terça-feira, novembro 30, 2010


Terry Richardson & Tom Ford

via homotography

voces que hablan por las bocas amordazadas | mujeres de agua (Javier Limón)

Doce cantantes borran el verbo prohibir sólo con su voz. La Shica, Estrella Morente, Montse Cortés o Mariza, entre otras, se unen a Javier Limón para, con su arte, pedir a las autoridades iraníes que dejen de apagar las gargantas de sus mujeres. Ellas tenían que entonar este 'Mujeres de agua'. Pero sus voces están amordazadas.

Por Virginia Hernández

segunda-feira, novembro 29, 2010

Modern Family

Cameron "Cam" Tucker: Excuse me, Meryl Streep can play batman and be the right choice. She's perfection, whether she's divorcing Kramer, whether she's wearing Prada, don't even get me started with Sophie's Choice.


'Being Human', enigmatic images by unknown photographers, Robert Flynn Johnson, Thames & Hudson

Leslie Nielsen (1926-2010)

Nielsen in Forbidden Planet (1956): "Supposedly a science fiction version of Shakespeare's The Tempest, it was all about the id, or something like that. Who knows? The Trekkies today regard it as the forerunner of Star Trek. I just had to wear a tight uniform and make eyes at Anne Francis. I was pretty thin back then."

on the concept of Tragedy

...in his [Howard Barker] volume Arguments for a Theatre. "You emerge from tragedy equipped against lies. After the musical, you're anybody's fool," he observes. (...)

I'm not going to talk about the concept of Tragedy on modern society, there better and more qualified theorists that could do it for me, instead of trying to write about something that I'll try to follow the idea that tragedy is a way to re-build the individual. I write with signs of death wondering around.
The concept that gives the title to this post is somehow that should be very easy for me to explain, but it isn't; [if-not-now-when]

'Life isn't worth anything, not anything is life worth' sings Lila Downs in her version of the old music "Tu Recuerdo y Yo"... Humans try to remember even those bitter and salty memories of hearts that no longer go together, humans are like poor devils that nurture hate inside of them waiting for a moment where they can bring it all out, and we forget that we all start and end the same... Not that that should be an excuse for everyone to get along and embrace the whole world, but in times of real tragedy should we keep fighting against eachother?
Life is worth what is worth, and that doesn't mean neither more or less than of what everyone thinks it should be worth for themselves. Life is what it is, and lately our frailty has become major topic in my thoughts. Like I said in the beggining of this post, death is all around us, and looking from outside it seems a big stubbornness (sometimes perversity) to keep on going...

Don't Let Me Down

Everything seems unfinished,
when the cold empties the streets
and people run away from the hours
the emptiness fills and spreads
where lonely hearts still wonder
in the lost&founds of humanity
coats of good will, purses and wallets
of altruistic reciprocity, have no space
and are burned into oily coal
that red-lightens this cold underworld...


As dancers, we often explore movement through sensation, creating imaginary landscapes that our viewers can only occasionally access. The white background provides a clean slate for the dancers and animators to work, and the simple costume and color scheme remove the “real” dancers from reality, more readily transporting them to the drawn world.

I like how this film exemplifies the power of post-dance choreography. The cuts, angles, and animations have as much (and perhaps more) influence on the work as the realtime choreograhy.

in MoveTheFrame

domingo, novembro 28, 2010

we are golden aged

sexta-feira, novembro 26, 2010

straight myths

Jim whispers chillingly: “I remember my dream now… why I dug the holes.”

too much

quarta-feira, novembro 24, 2010

Japan Week by David Pinheiro Silva

O sol também nasce primeiro no Porto

Em 1986 realizou-se pela primeira vez (em Florença) a Japan Week, um evento que celebra a cultura do Japão uma vez por ano numa cidade diferente do mundo. No aniversário dos 150 anos da assinatura do Tratado de Amizade Portugal-Japão, a cidade do Porto foi escolhida para receber os costumes e a tradição do país do sol nascente: ikebana (arranjo floral japonês), mukimono (escultura de legumes), caligrafia, poesia e ilustração, e a tradicional cerimónia do chá fizeram da Galeria do Palácio, Biblioteca Almeida Garrett “um lugar estranho”.

Realização: David Pinheiro Silva/PÚBLICO

Música: Sawako - August Neige

terça-feira, novembro 23, 2010

summer 1987 - article923 - post1340

Duane Michals, Self-Portrait As If I Were Dead, 1970.

DS Are you afraid of death?

DM I’m afraid of death on the animal level. Most people are afraid of the pain of death. I read an interesting quote from Milan Kundera and he said what frightens people about death is not so much that they will not have a future anymore but that they have lost their past. I think that’s wonderful because we are our histories. No matter how horrible being is, not being is more frightening. I’m afraid, with all the attendant human things; I don’t want to have cancer. I don’t want to live in unendurable pain for a long time. But I’m intrigued by the question of death. Your birthday and your deathday are your two greatest events. Did I tell you what I want on my tombstone? “Having a wonderful time. Wish you were here.” And then my name and the dates. I’m fascinated by the transience of death, the act, the change of consciousness. I dealt with death a long time before I got around to sexual issues. I did a book called The Journey of the Spirit After Death in 1970. Loosely based on my idea of The Tibetan Book of the Dead. I did Death Comes to a Lady, The Spirit Leaves the Body, Man in the Room, which is about a man who sees this person sitting in the room and is shocked to see him because he’d been to this man’s funeral. And then it turns out in fact, that he’s the one who is dead. The key line is, “Death is nothing that I thought it would be.” I’m hypnotized by the notion of death.

Duane Michals by David Seidner | BOMB Magazine

segunda-feira, novembro 22, 2010

scenic autobiographical moments

William Shakespeare | Titus Andronicus


Another part of the forest.

[Enter DEMETRIUS and CHIRON with LAVINIA, ravished; her hands cut off, and her tongue cut out ]

DEMETRIUS So, now go tell, an if thy tongue can speak,
Who 'twas that cut thy tongue and ravish'd thee.

CHIRON Write down thy mind, bewray thy meaning so,
An if thy stumps will let thee play the scribe.

DEMETRIUS See, how with signs and tokens she can scrowl.

CHIRON Go home, call for sweet water, wash thy hands.

DEMETRIUS She hath no tongue to call, nor hands to wash;
And so let's leave her to her silent walks.

CHIRON An 'twere my case, I should go hang myself.

DEMETRIUS If thou hadst hands to help thee knit the cord.


domingo, novembro 21, 2010


Maxence Cyrin

The focus of Maxence Cyrin’s work is twofold. First he creates piano equivalents of (semi) contemporary pop songs before setting the arrangements to scenes taken from classic/cult films. The results are wonderful re-interpretations, not only of the music, but also of its original visual accompaniment.

taken from here: itsnicethat.com

sábado, novembro 20, 2010

@Festival da Fábrica (12ª edição) - "a corpo libero"

Silvia Gribaudi (Itália)

Just when you think you've seen every dance move known to woman (or man), along comes Silvia Gribaudi with the comedy bingo wing. We may be early in the Resolution! run but the sight of Gribaudi wobbling her fleshy bicep right on the beat is already locked in as a personal highlight.

Morphing from hem-fiddling wallflower to stage-owning siren, Gribaudi's solo A corpo libero (free style) was a joy from start of finish. Expressing more with a shrug or a roll of the eyes than most manage with full-on limb-flinging, Gribaudi ran on the spot to Iggy Pop's The Passenger, chased a capricious spotlight and turned belly wobbling and breast jiggling into uplifting poetry. She owned the stage: A corpo libero was a speeded up DIY version of How To Look Good Naked, happily minus Gok Wan yelling ‘Go Girlfriend!'. This sister is doin' it for herself. (...)

Keith Watson (here)

quinta-feira, novembro 18, 2010

quarta-feira, novembro 17, 2010

The summer's gone, and all the leaves are dying

"Danny Boy" has been recorded many times by a variety of artists. [here]

Sung by the character of Kim Walker, Deanna Durbin in the film Because of Him (1946)

segunda-feira, novembro 15, 2010



by Erwin Olaf

Nico Muhly: I Drink The Air Before Me

...the score, by Nico Muhly, evokes turbulent undercurrents in which the frantic sounds of flute and strings are woven with the more tumultuous notes of a trombone and piano. Without being literal, the music and choreography create a sonic, ephemeral wave.

One day tells its tale to another,
and one night imparts knowledge to another.
Although they have no words or language,
and their voices are not heard,
Their sound has gone out into all lands,
and their message to the ends of the world.

I wanted the ensemble to be a little quirky community of people living by the edge of the sea: a busybody flute, a wise viola, and the masculine, workmanlike bassoon, trombone, and upright bass. The piano acts as an agitator, an unwelcome visitor, bearing with it aggressive electronic noises and rhythmic interruptions. ”

Nico Muhly

sábado, novembro 13, 2010

r.i.p. walkman (1978-2010)

SONY WALKMAN, the first low-cost, portable music player, has become over the last few years another member of the group of now-obsolete technologies. Nine year's after the iPod, the cassette player is being removed from the market. From now on we'll only have the memory of switching sides of the tape... of getting it all tangled inside the device... of listening to the sound of FWDing and RWDing the tapes trying to find the beggining of that music we really wanted to hear. Maybe someday we'll see people walking around in the streets with iPod's inside walkman cases...or something like that.

sexta-feira, novembro 12, 2010

let's go all the way...

quarta-feira, novembro 10, 2010


by Duane Michals

Fragments d’un discours amoureux

'Two powerful myths made us believe that love could, was sublime in aesthetic creation: the Socratic myth (love serves to create a multitude of beautiful and magnificent speeches) and the romantic myth (to produce an immortal work writing my passion.)'

Roland Barthes, Fragments d’un discours amoureux (1977)

terça-feira, novembro 09, 2010

"...but then, after a while, you come back.”

The fever will burn you out...

c. garneau's 'dirty night clowns'

domingo, novembro 07, 2010


A few weeks ago I was verbally bullied about my sexual orientation by some "idiots in the projects" while I was travelling inside a bus that drove me from the suburbs to the city (those kind of suburbs that no one visits unless they have to - and that's my case, due to my a part of my job).
Sarah Beckett (Andrew's Mother): "Well, I didn't raise my kids to sit in the back of the bus.(...)"
in, Philadelphia (1993)
How is it that the one's riding in the back of the bus could so easily and immediately install a fear inside of me that made me aware of how unsafe we all still are; and also about that same old unafraid me - that, despite all the problems, felt free and a true believer on this thing we call LIFE, a true believer of the FUTURE to come.
I'm turning into a skeptic, and feel that outside [in the world] things are so difficult that giving up, going away, change radically, ... and yet none of these options are to become the true solution of the problem that obviously goes beyond myself, beyond the people I know and love, and that I don't know but still want to know and love, and the one's that I know but don't love (anymore). The problem is humanity, or the lack of it in all places where people are forced to relate to eachother. Maybe people don't want to relate anymore...

A few days ago, after the upper situation, I was invited by I.V. to be part of this performance in the dark, called "Souffleurs", where the main action of the performers was to 'souffle' words to an entire audience that sat in the dark during the whole event, everything while Debussy's 'Prélude à l'après-midi d'un faune' was playing. This performance lasted 10 minutes... and what I.V. wanted people to understand by this - or try to - was that we need eachother in a very individual and [right now] almost unexistent way...

Maybe people don't want to relate anymore, maybe people got so used on counting on eachother only as a contrast of the loneliness that grows everyday and becomes more and more unbearable, maybe people don't mind being "blown words in the dark" that talk about existence, universe, death, loneliness, love, and some other major topics, because there - in the dark - we don't see eachother and in the middle of all this darkness the warmth of a voice brings us back to the problem that we in fact are always alone...
But not all people understand that, not all people need to understand that - (note to myself)-.
The only problem is how to understand why suddently the world grew in to this trench where SAFE no longer exists and ANYWHERE can be the wrong place to be.

quinta-feira, novembro 04, 2010

on intersection with human experience

“Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesize new things. And the reason they were able to do that was that they’ve had more experiences or they have thought more about their experiences than other people. Unfortunately, that’s too rare a commodity. A lot of people in our industry haven’t had very diverse experiences. So they don’t have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one’s understanding of the human experience, the better design we will have.”

Steve Jobs

terça-feira, novembro 02, 2010



segunda-feira, novembro 01, 2010

Les Hommes Volants

Le célèbre générique [d'ouverture] d'Antenne 2 (France TV), réalisé par Jean-Michel Folon.

Patricia Tallman

In 1990, Tallman starred as Barbara in the Savini-directed remake of the 1968 classic "Night Of The Living Dead" (1990)

everything must change