Jum Nakao: Brazilian artist and fashion designer that is mostly known for its paper outfit catwalk during 2004’s SPFW - “Costura do Invisível". What actually was a performance, simulated a catwalk with models wearing outfits entirely of paper, styled with laser-cut patterns, diverse grammage (gramatura) and playmobil-like plastic wigs. During the show people observe the pieces mesmerized, noticing the material. Although, at the end of the show they were all ripped apart and completely destroyed by the models who were wearing them - which caused a mixture of many feelings from the spectators, from admiration to shock and impact. Nakao won a prize as the catwalk of the decade from SPFW, by playing with concepts as perfectionism (with symmetric and precise cuts; outfits that shaped each model after several months of work) and devastation with every single outfit.

His work inspired me in terms of performance, by playing with very opposite ideas that genuinely caused reverberation and surprise in the public. I related this elements to my collection since the ketchup sachets refer to a very quick and big industry, relating it to “ready made food” (as fast-food) when such quantity is rapidly left over; that after its one-time use turns into garbage. Then, the concept of producing big amount of things is later destroyed and ephemeral.

http://www.jumnakao.com/portfolios/a-costura-do-invisivel/
link of the artist's website, works and footage of performance.

It occurs as a natural phenomenon when an image of a scene at the other side of a screen is projected through a small hole, but as a reversed/inverted image reflects on another surface opposite to the hole’s opening. 
source: enciclopedia.itaucultural.org.br 

Machine created in the 19th century by William George Horner. It consists in a large wheel  with some open, rectangular windows that show the images inside it from a viewer’s perspective. When this wheel spins, the images disposed inside create an illusion of movement of the scenario illustrated, like images of a horse running or a man walking/dancing. It was broadly used as a children’s toy, with a ludic sight educative object (there’s one in Catavento Museum, which I visited some years ago).
https://www.youtube.com/watch?v=SBg6dAE3mI0

The popular shadow theatre evolved nonlinearly into projected slides and ultimately into cinematography. The common principle in these innovations were the creative use of light, images and a projection screen. There are many parallels in the development of shadow play and modern cinema, such as their use of music, voice, attempts to introduce colors and mass popularity.

Working with wood transformations and distortions, Oliveira often creates enormous and eye-catching pieces that merge into buildings’ walls (see "Baitogogo” and “Momento Fecundo”). Creations using tree trunks (made of actual wood pieces) that run through stairs, walls, and roof, making an atmosphere that magnifies the force and life of a natural element that is a tree or its wood like its not only a living being but also like an intended movement where the material dominates and conquers a whole room or ambient.

Dividing his works and installations in categories such as "organic structures”, “hybrids" and “ramifications”, his materials are even more amplified in terms of relating it to an alive and transformative being or presence that clearly take control of the place they are placed on. 

If the first works were flat and showed a clear transposition from the two-dimensional canvas situation to a bigger one, in the space, from 2005 and on, the process started literally to embody and flirt with sculpture and architecture. In the work Tapumes, exhibited at the Centro Universitário Maria Antonia, for the first time the artist fills out the inner part of the work. The wood gets tonus. Behind the laths is a volume through which what is rigid, firm, hard, straight, turns to have unsuspected organicity and flexibility. From then, one more stitch of the weft may be weaved: a relationship between the work and the body starts to exist. In the quoted work of art, what we see does not seem to be static, but rather a moving point. The bodies are moving, but not the paintings. Soon after the inhalation, the work is stuck there, full of air inside"

Sans-Serif: a family of typography lettering without serifs.

Ligature: union of letters that is written in a same glyph, such as the character “æ”.

X-Height / Corpus Size: the height of lower-case letters (minúsculas) for a typographic family. In general, the distance of the meanline from the baseline - defining then the size of the lower-case. Then, the Cap-height is the size between the baseline and cap height line to limitate caps letters/glyphs.

Bowl: the fully round, closed part of a letter. Ex: the closed parts of d, b, o, D, B, O.

Ascender: the part of a lower-case letter that goes beyond its limited space in x-height. ex) the top part of “h” or the dot of “i”.

Leading: the distance between two baselines of lines of a type (or font). Essentially, the line spacing - space between two lines in a text.

Kerning: the amount of space between two glyphs (letters, ponctuations, numbers…). To adjust a type for a better visual appearance on a text, the spaces might differ from some glyphs and not be perfectly equal between every single letter.

Picas: the typographic unit of measure, which translates to about ⅙ of an inch, or 4.23mm. One pica is further divided into 12 points, defining types such as the French Pica (12 Didot points); the American pica of 0.16604 inches (4.217 mm).

The Points are, then, a tiny unit of measure also inside typography that measures a font size, leading, kerning and other elements.

Em dash: a ponctual mark, “—”, that indicates a break in thought. Note: bigger than an hyphen (“-”).

Bibliography:

Wikipedia 

typedecon.com/blogs/type-glossary/

indesignskills.com/tutorials/

Dutch, born in 1928, graphic designer. 

Crouwel started his career with typography with his first poster in the 50s decade, starting to organize visual information aesthetically, influenced by the Bauhaus ideas. Although the fine swiss design relations, his interest was also on the industry considering the need of machine productions - stating “we need the machine since we have no time” but “the machine cannot replace the precision of the human eye and human feeling”, since his job always considered both rational and emotional sides as essential elements of his works.

His style is modernist and functional, with sometimes neutral typefaces. As he commented, “A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.”. Since he had a generally flexible style statement (in terms of versatility of subjects he worked for), his productions became quite popular: “It was actually quite difficult to avoid Wim Crouwel’s work. In the 1960s the Netherlands was inundated with posters, catalogues, stamps designed by him, even the telephone book.” - Karel Martens, a dutch graphic and typographic designer.
source: www.iconofgraphics.com 

Some of those artworks dialogue closely to the concept I prompted to produce, with the same light approach of using an uncommon and embarrassing subject that people avoid commenting about, but making it the full subject of the work - and, consequently, normal.

This is a gangsta-like rap with uncensored lyrics, where the subject really needs to use the loo after eating a big load of food. In some phrases, Ice Cube comments “Now I gots to take a shit!”, later on “dropped a load in the bathroom” and “coming out feeling 10 pounds lighter”. 

Again, the theme is humorous but unexpectedly in what seems to be a rough and stiff context at first place, but then revealing to be the opposite of what to expect from a “ghetto rapper” or how would he sound like. Being another example of such a common and worldwide activity, I related to the song that dialogues with my “ass” representation and a non-pornographic view of it.
Youtube: https://m.youtube.com/watch?v=tMxXtOU09tM
Article: https://www.google.com.br/amp/s/www.vice.com/amp/en_us/article/evv9wm/a-brief-history-of-artists-rapping-about-poophttps://www.google.com.br/amp/s/www.vice.com/amp/en_us/article/evv9wm/a-brief-history-of-artists-rapping-about-poop

Histórico da galeria:

Diálogo entre artistas contemporâneos (hj de 30,40 anos) e históricos de 70/85anos através de pesquisas no acervo do MAC USP - 1 ano de pesquisa nos arquivos para depois ir atrás dos artistas. Todos eles já não estavam mais no mercado institucional e nunca participaram de galerias. Logo, a Galeria faria um “resgate” das produções de tais artistas em um diálogo com as outras, contemporâneas, que foram posicionadas na galeria.

Vir “sem pedigree” nem nomes fortes no mercado, motivada pela ingenuidade em seus valores e ações sem tanta preocupação, Jacqueline seguiu seu caminho como galerista apenas “fazendo”. O certo despreparo foi sendo reajustado com ela através da observação nos campos que frequentava, como na primeira feira que participou em Bogotá-COL e não sabia dos devidos procedimentos, mas observava. Assim, foi estabelecendo aos poucos relações com outros artistas, galeristas, clientes.

Observações - projetos e identidade da galeria:

“Des-apê” (à desapego)

De Ruta Mourão, vende livros raros, de artistas, coleções.

Ex: Lydia Okumura,  artista brasileira que durante os anos 70, teve uma grande inclusão institucional nacional e internacional. No entanto, seu trabalho foi em momentos criticado por “não representar visualmente a arte de uma mulher latino americana”. Sua atitude foi se posicionar justamente como já se apresentava e era, como japonesa, “baixinha”, e de baixa renda. Tratou dessa identidade como seu ato político, ainda sim sendo excluída de muitas exposições e do mercado mas revelando um crítico e comum problema no mercado artístico. Mostra que a mulher é capaz de ter uma sensibilidade racional e engenhosa, independente de sua prática e sexo, mas sim pelo intelecto, estética, matemática e cálculo.

“O trabalho dela é muito bom, mas sabe, parece um trabalho de homem” comentário de uma curadora em 2014 num projeto que Okumura tentou participar, citado em diálogo com a galerista Jacqueline Martins.

“As primeiras impressões do trabalho individual de Lydia Okumura podem ser ambíguas. Por quase 50 anos, a artista brasileira radicada em Nova York vem investigando o interstício do espaço bidimensional e tridimensional através de instalações site-specific. Utilizando principalmente tinta acrílica, cordões, chapas de ferro, carvão e lápis, Okumura constrói composições geométricas abstratas que projetam-se das paredes para o espaço tridimensional. Embora sua prática possa ser identificada dentro da tradição minimalista, a arte óptica também está em jogo. Através de intervenções simples, porém desafiadoras, Lydia Okumura questiona a percepção que temos de nossa presença física dentro do espaço expositivo.” - from http://galeriajaquelinemartins.com.br/artista/lydia-okumura

Lydia´s retrospective as a brazilian artist on: https://www.atelier.guide/home/retrospectiva-de-lydia-okumura-no-brasil

Imagem: obra "Untitled I", 1981. (também exposta na Galeria)

Interesse em instalações espaciais e apreciação mais lúdica, que brinca com o espaço e de certa forma é mais simples. 

Somehow, I related to this piece because it shows a visuallly beautiful aesthetic and it´s very literal and close to its meaning. I don´t usually produce works such as that and I´m probably closer to a more conceptual outlook that I tend to try to develop - but in this case, it was an example of how some artworks don´t always need to be such a "geniously architectured masterpiece" in order to be valuable for a gallery to expose (note that here, I mention ´value´ not as capital but as concept or relevance for a showroom). I related its objectiveness with my moveable type 3D work, which was one of the few pieces - if not the first one - I made that didn´t had a very deep or hidden purpose, since using a letter and relating it only to its pronounce and how it sounds as the finishing point - going straight to it. Just like Amelia Toledo chose cristals as a relation to spirituality and religiousness, which is what they already are known for.

"Em pesquisa que abrange as relações entre sociedade, natureza e tecnologia, Regina Vater desenvolve, ao longo das últimas quatro décadas, um corpo de trabalho complexo e sofisticado que contribui de maneira expressiva para o debate sobre a emergência de uma ecologia midiática nos âmbitos da arte e da vida contemporânea. A natureza poética, ativista e ecológica de sua obra foi sempre tecida em impulsos transmidiáticos, onde a linguagem de cada trabalho se apresenta como mais um desdobramento de seus interesses." - from http://galeriajaquelinemartins.com.br/artista/regina-vater

One of her pieces, exposed at the Gallery and that most caught my attention was "Comigo Ninguém Pode" artwork. Showing big sheets full of brazilians´portraits, almost like a 3x4 ID pic, Vater shows how vast is our ocult culture and beliefs, relating these greats amount of pictures as a `wall of faith´. Behind those, there is an actual `Comigo Ninguém Pode´ plant vase, developed from previous research works where she photographed houses and stablishments that hosted these plants on front doors as a protection against enviousness or bad luck (mau-olhado). With this work, the artist doesn´t clearly dignifies the image of a popular belief, but reafirms its strenght held by a legion of people, that even though are unknown from a viewer´s perspective, show unity and protection almost like a flag for the culture of small beliefs, making such a valid narrative for latin culture and its people.

Considerado por Hélio Oiticica a "totalidade-obra", é o ponto culminante de toda a experiência que realiza com a cor e o espaço. Apresenta a fusão de cores, estruturas, danças, palavras, fotografias e músicas. Estandartes, bandeiras, tendas e capas de vestir prendem-se nessas obras, elaboradas por camadas de panos coloridos, que se põem em ação na dança, fundamental para a verdadeira realização da obra: só pelo movimento é que suas estruturas se revelam.
(...) os Parangolés ampliam a participação do público na medida em que sua ação não está mais restrita ao manuseio, como nas obras anteriores. Eles pressupõem a transformação na concepção do artista, que deixa de ser o criador de objetos para a contemplação passiva e passa a ser um incentivador da criação pelo público. Ao mesmo tempo que pressupõe uma transformação no espectador, dado que a obra só acontece com sua participação. Trata-se de deslocar a arte do âmbito intelectual e racional para a esfera da criação, da participação.

Muitas vezes usados por integrantes da Mangueira - Mosquito (mascote do Parangolé), Nildo, Jerônimo, Tineca e Nininha Xoxoba entre outros -, o Parangolé expressa inconformismo - alguns levam frases como "ESTOU POSSUÍDO" ou "INCORPORO A REVOLTA" - e é um "estandarte da anti-lamúria", revelando a cumplicidade do artista com os que vivem à margem da sociedade."

from https://enciclopedia.itaucultural.org.br/termo3653/parangole

Using Parangolé initially as a functional reference (in terms of wearing and participating in an artwork), I was also very pleased by the idea behind those who could wore it and the sense of body and piece uniting as one. Being an accesible and fun piece, it removes the one-hand relation between artist and spectator to artist, as a maker, and artist as a performer, that does not need to be the same person - and further, choosen by Oiticica as brazilian citizens that don´t instantly show a social role as fine art´s intellectuals.
His idea behind it also relates a lot to the first references I got from Candomblé´s religion, since it owns a historically censurated trajetory, being firstly incorporated into our culture by african slaves brought by europpean ships for compulsory labour. Again, its close to an excert from society that was born from a certain exclusion, such as the performers that could work and play with Parangolé as a group, in order to honour their participation on society, a topic that still needs to be talked about and reinforced nowadays.

Terça-feira a sábado aberto ao público

Through his accurate series of photographs, he is tracing a path between history, culture, education, cliché and everyday habits; thanks to the attention to small odd details that each of them is hiding behind he is able to trace a link between far entities.

 

Searching for some of Weijde´s works on books I found “praia”, recommended by my teacher Roger. With this same approach as the quotes above, the artist photographs scenes from brazilian beaches during his stay in 2004. The scenes appear like a documentary about details that don't call a lot of attention, like trash cans, thogs over the sand and chairs all in b&w. 

One characteristic from his works that specifically called my attention is the close relationship  between the research and the publications made by him. Since the photographies are very close to reality and without much editing or planning, they seem as ´drafts´of memos of a production process, revealing a poetical informality of mundane situations and places with a personal outlook that choses minimal spots to photograph. This observations are close to my decided zine´s outlook, where I´m observing people on the streets and public transport with a very uneventful preparation (or none preparation I could say, since my primary research is to simply start walking through the streets and watching people live their lives), capturing scenes that are normal but detailed with some specific interpretations/subtitles keeping the simplicity through moments of each scenario.

http://4478zine.com/2010book_fznr1.htm - zine with everyday scenes. Photographs in black and white. 

I related to this work just like Weijde´s photographs, where both are very informal and spontaneous. One difference from Bakker's work is the constant search for human figures and their actions on a daily basis and common life, revealing simple yet unique scenes from socialisation, love, games and simple time-spending situations that made me feel very nostalgic and with some sort of joyful, yet missed feeling of life's simplicities and values. I absolutely enjoyed this book because the pictures contain also very simple and minimalistic subtitles that dialogue completely with its shots, revealing even more poetry behind those moments - and, furthermore, an open space to interpret the very small captions (that are mostly one word) and imagine different stories and personalities of each unknown human that appear in a second of frame. 

This artwork was a big inspiration to follow my ´routine research´ as the main topic of my fanzine, specially because of the subtitles - they balance the work perfectly and seem to be as “vague” as the everyday life but when connecting both, a visual and written poetry is created in the most simple, small and yet powerful way. 

In terms of an open-minded space to think, observe and even get emotional by these humble scenarios and experiences - that in my opinion capture human life and relationships of all kind perfectly, showing neighbours, dogs, children, couples, adolescents and so -, the nostalgy was a key piece to me, on such days were we barely see or socialise or know the people that we pass through on a busy city full of technologies that make us look away from real eyes. Specially, because this scenario is even more modest and mere as it is located in a simple neighborhood that mixes old, decay buildings with modern life and how they might connect.

http://marlosbakker.com.br/projects/?lang=en 
artist’s website - link to the series of photographies from the mentioned work. 

“If there is a common denominator running through my work, I would describe it as ‘encounters’. By ‘encounters’ I don’t mean an encounter with the Other, but a self encounter, whether through something that affects us, that connects with us, or through pure introspection, with our most intimate being.” - marlos bakker, ‘about my work’. http://marlosbakker.com.br/projects/tag/marlos-bakker/?lang=en

picture: all the subtitles from the pictures.

This very “unimportant” moments almost felt like there was a detective or spy counting Roth´s steps, but everything is made and captured by himself, placing cameras on all of his personal moments - this feeling of having a 3rd person after him is quitle subtle but poweful in terms of the literacy of each shot. They are so transparent and honest, that can even make the spectator feel like there is another person behind it that uses Roth´s life to become an artist. 

Even though the images show completely normal activities, they aren´t seen from other´s eyes unless it´s a person that lives with you, or some very close relationship, and I guess that´s were the awkwardness comes from. If you look further, the pictures change from ‘boring’ to a complete mix and opposition between an unknown person versus the familiarity of actions. I did enjoyed to observe his pictures and see how different they can be felt by the espectator´s place. It was a good research to imagine even more about who are these people that I started to photograph and how they all can have a completely similar life - they all work, dress up, sleep with someone (or no one), use the bathroom and etc. The different people and their actions can all connect in those terms, and evoke the same strange feeling as Roth´s pictures. I don´t intend to capture people like that, but by making a very normal photography (on a very normal space and action), I believe that this space for imagination can be broaden up, which is what I want to allow with my drawings, pictures and subtitles.

picture from the book

“Reprodução de um sketchbook feito em 2010, encadernado artesanalmente pelo autor, com 3 metros de comprimento e tiragem de 100 cópias numeradas. Traz uma série de personagens que surgiram ao acaso no papel. Em seguida, eles receberam nomes e alguns comentários que lhes deram personalidade.” 

Comment about the book “Catálogo de Gente” from https://walterkinder.com/

Kinder create small stories (also like subtitles for his drawings) that mix fictitious characters with real stories - that are not portrayed by him as a documentary or report from others, but are so common to our identity that end up representing actual and unidentified actual living beings. I relate to the informality of his work and the small line that separates reality from a story. I don't specifically enjoy his drawing style, but the portraits are very transparent and sincere that can be related to daily life, just like the pictures I took on public transport. His work can also be identified as “nanocontos”, with really small stories that can define big and common personalities - such as old grandmas and adults that receive such descriptions “Vaidosa, Dona Sofia só saía de casa após se maquiar um pouquinho”; “Rose conhecia truques para sair bem nas fotos” -. 

picture - example of a character with a small story, from Kinder´s website.

Even tough I didn’t followed the correct order of each room (because I wanted to experience them more personally and not so crowded as everyone were entering on the same rooms at first), I really got in touch with each. The room filled with nets made me feel joyful and curious, as a fuel to explore the next rooms. I was moving with the wind on my body from the net’s movement and feeling really light, like the “start” of a happy trip.

On the last room I visited, the one with the floor covered in dense and big mattresses, I started to run towards the whole room. That experience made me leave very tired and leave feeling like I ended a trip 

During the series, the character Arya Stark ends up joining an extremely secret cult, devoting what is called a Many Face God. The faithful are allowed, after many trainings, to borrow the identity (the faces) of the ones they kill, using the skin as a mask to protect their identity and the cult’s. The Cult’s place, “House of Black and White”, was initially a spot of the Faceless Man, a group of ancient assassins that began with this sort of art where “nothing can be traced to them, because they are all no one.”

The semantic and physical space of this religion made me think furthermore about my project and its presentation. I’m dealing with identity, metamorphosis and change, having this ability to allow yourself to do so but also reconnect to your old self - not seeing it as something better or worse, but as a process that is not only psychological but biological, possibly in terms of growth. By representing the masks with actual organic and animal materials, I want to provocate the spectator in a scene where he is able to see his own self, firstly because the masks are not clearly identified and also not intend to show from who it belongs - just perceived as one, as humans. The carcass left behind is there to maximize a look into our processes to the deep (un)conscious and the use of animal products (milk and gelatin) reinforce the nature behind so.
The physical aspect of the sanctuary of faces is also quite similar to my installation disposal. I want to place several masks together, but not clearly revealing the subjects as GoT series did (image below).

"The Faceless Men worship Death, whom they believe is the only god. The cult is actually a syncretic religion; its followers believe that Death is unknowingly worshiped by devotees of all the religions in the world, simply under different names. Every religion either has a god of death (in polytheistic faiths), or has a god with dominion over death (in monotheistic faiths). The Faceless Men believe that all of these gods are simply different aspects, or "faces", through which Death has revealed Himself to humanity - hence they formally refer to their deity as "the Many-Faced God"." https://gameofthrones.fandom.com/wiki/Many-Faced_God 

 
bibliography:
https://www.bustle.com/articles/142000-what-is-the-hall-of-faces-on-game-of-thrones-the-room-holds-great-meaning-for

https://www.projectgora.com/2018/05/game-of-thrones-westeroast-cafe-quezon-city.html

The climbing over the chairs, actions that we do

Almost as saying - Is this what our life is? A series of predictable and remarkable actions that continue ‘till we are worn out?”

Moments of coherence, of understanding the world, are the most we can hope.”.
Being a South African artist, it is possible to see that K. reflects about repetitive actions and moments on loop along a "meditative time", where you stop and see continuous repetitions that are simple and predictable but serve us hints of what he might be discussing or criticizing.
Some of his looping videos from this set of works include himself, a white man wearing a chemise/formal clothing, carrying on is back a black African woman using skirts and fabrics that reflect on her culture; or this same last subject walking through chairs that are placed and directed by this white man. The looping makes me think even more about this relationship we built, in a global spectrum, of a white and well-developed supremacy. By repeating these movements, a narrative can be imagined and related to our actual circumstances and history since it's a long-term issue that still perpetuates human society, politics and territories.

To realize how the repetitive GIF effect helps to reinforce a theme such as this, helped me understand that I should not only think about the act/performance/clothing itself, but which identity am I relating to it and how it empowers with significance the loop.

One of her first paintings that I saw was a portrait of a woman with several wine glasses around her (“La Gardienne des Sources", 1967 - image below). These elements gave me the idea of relating women abuse, objectification and sexualization through the image of alcohol, using it as a symbol referring to sensuality, obscurity and vulnerability that is socially desired or conceived as inferior treatments towards sexist identities and its differences.

The own story of Fini is already a very strong start for a reference and her identity not only as an artist but as a female also brings strong elements to study and base this project on, involving gender, possession and other struggles from sexist relationships between her identity and man-woman (as her parents).

“Her parents separated when she was just a year old, her mother escaped to Italy and brought Fini with her. In attempt to avoid her father from kidnapping Fini, her mother disguised her as a boy for several years. 

Early in her teens she developed an eye disease which caused her to wear bandages on both eyes for quite some time. Needless to say during this horrible moment in her life she was able to develop an inner vision, causing her to pick up art after her bandages were removed. She translated her visions onto the canvas and instantly became intrigued by art, exploring museums whenever she had the chance, reading art historical books, and researching the Pre Raphaelites, Renaissance masters, and Romanticism. She took this new passion of hers and pursued it with perseverance.

(…) Throughout her career Fini changed styles and utilized different techniques. Her works which included sphinxes, felines, nymphs, priestesses, nudes all represent the female as goddesses and warriors at a time when women were being defined by men.”

To pursue something that doesn’t belong to yourself, ignoring its actual meanings and importance to other identities is shallow - considering spirituality and culture, aspects that can be found as the North of my initial idea and her works.

A Victoria Secret model wears a fringed bikini and feathered headdress. (...) It's 2016, but headlines about cultural appropriation on the catwalk keep coming. A major topic of discussion and controversy, Claxton's Made to Be Ready addresses the issue — in one photo especially, called Headdress.

"You're not going to see any Indian wearing those things, but you see all those faux hippies at Coachella wearing them, right?" says Claxton.

"It's insulting. But I understand why. They're beautiful. They feel amazing on. They're comforting. They have manna. They're gorgeous. They're amazing head gear, but they mean something, especially to Plains Indian people. So coming from a culture that has been oppressed and structurally dehumanized, the things that are ours, we cherish them. Personally, I find it to be insensitive, and kind of silly, really. Maybe even stupid, because people don't know the history, still," she says.

In Headdress, Claxton uses her personal collection of jewellery and beads and strings them together to form a rainbow veil that adorns the face of the model. When she wears the same beads in her day-to-day life, albeit styled a little more conventionally, Claxton says she experiences something unusual. "It's interesting. Sometimes when you wear your beadwork, people will reach out and touch you," she says. "I've never reached out to touch someone's pearls or emeralds, but why [do] people think when we're adorned with our stuff they can reach out and touch us? It's an interesting phenomenon."

Very good article that has lots of talks and opinion from the artist and her artworks! Mini encyclopedia of her events and cultural background. 
What I enjoy about this work is also the ready-made aesthetic behind it, as a small game of words playing with the title and what it suggests. The indigenous beadwork is criticized in a "ready made"theme, since it was never considered fine arts in a Occidental white supremacy, only receiving a label as "crafts".

https://www.cbc.ca/arts/dana-claxton-wants-to-change-the-way-you-think-about-indigenous-women-1.3403600 

Relating the essential and important role of horses for Lakota people that is seen as an honored friend or relative, not only as a mode of traditional transportation.

“In The Mustang Suite, she evokes imaginative impressions of horses dancing in a projected one-channel video, accompanied by a suite of five photographs on the theme of evolving Aboriginal identities using various metaphors for the horse.

he color red, important in Lakota culture, runs as a motif through images that borrow from notions of family portraiture. In Daddy’s Gotta New Ride, an Aboriginal man with a painted face stands in a business suit beside a red Mustang car. In Baby Girlz Gotta Mustang, twin girls in red dresses and mukluks trimmed with rabbit fur sit on red Mustang bicycles. ” 

https://www.gallerieswest.ca/magazine/stories/dana-claxton%2C-%22the-mustang-suite%2C%22-june-9-to-july-31%2C-2008%2C-alternator-gallery-for-contemporary-art%2C-kelowna/ 

A Lakota-Sioux native-american tribe located in Dakota, US.

The Sioux Nation is a large group of Native American tribes that traditionally lived in the Great Plains. There are three major divisions of Sioux: Eastern Dakota, Western Dakota, and the Lakota. Many Sioux tribes were nomadic people who moved from place to place following bison (buffalo) herds. 

Sioux native artworks include lots of beaded patterns, feathers, fringes and animal skin with ethnic patterns. 
*image below - traditional Sioux vest.

"She is best known for her deeply personal and confessional artwork that she promotes through her celebrity and use of the popular media. Personal traumatic events such as unreported rape, public humiliation, sexism, botched abortions, alcoholism, and promiscuity have been her topics. The quality of Emin's artwork is often contested, from the critique of expressionism, to the politics of female representation. However, it is this collapse of the identity of the artist and her work that begs for rigorous thought.

(…)

Although she rejects any notions of her work being for a feminist greater good, her courage to be vulnerable and honest through her artwork collapses the edge between life and art, and has brought attention to the discrepancies between men and women's ability to critically and publicly engage with topics such as alcoholism, gender roles, and, most controversially, sex.” 
- excerts from link below

Using her body as a field for performance and self portraits, she uses what considerably can be seen as “vulgar” into artworks that can get a further recognition from the spiritual and healing towards art.

WORKS

 

"Everyone I Have Ever Slept With” 1995

This work is a small tent containing the names of everyone Emin has shared a bed with, not necessarily with the same meaning as the popular expression “slept with” (as relating sexually) someone. This discretion between what it seems to be and what actually is feels to me as a certain innocence trying to be recovered instead of explicit eroticism that calls attention. There is a thin difference from both, but considering the artist’s background experiences, it makes me somehow pitiful from all the fingers society points at us, women. Her gender is a clear role that confronts the hustle and gossip behind her career  and fame, but the works are hinted with details that speak further than that, which provokes a big sensibility and emotion.

Artwork description & Analysis: This video features scenes from Margate, Emin's hometown, including the beach, the games arcade and the "golden mile" which is an area with casinos and bars lit with neon signs. Emin narrates a story from her early teens, explaining what her life was like in Margate and how she began having sex with older men between the ages of 13 and 15. After she turned 15, she says, she wasn't interested in sex any more, and turned to dancing instead. When she was dancing in a competition, a group of men whom she'd slept with began shouting "slag" in the middle of her routine, breaking her concentration and causing her to lose focus and in turn lose the competition. The film ends with the older Emin dancing in an unfurnished room with a smile on her face as a rejection of the group of men from her past. Through this personal experience, Emin explores the double standards men often hold for women; they're willing to sleep with them, but equally willing to call them a "slag" for doing so. Dance critic Sarah Crompton describes the film in the following way: "It simultaneously breaks my heart and makes me want to cheer every time I see it because in it Emin transmutes the details of her life into an experience that anyone who has ever been hurt - and recovered - can identify with." The piece is confessional and cathartic for the artist personally too. The images of her hometown are filmed in a different style, which evoke nostalgia and a touch of romance through faded colors and the amateurish handling of the camera. The style of the cinematography changes and lively disco music picks up where the narrative left off. The cut to Emin dancing in a room alone offers a reprieve to an otherwise unfortunate autobiographical story.

Making a bridge back to a century ago, where women that where “too angry, repulsive or unsatisfied with their home/daily life” where diagnosed with what was called “female hysteria”, described
( on https://www.huffpostbrasil.com/2013/11/21/female-hysteria_n_4298060.html?ri18n=true ) as:

“Hysteria was the first mental disorder attributed to women (and only women) -- a catch-all for symptoms including, but by no means limited to: nervousness, hallucinations, emotional outbursts and various urges of the sexual variety. (…)

Thomas Sydenham was an influential British physician who lived from the mid- to late-1600s, and clearly thought that crazy ladies were wandering around everywhere. According to Mother Jones, Sydenham once declared that female hysteria -- which he attributed to "irregular motions of the animal spirits," was the second most common malady of the time, just behind fevers. (…)

At various points in history, the massaging of a woman's pelvis (i.e., her genitals) was embraced by many a health expert as the cure for female hysteria, resulting in "hysterical paroxysm," or orgasm. Though the practice dates back to the renaissance, and even before, it became a money-maker for the medical establishment during the Victorian era. "By the early 19th century, physician-assisted paroxysm was firmly entrenched in Europe and the U.S. and proved a financial godsend for many doctors," Psychology Today explains.”

Summing up, this condition that is simply about female sexual behavior was seen as a disease, and it was also during the 19th century that vibrators where first created - but categorized as a an electromechanical medical instrument. By bringing back historical moments, we can create a path back to when women became submissive, silenced and objectified. I also relate the male abuse towards us as a point behind all of these topics, that can start with a more “digestive” subject when mentioning wine therapy (in the case of my performance’s background research) which is today seen as a universal way of relaxation. But to bring back gender-determined therapy techniques show a change of time, fortunately. Although, there is still a lot of roots behind a sexist behavior that ‘justifies’ male abuse as a form of relief to what was once “provoked against them”.

"“I am in love with creativity, I just don’t like what it has become”, says Goldsmith. This is why he is throwing plagiarism, boredom and uncreative writing back at creativity, with the hope of reviving it: “I am obliged as a poet to be as experimental as possible, because I have nothing to gain by playing it safe.” This uncreative approach to poetry has led Goldsmith as far as to the White House, where he read plagiarized traffic reports to the President of the United States, Barack Obama, who was clearly quite entertained.

" “I am in love with creativity, I just don’t like what it has become”, says Goldsmith. This is why he is throwing plagiarism, boredom and uncreative writing back at creativity, with the hope of reviving it: “I am obliged as a poet to be as experimental as possible, because I have nothing to gain by playing it safe.” This uncreative approach to poetry has led Goldsmith as far as to the White House, where he read plagiarized traffic reports to the President of the United States, Barack Obama, who was clearly quite entertained. (…) " - Louisiana Channel, “Kenneth Goldsmith Assume no Readership” (@ https://channel.louisiana.dk/video/kenneth-goldsmith-assume-no-readership )

Through my point of view Goldsmith explores what is beyond authoral, even though he is borrowing texts still remaining a poet. The performance of reading pieces from someone/somewhere else deals with his choice and comprehension of “creativity” as something that isn't valued as divine or extremely genius. I enjoy his approach that goes the other way around, corrupting this quite capitalistic concern of art or simply creativity itself as something extraordinary, while we are constantly bombarded by information of all type daily. 

We got used to this technological and media-ful era and his behavior mimics this relationship between public and ‘show’, seeing show as the complete ordinary. Breaking this ground is somewhat ironic and ‘smart-mouthed’, which makes it exciting to me. Creating another pole of poetry by the way he works with information is in practice basic, but opens up further fields of thought that wouldn’t be accessed without his performance of minimally reading those news. 

http://adrianabalsanelli.com.br/marshmallow-laser-feast-british-council 

All of the group’s projects are very big and technological but what fascinates the most is the interaction with the public, during the production or as part of the outcome in general. In the case of the Kinetic Light, a forum was firstly develop for people all around the world to answer what would they like to become famous for. After gathering several of the most unique responses, the sculpture’s format was designed through the study of brewery destination processes - by analyzing the water movement through barrels and machines. The outcome was presented with copper circular bands engraved with each answer and disposed in a tubular, portal like area with different circle sizes also with a central light that reflected the comments on the whole ambient/room of exhibition. 

Every light present in the room is emerged from the words of several people around the world, that were asked under a common request and question that probably went through everyone’s minds at least once in a while during life. By collecting all of these “desires”, each person is anonymously represented and then possibly open to a certain level of empathy and relation towards the public. A piece that gathers so many information, ends up sharing it all in a same space that gives them all a same value. Not the value of fame itself, since the question is hypothetic. But a sense of relationship is definitely created by the ones who participated and the ones who watch- common people, maybe with common desires that show answers like "wanting to be remembered for creating a certain change in the world” provoke me feelings of community as one, not because of specific answers but for being all around the world. I loved the humanity sense of this work and it’s touching in a melancholic (since people who see or answer are not famous - but that’s not the point), yet warming way. 

The “Forest" work is again very interactive, with a range of tall light “sabers” that get illuminated when hit. Looking from our own human height, the act to activate the work almost seems aggressive, but when combined with simultaneous repetitions creates a very delicate, even “fairy"atmosphere when looking up towards the tall light spots. It mixes human interactions in a discordant way when thought rationally, but as a whole represents many interactions that keep the Forest alive and musical. It is very warming and magical, specially when thinking through a child’s perspective (the Vimeo video linked shows the interactions between a big group of kids wearing boxing gloves to hit the light sabers and give life to the ehxibition).

"Down the Blue Mountain is a sequence of dream-like scenes with a bedroom, the house, the street, and at last, the town. All the scenes are intentionally blurred to leave room for imagination, so viewers can associate their own memories or dreams with the scenes and create their own narratives. The series is shot in San Francisco, where the softness and ever-changing quality of the light and fog engender a contemplative mood. Instead of people, light and space become main characters that tell the story. The title “Down the Blue Mountain” is a phrase from an ancient Chinese poet Li Bai in which he expressed his sentiments for home and romanticized the distant landscape during a long journey.  

The videos are projected onto their corresponding miniature wood relief sculptures. As the light changes or fog passes in the video, the relief sculpture and video switch roles of foreground and background."
quoted from Zhou's official website:  http://yugezhou.com/installation#/down-the-blue-mountain/

Quoted from link. El País, As images questionadoras de Harm Farucki, during exhibition at IMS Rio, RJ.
https://brasil.elpais.com/brasil/2019/03/12/cultura/1552400966_974298.html

"Ele sempre se interessou pelo surgimento de novas formas de trabalho, ou por questões como o desemprego ligado à industrialização. Este é um tema muito rico e importante para cada momento da história, de modo que faz muito sentido examiná-lo. (…) enquanto documentarista, muitas de suas obras documentais lidam com a questão trabalhista.”
Antje Ehmann, curator, Harun Farocki: quem é responsável? exhibition's video on IMS Paulista (linked below).

I feel intrigued by the subtle use of image Farocki uses, even though they can be very thoughtful and even historical or journalistic. I believe that by documenting issues as technological industries occupied by smaller labour (humane) force throughout decades and putting himself as an observer instead of actor (to film and select images) and later as activist (by divulging these as his artistic identity) is a clever decision. - F. doesn’t belong or wasn’t born in such social or political places, he comes from a successful family that assured good life conditions during his raise. With that, his documentary series are introspect and raw aesthetically, since he’s not in a place of speech or action where he could simply put his own assumptions on - just like my point of perspective towards such theme I am prompting to talk about. It is essential though that he puts himself in those situations - his works are not an ode or tribute to workers or social situations, like a flag-shipped work where he doesn’t come from. 

Starting with works dated closely to the beginning of her career, there's ‘Girls from Prince Street’ (1976-78) selection of shots from her neighborhood in Little Italy, NY, were she used to walk through and began making connections towards the children there, that where curious about her camera. She has pictures of very sincere adolescent and children relationships on their daily life during the 70s, showing the development of a lot of the girls she followed. I loved this first room because of the way social interactions are shown in a very pure and childish way and since the start of this project, as she comments happening accidentally, everything is captured in a very spontaneous way yet documental. I felt very captivated by the way she shots their behavior so naturally that almost looks like they are acting for movie scenes. 

“Chamo essa meninas de ‘meninas da rua Prince’ porque seus pais disseram que elas tinham que ficar na rua prince. (…) Eram meninas muito vigiadas, pois todo mundo na comunidade se conhecia. A curiosidade delas a respeito de mim foi o que me levou a percebe-las, de certa forma. (…) Talvez tenha me atraído a expressividade dessas garotas, que começavam a compreender seus corpos. 

(…) Sim, começam a ser donas dos próprios corpos. Adoro as fotos nas quais estão posando. Não tanto para a camera, mas para elas mesmas e para as outras.”

The exhibition began in this “safe space” with images of funny girls chewing gum, wearing retro clothes and playing on the streets; to later present works that she is best known for, during tense situations on conflicts and civil wars. 

The shots where taken during shows (with men glances deeply excited towards such bodies) and also on backstage or camarim. She started little by little to gain their confidence until she got invited to accompany those tours, always with invitations of some performers. The work took 3 summers and the guy managers constantly felt worried about her presence, arguing that she could document these to betray their work or denounce. 

To me, it felt like a relation towards the girls from prince street - maybe in a precocious way. From Italian girls to strippers, I felt this weird yet so humane connection between them and between my own self. I think its because of a gender question, so as sexuality, and feeling these two forms of intimacy with somehow the same subjects felt very relatable and empathic to me. Mostly, because of a small book presented there where Meiselas got a deployment from a stripper - something similar too people ignoring their real life as real women, instead seeing them only as toys and fun. From my memory: “people forget we are also humans. We have the need to eat. To fuck. To get depressed, sad or happy. We are woman and we have feelings.”. 

I guess this prepared me, in a very basic way, to pay more attention to the next room - ‘Fotografando no Curdistão” (1991-92) after the end of Golf’s War/Guerra do Golfo. Probably because just like her, it was a question that I 'heard of’ and kinda know about it as a war between human right and refugees on medium orient. She went there to discover why people were migrating from Curdistan to Iran or Turkey, so the shots felt more didactic and journalistic - she was also trying to understand this context, and it is noticeable how she deals with photography in a delicate way this time. She went through very rustic villages where fully clothed women took care of a community that barely had water, collected testimonies of curds from their migration stories and even went through found ancient grave sites. 

She also did an amazing collecting work by searching for photographs of curds and families, looking for historical matter instead of producing it:

He studied London for his masters and still works there a lot. Graduated in FAAP as well but after the MA he started to work internationally and with more consistency. Shows happen in Europe and America, with a current big permanent installation for the london underground, where they comissioned him for a very large scale work.  He enjoys using his practice into different things, through shows and outside spaces with public sculptures - which is something quite new in his career (started 6y ago). 

Industrialized materials are found and collected, rarely changing or adjusting them.

The big green fabric screen is part of a parachute. Including the circle, that was already there and he just cut the excess of fabric to stretch the piece on a frame. Mostly, he only changes one thing using this as a little shift from one view to another, such as the parachute positioned into a new perspective as a flat surface.

His occupation through a gallery space suggest levels and separations, establishing grounds for one element to the other - he tried to balance the installation space into individual sculptures with also independency from each piece (5 sculptures in the space, but with similarities in between). 

He states that he doesn’t produces installations but sculptures, which can be put in different places, exist in different situations and not necessarily site specific like an installation would be.

He intentionally incorporates design and architecture elements into the sculptures. 

image source: Cunha’s instagram @casadacunha

completely found on a truck industry, where the cutouts transformed into truck pieces.

He created a beautiful rug like piece with some blue dye that initially was a bunch of cleaning instruments. he attached each in a patterned reposition with knots and sewing.

As he states and advices; You have to listen to the object. You might start with an idea but then you need to feel what the object tries to tell you. His process can relate to the making of a play, and how his objects can contribute to the “stagium” space.

Cunha sees that the background of the object is part of the concept, like the work and labour behind the bandejas or mops. 

I can relate his decision of objects to my work’s intention, while in a very subtle way there is a background of mass work and industry. Also, I couldn’t notice in the first place which objects were used and only when he talked about each piece I got surprised with their “ids”.

https://www.moma.org/collection/works/6357

After remembering the hair material I kept from 2018 (when I chopped my hair at home) with quite big leght, I am intentioned to use it as a sculpture material for the exhibition show. The elements Tunga uses changing the atmosphere of a whole room captivated me a lot, and after unsuccessfully being able to develop the themes I wanted to work for the last weeks, I will focus on this aesthetic and material now. Lezart 1, 1989, is one of plenty works that he uses copper and metal strands as hair, rock plaques and other surfaces that play and adorn it. I like the surface of rocky floors that make the hair emerge from within, almost as a supernatural being. 

Materials - Iron, copper, magnets, and embroidered silk

‘’The contemporary artist Tunga makes enigmatic sculpture and installations that combine traditions of Brazilian Constructivism and Surrealism to create a unique visual language. Lezart is a highly complex installation that is constructed of elemental substances such as copper, iron, and magnets. Its forms—combs, lizards, strands of hair—bear metaphoric and narrative links rooted in fictional writings by the artist. This piece is strongly related to a recurring text and performance involving the tale of Siamese twins, joined by the hair, who are sacrificed at puberty. Their salvaged scalp is passed on to a woman who extracts blond hairs from it to embroider an image from her dreams. As she does this, the threads turn to gold. The title of the piece, Lezart, refers directly to the cast-metal lizards that are found throughout the work and that continue the Siamese twin motif through a hybrid creature whose body ends in two heads or two tails. Tunga’s compelling vision, as it plays out in sculpture, installation, text, and performance, relies on age-old symbols, evocations of childhood fairy tales, and alchemical transformation that engage the viewer in the seductive materiality of the artist's sculpture and the myth surrounding its creation.’’
source -
https://emuseum.mfah.org/objects/95002/lezart-i?ctx=8d11f555d9863956dee1b8f5d336f6ddc74e3b15&idx=1

(*- it’s actually a ball but I prefer to see it with the meaning of an egg.)

Although when I cut it (2018, two palms or 1 and a half of it), I was in a more contained and insincere moment in my life, when things like taking care of my own self weren’t so meaningful to me. I was suffering depression, taking pills and drinking a lot most of the times I went out. I started losing things (I lost my cellphone 2 times that year) and I didn’t knew where I wanted to go neither saw myself somewhere in the future. 

It all started when I returned to Brasil in the beginning of that same year after living in Australia for 6 months. It was a common sense that these ‘bads’ would happen since I was coming back to a point of my life that I wasn’t missing. I cut my hair before living abroad, and since then (end of 2018) I left it growing. It started to collect all those feelings, those dark roots that I didn’t knew where they would take me. Anyways, I cut my hair in October all of a sudden at my bathroom some days after my birthday. It was in a very personal and symbolic view, a place to regrow and restart physically and emotionally. 

I want to use my (old) hair to represent the depression, the rotten egg I was carrying. But also as a part I detached from myself. Deciding to make and study Arts was a huge step at that moment for me, and to represent it in an artwork would be very special for my path. The hair and the egg are elements that reveal growth, and in this case they reveal not only that but a discard as well.

Probably because she was the first big reference I found for this project, in the beginning of my action plan (after really deciding to work with hair) I decided to use her hair works as the main inspiration and maybe create my own version of it. Although it relates a lot to my concept it involves this matter as something mainly ‘witchy’, which is not my intention in the first place and maybe it develops to far away from a screen idea. I even made a sketch planning a very similar work - specially the image shown on this quoted link - but after realising she uses way much and voluptuous hair, mine wouldn’t look appealing for this use. Since my hair is very thin, it would only look like a miniature of her works. And furthermore, I think this ‘first actual idea plan’ got me too excited instead of realistic for this project. 

I still quote her as a big influence, even though my hair net is not visually close to Pou’s. This artist was my starting point, the place where I actually got excited on this work and with this material. 

I made half of my grid by this point (21.02) and it looks just like it is described on the last sentence: gappy, open and not decorative. I can see my perspective so much through Mona Hatoum’s grid that I can almost make the comments about her work (from this link) the same as mine, except from her ethnic and cultural background. Unlike her, I am describing this sculpture more towards a past mental state than (sometimes) geographical as she did.
I can even add some sort of emancipation from my own appearance and vanity in a way to point out her use of the female realm for hair. I used to have long hair for over a decade, and deciding to cut it myself right on my birthday week (at the time, turning 18) was very symbolic. I felt like so much was holding me back at the time, just like the hair kept growing so long, downwards. Hair emerges from the follicular roots, but during that period I felt like I was growing roots from the outside, unknowing my own. 

Hatoum’s Hair Grids appear to be a set of works made on the move, swiftly – if dextrously – formed with simple tools (hands, the loom) from available material (hair). They have a fragile, ephemeral quality. A faint breath of wind might carry them off. They’re vulnerable to being overlooked or thrown out.’’
text by Hedith Judah.

I relate to Lapage’s comment about her work - ‘’My work is made of impurity, of error, of failure, of frustration, of insubordination, of excessiveness and of organic accumulation.’’ - because the act of collecting my ‘organic matter’, in a way that does not feel like myself anymore, possibly show a lot about excessiveness as well. She produced a hair piece, ‘Witnesses’, that also has patterns of that same matter. A necklace of hair feels very vulnerable specially when adorning a woman, or her neck - in my vision, somehow close to Hatoum’s perspective as well.

Holzer, although works mainly with text as well, has an open field of installations and deep but minimal phrases with hints of a protest kind of debate. I would like to explore more medias than text only, but her works are very powerful and straight forward, which is something I could exercise as well since plenty of my portfolio works are very much conceptual from project to outcome processes. 

Barbara Kruger art

A série de maior popularidade é intitulada "truisms". Segundo o Houaiss, "truísmo" significa "verdade incontestável ou evidente por si mesma; coisa tão óbvia que não precisa ser mencionada; banalidade, obviedade".

O termo "arte conceitual" foi cunhado pela primeira vez por Sol LeWitt, no texto "Parágrafos sobre a arte conceitual", publicado na "Artforum". O artista demonstra despreocupação com a percepção do público no que concerne à compreensão da obra:"

"Bruno Kurru articula em seus trabalhos, camadas de imagens e escritos como estratégia para a construção de sua poética, mantendo reflexões contínuas sobre a ocupação do espaço, seja ele a superfície da pintura, seja o espaço real. Porém, ao suplantar uma carga ideológica, o artista desloca a função social do discurso, invertendo os sujeitos – alvo e disparador – das ações políticas.”- from https://www.premiopipa.com/pag/bruno-kurru/

Não existem indivíduos porque não somos, como a palavra sugere, indivisíveis. Somos, pelo contrário, atravessados e atravessadas por dúvidas, medos, contradições, pensamentos perturbadores, desejos indizíveis. Precisamos falar sobre isso, descer de nossos pedestais seculares, encontrar nossa real humanidade – que é falha, vulnerável, amedrontada, desesperada por solidariedade, por afeto, por amor."
Milly Lacombe, journalist and writer for Trip.

(...)

Many portraits of transgender people are limited to “before” and “after,” the “black and white” of sex: male or female. Mostly by those who are not selves trans but rather utilizing transgender bodies as a spectacles for profit and/or entreatment. Making us “other” rather then human.these ideas reinforced by Hollywood enable violence. In order to survive many transgender people stay closeted or keep their past a secret. To fight the media troupes I explore the visual changes in my body through the process of the transition, the slight changes that span many months and, in some cases, years. The gray rather than the “black” or “white” of male or female. The genitals so many are focused on are just a tiny part of the body with only one change, however for examples my hair is a lot more interesting, changing from portrait to portrait."

"My journey through the physical and spiritual reality of Fukushima is part of a life-long quest to explore and document spaces that were affected by trauma," she explained. "My explorations focus on places that are mostly forgotten and traumas whose physical signs have been erased or are invisible. These places are in fact home to a new reality. It is at this intersection where my work takes place." Yishay Garbasz

"No início deste processo, muitas perguntas: O que fazer em um espaço dedicado ao culto? Como tocá-lo sem profaná-lo? Não seria o ato de profanação o próprio ato de liberdade? A construção deste trabalho ocorreu durante o período de três semanas de residência em Dangio. "

She also made a film of the proccess to play on the chapel.