From July 26 through 29, 2016, Galeria Vermelho is presenting the 12th edition of the VERBO Performance Art Show.
VERBO 2016 is going back to the original format of the show created in 2005 by Galeria Vermelho. For four consecutive days, the gallery will be occupied with actions by Brazilian and foreign artists, selected from more than 180 projects received in the months between December 2015 and March 2016, in addition to a selection of invited artists.
The programming will also include the video show Screening & Live Action: French Scene/VERBO 2016 organized by French curator Agnès Violeau, based on two important French collections – that of the Centre National des Arts Plastiques (CNAP) and that of the Centre National de la Danse (CND). Besides the program of videos, Violeau is also responsible for the selection and presentation of the artwork The Artist Without a Work by artist Dora Garcia. The program was created with the support of the French Consulate in São Paulo.
1993
Screening & Live Action: French Scene/VERBO 2016
Centre national des arts plastiques (CNAP)
Curadoria Agnès Violeau
n° inv. : FNAC 96567
2016
Following an aural score, a choreographer and a performer organize movements of gestures and displacements across the floor – via prerecorded descriptions that only they can hear, while a musician complements the choreographic variations, working with sounds at the limit of perception. In the action, displacements take place in the passage from one stance to another, sometimes slowly, sometimes with agile and repetitive movements. They take place between the gestures, in the interval, hence the title Tacet, “a waiting point.” The gestural paths are carefully constructed in combinations that deepen the emotional distance between the bodies. Silence, solitude and lack of deep contact in the relationships are demonstrated by way of disconnected poses.
2016
Installation: Pontogor
Produced by Viviane Bezerra
Three iron plates measuring 180 x 80 cm each allude to an initial formal/aesthetic stability between bodies and things. This balance, however, is transformed through exhaustive actions, useless struggles that are pure formal and energetic waste.
2015
Scene direction Juliana Franklin
Hundreds of posters printed in black and white, displayed side by side like posters pasted on a wall in some public place, create a single wallpaper with 80 repeated phrases covering the backdrop or the entire space of the action. The posters reproduce 80 quotations by public personalities ranging from politicians to soccer players, from socialites to artists and philosophers, from Brazil and from around the world over the last 80 years. In the performance, Dias & Riedweg are dressed soberly and covered with latex masks of themselves. For 40 minutes, the artists read, in a staged way, five stories by Swiss writer Robert Walser (1878–1956), who was committed to insane asylums between 1907 and 1929. Throughout the reading, Dias & Riedweg show the posters as critical comments about the current reality. The ironic, poetic and political power of the performance lies in the overlaying of the two texts: the crazy readings of Walser, and the printed quotations of our reality, while the masks simultaneously neutralize this contradiction and reinforce the existential void generated between the two texts.
Photo Edouard Fraipont
Swiss writer Robert Walser (1878-1956 ) . Throughout the reading, they show posters of their work “Big-Block”, which decorates the performance scenario, with quotes from politicians and media celebrities, which in the flow of Walser’s texts function as critical interrogations for current global politics. The ironic, poetic and political potential of this performance lies in the superposition of these two contexts: Walser’s poetic and whimsical texts and printed quotes from our political reality, while the masks at the same time neutralize this contradiction and reinforce the existential void generated between the two contents .
Swiss writer Robert Walser (1878-1956 ) . Throughout the reading, they show posters of their work “Big-Block”, which decorates the performance scenario, with quotes from politicians and media celebrities, which in the flow of Walser’s texts function as critical interrogations for current global politics. The ironic, poetic and political potential of this performance lies in the superposition of these two contexts: Walser’s poetic and whimsical texts and printed quotes from our political reality, while the masks at the same time neutralize this contradiction and reinforce the existential void generated between the two contents .
2009
With Michelangelo Miccolis and Fernando Estrada Miranda
The action consists of a guided tour through the exhibition of an artist who refuses to produce anything. The tour guide talks about this artist without providing visitors with any information. The public is left empty-handed, as all the materiality of this exhibition seems to have been emptied. What happens then when the supposedly active element of this exhibition, the artist’s work, is eliminated?
2016
In the action, the artist constructs a zone of personal safety, protection and isolation.
2015
With Akira Shiroma, Camilla Bologna, Fabiano Marques, Tathy Yazigi.
In Ratsrepus Fabiano invites three artists to participate in an experiment of interference in the world of skateboarding, where the identity of the skater is erased. The performers carry out actions using a single skateboard, thus displacing it from its function, creating unusual patterns of movement.
2016
With Camila Valores and Tiago Luz.
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Photo Edouard Fraipont
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Photo Edouard Fraipont
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Photo Edouard Fraipont
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
2016
With Cotinz Benhas, Katharina Cotrim, Andea Dip, Eduardo Correa Kissajikian, Nina Veloso, Dori Onnez, Guilherme Peters e Fabiano Rodrigues.
The action borrows its title from the study made by Jacques-Louis David about a possible return of the “Festival of the Supreme Being,” developed by the painter together with Robespierre in the spring of 1794. The festival was an unfolding of the Deist religion created by Robespierre for the Republic, based on rationalist and atheistic belief systems and ideas.
performers: Guilherme peters, Eduardo Correa Kissajikian, Nina Veloso, Andrea Dip, Dori Onnez, Katharina Cotrim, Renato Custodio, Fabiano Rodrigues, Akira Shiroma.
Photo Edouard Fraipont
“Study for the festival of supreme being” is an action divided into two acts. Act I (Robespierre teaching about revolutionary bankruptcy): The proponent of the suit dressed in costume similar to “Robespierre”, teaching about the French revolution, using a skateboard ramp as a blackboard. At predefined intervals the performer stop the class and drink a glass of cachaça, throughout the the class the narrative structure is lost in order of the effects of alcohol. The first act ends when the speaker loses completely the narrative of the class. The Act II (Tribute to Charlotte Corday and the Sans-Culottes Discharge) consists of the band “Charlotte killed a guy” repeatedly playing a version of the song “Ça ira” (emblematic music of the French Revolution) while three skaters dressed in the Sans-culottes costumes skate intensively over the ramp previously used as a slate. The second act ends when the skaters or the band wear out to the point of not being able to continue their actions.
performers: Guilherme peters, Eduardo Correa Kissajikian, Nina Veloso, Andrea Dip, Dori Onnez, Katharina Cotrim, Renato Custodio, Fabiano Rodrigues, Akira Shiroma.
Photo Edouard Fraipont“Study for the festival of supreme being” is an action divided into two acts. Act I (Robespierre teaching about revolutionary bankruptcy): The proponent of the suit dressed in costume similar to “Robespierre”, teaching about the French revolution, using a skateboard ramp as a blackboard. At predefined intervals the performer stop the class and drink a glass of cachaça, throughout the the class the narrative structure is lost in order of the effects of alcohol. The first act ends when the speaker loses completely the narrative of the class. The Act II (Tribute to Charlotte Corday and the Sans-Culottes Discharge) consists of the band “Charlotte killed a guy” repeatedly playing a version of the song “Ça ira” (emblematic music of the French Revolution) while three skaters dressed in the Sans-culottes costumes skate intensively over the ramp previously used as a slate. The second act ends when the skaters or the band wear out to the point of not being able to continue their actions.
performers: Guilherme peters, Eduardo Correa Kissajikian, Nina Veloso, Andrea Dip, Dori Onnez, Katharina Cotrim, Renato Custodio, Fabiano Rodrigues, Akira Shiroma
Photo Edouard Fraipont
“Study for the festival of supreme being” is an action divided into two acts. Act I (Robespierre teaching about revolutionary bankruptcy): The proponent of the suit dressed in costume similar to “Robespierre”, teaching about the French revolution, using a skateboard ramp as a blackboard. At predefined intervals the performer stop the class and drink a glass of cachaça, throughout the the class the narrative structure is lost in order of the effects of alcohol. The first act ends when the speaker loses completely the narrative of the class. The Act II (Tribute to Charlotte Corday and the Sans-Culottes Discharge) consists of the band “Charlotte killed a guy” repeatedly playing a version of the song “Ça ira” (emblematic music of the French Revolution) while three skaters dressed in the Sans-culottes costumes skate intensively over the ramp previously used as a slate. The second act ends when the skaters or the band wear out to the point of not being able to continue their actions.
performers: Guilherme peters, Eduardo Correa Kissajikian, Nina Veloso, Andrea Dip, Dori Onnez, Katharina Cotrim, Renato Custodio, Fabiano Rodrigues, Akira Shiroma
Photo Edouard Fraipont“Study for the festival of supreme being” is an action divided into two acts. Act I (Robespierre teaching about revolutionary bankruptcy): The proponent of the suit dressed in costume similar to “Robespierre”, teaching about the French revolution, using a skateboard ramp as a blackboard. At predefined intervals the performer stop the class and drink a glass of cachaça, throughout the the class the narrative structure is lost in order of the effects of alcohol. The first act ends when the speaker loses completely the narrative of the class. The Act II (Tribute to Charlotte Corday and the Sans-Culottes Discharge) consists of the band “Charlotte killed a guy” repeatedly playing a version of the song “Ça ira” (emblematic music of the French Revolution) while three skaters dressed in the Sans-culottes costumes skate intensively over the ramp previously used as a slate. The second act ends when the skaters or the band wear out to the point of not being able to continue their actions.
performers: Guilherme peters, Eduardo Correa Kissajikian, Nina Veloso, Andrea Dip, Dori Onnez, Katharina Cotrim, Renato Custodio, Fabiano Rodrigues, Akira Shiroma.
Photo Edouard Fraipont
“Study for the festival of supreme being” is an action divided into two acts. Act I (Robespierre teaching about revolutionary bankruptcy): The proponent of the suit dressed in costume similar to “Robespierre”, teaching about the French revolution, using a skateboard ramp as a blackboard. At predefined intervals the performer stop the class and drink a glass of cachaça, throughout the the class the narrative structure is lost in order of the effects of alcohol. The first act ends when the speaker loses completely the narrative of the class. The Act II (Tribute to Charlotte Corday and the Sans-Culottes Discharge) consists of the band “Charlotte killed a guy” repeatedly playing a version of the song “Ça ira” (emblematic music of the French Revolution) while three skaters dressed in the Sans-culottes costumes skate intensively over the ramp previously used as a slate. The second act ends when the skaters or the band wear out to the point of not being able to continue their actions.
performers: Guilherme peters, Eduardo Correa Kissajikian, Nina Veloso, Andrea Dip, Dori Onnez, Katharina Cotrim, Renato Custodio, Fabiano Rodrigues, Akira Shiroma.
Photo Edouard Fraipont“Study for the festival of supreme being” is an action divided into two acts. Act I (Robespierre teaching about revolutionary bankruptcy): The proponent of the suit dressed in costume similar to “Robespierre”, teaching about the French revolution, using a skateboard ramp as a blackboard. At predefined intervals the performer stop the class and drink a glass of cachaça, throughout the the class the narrative structure is lost in order of the effects of alcohol. The first act ends when the speaker loses completely the narrative of the class. The Act II (Tribute to Charlotte Corday and the Sans-Culottes Discharge) consists of the band “Charlotte killed a guy” repeatedly playing a version of the song “Ça ira” (emblematic music of the French Revolution) while three skaters dressed in the Sans-culottes costumes skate intensively over the ramp previously used as a slate. The second act ends when the skaters or the band wear out to the point of not being able to continue their actions.
2002
With Joana Ferraz
Performance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image.
With Joana Ferraz
Photo Edouard Fraipont
Performance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image.
With Joana Ferraz
Photo Edouard FraipontPerformance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image.
With Joana Ferraz
Photo Edouard Fraipont
Performance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image
With Joana Ferraz
Photo Edouard FraipontPerformance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image
With Joana Ferraz
Photo Edouard Fraipont
Performance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image.
With Joana Ferraz
Photo Edouard FraipontPerformance created after the ideas of Santo Agostinho presented in the book “Confessions.” In it, one performer remains lying on a hammock on a glass floor that reflects her own image.
2010–2013
Based on allegories drawn from the symbolic discourse of painting, the performer articulates a series of narratives that are abruptly interrupted by the ephemeral and colloidal property of the materials he uses. Saturation, redundancy and ephemerality are fused in a sort of tableau vivant, seeking an experience of a permeable body – a body which is an element of the convergence of languages.
2002
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
Photo Edouard Fraipont
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
Photo Edouard Fraipont
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
Photo Edouard Fraipont
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
The nude artist reads a text with the name of various sorts of revolutions (social, economic, political, cultural, etc.). During the reading, Cidade is shot by wet cement fired at him by the observers of the action.
2015
Ianês positions himself at the gallery’s entrance, receiving the visitors, with whom he will hold a conversation. After this personal interview, in which the subjective views of each participant are considered, he will ask the participant to suggest some image that symbolizes his or her view of history, politics, or contemporary society, whether local or global. Based on research made on Internet, the artist and participant will select images that will be printed in A4 format. Later, the images will be distributed and ordered by the artist in order to create a narrative of current history.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
2012
M is an ongoing project that changes with each new presentation. The action employs the poem “I am not me” by Juan Ramon Jimenez which says: I am the one who walks by my side and whom I do not see, whom I sometimes get to visit, and who at other times I forget; who remains calm and silent when I speak, and forgives gently when I hate, who walks where I am not, who will remain standing when I die.
2015
Screening & Live Action: French Scene/VERBO 2016
Centre national des arts plastiques (CNAP)
Curadoria Agnès Violeau
n° inv. : AP16-1 (56)
This action uses texts from the book Ira e Tempo [Rage and Time] by Peter Sloterdijk in order to weave a commentary about 21st-century Western thinking.
2016
The action arose from Akras visited the island of Vlieland, located in the north of the Netherlands, where poems are written in the sand by truck tires that travel along the beaches drawing long lines on the sand.
1999
Screening & Live Action: French Scene/VERBO 2016
Centre national des arts plastiques (CNAP)
Curadoria Agnès Violeau
n° inv. : AP12-2 (571)