Contribuição de Lúcia Prancha para This time is just the wall space above the fireplace,
o projecto de lançamento da editora The River People Publications.
Para este projecto, cerca de 40 amigos foram convidados a imaginar uma
proposta para o espaço por cima da lareira de um quarto em Londres.
A área media L130cm x A138cm. Todas as sugestões teriam que ser “imprimíveis”,
e limitadas àquelas dimensões.
Disponível em breve. Desenhado em colaboração com Ana Baliza.
Ilustração do reino de Laputa, um reino flutuante!
In Jonathan Swift’s Travels into Several Remote
Nations of the World, in Four Parts. By Lemuel Gulliver,
First a Surgeon, and then a Captain of Several Ships, 1735.
A casa da pequena Dorothy que sucumbe à força aniquiladora do tornado espacial.
In The Wizard of Oz, realizado por Victor Fleming.
We have no need of other worlds. A single world, our own, suffices us; but we can’t accept it for what it is. We are searching for an ideal image of our own world: we go in quest of a planet, a civilization superior to our own but developed on the basis of a prototype of our primeval past. At the same time, there is something inside us which we don’t like to face up to, from which we try to protect ourselves, but which nevertheless remains, since we don’t leave Earth in a state of primal innocence. We arrive here as we are in reality, and when the page is turned and that reality is revealed to us – that part of our reality which we would prefer to pass over in silence – then we don’t like it anymore.
Stanislaw Lem, in Solaris, 1961
Fotografia ranhosa da página do livro com diagrama dos habitantes
do edifício de habitação no número 11 da Rua Simon–Crubellier,
o espaço da narrativa de Life a User’s Manual de Georges Perec.
Imagination, therefore, which transforms a visible object
into an invisible image, fit to be stored in the mind, is
the condition sine qua non for providing the mind with
suitable thought-objects; but these thought-objects come
into being only when the mind actively and deliberately
remembers, recollects and selects from the storehouse of
memory whatever arouses its interest sufficiently to induce
concentration; in these operations the mind learns how to
deal with things that are absent and prepares itself to
‘go further,’ toward the understanding of things that
are always absent, that cannot be remembered because
they were never present to sense experience.
Hannah Arendt in The Life of the Mind, 1978.
Com molho
Sem molho
*
Este foi o nosso post número 100
*
Páginas 26 e 27 da nossa publicação The two of us girls disappeared all of a sudden together, acabadinha de imprimir, fresquinha, lavadinha. Nas imagens à esquerda podem ver-se os tais expositores de que o Buergel fala no texto em baixo. Na página da direita podem ler-se as transcrições das histórias contadas pelos participantes da produção do filme no MuBE, uma perfomance organizada por nós em Agosto 2010.
“Each of the paintings, with their often quite prominent gilt frames, was mounted on huge vertical glass panes that were fixed on cubic concrete bases. While the artwork was thus radically singularised and exposed, the space, with its hundred or so transparent glass panes on which the paintings were suspended as if in the air, relativised the authority of the single piece. Each artwork was shown to be its own site, a display mode that attested both to the migratory destiny of the pieces, but also, and more importantly, to a lack of institutional framing. Art’s ontological status was no longer treated as a given. While all the paintings’ surfaces were facing one direction – towards the viewer who entered the space – each work contained a short, basic description on its back. Of course, presenting classical Western painting in such a spectacular display as a total image in and of itself – an image of artistic labour – put an end to all received wisdoms of systematicity (be they chronology, genre, style, -isms, national school). It laid any universal claim about the Western idea of art to rest. Education – self-education – would have to start from another angle, namely from the singular passage each individual viewer had to make, thus creating a rather personal set of affiliations between the artworks – something one might even want to talk about later and share. The artworks would appear primarily as instances of subjective memorising and not as containers of legitimate knowledge about art and its history. It needs to be emphasised, though, that subjective memories are not merely subjective but necessarily draw from a cultural repertoire of available forms. Consequently, the truly engaging work of art mediation [...] would have to address the gap between the given elements of this repertoire and each single individual’s conscious or unconscious interpretation and transformation of them. Only here, in this interlocking of subjectivities and objecthoods, could art’s social function truly come alive. [...] Bo Bardi’s aim at MASP was again to restore art to its ‘creative possibilities’. However, while the egalitarian space promises the individual free circulation, an open encounter between faces and surfaces, this promise is invested with a substantial threat – a threat visibly expressed by the unmediated competition between the artworks. Like a ward with newborns who cannot make it on their own, they all crave simultaneously for the viewer’s attention. And this is the message conveyed by Bo Bardi’s display (and a truth regularly suppressed by the art institution): art demands too much of our lives.”
Roger M. Buergel: ‘This Exhibition Is an Accusation’: The Grammar of Display According to Lina Bo Bardi, in Afterall 26, Spring 2011
Ler artigo na íntegra aqui.
Vamos lá a ter calma.
The two of us girls disappeared all of a sudden together
Publicado por © The River People Publications,
Londres, Janeiro de 2011 | 36 páginas | 300 exemplares
ISBN 978-0-9567171-0-8
Jornal editado por Lúcia Prancha e Sara Nunes Fernandes,
a partir de material realizado em conjunto entre Julho e
Decembro de 2010.
Escolha de formato e design por Ana Baliza.
Este jornal será vendido e divulgado em encontros especiais,
apresentado por pessoas que tenham estado
envolvidas em algum dos aspectos da sua produção.
Conteúdos:
Transcrição de entrevista gravada ao vivo e difundida
simultaneamente no dia 13 Novembro de 2010,
no estúdio de radiodifusão temporário organizado
pelos membros da Auto Italia South East, em Londres
(UK);
Como se fosse possível escrever um poema em
letras maiúsculas, um poema romântico de Pedro
Barateiro comissionado para esta publicação, e
escrito entre São Paulo (BR) e Lisboa (PT);
SERGUEI! SERGUEI ROQUEIRO! Interview collage
for monologues, uma entrevista ficcionada, por
Nina Morgenstern. Os personagens são Serguei
Roqueiro, um rocker de 70 anos do Rio de Janeiro
que ainda canta e toca ao vivo, e Janis Joplin, sua
amante em tempos passados;
Cidade Nova, onde o arquitecto Paulo Mendes da
Rocha, em entrevista com Fernando Oliva, fala
sobre inclusão social, o significado da arquitectura
e controvérsia em torno Praça do Patriarca. Cidade
Nova terá sido publicado anteriormente, mas foi
editado e oferecido pelo seu autor para inclusão
nesta publicação;
Transcrição do relato imaginado por Rafael RG,
preso num lugar indescritível após ter sido sugado
por um portal espacio-temporal, no Minhocão, um
viaduto no centro de São Paulo;
Documentação fotográfica da performance Uma
viagem de bicicleta, no Minhocão, às 6h20 da manhã
(minutos antes da passagem a espaço funcional só
para carros), 2010;
Transcrição das histórias contadas pelos participantes
da produção do filme no MuBE, e fotografias
de Nina Morgenstern, que documentam do evento;
Depoimentos dos membros do grupo de choro da e
Human Trash, após o ensaio conjunto na praça do
Patriarca;
Esta publicação inclui também anúncios especialmente
encomendados a outras colaborações e
grupos de artistas de Londres, Lisboa e São Paulo:
The Hut Project, Superfishes!, Group of London, o-declive,
Eternal Tango e Máquina de Responder.
*
And I, who was intent on watching it,
could make out muddied people in that slime,
all naked and their faces furious.
These struck each other not with hands alone,
but with their heads and chests and with their feet,
and tore each other piecemeal with their teeth.
The kindly master told me: Son, now see
the souls of those whom anger has defeated;
and I should also have you know for certain
that underneath the water there are souls
who sigh and make this plain of water bubble,
as your eye, looking anywhere, can tell.
Wedged in the slime, they say: ‘We had been sullen
in the sweet air that’s gladdened by the sun;
we bore the mist of sluggishness in us:
now we are bitter in the blackened mud.’
This hymn they have to gurgle in their gullets,
because they cannot speak it in full words.
And so, between the dry shore and the swamp,
we circled much of that disgusting pond,
our eyes upon the swallowers of slime.
We came at last upon a tower’s base.
in Dante Alighero’s The Divine Comedy, Canto VII, trans. Allen Mandelbaum
Ader prepared well for the voyage and was already and experienced sailor, having sailed from Morocco to Los Angeles in 1962. However, the crossing ended tragically: after three weeks at sea radio-contact with Ader’s boat, the Ocean Wave, broke off and in April 1976 its wreck was discovered off the Irish coast. Ader himself was missing and his body was never found.
Jan Verwoert, in In Search of the Miraculous, 2006
art is here
to make us more like humans
more like
ants
and dogs
more like the rain
more like grit
and dirt
more like cherry blossoms
if it dosnt do that
it is a failure
Billy Childish, art is here, Poems 1996–2005
