23.1.12

Solo Show at Eletricidade Estética













Solo show
 ' Five Point Palm Exploding Heart Technique' 
part of
Masters of Kung Fu

06-07-08 of October 
Master Pedro Oliveira
'O Golpe do Leão'

13-14-15 of October 
Master Isabel Pina Ferreira
'Five Point Palm Exploding Heart Technique'

20-21-22 of October 
Master André Bastos
'O Sopro da Doninha'

27-28-29 of October 
Master Susana Borges
隱形


Eletricidade Estética
Caldas da rainha 
Portugal


Some notes

(excerption from Raqs Media Collective e-flux journal http://www.e-flux.com/journal/now-and-elsewhere/ )

On Forgetting 
 As time passes and we grow more into the contemporary, the reasons for remembering other times grow, while the ability to recall them weakens. Memory straddles this paradox. We could say that the ethics of memory have something to do with the urgent negotiation between having to remember (which sometimes includes the obligation to mourn), and the requirement to move on (which sometimes includes the need to forget). Both are necessary, and each is notionally contingent on the abdication of the other, but life is not led by the easy rhythm of regularly alternating episodes of memory and forgetting, canceling each other out in a neat equation that resolves itself and attains equilibrium. 



 Forgetting: the true vanity of contemporaneity. Amnesia: a state of forgetfulness unaware of both itself and its own deficiency. True amnesia includes forgetting that one has forgotten all that has been forgotten. It is possible to assume that one remembers everything and still be an amnesiac. This is because aspects of the forgotten may no longer occupy even the verge of memory. They may leave no lingering aftertaste or hovering anticipation of something naggingly amiss. The amnesiac is in solitary confinement, guarded by his own clones, yet secluded especially from himself. 



 Typically, forms of belonging and solidarity that rely on the categorical exclusion of a notional other to cement their constitutive bonds are instances of amnesia. They are premised on the forgetting of the many contrarian striations running against the grain of the moment and its privileged solidarity. On particularly bad days, which may or may not have to do with lunar cycles, as one looks into a mirror and is unable to recognize one’s own image, the hatred of the other rises like a tidal bore. Those unfaithful patches of self are then rendered as so much negative space, like holes in a mirror. Instead of being full to the brim with traces of the other, each of them is seen as a void, a wound in the self.



 This void where the self-authenticated self lies shadowed and unable to recognize itself is attributed to the contagious corrosiveness of the other. The forgetting of the emptying-out of the self by its own rage forms the ground from which amnesia assaults the world. In trying to assert who we are, we forget, most of all, who we are. And then we forget the forgetting. 



7.8.11

new stuff (on going)

Some of the works will be exhibited soon,
text and better pics will come.














MOBILE PHOTOS










19.2.11

Some adventures in the wooden House

Photo by Alexandra Ferreira

The Adventures in a wooden house has it own blog now !
Have a look

The wooden House was a shed , 3 meters by 3 meters square and 4 meters high with wheels. Was made By Jing a Korean ex PG Dip student at Chelsea College of Art and Design last year. His intention was to create a mobile gallery in order to visit disable people mostly in rural areas, so in that way they could experience and see artworks.

This wooden house was going to be taken apart on 5th of February 2011. After knowing the shed was going to be dismantled by the college, the negotiating started, in order to keep the wooden house. The College gave more two weeks and for that happen the students who were negotiating had to be responsible for the destruction of the Shed. The deal was done. During the interim show of the MA Fine Art, the Shed was open. It began as bar in the opening of the show and finished as a stage of a performance. The in between days I occupied the shed as an open studio, were the public could participate doing some drawings, text or whatever they felt doing it. On the twenty first of February the shed was taken apart. Poster were distributed around college and people who needed wood were invited to participate.

The floor of the shed is still intact, was used several times in Mark McGowan performance workshop with students. With all the material collected in these days, a book was made with original drawings as well as with all the documentation of the process. The book is going to be donated to Chelsea College of Art and Design Library. Along side the book a blog was made, where people can interact and make comments. On the blog, beside the documentation of the project, there’s also Photographs of the new uses of the remains.