Morning, here's a track from the Tetine Vs Sophie Calle's album "Samba de Monalisa", released in 2002, our second record produced in London. It will complete 20 years now in January 2022. I've been listening to it again, rediscovering it ... and relearning how to play some of its songs. This is "Amada Amante" - one of the closing tracks and one my favourite, (trk.11). Looking back, it is quite a nice record, and one of the reasons that we ended up staying in this country - we performed it many times in the UK and around Europe, and later in 2009 at Sophie Calle's exhibition 'Take Care of Yourself' in São Paulo at Sesc Pompéia. It was also once "electronica album of the month" at the deceased and saudosa Tower Records of Picaddily Circus - which, for us, was a big treat, and surprise at the time... you can imagine how it felt (if you know what I mean, and all the dillemas/questions related to shelving CDs in the 'right shelves') when me and Eli entered the shop and saw our CD spread around the electronica section, and also available in one of those listening posts that they used to have. Dream! Below is some of the praise it got at the time. Dig it ...also in all platforms through Slum Dunk Music.
****************
"L’apport musical du duo Tetine donne aux quelques extraits narratifs ou de dialogues une force et une sentimentalié étonnantes. D’une très belle justesse. D’une just finnesse. L’albu prend vraiment une dimension de document sonore où les instantes clés du film son’t saisis, montrés puis étendus en des plages musicales que décortiquent la scène et la font apparaître a nu…’. Clarknova Magazine, France, June 2002
"El cine negro se refleja en los ambientes oscuros de 'Welcome To Las Vegas' y el romántico conecta con 'Music For Mechanics' debido sus violines y conversaciones. 'Sandalia Quebrada' vuelve a esa mezcla electrosamba y ambientes sintéticos aderezados por voces, esta vez sin un diálogo explícito. Más preciosista e actual es 'Hotel Madrid', tema que conecta con artificieros de la electronica como Múm'... Estamos pues ante un disco para los amantes de la música electrónica con aporte cinematográfico e experimental (aunque sin ecxesivos riesgo). Lo cual no es poco." Satelite Pop, Madrid, July, 2002
"Tetine, Brazilian artists Bruno Verner and Eliete Mejorado have created a dispassionate American travelogue of great tenderness and reserve. As male and female voices offer intimate insights into the directionless, inertial flow of their relationship, a sharply defined soundtrack follows them on a road trip from New York to Vegas…The televangelist rant, cool French tone and Hip Hop lope of the opening suggest an emotionally detached take on Jean Luc Godard’s classic debut Au Bout De Souffle but the mute longing of ‘Amada Amante’ and ‘I Met Him in The Bar’ go way beyond even that’. Ken Hollings, The Wire. June 2002
"Le travail de Tetine et Sophie Calle est à rapprocher de celui de Genesis P.Orridge dans so projet Splinter Test (Welcome to Las Vegas oú l’on perçoit la voix surnaturelle de Roy Orbison) ou bien encore des constructions méditatives de Stephen Jones (Hotel Madrid). Sur le plan de la narration, le glissement du privé au public, de l’intime à l’ouvre, cher à Sophie Calle, démontre avec brio qu’il existe des alternatives dignes aux cogitations loft-storyennes: le journal intime électronique…. La musique atosphérique et lointaine de Tetine apport un nouvel eclairage, inedit et enchanteur, aux autofictions de Sophie Calle'.4/5 Lionel Delamonte, Chronic’art, France, June 2002
"Um pouco como a própria Sophie Calle, o Tetine quer refletir sobre dois eixos. As conexões possíveis entre a 'alta cultura' e os mass media e entre o público e o privado (..) Samba de Monalisa recupera de certa forma o viés experimentalista e falado de Alexander's Grave, o álbum de estreia de 1996. Nesse, o 'gatilho' não era o cinema mas o teatro e literatura com fragmentos de textos de Shakespeare, Tennessee Williams, Strindberg Musset e outros". Alex Antunes, Revista Bravo, Brazil, Set, 2002
‘Fave tracks are 'No Sex Last Nigh' and 'Amada Amante'. Even though it is really quite complex and multilayered, repeated listening is rather rewarding. It is actually quite an accessible album, given the right exposure it could be a cult crossover, attains cult status and so much publicity that it crosses over into mainstream popularity’. Clive Craske, Jazzical Gaz, April 2002
‘…atmospheric mysterious film dialogue drifting darkly across some strangely scratched electronic riffs. Why you ask? Because the São Paulo based duo Tetine have a thing about the cult French artist called Sophie Calle'. Robert Sandall, Mixing it, BBC Radio 3, April 2002"
Recommended tune: 'No Sex Last Night' - Tetine vs Sophie Calle. BBC Radio 1, June 2002
Recommended electronica album of the month. Tower Records, May 2002.
'Impresario of indulgence Ian White and Brazilian performance duo Tetine deliver a seriously whacked out evening of mixed media mayhem that covers all the bases and barely stops for breath. Tetine themselves are launching their new dirty beats/ found voices cd made in collaboration with following artist Sophie Calle; there's image work from them, videos by Queen of Endurance Art Marina Abramovic and the marvelous Chicks on Speed; and more much more is promissed. From hybrid to hola!, high culture to 'Here She is Again', why not shake your booty at WAG this Friday?' GE, Time Out London, June 2002
THE ETHER - Prelude No. 1 by Tetine & Yoko Afi - a film-performance conceived for the Pink Umbrellas Art Residency / Aug 2020
TETINE & YOKO AFI
THE ETHER – Prelude No.1
THE ETHER is a reflective sonic-aphasic (dis)rhythmic meditation in the form of a prelude (for cello, dance, waste, air, wind, body and breathing). The piece comprises of 7 distinct yet complementary slow movements that explore the atmospherics and metaphysics of untamed syntaxes of time, space, voice, rhythm and breathing. The prelude speaks of stillness, becomings, luminosities, value, respiration, and body fluids, as it investigates the ghostly presences/absences manifested in the landscape through sound, dance, gesture and silence - whilst responding to the secret ontologies of inanimate objects, architectures, the politics of dreams as well as, the echoes and ethics of the modes of operating things. Conceived as an ode to the poetics of slowness, suspension, divinity, unfitness and wait, The Ether echoes the uncapturable, and echoes Tetine's recurrent and unconditional love for Beckett’s philosophical theatrics of existence, un-communicability and non-performance.
Bruno Verner, August 2020
The Ether – Prelude No. 1 (in 7 movements)
1. Prologue
2. Aphasia, waste and pine
3. The Air is The Same
4. Disritimia (Un) clock
5. My boots don’t fit, my feet hurt
6. San Sebastian Doll
7. They Call Us for An Encore
Original music: Yoko Afi and Tetine
Cello, trumpet, voice: Yoko Afi
Piano, voice, dance: Bruno Verner
Electronics, sampling, editing and fx: Eliete Mejorado
TETINE are ELIETE MEJORADO and BRUNO VERNER.
BRUNO VERNER is a Brazilian, London-based composer, artist and poet. With ELIETE MEJORADO, he formed TETINE - a hybrid tropical-mutant-punk-funk organism born in São Paulo in 1995. Since then both artists have created a multitude of performance, sound and art-related works from the spoken word to electronica, including ritualistic performances, installations, radio, film & video and independent curatorial projects.
http://www.tetine.net/
YOKO AFI is a young cellist and composer based in London. She has recently been awarded the Joan Scrutton’s Awards for Young Musicians in the UK to study at the prestigious Guildhall Junior School of Music and Drama. Yoko has written and performed the original music for The Ether - Prelude No.1.
INTERNATIONAL ONLINE ARTISTIC OCCUPATION
Artistic occupation that will show every Monday, at 5 pm GTM-3, the experience of artists from different areas and different places, which they gather to create from a distance and immerse themselves in an experience of language displaced from each artist's "common place", in addition to thinking the Internet itself as a creative and amplified possibility.
[PT]
O ÉTER - Preludio No.1
O ÉTER é uma meditação sônica-afásica reflexiva (des) rítmica na forma de um prelúdio (para violoncelo, dança, resíduos, ar, vento, corpo e respiração). A peça é composta por 7 movimentos lentos, distintos, mas complementares, que exploram a atmosfera e a metafísica de sintaxes indomadas de tempo, espaço, voz, ritmo e respiração. O prelúdio fala de quietude, devires, luminosidades, valor, respiração e fluídos corporais, pois investiga as presenças / ausências fantasmagóricas que se manifestam na paisagem através da som, dança, gesto e silêncio - enquanto responde às ontologias secretas de objetos inanimados, arquiteturas, a política dos sonhos, bem como os ecos e a ética dos modus operandis das coisas.
Concebido como uma ode à poética da lentidão, suspensão, divindade, incapacidade e espera, O Éter ecoa o incapturável e ecoa o amor recorrente e incondicional de Tetine pelo teatro filosófico existencial de Beckett, incomunicabilidade e não performance.
TETINE é ELIETE MEJORADO e BRUNO VERNER.
BRUNO VERNER é um compositor, artista e poeta brasileiro radicado em Londres. Com ELIETE MEJORADO, formou o TETINE - um organismo híbrido tropical-mutante-punk-funk nascido em São Paulo em 1995. Desde então, os dois artistas criaram uma infinidade de trabalhos performáticos, sonoros e artísticos, da palavra falada à eletrônica, incluindo performances ritualísticas, instalações, rádio, filme e vídeo e projetos curatoriais independentes.
YOKO AFI é uma jovem violoncelista e compositora radicada em Londres. Recentemente, ela recebeu o Prêmio Joan Scrutton para Jovens Músicos no Reino Unido para estudar na prestigiosa Guildhall Junior School of Music and Drama. Yoko escreveu e executou a música original para O Éter - Prelúdio No.1.
Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram Teorizam a celebração mas não celebram
Tetine talk for The School of The South @Studio Voltaire.
TROPICAL MUTANT PUNK FUNK talk at The School of The South
Bruno Verner and Eliete Mejorado discuss Brazilian Post Punk scene, DIY Tropical culture and the emergence of an underground post-tropicalist sensibility. From the last years of military dictatorship to the country's subsequent re-democratisation process, Brazilian post punk was instrumental in forging an experimentalist and yet popular public sphere.
Drawing on Tetine’s albums The Sexual Life of the Savages (Soul Jazz Records) & Slum Dunk Presentes Funk Carioca (Mr Bongo Records), this talk explores an intense period of collectivism and DIY production of music, text, art & performance.
The School of the South: Lessons in Latin American Art Convened by Sol Calero & Isobel Whitelegg
Saturday 21st November 2015
Over time the term Latin American Art has accumulated different associations. It structures knowledge and shapes expectations, while at the same time being strategically appropriated or subverted by artists, curators, and critics. The aim of this day is not to debate the validity of the term ‘Latin American Art’ but rather to think about the meanings it has gained through past and present practices, and how this inherited category can be used or negotiated.
Morning Class, 11am – 1.30pm
Three informal presentations by Juan Pedro Fabra Guemberena; Jaime Gili & Lucia Pizzani, and Bruno Verner & Eliete Mejorado (Tetine).
Afternoon Class, 2.30 – 4.30pm
A discussion with Alessio Antoniolli, Tanya Barson & Kiki Mazzucchelli
Places are free but due to high demand, booking is essential Book here…
Tropical Mutant Punk Funk for The School Of The South @ Studio Voltaire.
TROPICAL MUTANT PUNK FUNK ( A TALK BY TETINE ) AT THE SCHOOL OF THE SOUTH (morning class)
Bruno Verner and Eliete Mejorado discuss the 1980’s Brazilian Post Punk scene, DIY Tropical culture and the emergence of an underground post-tropicalist sensibility as part of The School of The South @ Studio Voltaire in South London.
From the last years of military dictatorship to the country's subsequent re-democratisation process, Brazilian post punk was instrumental in forging an experimentalist and yet popular public sphere.
Drawing on Tetine’s albums The Sexual Life of the Savages (Soul Jazz Records) & Slum Dunk Presentes Funk Carioca (Mr Bongo Records), this talk explores an intense period of collectivism and DIY production of music, text, art & performance.
Convened by Isobel Whitelegg and Sol Callero.
The School of the South: Lessons in Latin American Art at Studio Voltaire.
Convened by Sol Calero & Isobel Whitelegg
Saturday 21st November 2015
Over time the term Latin American Art has accumulated different associations. It structures knowledge and shapes expectations, while at the same time being strategically appropriated or subverted by artists, curators, and critics. The aim of this day is not to debate the validity of the term ‘Latin American Art’ but rather to think about the meanings it has gained through past and present practices, and how this inherited category can be used or negotiated.
Morning Class, 11am – 1.30pm
Three informal presentations by Juan Pedro Fabra Guemberena; Jaime Gili & Lucia Pizzani, and Bruno Verner & Eliete Mejorado (Tetine).
Subjects for study include the pedagogical legacies of Torres-Garcia’s original ‘Escuela del Sur’ in 1970s Uruguay; modern art and contemporary political subjectivity in Venezuela, and Brazilian Post Punk and DIY tropical culture.
Afternoon Class, 2.30 – 4.30pm
A discussion with Alessio Antoniolli, Tanya Barson & Kiki Mazzucchelli focuses on how Latin American art is represented through artinstitutional and curatorial practices, addressing the possibilities and limitations of international visibility.
Places are free but due to high demand, booking is essential Book here…
About the contributors:
Sol Calero (born 1982, Caracas, lives and works in Berlin). Recent solo exhibitions include Sala Mendoza, Caracas (2015), SALTS, Birsfelden (2015), Gillmeier Rech, Berlin (2014); Laura Bartlett Gallery, London (2014); Frutta Gallery, Rome (2013). Recent group exhibitions include KW Institute for Contemporary Art, Berlin (2015) and Mostyn, Llandudno (2015). Upcoming projects in 2016 include David Dale Gallery, Glasgow. Calero is represented by Laura Bartlett Gallery, London. She is co-director of the Berlin project space Kinderhook & Caracas.
Isobel Whitelegg is an art historian, lecturer and curator. She specialised in Latin American Art at the University of Essex and has published widely on the international reception of art from Latin America. Isobel has recently joined the University of Leicester’s School of Museum Studies, and teaches its specialised MA Art Museum & Gallery Studies programme. She is interested in approaching exhibition history not as a series of isolated events but rather by relation to the wider histories of contemporary art museums and non-collecting institutions, and a focus for her current research is the critical history of the Bienal de Sao Paulo. She previously occupied two positions that operated between academic and arts-institutional contexts: as LJMU Research Curator within the Tate Research Centre: Curatorial Practice & Museology (2014-15) and as Head of Nottingham Contemporary’s Public Programme (2011-14), a leading platform for the public debate of ideas and practices relevant to contemporary art and its institutions. Prior to this she was Course Director, MA Curating, Chelsea College of Art & Design (2009-11) and a member of the TrAIN Research Centre, University of the Arts London (2008-11).
Alessio Antoniolli is the Director of Gasworks, London, where he leads a programme of residencies, exhibitions and participation projects focusing on emerging UK and international artists. During his time at Gasworks he has curated the first exhibition UK exhibition by Song Dong, Lynette Yiadom Boakye, Renata Lucas and Tamar Guimaraes amongst others. Alessio is also the Director of Triangle Network, a platform that generates and facilitate projects amongst a group of grass-roots organisations around the world. In 2009 Alessio instigated the Knowledge and Skills Sharing Programme, an ongoing series of professional development and training opportunities for artists and arts coordinators within the Triangle Network.
Tanya Barson has been Curator of International Art at Tate Modern since 2007. She was Exhibitions and Collections Curator at Tate Liverpool from 2004, having joined Tate in 1997. Most recently, she curated the exhibition Mira Schendel, Tate Modern (2013). Other exhibitions she has curated include Frida Kahlo, Tate Modern (2005), Afro Modern: Journeys through the Black Atlantic, Tate Liverpool (2010) and The Peripatetic School: Itinerant Drawing from Latin America, Drawing Room, London (2011). She was an advisory curator on the exhibition Adventures of the Black Square: Abstract Art and Society 1915-2015 at the Whitechapel Art Gallery (2015) and is currently working on a major retrospective exhibition of Georgia O’Keeffe to be presented at Tate Modern in 2016. Since 2002 she has worked on acquisitions of Latin American art for Tate’s collection and as a result has travelled, lectured and conducted research widely in the region.
Juan-Pedro Fabra Guemberena graduated from The Royal College of Art in Stockholm 2002. Fabra Guemberena’s work has been exhibited extensively internationally, among others in the exhibition “Delays and Revolutions” at the 50th Venice Biennale, 2003; “My Private Heroes” Marta Hereford Museum, 2006; “The Moderna Exhibition”, The Modern Museum of Art, Stockholm, 2006; “Favored Nations”, 5th Momentum Biennal, Moss, 2009; 1st Biennale of The Americas, Denver, 2013; and the School of Kyev, Kyev, 2015. Fabra Guemberena is represented in collections such as The Modern Museum of Art, Stockholm; Sammlung Goetz, München; and The Wanås Foundation, Knislingen, Sweden. He is currently based in Berlin and Stockholm.
Kiki Mazzucchelli is an independent curator and writer working between London and São Paulo. She holds an MA in Visual Cultures at Goldsmiths College and is currently a PhD candidate at TrAIN (University of the Arts). Recent projects include the Solo Projects/ Latin America section at ARCO Madrid (with Emiliano Valdes and Miguel Lopez), Tonico Lemos Auad’s solo exhibition at Pivô (São Paulo) and the group show Akakor (Galeria Baró, São Paulo). Forthcoming projects include Sitelines, Site Santa Fe Biennial (2016), New Mexico. Recent publications include The São Paulo Biennial and the Rise of Contemporary Brazilian Art (IN Contemporary Art Brazil, ed. Hossein Amirsadegui and Catherine Petitgas, London: Transglobe,2012) and a chapter on the São Paulo art scene in the forthcoming publication Avant-Gardes of the 21st Century (London: Phaidon, 2013).
Lucia Pizzani born in Caracas, (1975) lives and works in London. She holds a BA in Communications Studies, (Universidad Católica Andres Bello, Caracas), Certificate in Conservation Biology from CERC at Columbia University (New York) and Master in Fine Arts from the Chelsea College of Art and Design (London). Recent awards and residencies include: Photofusion Hotshoe Award 14, (London, 2014) the Emerging Artist Award by the AICA, International Art Critics Association/Venezuela, (Caracas, 2013), and the XII Premio Eugenio Mendoza (Caracas, 2013) with a following Residency at Hangar (Barcelona). Pizzani has exhibited internationally in museums and galleries such as Oficina#1 (Caracas), Sala Mendoza (Caracas), Cecilia Brunson Projects (London), Queens Museum (NY), MOLAA Museum Of Latin American Art (LA), Jacobo Borges Museum (Caracas), Stephen Lawrence Gallery (London), the MARCO Museo de Arte Contemporáneo de Vigo and Universidad de los Andes (Bogotá), among others. Her works is represented in private and public collections such as the Essex Collection for Art from Latin America ESCALA, Colección Patricia Phelps de Cisneros, CPPC, Museum Of Latin American Art, MOLAA, Colección Banco Mercantil and Colección Juan Yarur.
Jaime Gili is aVenezuelan-born, London-based artist known for a painting practice that moves away from the strict, traditional boundaries of the canvas, and into the realm of public interventions. He uses bold, modernist designs on a huge scale to play off of pre-existing architectural features and cover spaces like walls and even entire building facades. Gili’s large-scale works are deeply intertwined with his Venezuelan heritage—referencing the public artworks commissioned in Latin America during the oil industry’s economic boom times of the twentieth century. Gili has exhibited his work widely, including a solo exhibition at Kunsthalle Winterthur, and group exhibitions at the Liverpool Biennial, Kunsthalle Bern, the Institute of Contemporary Arts, and the Royal Academy in London.
Bruno Verner (b. Belo Horizonte, Brazil) is a musician, poet and performance artist best known for his work with Brazilian tropical punk funk art duo Tetine which he formed with Eliete Mejorado in São Paulo in 1995. With Tetine, he has created a multitude of music & performance works from the spoken word to electronica, including ritualistic performances, sound installations, film & video. His music has been released on labels such as Soul Jazz Records / Mr Bongo / Bizarre Music / Sulphur Records /Slum Dunk Music – including a collaboration with French artist Sophie Calle “Samba de Monalisa – Tetine Vs Sophie Calle”. Verner has also been instrumental in bringing the Brazilian underground music scene to the attention of the UK and Europe for a number of years. He compiled, presented & mixed the first album of Baile Funk produced outside of Brazil ‘Slum Dunk Presents Funk Carioca’, (Mr Bongo Records in 2004) as well as an essential primer to early-80s Post-Punk from São Paulo, the influential The Sexual Life of The Savages – Underground Post Punk from Sao Paulo, released on Soul Jazz Records in 2005). Verner was also an active member of Belo Horizonte‘s post punk & industrial scene from the mid 80’s, having played alongside pioneering local acts such as R. Mutt, Divergência Socialista, Ida & e Os Voltas & O Grito Mudo – over a period spanning from 1984-1990. His early sound work is compiled in limited cassette tapes & compilations such as Lilith Lunaire by Divergência Socialista, R. Mutt (R. Mutt), Mulata Urbana (O Grito Mudo), Jovens Raptados (Ida & Os Voltas) ‘Substancia’ – (Marcelo Dolabela & Divergência Socialista). Verner’s early tracks with Divergência Socialista, Tetine and O Grito Mudo were also included in the compilation Uncorrupted Tropical Wave (1983 – 2011). Bruno Verner is currently carrying out his PHD research in Visual Cultures on Goldsmiths University. On another note he has also run the Brazilian radio show Slum Dunk on Resonance Fm 104.4 since the station’s inception.
Eliete Mejorado (b.Sao Paulo, Brazil) is a Brazilian artist, musician and filmmaker, also member of tropical punk funk art duo Tetine. Mejorado has been working widely throughtout Europe and Brazil presenting experimental performance pieces as well as exhibiting art videos, films, installations and radio shows. Recent projects include 53 Diamantes: A Collection of Black Stories, Crimes, Falsos-Brilhantes & Other Poems, at Galeria Jacqueline Martins in Sao Paulo, Tetine’s new film-essay ‘The 4th World’ (2015) commissioned by Itau Cultural, and pieces such as UNHEARD & SPOKEN, “I Hope you Enjoy Your Stay”, “Tetine vs O Bandido Da Luz Vermelha” amongst many others. Mejorado has also produced a number of artist’s music albums, 12’ Eps and compilations including Black Semiotics (2013), In Loveland With You (2013), Tropical Punk (2010), Let Your X’s Be Y’s (2008). Her music has been released internationally on record labels such as Soul Jazz Records / Mr Bongo / Bizarre Music / Sulphur Records /Slum Dunk Music. With Tetine, she has also extensively performed live from opening ‘Tropicalia – A Revolution in Brazilian Culture’ exhibition at the Barbican Centre in London to numerous art performances for museums, art spaces, cinemas and festivals around the world. Actions, projects and live performances were shown from Palais de Tokyo in Paris to Chicago (The Wire’s Adventures in Modern Music Festival) and Sonar (Festival of Advanced Music & New Media Art, Museu Serralves, Hebbel Am Ufer in Berlin, Whitechapel Gallery, Frankfurter Kunstverein, National Museum of Contemporary Art of Norway, Sternessen Museum amongst many others.
Places are free but due to high demand, booking is essential Book here…
O trabalho é melancólico, reflexivo, crítico. Tem uma catarse silenciosa nele e tem também o estranhamento Brecthiano de maneira bem marcante….por enquanto estamos seguindo nesse mood.
The 4th World evoca a ilusão de um 'futuro-mentira' que nunca chega…. como um ‘futuro-perdido' que esta sempre atrelado a um passado recente ou mesmo distante que ja foi vivido, uma expectativa.
O mood é atmosférico, oceânico-experimental com elementos biológicos, imagens formalistas, cotidianas, textuais, motivos teóricos, desconstrução.….tem algo a ver com performances do Tetine que fazíamos no começo....com um caráter meio 'punk pos-estruturalista' e expressionista ao mesmo tempo.
O trabalho examina a impossibilidade de ‘troca’ - afetiva, cultural, psicológica, linguistica, emocional - em situações de precariedade no sentido filosófico e ecológico dessa ideia. Ele investiga a relação entre precariedade e transcedência. E também a impossibilidade de ENTRAR em transcendência no presente-perpétuo.
A impossibilidade da troca e de ação entre as pessoas e também entre as "linguagens” no sentido semio-capitalista do termo.
Diria que tem algo apocalíptico sim, e é um tanto niilista tb. Pelo menos ate agora...
Acho que eh isso.
Beijos
Bruno
Responding Lucas Bambozzi's questions on the creative process for THE 4TH WORLD.
Queridos, me contem umas infos a mais sobre o THE 4TH WORLD?
Não é só mera curiosidade, é que estou escrevendo o texto de apresentação.
Queria saber cosas do tipo:
_é triste? _tem algo de apocalíptico? _catártico? _é celebratório de algo? de um final de tempos? _ as imagens mostram o quê? vocês mesmos? podem mencionar 3 ou 4 elementos ou imagens reincidentes? _tem alguma coisa que vocês identificam como elemento essencial? _é mais pra multifacetado ou mais pra minimal?
Esses pontos são os que mais interessam no momento.
