TAPP UND TASTKINO
(TAP AND TOUCH CINEMA - 1968)
Export invites the public to touch her naked torso
inside a curtain fronted box.
(Performance view, Vienna.)
(Photos: Valie Export Archive; Werner Schultz.)
"oh! isto é tão contemporâneo"
VALIE EXPORT
TAPP UND TASTKINO
(TAP AND TOUCH CINEMA - 1968)
Export invites the public to touch her naked torso
inside a curtain fronted box.
(Performance view, Vienna.)
(Photos: Valie Export Archive; Werner Schultz.)
TAPP UND TASTKINO
(TAP AND TOUCH CINEMA - 1968)
Export invites the public to touch her naked torso
inside a curtain fronted box.
(Performance view, Vienna.)
(Photos: Valie Export Archive; Werner Schultz.)
tinha uns dez anos, uma lata ao pescoço,
uma tira de auto-colantes, e estava ali no passeio
defronte da escola. quando passei dirigiu-se-me:
quer ajudar a caridade?
“não conheço”: pensei.
respondi, tocando com a mão direita no bolso das calças,
“não tenho caridade nenhuma.”
(caridade ou o que vulgarmente chamamos: trocos.)
(© n.)
uma tira de auto-colantes, e estava ali no passeio
defronte da escola. quando passei dirigiu-se-me:
quer ajudar a caridade?
“não conheço”: pensei.
respondi, tocando com a mão direita no bolso das calças,
“não tenho caridade nenhuma.”
(caridade ou o que vulgarmente chamamos: trocos.)
(© n.)
#32
(XVII)
De crudelitate et pietate; et an sit melius amari
quam timeri, an contra
DA CRUELDADE E DA CLEMÊNCIA E DE QUAL É MELHOR:
SER AMADO OU TEMIDO
(XIX)
De contemptu et odio fugiendo
GUARDEMO-NOS DE SER ODIADOS E DESPREZADOS
O Príncipe
Maquiavel
De crudelitate et pietate; et an sit melius amari
quam timeri, an contra
DA CRUELDADE E DA CLEMÊNCIA E DE QUAL É MELHOR:
SER AMADO OU TEMIDO
(XIX)
De contemptu et odio fugiendo
GUARDEMO-NOS DE SER ODIADOS E DESPREZADOS
O Príncipe
Maquiavel
"oh! isto é tão contemporâneo"
TRISHA BROWN
(CHOREOGRAPHY) ROOF PIECE (1973)
(a dance by Trisha Brown
and a photograph by Babette Mangolte)
For Trisha the choreography was testing how improvised
movements appear at a distance and are transformed
by transmission by a succession of dancers mimicking
with variation what they see and how what has been transmitted
at one end is different when received at the other end.
The dance tested the erosion of movement by transmission
as in telegraphy. It also was about revealing the majesty
and privacy of downtown roofs and the sculptural effect
of its water towers.
The dance was made of improvised movements influenced
by the series Accumulation and Group Primary Accumulation
choreographed by Trisha Brown in 1972 and 1973,
and how dancers positioned about a block apart over a large distance
transmitted those movements. The distance was the numbers of city
blocks in New York City from West Broadway and Houston
to White Street and Church at the other end. Altogether the distance
was seven blocks north to south and three blocks west to east.
(@ www.babettemangolte.com)
Only a few people were present to watch Trisha Brown’s
dance performance Roof Piece, high above the streets of downtown
Manhattan in 1973. With fourteen dancers spread out between water
towers and chimneys dotting the roofs in a line stretching from 420
West Broadway into an area just above Wall Street and back again,
at best you would see a fragment of the action. The contact sheet
of photographs taken by the French-American film-maker and
photographer Babette Mangolte in July 1973 uniquely depicts
the punctual concentration and simultaneous dispersion of the
performers and spectators present at the scene. For one of the few
chroniclers of the spectacle, Don McDonaugh, then-editor
of Ballet Review, it was a unique experience: ‘You were up in
a completely different world, totally removed … and nobody even
knew this event was taking place except for the few other people
who happened to be on rooftops that day.’ Similar to the children’s
game of Chinese whispers, Roof Piece consisted of a sequence
of studied gestures, a kind of performative Morse code that
travelled from one performer to the next. Independent of the
spectator’s spread-out position across various rooftops, Brown’s
choreography and its particular vocabulary of contradictory
movement and repeated gestures subsequently faded away
in the overlap of distance and duration.
(@ www.afterall.org)
(CHOREOGRAPHY) ROOF PIECE (1973)
(a dance by Trisha Brown
and a photograph by Babette Mangolte)
For Trisha the choreography was testing how improvised
movements appear at a distance and are transformed
by transmission by a succession of dancers mimicking
with variation what they see and how what has been transmitted
at one end is different when received at the other end.
The dance tested the erosion of movement by transmission
as in telegraphy. It also was about revealing the majesty
and privacy of downtown roofs and the sculptural effect
of its water towers.
The dance was made of improvised movements influenced
by the series Accumulation and Group Primary Accumulation
choreographed by Trisha Brown in 1972 and 1973,
and how dancers positioned about a block apart over a large distance
transmitted those movements. The distance was the numbers of city
blocks in New York City from West Broadway and Houston
to White Street and Church at the other end. Altogether the distance
was seven blocks north to south and three blocks west to east.
(@ www.babettemangolte.com)
Only a few people were present to watch Trisha Brown’s
dance performance Roof Piece, high above the streets of downtown
Manhattan in 1973. With fourteen dancers spread out between water
towers and chimneys dotting the roofs in a line stretching from 420
West Broadway into an area just above Wall Street and back again,
at best you would see a fragment of the action. The contact sheet
of photographs taken by the French-American film-maker and
photographer Babette Mangolte in July 1973 uniquely depicts
the punctual concentration and simultaneous dispersion of the
performers and spectators present at the scene. For one of the few
chroniclers of the spectacle, Don McDonaugh, then-editor
of Ballet Review, it was a unique experience: ‘You were up in
a completely different world, totally removed … and nobody even
knew this event was taking place except for the few other people
who happened to be on rooftops that day.’ Similar to the children’s
game of Chinese whispers, Roof Piece consisted of a sequence
of studied gestures, a kind of performative Morse code that
travelled from one performer to the next. Independent of the
spectator’s spread-out position across various rooftops, Brown’s
choreography and its particular vocabulary of contradictory
movement and repeated gestures subsequently faded away
in the overlap of distance and duration.
(@ www.afterall.org)
"oh! isto é tão contemporâneo"
TRISHA BROWN
(CHOREOGRAPHY) GROUP ACCUMULATION
(1973 in Central Park, New York City)
(photograph by Babette Mangolte)
(CHOREOGRAPHY) GROUP ACCUMULATION
(1973 in Central Park, New York City)
(photograph by Babette Mangolte)
"ponham muito alto a música"
TWIN SHADOW - AT MY HEELS
(a propósito do concerto twin shadow no “estaleiro”,)
(a propósito do concerto twin shadow no “estaleiro”,)
não vendo
moradia unifamiliar - grijó - algures em gaia.
(estacionei o carro e dirigi-me ao café. o proprietário
regava a relva, defronte, e encarou-me com um ar
de “não vendo”. quando voltei, tirei-lhe uma fotografia
“não compro”.)
(estacionei o carro e dirigi-me ao café. o proprietário
regava a relva, defronte, e encarou-me com um ar
de “não vendo”. quando voltei, tirei-lhe uma fotografia
“não compro”.)
chinoiseries
uma andorinha com várias primaveras.
(e não desta coeva urgência de ter
e dizer que se, também, gosta.)
(comprada nas caldas na fábrica do rafael.)
(e não desta coeva urgência de ter
e dizer que se, também, gosta.)
(comprada nas caldas na fábrica do rafael.)
"ponham muito alto a música"
(a propósito do clubbing,)
ARIEL PINK
ARE YOU GOING TO LOOK AFTER MY BOYS?
ARIEL PINK
ARE YOU GOING TO LOOK AFTER MY BOYS?
#13
(A Solução)
(...)
O povo perdeu a confiança do governo
E só à custa de esforços redobrados
Poderá recuperá-la. Mas não seria
Mais simples para o governo
Dissolver o povo
E eleger outro?
Poesia - Textos - Teatro
Bertolt Brecht
(...)
O povo perdeu a confiança do governo
E só à custa de esforços redobrados
Poderá recuperá-la. Mas não seria
Mais simples para o governo
Dissolver o povo
E eleger outro?
Poesia - Textos - Teatro
Bertolt Brecht
chinoiseries
tucano (sobre tronco de árvore.)
(tudo em faiança monocromática - tudo muito branquinho.)
(tudo em faiança monocromática - tudo muito branquinho.)
#71
Ah, sim: as coisas têm a sua vida, é o que eu costumo dizer:
as coisas têm uma vida própria. (Pausa.)
O meu espelho, por exemplo, não precisa de mim. (Pausa.)
Dias Felizes
Samuel Beckett
as coisas têm uma vida própria. (Pausa.)
O meu espelho, por exemplo, não precisa de mim. (Pausa.)
Dias Felizes
Samuel Beckett
(*****) fashioninja
YOHJI YAMAMOTO
(chapeau noir et rouge, redingote et pantalon noirs
automne-hiver 1985-1986)
photo: Paolo Roversi
(chapeau noir et rouge, redingote et pantalon noirs
automne-hiver 1985-1986)
photo: Paolo Roversi
remix ensemble - jonathan stockhammer
(@ casa da música - abr. 2011)
GEORGE BRECHT
SYMPHONY No.2
1962. [Turning].
1962. Fluxversion 1. Thick score books are positioned on music stands
in front of the orchestra members / As soon as the conductor begins
to turn the pages of his book, orchestra members start turning theirs /
The books are leafed through either at different rates of speed
or same rate of speed, but all are turned to the last page.
(@ Fluxus & Happening)
GEORGE BRECHT
SYMPHONY No.2
1962. [Turning].
1962. Fluxversion 1. Thick score books are positioned on music stands
in front of the orchestra members / As soon as the conductor begins
to turn the pages of his book, orchestra members start turning theirs /
The books are leafed through either at different rates of speed
or same rate of speed, but all are turned to the last page.
(@ Fluxus & Happening)
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