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.