domingo, julho 31, 2011

the sky is the limit

in my mind... meanwhile... summer!

Chapter one

“Chapter One. He adored New York City. He idolized it all out of proportion.” Uh, no, make that: “He-he…romanticized it all out of proportion. Now…to him…no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin.” Ahhh, now let me start this over. “Chapter One. He was too romantic about Manhattan as he was about everything else. He thrived on the hustle…bustle of the crowds and the traffic. To him, New York meant beautiful women and street-smart guys who seemed to know all the angles.” Nah, no…corny, too corny…for…my taste.

I mean, let me try and make it more profound. “Chapter One. He adored New York City. To him, it was a metaphor for the decay of the contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out…was rapid ly turning the town of his dreams in–” No, it’s gonna be too preachy. I me and, you know…let’s face it, I wanna sell some books here. “Chapter One. He adored New York City, although to him, it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage.” Too angry. I don’t wanna be angry. “Chapter One. He was as…tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat.” I love this. “New York was his town. And it always would be.”

Five A.M.

Elan that lifts me above the clouds
into pure space, timeless, yea eternal
Breath transmuted into words
Transmuted back to breath
in one hundred two hundred years
nearly Immortal, Sappho's 26 centuries
of cadenced breathing -- beyond time, clocks, empires, bodies, cars,
chariots, rocket ships skyscrapers, Nation empires
brass walls, polished marble, Inca Artwork
of the mind -- but where's it come from?
Inspiration? The muses drawing breath for you? God?
Nah, don't believe it, you'll get entangled in Heaven or Hell --
Guilt power, that makes the heart beat wake all night
flooding mind with space, echoing through future cities, Megalopolis or
Cretan village, Zeus' birth cave Lassithi Plains -- Otsego County
farmhouse, Kansas front porch?
Buddha's a help, promises ordinary mind no nirvana --
coffee, alcohol, cocaine, mushrooms, marijuana, laughing gas?
Nope, too heavy for this lightness lifts the brain into blue sky
at May dawn when birds start singing on East 12th street --
Where does it come from, where does it go forever?


Dennis Oppenheim - Two Stage Transfer Drawing (1971)

Who's afraid of Camille Paglia?

[September 12, 2010]
Gaga has borrowed so heavily from Madonna (as in her latest video-Alejandro) that it must be asked, at what point does homage become theft? However, the main point is that the young Madonna was on fire. She was indeed the imperious Marlene Dietrich’s true heir. For Gaga, sex is mainly decor and surface; she’s like a laminated piece of ersatz rococo furniture. Alarmingly, Generation Gaga can’t tell the difference. Is it the death of sex? Perhaps the symbolic status that sex had for a century has gone kaput; that blazing trajectory is over…

Camille Paglia for Sunday Times Magazine

[September 19, 1991]
I feel that Susan Sontag should have been a leader in critiquing feminism but instead she just played this role--whatever the role is that she plays--Miss Mandarin in her New York apartment. I don't know what the hell she's been doing for twenty years. She thinks she's a novelist. That's what she's doing right now, writing a novel. That's just what we're all waiting for, huh? Another novel by Susan Sontag! She has no talent whatever for fiction-writing. It's just a delusion. This is a woman who should have been a leading intellectual. This is a woman who should have provided that median link between academe and the world of popular culture. She started doing it. And then she pulled back when people attacked her. They said, "What are you doing? You're not serious!" And now she says silly things to Time magazine like, "Oh, well, I don't know why people talk like this. After all, I never wrote a whole essay on the Supremes. I merely mentioned them." Oh, come on! I would love to write an essay on the Supremes. In fact, I have--there's a whole section on them in Volume Two of Sexual Personae.

Sontag should have provided this link. This is what we need. We have a split between the world of the media and the world of academe that has been bad for both. And we need to bring the two audiences together.

quinta-feira, julho 28, 2011

spurting covers

the nature of desire [new work]



In the oldest dreams of old men,
Women's breast still remain.
Long after their desires
Have turned to dust,
They are their first memories.
Warm, nurturing, home,
The point of satisfaction,
Perfect in their gracious arcs.
Women wear their breasts as medals,
Emblems of their love.


The most beautiful part of a man’s body
I think it must be there,
where the torso sits on and, into the hips,
those twin delineating curves,
feminine in grace, girdling the trunk,
guiding the eyes downwards
to their intersection,
the point of pleasure.

baby did a bad thing...

quarta-feira, julho 27, 2011


In between the work developed with the Trisha Brown Dance Company at Serralves (for the Trisha Brown: Early Works exhibition) and the production of "Proper Profile" (PERFIL ADEQUADO) - a play/performance about the concerns people have to deal in order to establish/build a profile that fits every "occasion"... - 'All The Tired Horses: Falling' is a tryout of a video-work that reflects the need to expose a major concern and real fact, that is that life can be seen as a continuous fall onto indefinition and that comes from extreme tiredness due to the frenetic pace that is imposed.
Bringing some of Trisha's belief and studies on how the body moves and how it interacts with the surrounding environment, here the music imposes a feeling of repetition of a relentless gallop and the impact of a horse facing an abyss like a human body reacts towards insecurity or the fear of not knowing.

what is your age...

Let’s take this play. Let’s dump it upside down and see if we can’t find something human in it.

- Myrtle Gordon (Gena Rowlands), Opening Night

An excellent performance made by Gena Rowlands playing Myrtle/Virginia - a distressed woman/actress fighting to find the way between the simulation of an elder woman with issues about aging and a identity crisis of what is her place in this "fairy tale" world where one plays so many characters and ends up loosing in self-reflexive thoughts about trying to find some kind of humanity in the senseless words of fake psychological realism. A woman haunted by the spirit of a younger woman (killed in an accident while asking an autograph and worshipping the so called talented Broadway actress Myrtle Gordon.
Gena Rowlands plays Myrtle who plays Virginia and the three of them find a place between Cassavetes and the theatrical portrait of theatre to explore the infinite possibilities of breathing some kind of life in something that is so hard to believe. Everything happens within the ephemeral wooden landscape of imagination where writer, director, technical crew, and lots of other real people wait and depend on a human will - Myrtle's will/desire/disposal to portray Virginia, The Second Woman, as soulless as she comes in the paper...
Opening Night is also a film about how one mode of representation might transform itself into another: about how carefully delineated and hierarchical social spaces – such as that of the theatre – might open themselves up to something more conducive to life.
Matthew Clayfield for Senses of Cinema
Above all Cassavetes along with his cast go through a more important question: AGING. As I see it, not only concerning aging as a futile topic of 'getting old' and be taken as that, but the aging of the means of expression used to tell stories, portraying Theatre (or a way of being done) as the main device exposed to an abrasion and condemned at its roots, not only due to other means of expression that took over the fascination it had in the beggining but also, due to a delicate existence by relying entirely on the human condition of questionment (as so many other arts do) which in the case of Theatre is the ultimate consequence of coming to reality and being shown unless life and its lack of definition is also brought to the performance and instead of puppets that took the place of books we, as an audience, can watch human beings being subject of adversities thrown through an absent fourth wall...

In the end we don't know who we are watching anymore, is it real? Is the identity finally disclosed? Are we just passive as we watch a representation of how "aging" could be faced at the moment we'll have to deal with it... when we start having hotflashes? In the end Opening Night becomes an space to reflect about ourselves and our anxiety towards everything.

terça-feira, julho 26, 2011


wicked summer

[click on the image]

crystalline summer... [music]*****

Strange Mercy - Surgeon

(her) heart is a record of dangerous scenes...

Photography by René Habermacher (taken from here)

> II and III


Most performers try to avoid dying a death on stage: performance artist Marina Abramović approached director Robert Wilson with a request that he produce hers.
read more of this article here (


Prefaces, in its form as a "book" of "prefaces" that are not prefaces to any book is a paradoxical allusion to Hegel's remarks on philosophical prefaces in his preface to The Phenomenology of Spirit.... For Hegel, who considered it necessary for the reader to work through the body of the text in all its dialectical movements, a preface that is a master is paradoxical. It seeks to convey the truth of the text to the reader before he or she has made the dialectical movements necessary to a proper appropriation of truth (Florida State University Press, 1989, p. 15).

on Kierkegaard's Prefaces (1844)

domingo, julho 24, 2011

rip AMY

The Curse of 27 is the belief that 27 is an unlucky number due to the number of famous musicians and entertainers who have died at the age. Robert Johnson, Jim Morrison, Brian Jones, Jimi Hendrix, Ron "Pigpen" McKernan, Janis Joplin, Jonathan Brandis, Kurt Cobain and more recently, Amy Winehouse, are all believed to have been affected by the Curse of 27. The number 27 has been said to "follow" and bring bad luck to people. They see it random times through out the day, on the clock, on television, in phone numbers, math problems, dates, jersey numbers, etc.

terça-feira, julho 19, 2011

3 in a row




as a verb... to perform = doing/being ...

To perform can also be understood in relation to: Being. Doing. Showing doing.
Explaning showing doing. (Schechner, 2006: 22)

segunda-feira, julho 18, 2011

Louis Garrel

"Le Petit Tailleur" (2010)

on experimental cinema... the telling of its story

by Pip Chodorov
screened @ Curtas de Vila do Conde 2011 could call them visual poems, or like most of the people do (and that's what Chodorov talks also about in the movie) experimentation on film. It is discussed along the film the importance such "action" had in other fields of the visual arts and how it upgraded art in those forms, and yet in films it has always been taken as a label to identify something that would never become sellable or that it even had an impact on the art of cinema. Free Radicals, shows only the surface of a world of people that experiment with this kind of media and those who did it before (in the beggining...), bringing innovation and disturbing the great El Dorado this media could bring to a capitalist world by telling moving stories to a whole audience of people eager to have fast-food dramas inside a dark room... That El Dorado was never destructed and it kept on growing until our days, when it started to fall apart due to whole different thing - TIME - and not - EXPERIMENTATION - which, in the end, actually fed some other important names in the art of storytelling through film.
After watching Free Radicals and from all that it was included in it, I started thinking about Malick's last movie "The Tree of Life" which cannot say that it is entirely experimentation but that has some of the 'ingredients' that caused similar reactions to those days 'collages' and 'paint&scratches' artists were doing back then.

It doesn't matter how you label it, it's a form of expression just like any other, and isn't 'experimenting' something that makes one move forward?

1965 in NY: Bette Midler

1965 Bette Midler in Tom Eyen's "Mis Nerfertitti Regrets" at La Mama.
Photo by James D. Gossage

(detailed) regular affairs

...But it has long enjoyed canonical status among cinephiles and regularly turns up on critics’ polls of all-time great films. With “Jeanne Dielman,” Ms. Akerman forged a link between the high modernism of golden-age European cinema and the emerging trend of postmodernist deconstruction. Today the film’s observational strategies — its long takes and scrupulous framing — practically amount to a lingua franca of international art film, discernible in the works of artists from Portugal’s Pedro Costa to Thailand’s Apichatpong Weerasethakul to China’s Jia Zhangke. Among American independents, its descendants include Todd Haynes’s “Safe,” Lodge Kerrigan’s “Claire Dolan” and Gus Van Sant’s “Last Days.”


David Pinheiro Silva


A partir do momento em que se estabeleceu que o projecto iria ser trabalhado a partir do material desenvolvido para o projecto Simplesmente Complicado e algumas das questões que nós (intérpretes) tínhamos levantado durante todo o processo, o projecto PERFIL ADEQUADO começou a surgir. Inicialmente ainda com dois intérpretes, onde se começou a atingir um resultado demasiado conceptual encerrado numa forma estrutural não permeável a interpretações, o projecto consolidou-se quando foi repensado o trabalho a um nível mais pessoal. Em vez de querer trabalhar apenas a questão do actor enquanto agente criador mas sim trabalhar a partir de qual é o meu lugar nesta criação e o que é que eu, enquanto criador, quero dizer face a um conjunto de inquietações que se levantaram ao longo de um processo de criação.

As maiores dificuldades:

Enfrentar novamente o palco e expor-me a um público.
Relativizar o “peso” da palavra dita e poder usufruir dela sem inibições.
Procurar um equilíbrio entre os momentos de verdade e os momentos artificiais.
Assumir o meu lugar enquanto agente criador activo envolvido na criação.

Prós ou descobertas:

Contribuir com o meu perfil para um produto de pesquisa e análise.
Servir melhor o projecto a partir de dentro por ter coisas para dizer que nunca seriam ditas através de outras pessoas com perfis diferentes do meu.
Permitir-me a exploração de um “fio condutor” contínuo para o meu lugar dentro e fora do projecto.
Re-descobrir o prazer nos momentos artificiais de representação para servir os momentos de verdade e de exposição.

Perfil, Insegurança, Re-descoberta, Escolhas, Possibilidades, Máscara, Técnica, Documental, Momentos Biográficos, Corpo, Repetição, Agilidade, Percepção Interna, Incapacidade...



quinta-feira, julho 14, 2011

in love with this


dissensual aesthetics, hacktivism, operating systems, speculative realisms, queer technologies, strange ontologies, displacements, ecologies, psychedelia, glitches, spam, media-archaeologies, technological obsolescence, haunted media, reverse remediations, the untimely, erotics, ambivalences, tools, law, anxieties, confusions, violence, obscurities, junk, addictions, restlessness, destructions, attractions, accidents, isolation, punk, surrealisms, aggressiveness, the uncommon, frustrations, spiritualities, risks, dubious calculations, psychosis, uneven structures, crimes.

segunda-feira, julho 11, 2011

meanwhile at LaMaMa... in NY

A Korean Hamlet...

(...)“Hamyul/Hamlet” finds the prince draped in shadows, mourning the death of his father. Within minutes he’s spurred to action by the ghost, and fewer than 100 lines later he’s holding a sword to his own throat, delivering a “To be or not to be” soliloquy that’s trimmed to about a third of the original. It’s a stark production, one that retains only the sparest plot and the strongest emotions. Extended pauses carry great weight here, and the play-within-a-play scene is severe and frightening.

As Hamlet, Young Kun Song handles the fury well, pacing the stage while his mind seems to plot far ahead. Ilkyu Park as Claudius and Youn Jung Kim as Gertrude are deft actors, rightly wary of this prince, while ManHo Kim’s Polonius provides the rare, welcome moments of levity. The director, Byungkoo Ahn, adapted the work from his father’s version, which first appeared at La MaMa in 1977.(...)

read more here all of the nytimes review

quinta-feira, julho 07, 2011


Com a menina de "Lovely Bones" (2009), o parceiro de Brad Pitt em "Troy" (2004) Eric Bana e a talentosa Cate Blanchett...

2nd round

mais aqui

we're all individuals


Jean-Jacques said to me one day, "To be an individual, that's the only task."
(...) Still, our conversations held great interest for me.
"To be an individual," he repeated. "But do you know, Hyppolyte, you've made me realize that there are two entirely opposite ways of becoming an individual?"
I asked him to explain.
"One way," he said, "is through accretion, composition, fabrication, creation. The other way - your way - is through dissolution, unravelling, internment."

in, "The Benefactor" (Susan Sontag)

tell me when...

segunda-feira, julho 04, 2011

and they look (almost) the same!

Eric: Who would you refer to trust? A politician or a vampire?

for the WEEKND's

There's something about this lyrics that make me feel bad about them and at the same time that make me keep on listening.

The Weeknd

actos piedosos

"Ao homem que, baseando-se neste relato, invente uma máquina capaz de reunir as presenças desconjuntadas, farei uma súplica: procure-nos a Faustine e a mim, faça-me entrar no céu da consciência de Faustine. Será um acto piedoso."

Adolfo Bioy Casares, A Invenção de Morel, p. 123

sábado, julho 02, 2011

the new ken