segunda-feira, dezembro 31, 2012

Decelerate Life



To see more watch the PREVIEW

A huge THANK YOU to everyone that helped and made this project possible.

Identity Project is not only about Identity but a work-in-progress device to explore the possibilities of approaching a theme by experimenting with video as a way to bring [any kind] of spectator closer to the actions being performed. 
This version the project, performed in collaboration with Whitney V. Hunter, brought questions that focused on identity but also that questioned the device itself as an agent of mediation; where the live-video-performance was an object of communication between the performers.

segunda-feira, dezembro 24, 2012

sexta-feira, dezembro 21, 2012

The Physical Reality of the Web

"Tubes" by Andrew Blum

Most of us in Media Nerd Land got a chuckle out of the late Senator Ted Stevens of Alaska'a remark during a net neutrality debate where he referred to the internet as "a series of tubes". It seemed absurd then. However, Senator Stevens was more accurate than we gave him credit for at the time. The tens of thousands of miles of fiber optic cables carrying information across borders and under the oceans are actually just that, a series of tubes.

read more here:


The End of the World is a collaborative artwork by Emanuel Pimenta with 71 people in 11 countries.

40-minute video artwork launch 12-21-12 at 7:00 pm EST

In the last days of October 2012, I was in New York City with my dear friend Nina Colosi – founder and curator of the Streaming Museum – when, suddenly, I had the idea to make a new project together. It should be something in a planetary scale, joining artists, photographers, musicians, filmmakers, poets and philosophers from all over the world.

Immediately The End of the World appeared in my mind.

More information on the "8m19s" project:

more info on the "The End of the World" project:

quinta-feira, dezembro 20, 2012


Although mainly a study of Vogueing, UNTITLED reflects the overarching theme of my body of work.

terça-feira, dezembro 18, 2012

songs to remember in 2013: natural disaster

by Grace McLean


written by Our Lady J & Jared Fladeland
performed at the La MaMa Gala, New York City, June 2012
produced by CultureHub -

We are the fire that lights the sun,
We are the two becoming one,
I don't know what I would do
If I never met you.
We are the dream above our heads
No walls around as we ascend
No weight to hold us down
We are the sky above the ground.

I cannot wait to hear the sound
Your voice can make when you're around.
I think of all the joy we have
When all we do is laugh.

You are my warrior,
And I am your priestess
And fighting together
With love we must confess:
Holding my hand, woman and man,
To both of our ends, baby we stand.

We puncture holes through all our fears
And kiss away all of our tears.
We fall and lift each other up
As we drink from the same cup.

I cannot wait to hear the sound
Your voice can make when you're around
I think of all the joy I have
When all we do is laugh.

You are my warrior,
And I am your priestess
And fighting together
With love we must confess:
Holding my hand, woman and man,
To both of our ends, baby we stand.

quinta-feira, dezembro 13, 2012


'ANÓNIMO' a mais recente criação do colectivo SophieMarie (da Associação NO MAN'S LAND) que, segundo as próprias, "[We]'ve always depended on the kindness of strangers" apresentaram-se no fim-de-semana passado no espaço dos Teatro Praga (Lisboa) em colaboração de um grupo de "estranhos" que encheram os lugares da sala e se acomodaram para serem conduzidos numa trama narrada por Vanda Cerejo e disputada em jogos de palavras e cruzamentos textuais nos corpos e vozes de Sophie Pinto e Filipa Leão. 
O colectivo levou outra vez a palco a sua imagem de marca, 40 minutos de um exercicio performático que encontra no texto a base da sua discussão enquanto prática de construção... O colectivo levou outra vez e marcou novamente o palco com aquilo que os "usual and unsusual strangers" se habituaram a ver no decorrer destes últimos anos.
'ANÓNIMO' fala de um personagem imaginário, de alguém cuja atitude perante a vida é bastante clara e representada na fotografia acima. 'ANÓNIMO' fala de uma apatia geral e de projecções sobre aquilo que gostaríamos de poder fazer, de imaginações que se desenvolvem como película de filme nas nossas cabeças que avançam e retrocedem de acordo com os nossos próprios desejos.
Neste projecto o colectivo, em colaboração com Tiago C. Bôto, encontra-se mais uma vez com uma espécie de texto narrativo que conduz o público através de sentimentos e emoções que são personificadas através da voz das actrizes de uma forma bastante 'não-teatral'. Conhecendo um pouco de perto o processo de criação e os inputs que são força motriz para o grupo de criadores envolvidos todo o caminho é marcado por uma pesquisa que se afasta de um teatro tradicional contemporâneo e que encontra nessa mesma procura a sua raiz e aquilo que tem construído a identidade deste grupo.
No momento certo o público é surpreendido com uma atitude que o afasta do simples acto passivo de observar uma peça de teatro onde as acções decorrem continuamente, a procura por um desfasamento dentro da própria narrativa, onde o próprio texto é trabalhado como se de um meio visual se tratasse.

Desta vez a permanência foi de facto inerente ao género utilizado e três dias passaram e o acontecimento foi efémero, deixando vontade e curiosidade de voltar a ver este projecto sair novamente do anonimato.

quarta-feira, novembro 28, 2012

liveness: to continue to be alive

Watch live streaming video from culturehubnyc at

(via The Long Table on "Liveness" and Technology at Culturehub's Media Circus)

A long table discussion curated by CultureHub and Culturebot bringing the discussion to the topics of "Liveness" and Technology...
Over the past year the experiences on Telepresence and meeting projects that use the internet as a way of not only promoting the work developed but as one of the basic structures that support either the concept or part of it has made me aware that is something that we can (obviously) choose but that we can't deny. 
In the year 2000 for me the internet was a slow connection that allowed me to have an unneeded email account, a noisy dial-up connection that would count by the $econd and a whole new world very different from what I had previously imagined, after having watched many hollywood movies where the internet was a bunch of green data loading on a screen.
Email blast - I remember - was my first attempt to what we could call of crowdfunding... or just getting people excited about what I was doing at the time. All very näive I would say, thinking about it.
The only true thing is that I keep thinking about somekind of humanization of the whole internet world. How can you still feel some kind of humanity within the whole technological apparatus? I've found that on having people interacting with eachother on camera. My first encounter with these kind of tool was in PEER-TO-PEER (2010) where we explored the potential of, the new chaotic network that was making a revolution changing (once more) the way people communicated between them. By that time the platform was still subject of curiosity, although it had been around since 2009, the media had been subject of massification, not only because it was fun but because it became exiciting to be able to see and meet random people from anywhere, at anytime. No time constraints; No names; No rules... (well, some!) 
This platform became subject of studies on human behaviour, individuality, personality like some others in the past had, of course, but this time everything was clear to everyone, people could see who they were talking to, and they could just by clicking a key change the person in front of them. Having been involved in that project and having worked so close with projects that involved this form of communication with others made me realise that one of the keys is in fact the ability of people watching eachothers live, again, with no time constraints, having the possibility to "travel" anywhere to see a show, a conference, a talk, and even more exiciting if they can be also part of the experience. 
Technology keeps developing and it has always been something that artists searched for as a way of enhancing their works. For me the experience is not only enhanced for artistic purposes but it can bring audiences closer to what it's being made, explored, taught, etc. ... To continue to be alive.

Again... watch the long table discussion above and comment, share, like it... think about it!

terça-feira, novembro 27, 2012

10 years after...

A beats B to death with the brick..
(Addition, July 1991).
HEARTPLAY by Heiner Müller

segunda-feira, novembro 26, 2012

sexta-feira, novembro 23, 2012

this is suffering and death

Agatha et les lectures illimitées
Director: Marguerite Duras
Year: 1981

sexta-feira, novembro 16, 2012

thank you google!

quinta-feira, novembro 15, 2012

remove RADICAL from the equation

What is feminism?

British suffragist and journalist Rebecca West famously said, "Feminism is the radical notion that women are people." In other words, feminism is a commitment to achieving the equality of the sexes. This radical notion is not exclusive to women: men, while benefiting from being the dominant sex, also have a stake in overcoming the restrictive roles that deprive them of full humanity.

NI UNA MÁS - qualcosa si è rotto by Inoutput

Yesterday a friend of mine talked about someone saying that another one looked 'so gay' and by that meaning that the other person looked alright, happy and, more than that, beautiful. The discussion that followed had to do - again - with labels and how sometimes labels are not just a sign of prejudice (which sometimes they are not) but that they are in their core of meaning the real core of a prejudice against something. 
Maybe we just have to go back and redefine everything, redefine concepts, genders, attitudes, social hierarchy, define them in a way that they stop being "radical notions" about something because some of those radicalisms are pretty much outdated already. Maybe not everywhere, but if the effort is made towards the changing of meaning of some real and basic concepts - basic as Man and Woman for instance - and if we go even further on erasing some of those concepts from the characteristic of "radical" (that are always responsable by bringing an idea of difference between equally classifiable individuals) in Western Society would be a an improvement in terms of getting over with a range of prejudices that set a trend of behaviour towards what should not be - still - a problem in terms of classification, that goes wider than just a biological classification system in which we are based. 
Although NI UNA MÁS focuses on the subject of feminicide, it talks about human existence, raising awareness to a problem, but more than a problem that involves women it's a problem that has to do with a difference taught to us since we are born. A difference that makes us believe that rights are not the same for everyone, that we measure our importante and pertinence based on strength and power over the others, that we are made of an equation that equals the human to how much power can we exercise outside of ourselves, not even considering that we are - by external evaluation of others 'value' - judging what we are in that moment.

on querelle and other subjects

Anyone who hasn't experienced the ecstasy of betrayal knows nothing about ecstasy at all.

-- Jean Genet

terça-feira, novembro 13, 2012

Art Monthly : Article : Video history – who needs it? We do argues Catherine Elwes

Art Monthly : Article : Video history – who needs it? We do argues Catherine Elwes

When video emerged in this country in the early 70s, it shared with its American counterparts an euphoric rejection of both easel art and the conventions of gallery-based sculpture. The author had not yet died but a Marxist analysis of the art market soon dispensed with the art object now regarded as the ultimate saleable commodity underpinning the workings of venture capitalism. ‘Cultural workers’ engaged in process-based hybrid activities – mostly performance and installation – where they could sell their labour by the hour like any other member of the workforce. Independent film already had a well-established theoretical framework which was radicalising the analysis of narrative structures but video lent itself more readily to the politics of procedure that performance initiated. In fact one of the earliest uses of video was as an adjunct to performance. Artists like Tina Keane used a closed-circuit system to present a mediated view of the proceedings simultaneously with the live event.

"Untitled," 2011

"Untitled," 2011

By Antony Hegarty

What are you currently inspired by?I found these posters of Ethyl Eichelberger from the early '80s. They are heartbreaking objects to me. She committed suicide [in 1990], believing she was about to die from AIDS. One of my best friends, Chloe Dzubilo, the outspoken trans / AIDS activist, killed herself last year after a very long and exhaustive battle with AIDS and inadequate healthcare. I have been looking at these pictures of Ethyl next to a picture of Chloe on my wall. Twenty years separate those deaths, both suicides of powerful, mythic downtown New York City figures, responding to AIDS in very different eras.

quinta-feira, novembro 08, 2012

November 7, 1919 – January 13, 2011

Created with Gifboom

For more than a year I've heard about this wonderful woman that shaped the heart of Off.Off Broadway, that kept moving forward despite all the barriers and prejudices that were put against her and what she believed.

For more than a year I've been inspired by people that worked closely with her and that carry her dream and her strength.

For more than a year that an unique street, a part of East 4th St, where it meets 2nd Avenue, is called Ellen Stewart Way. Her way. Way to go.

For more than a year that I've been feeling that I should go along with the sage advice that I heard people talk about her giving: JUST DO IT!

And for more than a year that I feel that I keep getting to know her through the people I meet, that talk about her, that talk about all of the experiences of working with someone like her. To be fearless. To be on the edge of yourself by finding new challenges, pursuing your goals, believing that you got what it takes to make it. Because if you want to make it, you just have to make it.
I see and hear in all of those that keep her memory alive, that she is warmly missed by everyone, and that their eyes wonder in trying to find someone that I never knew in person but that I've experienced through all of the others. Her dream.
I don't know what LaMaMa means to a lot of people. I know only a tiny part of a story that has 50 years, of a woman that would be 93 by now... so this is what I know: Thank you. And if you don't know her, go out and look. A lot is still to be seen and heard from the legacy of people that she taught and that are a part of her, in their looks, in their words, in their desires, in their inner thoughts.

terça-feira, novembro 06, 2012

segunda-feira, novembro 05, 2012


Telematic Dreaming, with its connotations of intimacy and dream states, extends telepresence beyond the screen to spatialize the site of interaction and transform it into a live theatrical event in which visitors are key performers. The work explores presence, absence and the psychology of human interaction within technologically mediated communications.

domingo, novembro 04, 2012

sábado, novembro 03, 2012

Milan, November 3rd, 2012


occupy! in milan

MACAO - chronicle of an occupation
"We want to show how the culture industry produces disparity, in Milan and beyond it, on both the work and urban fronts", adds Angelo. "What does the event economy leave on the ground — from the Furniture Fair to the EXPO, the Venice Biennale and the Forum delle Culture in Naples? Basically nothing, not for the citizens or the so-called creatives. It commandeers free labour and public space. It produces gentrification, like the huge Porta Nuova area behind here has done in the Isola district."

Viale Molise, 68

The quote above relates to when MACAO (also spelled M^C^O) decided to occupy Torre Galfa in Milan hoping to undertake the "system" and turn a closed and forgotten space into a new center for artistic research and give opportunity to many that don't have a place to showcase their works. A group of activists that believe in the potentialities of bringing life into so many of the urban voids that are forgotten and that due to economical and political reasons are kept that way. Although a huge process of restoring the largest occupied space in Europe the strength wasn't enough to keep them from being evicted on May 15th 2012. They kept on being evicted from different spaces along the year, and now they're back at Viale Molise, 68, Milan where the event EXP_NOV - Giornate sulla sperimentazione acustica e visiva - opened yesterday night and runs until November 8th with a series of performances, video and music jams, improvisations, workshops and like the group has been known for a series of activities that enhance whatever space they are on.
Probably this new space and occupation will bring M^C^O back in the front line of discussion because of why are they not being left alone doing what they are so eager to do, promote culture, promote free culture and the right to use infrastructures that are not part of the cultural circuit and turn them into one more. If that is in fact what they're so eager to do, so why not let them do it?

sexta-feira, novembro 02, 2012


we're still on the road...

here's a still of today's "giornatta" stopping in Ferrara for some interviews about what people know and have to say about feminicide. capturing voices, moments, faces, reactions... but above all getting in touch with people, approach them, hearing them, even if it's just "I don't have time right now!"...

terça-feira, outubro 30, 2012


by Valentina Beotti and Claudia Pajewski

PERFORMED Saturday 27th October 2012 // Spazio Elastico, Vicolo De' Facchini 2/A


more details

Unofficial Teaser by Daniel Pinheiro
Music: 'The end of the world' by Skeeter Davis

segunda-feira, outubro 29, 2012

on both ends...

© Luís Barbosa

domingo, outubro 28, 2012

in blue by Bridget Baker

The Blue Collar Girl (Cape Town) - Bridget Baker

South African artist Bridget Baker, currently presenting her last video work - The Remains of the Father - Fragments of a Trilogy (Transhumance) - at the MAMbo (Bologna, Italy), develops a work that focus on the concepts of duration and memory, amongst others like identity (or the construction of it, building fictional narratives that

Her work The Blue Collar Girl developed between 2004 and 2007 is a group of six different triptychs in six different towns, each triptych is a set of three different pictures that contextualize the place where they were taken and always with this fictional character wearing always the same blue jacket and the same wig.
For BB the blue stands for two main different things, the first one regarding the color of labour outfits - often blue - and serve as a metaphor for the idea of labouring your own identity, how itself is a work in progress never finished, always under construction; the second one regarding the chroma key tool often used to make the body invisible, a process of invisibilizing the color of the skin - also used to place a character in a different background that the one he first was shot -.
Adding to this layer, in each triptych the same phrase can be found as the last still, Only you can©, as a reminiscence of BB's childhood - another current subject on her works.

BB plays with the journey of this character through different places trying to build an identity that will somehow suit both the charcater and the place itself, by creating a piece she intends to work on this idea of raising awareness not only about the fact that identity is a work-in-progress and in continuous change but also about the surroundings of your own identity, what makes you what you are and stating that you are the only responsable by this process of self construction, of looking to the outside looking at the big picture, looking at the details.

In each of the six photographic sets the character is going through a different state of mind, a different feeling is photographed; for this BB made the journey alone - bringing only the blue jacket and the wig (potencially a presence of the her mother figure) - and in each place she would work with a different team of creatives that would think abour the work together and develop the identity of each triptych that in the end would be part of this work.

Working on different media Bridget Baker develops a work that approaches life in a very simple and durational way, either it is by putting herself into action like she does in Bridget says Only you can© or creating work out of distant memories like found footage, archival, old photographs; it seems from the outside an idea of re-construction of her own past, of activating existing (or non-existing) memories... read more here.

on filming

Jonas Mekas - Mekas with his Bolex in Lithuania, 1971
© Jonas Mekas

Any film is in danger of being not interesting. And, as a fact, most of them are!
On the other hand, the term "interesting" is totally meaningless, because what is interesting to John is not interesting to Peter. And Sergei finds both, Peter and John tastes boring, he is interested in something else. So for whom should I make my films, for Peter, Paul or Sergei?
Not having any answer to that, I make them for myself and my friends. I never think about the audience (Paul, Peter, Sergei, Magda, etc etc).

-- Jonas Mekas interviewed for DotFest - Online Film Festival

sábado, outubro 27, 2012


NI UNA MÁS video production keeps flowing. After the wonderful residence at LaMaMa Umbria International it's time to head on for the beggining... what do people think and feel about feminicide. ?!

Florence was an amazing working spot. At Nerina's parents house up the hill (really up the hill after being downtown) the view from my room was amazing a peaceful breeze would freshen the room and the chair where I would sit everyday working on the videos from the residence. Some of them part of the moments the group shared. One the newest ones is about the mornings where we would go out and do group games in order to start the day. Although tiredness was written in everyone's face, that moment was the beggining of yet another moment of this journey. each morning we would focus only in being there, surrounded by a beautiful landscape and minds bursting with ideas and inspiration would find a moment to rest and let the body work in order to [refresh] the brains...

getting around the subject of feminicide and listening to Mia's text, through Giovanna's words and acting, it keeps coming to my mind the idea of a radio play in the sense like we almost never see these facts, we hear about them, we wonder about them... focusing on the idea of a radiophonic body we hear this body crashing and falling appart while it's voice goes loud raising awareness to this subject that is so present and keeps growing everyday.

So, what do you think about feminicide?!

Daniel San

quarta-feira, outubro 24, 2012


photograph of a postcard containing Lester Gediman's photo: "Piazza San Giovanni, Firenze" (1958 )

terça-feira, outubro 23, 2012


Muntadas, "This Is Not an Advertisement," Times Square, New York, 1985.
Photo: Pamela Duffy. © Muntadas / ADAGP, Paris, 2012.

segunda-feira, outubro 22, 2012

Trasimeno Lake

quinta-feira, outubro 18, 2012


© Daniel Pinheiro

quarta-feira, outubro 17, 2012

segunda-feira, outubro 15, 2012

looking out through Walt Whitman's eyes

Walt Whitman (1819–1892). Leaves of Grass. 1900.

83. I Sit and Look Out

I SIT and look out upon all the sorrows of the world, and upon all oppression and shame;
I hear secret convulsive sobs from young men, at anguish with themselves, remorseful after deeds done;
I see, in low life, the mother misused by her children, dying, neglected, gaunt, desperate;
I see the wife misused by her husband—I see the treacherous seducer of young women;
I mark the ranklings of jealousy and unrequited love, attempted to be hid—I see these sights on the earth;
I see the workings of battle, pestilence, tyranny—I see martyrs and prisoners;
I observe a famine at sea—I observe the sailors casting lots who shall be kill’d, to preserve the lives of the rest;
I observe the slights and degradations cast by arrogant persons upon laborers, the poor, and upon negroes, and the like;
All these—All the meanness and agony without end, I sitting, look out upon,
See, hear, and am silent.

domingo, outubro 14, 2012


Since my arrival last Wednesday I landed into a complex net of concepts, ideas, smiles, an Italian speaking community that often makes me feel like I’m looking at everything from the outside… and now that I write about it, ain’t I?!
Although I tried to go over the text of Mia Parissi – NI UNA MÁS – the difficulty for me was to get in the mood of the text, in the mood of where things are going, in the mood of Cesca‘s journey until an unknown end.
An unknown end indeed is where we are at the moment I’m writing this and Nerina (the director) is probably inside the Kuser (a rehearsal room named after George Kuser), Giovanna is cooking, Giulia is intoxicating her studio, Andrea is between Florence and Brussels, and Davide Fensi is still experimenting and developing what in the end will become the score or the soundtrack of the play… the recorded soundtrack. Going back from the point where I was talking about feeling like I am, in fact, looking from the outside… the knowledge about the play, about the concerns of everyone involved, about the problematics of designing a coherent dramaturgy involving so many means, materials and concepts; all that knowledge has come to me through the words of those being interviewed by me… the body as a shell, the focus on femininity, the journey of a woman, written by another woman, read and directly interpreted by three other different women. In fact I don’t think I will ever find out until the end how deep is this character…plus my own opinion on such a subject.
The play talks about… for me there’s a combination of hardness and smoothness, something that for me is a symbol of femininity, a juxtaposition of black&white that characterizes many of women struggles…
For me as a video maker I’m in love with the feminine figure, the shapes of the body and what it stands for… finding that texture in anything else has been the hard part for me, to discover a texture that can enclose all the strength of a woman, the strength of these three women (sorry guys!) that inhabit here at LaMaMa and a third one that is always present for her words are being said and told in a way that represent what she is, believes and stands for…
The word of the day has been Violence… different points of view about violence and how can that be represented… the inner child – as symbol of forgotten strength violated throughout the life. Could it be?! The metaphor is continuously a question?!
Back in a house that seems always silent after the memories that each corner, each sight, each step has of the summer, I feel that it’s not important to find the answer… it is important to discover the truth of what we want to say. What is the background of such truth? What are we in such truth? When do we find the moment to be truthful to ourselves and say… NI UNA MÁS!


via manbartlett

Ride (to nowhere)

sexta-feira, outubro 12, 2012

quarta-feira, outubro 10, 2012

SHADOWLAND by John Jesurun (ep01 and ep02)

EPISODE ONE: Je n'en connais pas la fin (2012)


terça-feira, outubro 09, 2012


Photo by Tiago Cunha Bôto / Testing in Blue #3 for Unkown Piece 'DannyBlueBoy' (2012)

segunda-feira, outubro 08, 2012

take me home

"Take Me Home" - Perfume Genius

still on doing something (with a bunch of others) by yourself

a new kind of novel... THE SILENT HISTORY

The Silent History is a novel, written and designed specially for iPad and iPhone, that uses serialization, exploration, and collaboration to tell the story of a generation of unusual children. The app is available as a free download from the App Store; the text itself can be purchased within the app by volume (1.99 USD) or as a whole (8.99).

only available for iPad & iPhone [SAD FACE]

domingo, outubro 07, 2012

dancing with (a bunch of others) by myself

in result...

sábado, outubro 06, 2012

people of earth

sexta-feira, outubro 05, 2012

o estado das coisas...


quinta-feira, outubro 04, 2012

Telematics, distributed choreography, mediated process

John Kelly sings 'Everyone's Gone To The Moon'

'Everyone's Gone To The Moon' sung by John Kelly from John Kelly on Vimeo.

Song by Jonathan King
Bass: Paul Ossola


Duane Michals - Who Am I?

Niels Schneider in Xavier Dolan's Les Amours Imaginaires

there is a real world that reasons about love

Les Amours Imaginaires (2010) - Xavier Dolan

"Il n’ya a de vrai au monde que d´raissoner d’amour" Alfred Musset

terça-feira, outubro 02, 2012


Barrierless Communication

by: Chinmaya Joshi, Manjiri Katmore, Rohit Pandharkar

MIT Media Lab Design and Innovation Workshop 2011

welcome home LaMaMa Cantata

LaMaMa Cantata Tour from La MaMa on Vimeo.

Video by: Raffael Toledo

Yesterday another great show performed at LaMaMa ETC and livestreamed  -  a must see show (again and again) to learn about Ellen Stewart's story and her impact on the Theatre World downtown New York and around the world... 

Elizabeth Swados, Catherine Brookman, Rachel Duddy, Roe Hartrampf, Starr Kwofie, Grace McLean and Them Apples, Alicia Olatuja Voice, Hannah Whitney, Preston Martin, & Tom Hennes

the last ten minutes

Antoni Muntadas. The Last Ten Minutes II 1977 (Video Instalation. Digital Betacam).
[Photography: Joaquín Cortés / Román Lores] Museo Nacional de Arte Reina Sofía.

domingo, setembro 30, 2012

almost ending...

un fin de semana en Madrid...

sábado, setembro 29, 2012


puerta del sol

sexta-feira, setembro 28, 2012

Plaza Mayor

terça-feira, setembro 25, 2012

an experiment on telepresence, with IDENTITY PROJECT

Photo by: Margarida Ribeiro
at Circular - Festival de Artes Performativas de Vila do Conde

An experiment on bringing telepresence to the construction process of Identity Project. The live video performance aims to address issues related to individuals, namely their need for construction and deconstruction of identity while acknowledging labeling trends that allow people to say: I AM___________.
In collaboration with Brooklyn based performer Whitney V. Hunter, whose artistic practice oftgen adresses the subject of Identity in various senses, his durational action of casting (live) his body in the studios of CultureHub NYC (Great Jones St, 3rd floor)became part of the video-performance that was being built live in Portugal as a background for the live actions that were being performed by Daniel Pinheiro and Tiago Bôto.
As part of an artistic research on the subject of IDENTITY this new layer brought up questions relating to this idea of a mediated identity or how one's identity can be changed or transformed by mediating it, in this case, through telepresence - thanks to the support of CultureHub in New York.
Having suffered various changes since it's first presentation in June this year, that took place at Núcleo de Experimentação Coreográfica (Porto, Portugal) until the presentation last weekend this project deals with some of the "problems" that are intimate related to the idea of IDENTITY itself, a larger spectrum of layers that juxtapose and interesect in so many points.
During the performance it was important for the three performers involved to find connections between the actions being performed and the consequence of those actions to be present in a live format as it was the idea of the whole experience.
Who are we in this age of connectedness? How do I build my self from the sum of I+You+We...?
Although the idea of gender identity was very present throughout the whole performance some broader aspects were also considered in the making of this project, the idea of becoming something through someone's eyes or even how do we adapt and make our own choices based on a common knowledge that allows us to be certain - in different moments of our lives - of who we are...

human bodies

Nadav Kander

quinta-feira, setembro 20, 2012

Identity Cups

Um amuse-bouche sem identidade; de cor branca; espesso, mas bebível sem a ajuda de uma colher; doce, salgado e amargo ao mesmo tempo; gelado mas reconfortante; parece uma sopa, mas bebe-se como se fosse um refresco de Verão, ou então como se fosse um batido matutino, ou então como se fosse um cura para uma ressaca conceptual; servido em copo devidamente catalogado com o único rótulo possível: o nome da pessoa cuja boca será alegrada. 
A partir de/para o "Identity Project", de Daniel Pinheiro & Tiago Bôto.


terça-feira, setembro 18, 2012

domingo, setembro 16, 2012

Why Dance in the Art World?

RG: What was the first piece you made once you stepped away from the camera?

KN: I’m not sure I ever stepped away from the camera—that for me is what makes performance both challenging and necessary. The first time I worked with live performers as part of an installation was in Soap #2, a group exhibition presented at the Soap Factory in Minneapolis in 1995. For my piece, Blond, a single performer wearing white terrycloth from head to toe, chewing flavorless bubble gum, and blowing bubbles stood in a long hallway containing a two-door cabinet and several ceiling fans. It was the middle of winter and there was no heat in the building; my sister was the performer, and my mother called it “the icebox piece.” Looking back, I think maybe it was an experiment in understanding different surfaces and materials, working with inside and outside, light and dark.

On Monday, September 17, the Performa Institute and NYU Steinhardt present Why Dance in the Art World?, an exciting evening where we will explore the history and future of the visual arts’ relationship to and interest in dance.


quinta-feira, setembro 13, 2012

segunda-feira, setembro 10, 2012

2011.09.10 - 2012.09.10

2011.09.10 - 2012.09.10

1year ago I was getting on the plane, to cross the ocean that I had crossed for the last time 23 years before... how time flies.
1year ago I was scared and enthusiastic, eager and I was again like a little boy excited just by idea of discovering a new world...
I was scared that I wouldn't fit, I was scared that everything would be too rough for me, I was scared that I wouldn't be able to respond
I was scared of not knowing, of feeling an outsider, of leaving what I knew behind.
I was sure that 3 months was enough, that that was it. That that was the only thing I would get. No expectations. No dreams. Just experience it and come back.
I came back indeed... With a heart full, plenty of tears and joy to have met people that I look up to, people from there, people that were not from there, people from my homecountry, people from everywhere that made this one of the most important experiences I've had so far.
People that I felt like family, and people that were and still are truly an inspiration...
New York became just more than a name, more than an icon, more than just a big city, it became a place I will carry around in my heart forever.
Sometimes with joy, and sometimes uncertain of what to feel towards it, but everytime with a smile (with or without getting watered eyes).
Departure to: ANYWHERE!, became one of so many goals.
I don't mean to write a sad post about this, because nothing from this experience is sad. It's just emotional, and I'm glad it is emotional, I'm glad that I had the opportunity to be part of such event in my own life.
I have a lot of people to thank for making it like this. People that I've left behind, people that missed me and that had only a smile in their face for getting me back home, people that were supportive through the loneliness of being away, people that I knew that were there and that make me feel at home now that I'm back.
So in that day, a year ago, I thought about you all while I was getting on the plane and I was sure that I was safe because I had all of your strength with me.
And today, a year after that, I think about all of those that gave me the strength to moving forward, to make the 'no expectations' turn into wonderful moments, and the 'no dreams' into a mind full of ideas and desire and need for improvement. always.
Today I felt weird all day, maybe I let myself get to emotional with this kind of things, maybe I shouldn't but that's me and specially at this moment I won't deny the urges and how much I miss not the city but the people that I've met in it.
I'm glad to have fallen in love with a group of people and creatives that have the notion of a bigger and connected world and maybe that was what I was fighting to find for so many years, and I won't say it's not about New York, but I feel it in my heart that is a feeling of belonging somewhere, doing what you love to do, learning what you want to learn and getting a clear idea of what you want to do in the future. So no matter what I will pursue that, wherever that will lead me.
New York City has become part of who I am for having learned the city by the hands, the eyes and words that everyone was so kind to introduce to me.
All the memories from this will be always that, memories... Whatever happens next won't be the same, it will always be different but that's growing and I only wish to keep growing so much as I have been doing over this past year...

sábado, setembro 08, 2012

By the beach party

via Instagram

sexta-feira, setembro 07, 2012

Lovely meals

quarta-feira, setembro 05, 2012


envelope blooms
sprawling painted petals,
stems mount from tilled earth,
the pollen of a pregnant hydrangea’s
pistol resurfacing the sweet sugar saliva
of sentient agape stares wrought in wild fire—
the weight of procreant leaves presuming
a strength, a wilt, withering as paper
folds & tears. Silk curls unfurl
on cotton sheets, as plush
lilly pad pillows drink
the swelling

by Kristine Lowery

read Perennial and more

who are we when we're faceless

segunda-feira, setembro 03, 2012

domingo, setembro 02, 2012

Instagram Moments

holding hands