DELUSIONAL EQUIPMENTS

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Sunday 03/09/2017 – 18:30

Eisenbahnstrasse, 12 10997 – Berlin

Door – Simone Donha

 

DELUSIONAL EQUIPMENTS

Co-curators: Simone Donha e diogobo

Artists: Veridiana Zurita e Fabiane M. Borges

 

Unconscious networks, lineages of signs, typewriters, noise, immersion in the mountains, microphones, a garden, coffee, tobacco, salt statue, disruption of neurotic mirroring, schizophrenic salute to the sun, language efficacy fails, silences are fundamental speeches, kidnapping of the future, mining of dreams, suspension of common gestures, one with dreams the other with sound …

From this fictitious list, two immersive traits: “Don’t Eat the Microphone” and “Dreams Mining”. Veridiana Zurita e Fabiane M. Borges open up a conversation about the “creation of contexts” at the intersection between clinical and contemporary art practices.

DON’T EAT THE MICROPHONE is a practice where voicing is in a constant process of emergence and dissolution. We meet in the garden of the Psychiatric Center Dr. Guislain. We are neurotics and psychotics, artists, therapists, residents and outsiders. The invitation is to meet and share time, to hang around in a mode of listening and enunciation, to get suspended by the undoing of pathologies, to make noise, to voice narratives, to continue the other’s thought, gestures or simply to break it apart. Every week we create a context in between psychiatric and artistic institutions. People are welcome to come and go, enter and exit the session. https://www.mixcloud.com/DETM/

Veridiana Zurita is an artistic researcher. She proposes situations in which social roles might be suspended, can be twisted and maybe undone for a little while. Be it in the film Script where she and her mother switch roles between the artist and the psychoanalyst, or in the project Don’t Eat The Microphone in which psychiatric patients and artists gather while blurring the borders between normality and abnormality, or in the film Televizinho where she re-enacts Brazilian soap operas together with no-actors, she invests her practice to the undoing of normative roles. http://www.veridianazurita.com

DREAM MINING – Clinic*Art:  This work is based on the current scientific and theoretical speculative discussions about the era of anthropocene/capitalocene/etc and the ‘end of this world we know’, in contrast to alternative futurologies, animism and post colonization fictions. We create immersives dynamic conducted on different techniques of clinic and art. Dreams, cosmogonies, spectrology, production / listening noises, ritual immersion, self-experimentation, gestualization, fictionalization, performing and storytelling are the basic elements of the immersions. We like to create devices of resistance to the kidnapping of the future, as well as to strengthen the imagination and the dreams (Network of unconscious).

Course at Capacete, Rio de Janeiro/Bra/2016 –  – “Hijacked Futures vx Anti-Hijack of Dreamshttp://capacete.org/?p=1966&lang=en

Fabiane M. Borges is an artist, psychologist and essayist. Currently she is doing post-doctoral research in Space Culture in Visual Arts at nano/ppgav/eba/ufrj. She works in the intersection between art, technology and subjectivity. Is responsible for the organization of four books about art, internet, hacktivism,  one of the articulators of the technoshamanism network: – https://tecnoxamanismo.wordpress.com/blog/ blog: https://catahistorias.wordpress.com 

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Performance e Música no CCBB/SP

Pós-Gêneros : linguagens como atravessamentos de identidade performática

Por Felipe Brait

Entendendo que a Performance ainda hoje é a principal linguagem com relação a transgressão da estética no campo da arte tradicional, e pontuando sua “evolução” a partir dos tempos e dos contextos históricos, podemos chegar a um salto cognitivo acerca de reflexões da performance nos dias de hoje, ou mais precisamente dos anos 90 pra ca, quando pouco-a-pouco a performance vai incorporando novos elementos tecnológicos e gerando uma atmosfera mais cibernética (cyberfuturista) junto as suas aplicações. Ou seja, se num primeiro momento o corpo por si só se bastava enquanto gesto, enquanto forma, enquanto linguagem, hoje ele acopla novas mídias, atuantes como “órgãos” trazendo ao gesto performático componentes físicos e de propagações digitais: Uma Era da virtualização do gesto.

Todo programa e texto: texto_final_ccbb_mp4_versao2_reduzida

Cartaz: 

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Vídeo:

 

Fotos (Claudia Medeiros): 

 

Fotos da Festa/Música: http://glamurama.uol.com.br/galeria/os-detalhes-do-ccbb-musica-performance-no-centro-de-sao-paulo-2/#5