Demonstration of artistic intimacy; ephemerality of personality/identity; unattachment and search query/identity/personality encounter; the symbiosis of a close physical space with the human origin as immaterial space;
After verifying that the spaces explored in the previous phases are not "alive", I felt the urge to photograph their contemporary reality. What becomes of these spaces, these rooms, which were once midwives of art and breasts of life? The "no man's lands" of culture. But something more intimate and revealed. After almost two months in Lisbon, the Capital of the Continental Empire had not yet quenched the desire to explore. I had not yet gone to the cinema, the theatre, dance, or an exhibition. Unconscious organic impulses. The feeling of revulsion for conformity was such that I felt capable of going out into the street until I "bump" into it like someone who has been slapped. And so I did.
The disgust for conformity was such that I felt submerged in the first two verse groups of Os Lusíadas, by Luís de Camões; "Dobrada à Moda do Porto", by Fernando Pessoa; and returning home with Natália Correia and her "Do Sentimento Trágico de Vida". I couldn't feel Cesário Verde, it was a severely aggressive feeling due to the perennial rawness. I got up as Fernando Pessoa did and went for a walk along the street, until I felt that I was returning home in full condition. As I searched endlessly for something too abstract for my less-than-concrete needs, I came across a familiar name. I immediately contacted a friend who was debuting at the Teatro Ibérico her choreography Lîla. My request to photograph her off guard was affably accepted. I would now be able to capture the artistic essence, not that of the performance that everyone knows, but the one that is not known, the state of mind, the anxiety, the uncertainties in the timings and entrances, the problems of the technicians with equipment that stop working right before the performance. And the perfect synchrony between what is a diamond in the rough, which resembles graphite until it demystifies, polished, crystalline and radiant.
Revolt turns into excitement, and soon after it flows into ecstasy and sweetness.
Choice Synopsis:
I fear that the boundary between the means of action and its agent is too thin. The artistic complexity does not lie in undressing ourselves, but in the delivery of the esoteric core. Character traits, dynamics and interpersonal fluidity. Complicity and daring. This photograph represents emotion, memory and a nostalgic longing.
20.53 Aquecimento e Mobilização
18.56 Notas Coreográficas
18.43 Reconhecimento e Movimento
18.41"Começar a Baixar"
21.24 Fluidez
21.34 Contração e Distensão
21.27 Interiorização
21.24 Exaustão
21.43 Renascimento
The synopsis of this work is all enlightening about the organic sharing between beings that vibrate with art:
«The piece is born through a dialogue between two guitars and two dancers. Each duet flows with complicity and generosity. Together, the pairs intertwine through spontaneous action and communicate through gestures and sounds to achieve Lîla – a free performance rooted in improvisation. Through the challenge of merging idealization, practice and realization in a single moment, Lîla takes shape as a reflection on human life and its relationships, on the sharing of the present moment between four artists, each with a different point of view of the surrounding environment. The concept of Lîla is the inspiration that stimulated this project and emerged through the work of Stephen Nachmanovitch, who treats improvisation in art as a basis for mystical creation and creativity. Free Play – Improvisation in Art and Live is the celebration of the authenticity of the human being. The structure of the piece challenges the performers' bodily relationship with space and time, through different situations. There are four artists on stage – two musicians and two dancers – and the possibilities for interaction are endless.”
Álvaro de Campos, TABACARIA
[...]
You make way to the mystery of a street constantly crossed by people,
To a street inaccessible to all thoughts,
Real, impossibly real, certain, unknowingly certain,
With the mystery of things beneath the stones and beings,
With death putting damp on the walls and white hair on men,
With Destiny driving the cart of everything down the road of nothing.
I am defeated today, as if I knew the truth.
I am lucid today, as if I were about to die,
And no more brotherhood with things
But a farewell, becoming this house and this side of the street
The row of carriages on a train, and a whistled departure
From inside my head,
And a jolt of my nerves and a creak of bones on the way.
Today I am perplexed as one who thought and found and forgot.
I am today torn between the loyalty I owe
To the tobacconist across the street, like a real thing on the outside,
And the feeling that everything is a dream, like a real thing inside.
I failed at everything.
As I had no goals, maybe everything was nothing.
The learning they gave me,
I climbed out of it through the back window of the house,
I went to the country with great purpose.
But there I found only herbs and trees,
And when there were people, they were just like the other.
I go out the window, sit on a chair. What should I think about?
What do I know what I'll be, I who don't know what I am?
Be what I think? But I think I am so many things!
And there are so many who think they are the same thing that there can't be so many!
[...]
https://www.youtube.com/watch?v=PSXNtMqAiqo
Despite the desire to photograph other "artistic manifestations" and that would designate the idea to be developed [I would more specifically accompany a group of graffiti artists on an adventure through Lisbon nights]. Thus, focusing on two distinct modes of artistic expression. Despite more urban veins, two ways coming from the erudite became contemporary, and the ground became banal. Two processes in opposite directions that accompany the chronology.
This whole dream would come to an end when the kneecap was dislodged, which prevented me from venturing out and exploring these concepts.
«Começar a Baixar»
There is a moment when a show starts when you either decide to enter full and leave empty, or to maintain a relative notion of power over the audience.
When we surrender, for a moment, we almost feel "stripped" of any personality.
3 moments/stages: from me, vocalization and/or projection, reception(referring to who feels us in the audience).
This photograph, partially blurred, seems to be able to present these 3 moments/stages and their conciliation.
The dragging of a moment, the perception of it and something else (the personification of personality) that materialized in an abstract way.
«Contração e Distensão»
The caption of this photography may refer to the body dynamics of a deep breath, and in this case, somehow shared.
Embedded in the search for identity, we turned away from the shadows of what we were [an almost Platonic sensation] .
The wandering through a disconcerting, immaterial world, us aiming at the transposition of plans. Pessoa's anguish “What do I know about what I will be, me who don't know who Iam? Be what I think?"
I grant that you recognize me here more than I intend to reveal.
Please bear in mind that none of the photos were previously edited