000-07:00

estudo para instalação vídeo "História do H"

"Não tenho nenhum complexo de perseguição mas procuro-o"

2009-01-15T17:18:00.000-08:00

Colector

2009-01-12T12:25:00.000-08:00

O PROJECTO COLECTOR tem o prazer de a/o convidar para a Inauguração da Exposição no Museu D. Diogo de Sousa em Braga, no próximo Sábado 17 de Janeiro às 14h.

The PROJECTO COLECTOR is delighted to invite you for the opening of the Show at Museu D. Diogo de sousa in Braga, Portugal, this Saturday 17th January, 2 pm.

link:
http://mdds.imc-ip.pt/pt-PT/exposicoes_eventos/exptemp/ContentList.aspx

2008-12-20T01:54:00.000-08:00

vive

2008-12-16T17:11:00.000-08:00

Tod@s à Rua

2008-10-07T11:09:00.001-07:00

«Dia 9 de Outubro, quinta-feira,12h, todas/os à estação de metro da Trindade, às 12h!

Traz uma folha com a frase "ACESSO AO CASAMENTO CIVIL".

Chega um pouco mais cedo e age naturalmente, como se fosses um/a mero/a utente à espera do metro. O objectivo é que estejamos todos/as dispersos/as e não em multidão.

Quando forem exactamente 12h, segura a tua folha. És uma estátua. Não fales nem te mexas. O importante é a tua mensagem.

Passados 2 minutos em que estás completamente estático/a, guarda a tua folha e retoma o teu percurso.

TU SEGUES. A MENSAGEM FICA. PORTUGAL AVANÇA.»

(recebido via UMAR)

'Monumento' - Dalila Gonçalves

2008-09-09T10:27:00.000-07:00

'Monumento'
cedência corporal para um projecto de
Dalila Gonçalves
2008

The warm fur of a sheepish dancer or True love will find you in the end here am I your twisted love.

2008-09-05T10:43:00.000-07:00

[About the SKITe/Sweet & Tender Collaborations - Porto
a big deal in debt with talks with Francesco Ventrella - which is paraphrased everywhere in this text]

The time was short. Picking up anything would make one lose almost everything that was going on.

Jean-Marc story-told the role of actors in former Japanese culture; actors would be spaced out society, next to the river that bordered the land of the summoned. How beautiful this image is! The actor is closer to the ghosts, that can see what they are preparing but still, out of the possibility of really get in touch with them. They are the most truthful audience but also the first victims of fictional deprivation.
The inhabitants of the real world – of ‘society’ – those, could reach the actors easily. They set them there outer walls of the city, for the serenity of everyday life. It had to be that way; the actors then would be allowed to come back to ‘perform at the full extent of their creativity and liberty what they had been cooking’. Once a year ‘society’ pretends to ‘believe’ the performance (and the need of it) and the actors forget that their closer spectators are those haunted spirits, on the other side of the margin, by accepting the presence of those needy tolerant snobs.
Any artist has had at a certain point posed this question at the core of his intentions. How does my creation relate to the world and to what I am in debt for? That someone says that the making is a fiction is it enough? Where are the ghosts and the society?
At that point of the conversation I stood up and strolled around.

A surplus of sound and movement became present, a galvanizing demonstration of the function body. That’s right. I’m so used to stillness that any movement seems out framed. A voice caught me in this limbo of indecision. Hey, do you want to see a movie? I could say no. Actually I wanted to say no, because I am too shy to enter into an intimate give and take as such… but a ‘yes’ popped up. Most likely because he worn the strangest coat ever and a pair of beautiful lost child eyes. The question he made invaded my ground but it was skin that compelled me to allow it. That acknowledgment came later, of course.
Talking about a film was an excuse. I was suspicious and tried to be as aware as possible of the exchanges intended to take place. Marko started making questions. He asked me what I like. I blushed; invasion of intimate space. You must be more specific I replied. Are you a dancer? No, but I dance. Why do you dance? To feel my skin, to have a remembrance of it! He got me, got me without knowing it; made me open up. I didn’t want that to happen!
Marko said he would love to show me a film because of this and that and the way the actor in the film seems to be phony. He tells me what in that film is special for him and why he is showing that particular scene. I stop him. Why don’t you just tell me about it? After all it is all about what you want to emphasize on it. But I prefer you to watch it, to see…; I prefer the reenactment you make; I prefer you to let me know what moves you in that, to listen you, that can also see me, I prefer you to tell me in a story for all I love is storytelling.
Pieter sat in front of me. I didn’t know why. I never pay much attention to brochures before the shows so I could not know he was interested in knowing more about Marko. I also wanted to know more about Marko and Pieter as I would also want to know more about Cinnamon Crumble Apple Pie, or anything else. So I asked Pieter who the hell you are and what are you two going to do together. There wasn’t much of, let’s say, structure. Pieter told me about when he saw Marko for the first time: in sheep woolen trousers in a very still pose. Perhaps Pieter and I shared the exposure to the same experience. The inharmonious looks of that fellow with the tender sweet lost in space look.
The sheepish dancer had something to tell me after all but he did only tell me because Pieter introduced the remembrance of the trousers. It was that vision that made him shift from his own perspective and forget his work and let me know more about him awhile actually performing Pieter’s intentions. ‘The sheep ballerina’ gave an account of the woolen trousers and its affect in Marko’s psychological identity. We shared that moment not just because we were all together but because any one of us had to give accounts of what was being given. Further that moment on I knew I could look both without embarrassment; they are the crutches, the ones I’ll look to/for if I attend the following shows.
It might sound too harsh to state that artists don’t think much of the audience as human wise. When we consider reception do we really go besides considering the audience’s capacities for understanding, feeling, re-enacting our projects? Do any of us presume before entering on scene that the public might be feeble, might feel uncomfortable, embarrassed, and apprehensive? How that does influences the reading of a project? Aren’t we all too comfortable with the dispositif of presentation?

Image is not fabricated in anticipating its efficiency but presence in and upon the world. The arduous task is to perceive whereas about my vision quits understanding objective reality and is lovesick by itself. The offspring of that exchange is nor predictable nor complete. This is important for accounting that performing is not merely to enroll in a denotative signification order. Certainly I’m not dismissing its existence within an ideological apparatus: it is precisely why ‘writing’ the performance is not a metaphor, and the actual work/labor performed –the act itself – that inscribes it. This notion of inscribing the ‘body’ of performance is crucial. That is the reason why I felt so at ease, so satisfied with the presentation of all the artists/dancers/performers at the opening night. There they were: the flesh and bones that wears body to bridge the gap between me and them. But what were they expecting from the audience? They had questions, all of them. Are those questions to be answered by them; are them addressed to me; or just a motto; are them the invite to enter into dialogue? I kept some of those questions in mind. They really moved me. But nothing moved me as much as the tall boy that at first looked shy, Saxon, dry and was nothing as such. This entails that the effect of the image of that boy is strong enough to inscribe him at the core of my desire, from which I could add new ‘text’.

Jean-Marc made a perfect performance! He made a performance about himself and about me. He was not a performer, a dancer, a singer; he could not smoke on the stage. As much as necessary to present him entangled between the other/listener/mirror image and the remains of – what I believe to be – his own personal creation history. Any act, any art coming to be something becomes a remainder; and isn’t life all and all the same?
Of course he can’t smoke inside the theatre; but as the smoke can’t be grabbed so free will can’t be stopped. And one could tell him that he is being solipsist and insolent; nonetheless he evades us and faces, talks, evades, and delivers himself to that girl that carries the symbol of being thy audience – and more likely, perhaps, a screen image of himself, one that we will never attain.

Catarina told me that years before, she thought she could change the world. I thought about Jean-Marc again. Who is secure that Jean-Marc’s act does not change the world? By focusing himself and the promises he made himself he brought up something more universal than that of what was there. He made me wonder why Catarina stopped trying to change the world and why didn’t she giggle with the ironic remark that good pies can change the world better than art. Perhaps we all need to learn better the business of losing skins.

Perrine got me at the corridor of the theater and asked me if I could give her a closer feedback as since I told I would come to all the performances. Did she felt that I had already been writing this story in my head for myself? Or just wanted me to give a hint on her project? Could she anticipated that I’ve inherited the skill of storytelling from the women around childhood; that I wouldn’t write an essay as since I’m an untalented poet; that I had to offer something on my own terms as a response to her personalized request? She rings my head every time someone is saying that the work can be empowered by discussion and how is possible to let the audience to give feedback. Sometimes I just want to withdraw. I don’t want to talk. Either because being oversensitive or because I find it hard to utter, in real time, experiences I went through. But I want to hear others even that I don’t have anything to say. And will you performer give me a feedback?

There is a Latin proverb (unknown source) which declares: ‘the unsolicited apology accuses us’. To hold onto nothing with everything one has is a leap of courage (or through other lens) of stupidity.
Labeled names identify the persons sat on the chairs that later would have to be set next to the wall - and not on the wall. There was an empty chair! I was more concerned to look to all of them and guess which one looked smart, funny; oh I liked that one during the running performance; she looks daring; there you are intrepid chap and here am I your twisted love.
Antonio wants to make us believe in the importance of the un-seen. This was stressed not only by the presence of a narrator that would give one the account of the traits of the persons sat in front of us, but also, and mostly, by highlighting the presence of the missing person. What we were meant to believe was that the narrator was unraveling what we could suppose but could not be sure. That might be a trick, of course, as judgments of character always seem to be, especially since someone will tend to argue ‘not to be like that’. The chronicler gave voice to what one could think about itself and also about the relations they have with the others.
Haunted by the threat of display this was the only chance to frame him without being caught looking. He was silent and serious at the beginning. How would he, they, not be? They know that we were in expectation; that we were conjecturing what would be next.
The paradox about the act is that it could ‘work’ if the actors were able to assure us to be haunted by dreads of disclosure. Everyone in that chair is someone, who feels, thinks, and lives moments and shares things about and with others. The narrator was giving us the access to a plausible truer voice of all of the persons in front of us. The play enrolls with denotation (why else would they use their real names, names that I already know?), that makes me believe they are telling something about themselves. That activates a shadow over everyone: that they will be next in that game of revelation. Then, how can you laugh with the ‘allusions’ about the fellow next to you? Won’t you be the next to be told about? And what will the storyteller let others know about you? Ok, the performers know the text. But I don’t. If they laugh I get caught in his grin and lose the tone of the text. They lost the manners that give reliability to the extent of my belief in the act.

During the intermezzos Marko and I have been talking about the needs to discuss the projects in process. How do the artists allow people to enter into points for a view with them? In what extent do artists really need the audience’s feedback - besides cheerios that makes everyone glow? How do we relate with that necessity? I address the same questioning to myself but I don’t stage the audience; I was never able to sat them and tell them ‘hey, this is important, let me know more about what you think’.

There is certain randomness in the act of producing something. You can call it inspiration, brainstorming, creativity, poetic revelation… but arguing that there was no meaning or use… It might not have any at the beginning but you are adding a direction to things; a specific act is empowered and by that privileged. That constitutes a basic principle of meaning elaboration.
The ‘Perfect Partners’ departed from things they wanted to use but, according to Nuno, had no meaning altogether. There is no need to be denotative. Dance, drawing, body… utter their own truth. How can you write a body? Does body fit in words and meaning (in the strict sense of the concept)? Doesn’t a body utter a truth inextricably hidden under the skin?
Antonio sang. Voice is the most pervasive and performatic gesture – it’s pure utterance of the body, shapeless, untouchable, evading a body to trespass another. I couldn’t break away from the fascination about the love motto and the singer’s need for papers (with the lyrics?). He was singing that ‘true love will find you in the end’ but what his body was letting us know is that love needs a script.
From the start I was waiting Pieter to drop pants – it was emphasized at the beginning that he likes to do so. Then they all did it; borrowed Pieter’s ‘need’ and mimicry it. If the act was about the get-together of the three, dropping pants was the univocal gesture that confirmed us the agreement between themselves; and my fascination about your beautiful legs. The upshot wasn’t Pieter’s compulsion to drop trousers any longer. If this is a display of ‘moments’ of what the performers are cooking their investigations, what’s the upcoming history for this collaboration? What will do from what is done?

I didn’t tell Marko but I question myself whereas the artists hear other artists’ arguments. We are never too sharp or too risky in our comments towards other artist projects. This makes me anxious and it shows in my face. How can my comment give an account satisfactory for the feedback you need? I don’t have the capability to interact with people I never talked before – there is no possibility of touch so there can’t be possibility of relating with. That is why I decide to bore Perrine with this letter. I want to tell her what I thing about some things I’ve seen; I want this letter to perform my points of view and let known that I share the question addressed here; that none of the content of this text is imposture or deceiving; that there is no pretension for chronicling and assess the performances that not from a partner point of view; that all of this is meaningless if you can’t see that it is written as a love letter.

Single Combat

2008-08-18T04:08:00.001-07:00

estudos/storyboard para Single Combat: Medusa & Narcissus
já agora, espreitar 'The Laugh of the Medusa' de Hélène Cixous

2008-08-02T16:56:00.000-07:00

material em bruto para 'single combat' - ainda em produção, em mostra algures para 2009

perdido e achado

2008-06-09T07:08:00.001-07:00

Simone Weil desafia
alimento de cadáver passional
busca de sentido

acercado

2008-06-09T07:03:00.001-07:00

acercado

2008-06-09T06:37:00.001-07:00

Vista geral da peça Acercado, para a exposição Dispersão.
De facto não fiquei muito satisfeito. A necessidade de transformar peça naquilo que podemos ver actualmente, a supressão de uma parte do vídeo/performance (que talvez será apresentada autónomamente) devido às condições de iluminação, o poder da imagem 'acabada' hiper presente,... não sei muito bem que trilho segue...

2008-05-29T15:30:00.000-07:00

Acercado . Imagens em processo

Acercado

2008-05-19T11:55:00.000-07:00

Fazia imenso tempo que não dava notícias nem provas de vida. Vai daqui um aperitivo.

Perseguimos o desejo do nosso próprio estilhaçamento. Esta é a leitura que faço dos poemas Escavação e Dispersão de Sá-Carneiro. Uma luta permanente entre a leveza e o peso de existir; entre a deliberada procura de algo que se perde, que se sabe existir – o resgate do perdido – e a libertação daquilo em que se existe, fractura e ansiedade pelo escape.

Acercado procura ser um momento que joga com a possibilidade de debruço sério e deliberado por algo que existe (acerca de) e o sentimento de asfixia provocado pelo desejo de castração e de libertação que nos habita (acercado). Acercado sublinha aquilo de que se trata a par da condição de cercado, de aprisionado e realça a condição de posse de uma condição – a cerca do. Por isso resistir ao cerco é pulá-lo; libertar-se da posse é fender o rigor sólido dos objectos.

"Pular a cerca" é também (como popularmente se conta) trair alguém com quem se tem uma relação. No contexto dos poemas escolhidos é trair-se a si próprio, trair a relação pacífica que se tem consigo nessa patológica busca pela insustentável instabilidade do nosso ser.

Anterior à relação com alguém está essa relação que temos com os objectos do mundo. Relacionamo-nos com o mundo pelos afectos, pela viciada maneira como nos projectamos nos seus objectos e os transportamos ao nosso âmago. De acordo com esta ideia Simone Weil atenta que ‘ a realidade do mundo realiza-se em nós pelo afecto. É a realidade do eu transporta por nós para as coisas. Não é, de modo algum, a realidade exterior. Esta só é perceptível através da indiferença absoluta. Mesmo que sobre apenas um delicado fio, existe ainda afecto’ . Desse modo, realizar-se no mundo, perceber o mundo, implica uma libertação da fabricação ilusória do afecto. Desautorizar senão um modo desinteressado de se relacionar com as coisas.

Pular a cerca ganha assim um corpo lato, onde o acto de salto acciona o movimento no espaço da conquista pelo contacto real com as coisas, sem a viciosa adição do sentimento, através da metáfora da consumação carnal ‘criminosa’. Pular a cerca transporta-nos a um espaço onde o sujeito se percebe como exterior às coisas; e, abnegando o simpático ‘vento’ do agrado fraterno de suas existências, retrair-se para dele se saber convolar.

Formalmente Acercado é constituído por diferentes elementos que visam construir o que chamo de situação. Pensar situação como momento de drama ou romance que excita interesse é fundamental para introduzir um espírito e aspecto cénico que me apraz e de que tenho feito recorrentemente marca estilística.
A situação Acercado estrutura-se em diferentes momentos formais. Um desenho de cercas de madeira em perspectiva, com uma escala de 4 mt x2.2 mt sobre tela pendurada. Este desenho encontra-se deliberadamente colocado ao centro de uma sala, já que a sua localização é determinante para criar separação espacial entre ‘momentos distintos’.
A separação espacial é imprescindível; na parede que se encontra na parte posterior ao desenho, encontra-se um cata-vento gigante – ou mais provavelmente um desenho de um cata-vento – de onde provém uma corrente de ar (vento) que tenta empurrar o desenho. De forma a sugestionar este movimento, o desenho pendurado ao centro da sala inflecte uma curva como que arremetido para longe (embora esteja tensamente arreigado ao seu próprio lugar/condição e dele não se consiga libertar). A hiperbolização do ‘gesto’ empurrar (recorrendo ao uso de ventoinhas que criam efectivamente um movimento de ar) é importante de forma a materializar mais intensamente a invisível natureza das forças e das conduções.

Trapalhão e frágil, Acercado é um anti-Sísifo.

2008-05-15T08:00:00.000-07:00

dracula

2008-05-05T08:46:00.000-07:00

Mais de meio ano sem novidades.
Talvez vá dar um final a este canal já que acabo por redigir cartas emotivas e longas sobre os disparates que vou fazendo. Este foi o último... e até percebi que precisava de ter aulas de pintura novamente...

2008-04-15T14:19:00.000-07:00