sábado, abril 30, 2011


via Au Suivant

sexta-feira, abril 29, 2011


via all of me

'So this is the sad version of us'

[last lines]
Becca: [voice-over] And then what?
Howie: [voice-over] I don't know... Something though.

Tyler Shields

today is for william&kate

late night show

quinta-feira, abril 28, 2011



One has only to read, to look, to listen, to remember.

(Virginia Woolf)


Concerning all acts of initiative and creation, there is one elementary truth, the ignorance of which kills ideas and splendid plans; that the moment one definitely commits oneself, the Providence moves too.

All sorts of things occur to help one that would never have occurred. A whole stream of events issues from the decision, raising in one's favor all manner of unforeseen incidents and meetings and material assistance, which no man could have dreamt would have come his way.

Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.



There is a tension that goes all the way through a piece of music and never lets up. A long silver cord that one pulls on. Sometimes there's a little kink in the cord, but it never sags. There's always a force irresistibly pulling it from the first note to the last. You've got to get the audience from the first note.

(Alfred Brendel)


A large part of our excessive, unnecessary manifestations come from a terror that if we are not somehow signaling all the time that we exist, we will in fact no longer be there.

(Peter Brook)


The problem with clichés is not that they contain false ideas, but rather that they are superficial articulations of very good ones. They insulate us from expressing our real emotions. As Proust himself put it, we are all in the habit of 'giving to what we feel a form of expression which differs so much from, and which we nevertheless after a little time take to be reality itself'. This leads to the substitution of conventional feelings for real ones.

(Christopher Lehman-Haupt)


The leap, not the step, is what makes the experience possible.

(Heiner Müller)


Since the artist cares in a particular way for the phase of experience in which union is achieved, he does not shun moments of resistance and tension. He rather cultivates them, not for their own sake but because of their potentialities, bringing to living consciousness an experience that is unified and total.

(John Dewey)

in, A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart


talking about building on the past

terça-feira, abril 26, 2011

keeping it alive in Porto

(Photo by David Pinheiro Silva)

"Planes" (Portugal, 2011) @ Serralves in the cycle “Trisha Brown: Early Works” presented as part of the Improvisations/Colaborations season.

In April, the Trisha Brown Company is offering Oporto residents the chance to chart an itinerary through Serralves Museum and Park that will enable them to discover some of Brown’s key works.
This spatial recontextualisation of Brown’s choreographic works – a distinctive characteristic of her Early Works, which continue to stand out in terms of their vitality and contemporary relevance – provides new insight into the works and their presentation spaces.
The programme includes 12 key “Early Works” (from 1968 to 1974) by Trisha Brown - an extraordinary choreographer who pertains to a group of artists who, in the 1960s, pioneered one of the most ambitious experiences of the 20th century, in terms of inter-disciplinarity and improvisation in art.

Created in the 1960s and early 1970s, Early Works transgress the boundaries of dance. They result from a new form of physical and conceptual experimentation, improvisation and intersection between the performing and visual arts and intermingling between art and “everyday life”. These early works by Brown are also designed for unconventional spaces (such as galleries, gyms and apartment rooms) and for outdoor spaces (parks, streets, terraces or building façades) in an attempt to bring art closer to people’s lives and offer spectators broader possibilities of viewing her works.

In Early Works, Brown develops “Equipment Dances” (which imply the construction and use of structures – e.g. Floor of the Forest); “Structured Pieces” (dances that emanate from a simple rule and permutations thereof – e.g. Sticks or Figure Eight); and “Accumulating Pieces” (an initial repeated movement, complemented by a second movement wherein the phrase is repeated, to which a third movement is added… - e.g. Accumulation or Raft piece). It was also in this period that Brown created trompe l’œil works, that defy gravity and toy with the spectator’s sense of perspective, e.g. the emblematic Planes.

Viewed as a whole, the works from this period are more rigorous and joyful and the movement is “pure” and abstract.

During the approximately 2-hour itinerary (each work lasts between 3-20 minutes), TBDC will present Floor of the Forest, (1970); Accumulation Duet, (1971); Scallops, (1973); Raft piece, (1973); Sticks I & II, (1973); Figure Eight, (1974); Spanish Dance, (1973); Sticks; Leaning duets I, II, (1970, 71); Falling duet, (1968); Skymap, (1969); Planes, (1968). The itinerary begins in the rooms of the Museum, continues through the Park, the tennis Court, the Lake…. and then returns to Serralves Museum.

Developing upon the idea that “Improvisations / Collaborations” foster the intersection of experiences and collaborations between different artists, members of the TBDC will teach two of these works – Planes and Floor of the Forest – to a group of 11 performers from Oporto who will perform them with the Dance Company and then continue for a short period of time after the Company leaves the City. The TBDC will thus create the opportunity for young dancers to address questions of theory and practise and experiment with some of Trisha Brown’s seminal works and incorporate them within their own personal artistic trajectories. These works will be presented daily at 11 a.m. and 3 p.m. in the Museum, between 26 April and 1 May.

rip mix and burn


Creativity and innovation always builds on the past.
The past always tries to control the creativity that builds upon it.
Free societies enable the future by limiting this power of the past.
Ours is less and less a free society.


Lawrence Lessig on Free Culture
Canal 180 | OSTV

quinta-feira, abril 21, 2011

spanish dance

A dancer slowly raises arms like a magnificent Spanish dancer and travels forward in time to Bob Dylan's 'In the Early Morning Rain.’ When dancer A touches up against the back of dancer B, dancer B slowly raises her arms like a magnificent Spanish dancer and the two travel forward, touching up against the back of dancer C, and so on until they all reach the wall.

Choreography: Trisha Brown
Music: "Early Morning Rain", written by Gordon Lightfoot and performed by Bob Dylan.

In the early morning rain with a dollar in my hand
And an aching in my heart and my pockets full of sand
I'm a long way from home and I miss my loved one so
In the early morning rain with nowhere to go.

Cut on runway number nine, big 707 set to go
I'm stuck here on the ground, where the cold winds blow
The liquor tasted good and the women all were fast
There she goes, my friend, she's rolling down at last.

Hear the mighty engines roar, see the silver bird on high
She's away and westward bound, far above the clouds she'll fly
Where the morning rain don't fall and the sun always shines
She'll be flying over my home in about three hours time.

This old airport's got me down, it's no earthly good to me
Because I'm stuck here on the ground, cold and drunks as I might be
You can't hop a jet plane like you can a freight train
So I'd best be on my way in the early morning rain.


There is something striking and beautiful in watching a body in tension.

During this last few days, while working in the Trisha Brown: Early Works exhibition at Serralves (Porto, Portugal) and today meeting the Trisha Brown Dancers from the company I started thinking, specially because of the work developed in the structures of "Floor of the Forest" and "Planes", about the possibilities of placing a body in places of (and off) tension, and about the lines that result from exercising strength.
Trisha Brown (amongst others) brought the dance and movement to the level where almost anyone could replicate it, do it, be part of it. A mathematical thinking that breaks the classic dance into an accumulation of gestures and solutions that happen due to a very specific task initially thought to be completed without effort, without tension, going through a place where breath is harmoniously connected to the movement the body is doing at that moment.
Looking from the outside, watching the other bodies, it stroke me: a repetition of this search for tension resultant from the action of natural causes (such as gravity) bringing the body and our awareness of it down to the most essential of what it really is. An on going project of several simple actions performed naturally, back and forth all the time, in a continuous loop that represents the need for understanding it... in "Planes" where the wall works as a "continuation of the floor" this happens in a change of perspective of how the body moves through space and the slowness needed increase that self-awareness; the body in space as a result of accumulating tensions and releasing from them in order to move forward, to a next level, to a different plane.
It has been, so far, a great experience going through such a learning process of works that have changed the way the Body and its motion was (and still is) seen.

terça-feira, abril 19, 2011

exercising beauty

domingo, abril 17, 2011

video in 1968

Jud Yalkut

sexta-feira, abril 15, 2011

"unattainable" places

Goldberg identified a number of artists whose work presented a new sense of space, which she categorized under the following terms: “constructed space and powerfields” (Nauman, Acconci), “natural space” (Oppenheim), “body space” (Simone Forti, Trisha Brown, Yvonne Rainer), “spectator space” (Graham), and work presented as “a critique of the uses of public and private space” (Buren, Dimitriejvic). These artists shifted their attention from situations to the perception of the spatial volume.

estreia hoje

new moments

Planes (1968) Trisha Brown
L'Attico Gallery, Rome, Italy, June 22, 1969

NOW @ Serralves

quarta-feira, abril 13, 2011

whatever happens...

segunda-feira, abril 11, 2011

glee goes (Teen) Vogue

i look forward to...

(...) If art is to nourish the roots of our culture, society must set the artist free to follow his vision wherever it takes him. We must never forget that art is not a form of propaganda; it is a form of truth. And as Mr. MacLeish once remarked of poets, there is nothing worse for our trade than to be in style. In free society art is not a weapon and it does not belong to the spheres of polemic and ideology. Artists are not engineers of the soul. It may be different elsewhere. But democratic society--in it, the highest duty of the writer, the composer, the artist is to remain true to himself and to let the chips fall where they may. In serving his vision of the truth, the artist best serves his nation. And the nation which disdains the mission of art invites the fate of Robert Frost's hired man, the fate of having "nothing to look backward to with pride, and nothing to look forward to with hope."

so he said...

Email: John Cameron Mitchell Kickstarts

"I try not to ask for much except to come to my parties, house-sit at my Puerto Rico shack, and be good to yourselves but...
"We've launched a Kickstarter appeal for The Ruined Cast, an animated feature I'm producing with  Howard Gertler to be directed by rising star graphic novelist Dash Shaw ('Bottomless Bellybutton',  'Bodyworld', the comic art in 'Rabbit Hole').
"We're hoping to raise 25k for development (animatics, clerical, casting etc) so we can get to the next level of  actual financing.
"It's a brilliant script, kind of a hybrid of Philip K. Dick and The Simpsons.
"Even a contribution of $5 gets you some art by Dash. More money gets you more. We only have 30 days to  raise the money though!"

So please send your cash to him--not to Spielberg, who'll only use it to get more servants.

It's called a Manwich

domingo, abril 10, 2011


sábado, abril 09, 2011

back on the big screen

sexta-feira, abril 08, 2011

A beautiful movie about the end of the world

Written and directed by Lars von Trier Starring Kirsten Dunst, Charlotte Gainsbourg, Alexander Skarsgård, Brady Corbet, Cameron Spurr, Charlotte Rampling, Jesper Christensen, John Hurt, Stellan Skarsgård, Udo Kier and Kiefer Sutherland


Music Video/Short Film | DIRECTED & EDITED by Leo Herrera

Homochic.com & Peace Bisquit

terça-feira, abril 05, 2011

"an embodiment of the cinematic dream"

Photo of Faye Dunaway by Jerry Schatzberg (1970)

is what the Festival de Cannes seeks to maintain in this 64th edition...

Faye Dunaway by Jerry Schatzberg

segunda-feira, abril 04, 2011

on different points of view

Way Station, (2001). Cédric Andrieux, Derry Swan. Photo by Tony Dougherty.

For Berger, ‘An image is a sight which has been recreated or reproduced... which has been detached from the place and time in which it first made its appearance...’ (p. 9 "Ways of Seeing"). This detachment can be great or small, but all images, including photographs, involve a way of seeing by the person who has created the image. Further, when we look at someone else’s image, our understanding of it depends on our way of seeing.
Berger argues that images were first made to represent something that was not there, and later acquired an extra level of meaning by lasting longer than the original subject. The image now showed how the subject had once looked to other people.
Later still, with the increasing consciousness of the individual, the image was recognised as the particular vision of a particular artist. Nothing else documents the past so well, and the more imaginative the work, the more we can understand the artist’s experience of the world. Unfortunately, when images from the past are presented as works of art, their meanings are obscured (mystified) by learnt assumptions such as beauty, truth, form etc.

Jérôme Bel's Cédric Andrieux, (2009). Cédric Andrieux.

Lynch directing Rossellini