The 11th edition of VERBO, which will take place in June and July 2015, at Vermelho, will feature actions by more than thirty Brazilian and foreign artists, with the 5th edition of the seminar VERBO Conjugado, in addition to actions created for photo and video cameras. The edition also includes the launch of the book “VERBO Mostra de Performance Arte” which will present a reflection on the 10 years of the festival and will feature texts by Agnès Violeau, Carla Zaccagnini, Fernando Oliva, Liliana Coutinho, Marcos Gallon, Marta Bogéa, Teté Martinho, and the Spanish artist duo Rafael Lamata and Jaime Vallaure [LOS TORREZNOS].
Preta intends to create within the space of VERBO 2015 an experimentation environment using costumes created by artist Alex Cassimiro. With these dresses, preta proposes a special occupation that investigates performative states and tensions between performer and visitors.
Performance for a câmera of photo
Created by: Ana Montenegro
Photo: Maurizio Mancioli
Score: Wilson Sukorski
The performance proposes a hypnotic soundscape with repetitive, uncomfortable sounds, short pauses and long silences. The covered faces and the use of two contradictory signs (women’s shoes and men’s clothes) suggest a reflection on identity, reality and fiction in relationships. Together, the two signs create a paradox, deflated by the shock of their co-presence. Sexual identity and social norms are broken. Isolated bodies, closed, without a fixed identity.
grafite sobre papel Hahnemühle 240 gr.
The traditional landscape drawing captures a static crop of nature, and hardly the experience of having been there, to have traveled over there. To document this aspect favoring the displacement is what the project Migrações (Migration) aims using a mechanism that absorb vibrations produced by various transport methods during a trip. The graphics generated by the mechanism are testimonies resulting of ‘seismographic’ journeys that actually occurred. The mechanism has already made drawings inside vehicles such as trains, airplanes, delivery tricycles, cars and buses in cities like Rio de Janeiro, São Paulo, Paris, London, Lima and Santiago. Drawings done on bus line 23, in London for 10days on the same time frame (between 9 and 13h)
The artist performs an attitude, a separation between the public and the private. It’s a security space. It’s an aseptic display. It’s a job. It’s a vacation image. It is a declaration of passivity. It is an activity suggestion. It’s a discomfort machine. It’s an act of indifference. It’s a moment of power. It’s a mirror. It is an invitation to violence.
Video, cor, 4’15’’
Desenho em grafite sobre papel vegetal 90 gr
116 x 87 cm (cada) – díptico
Trabalho criado a partir de um levantamento feito em casas de família que contem com empregada doméstica contratada. Para cria-la, Ianni pede ao patrão/patroa que desenhe o trajeto feito de sua casa até o local de trabalho no mapa de São Paulo. O mesmo é pedido feito para a empregada. A casa é escolhida como o lugar a partir do qual a pesquisa é feita pois é o ponto de encontro desses dois agentes, patrão e empregado. Em um segundo momento, é pedido tanto ao patrão/patroa quanto à empregada que digam qual é o valor de seus salários. A partir dessa informação e dos desenho coletados, Ianni produz uma série de imagens nas quais constam somente o desenho do trajeto de casa até o trabalho e o valor da renda mensal. Os desenhos são organizados aos pares: lado a lado, o patrão e seu respectivo empregado.
How to establish theoretical concepts for a practice that search to avoid rules? How to maintain practice and anarchic concepts within the scope of creation? How to get away from already established systems? How to allow a theory to preserve in itself the possibility of self-sabotage? These are some of the questions that permeated the creation process of the piece.
Video, color, variable length
2014, Video, 7:50min
Multimedia installation and performance
Touche-à-Tout is a portable installation that Kraal takes with her on her travels. Traces of the journey become visible in this work. In previous projects Kraal focused mainly on ‘looking’ at the world. Touche-à-Tout stimulates all the senses using different media: you can taste flavours, smell scents, you can touch objects, hear – and make sounds. The audience automatically becomes part of the installation. All the media that Kraal uses (rarekiek, slide, film and video, Internet) are representations of different forms of reality by means of which she keeps looking for the least static forms. In most cases photography is the starting point. During VERBO 2015, the work will be revealed together with a performance by the artist herself on June 23th and July 2nd at 8pm. This project is made possible with financial support by The Gieskes-Strijbis Fund, the Van Bijlevelt Foundation, The Mondriaan Fund, The Amsterdam Fund for Arts, forte_forte and Lejan.
Construction of a map in which the artist and a group of ex-prisoners reveal the prisons in the state of São Paulo.
Bloomsburied is the title of a series of self-benefiting art auctions that take place with the capture, purchase, sale and consignment of ERRO Group’s own performance and non-performing works.
In collaboration with Neca Zarvos
HD video, color and stereo, 24’, 2013.
In Despeço, Felipe Norkus and Felipe Torres appropriate images and sounds originally conceived with other meanings and for other purposes and create new narratives.
In the work, the artist builds an installation in which the viewer is the target of his criticism.
Guest Artist: Isabela Cesário
Video, color, variable length
Solitary Dance is a comment on the role of women in contemporary society.
Video, color and sound
The use of the “attempt” nomenclature in the work of Guilherme Peters always starts from a prediction of failure, be it historical, aesthetical or political. Without exceptions, the artist uses in these experiences the body as a tool to experience doctrines, ideas and concepts, including the human being within a certain perspective. This strategy was inaugurated by Peters in actions and photographs before being applied to the video.
Attempts relate to the idea of temptation, or vehement desire, of impulse. They begin from the desire to possess or reach a certain situation or object. For Peters, these impulses are linked to superlative conceptions of ideals.
In “Attempt to aspire to the great maze”, Guilherme Peters scrutinizes one of Hélio Oiticica’s Metaesquemas through an animation created with technical drawing tools for 3D architecture projects. In the work, Peters also appropriates the text “Brasil Diarréia”, written by Oiticica in 1970, and presented in his book “Aspiro ao grande labirinto” (1986). The text points to the dilution of the Brazilian constructive elements in favor of a “deglutition” of everything that would be internal or external to the national culture.
In Peters’ work, a reproduction of a Metaesquema is gradually transmuted into space, making its forms rise as buildings and making its white spaces become circulation spaces. The “camera” travels through these paths, as in a virtual tour of a geometric city. For Oiticica, these geometric paintings presented the conflict between the pictorial space and the extra-pictorial space, preparing the overcoming of the framework that would follow in his work. The text by Hélio Oiticica criticizes a process of dilution of the Brazilian “character” and cries out for a critical position.
In the audio, Peters tries to read the text of Oiticica, but his dyslexia prevent the fluidity and comprehension of the text. His blandness draws us in and repels us as we accompany the text, in a mix of feelings for the narrator to reach the next part of the text or for him to stop, ceasing the annoying repetition of errors.
The work was developed in a residence in Alto do Moura (Caruaru, PE), where the imaginary of popular cirandas portrays the feet of people sunk in their own work base, whose mode of production is serial and perverse – in contrast to its festive rhetoric such as tourist souvenir.
Throughout history, the Art has always been at the service of a few, using all its potential to achieve indoctrination and discipline goals for them. Culture as entertainment has been democratized, but contemporary art remains a privilege of favored elite or social group which has access to education and the possibility of acquiring it. It is synonymous with social status with a chosen and differentiated elite. Power to the people! by the Spanish artist Julio Falagán intends to bring contemporary art and its market closer together and make it accessible, erasing the barriers between high and low culture.
A performer begins her work. She sticks a descriptive label of the work on the wall, hits the spot card, and enters the space intended for the work. Once there, the artist must move and talk uninterruptedly for an hour until her workday ends and another artist follow up the action. In “Exposição da Pessoa” the rule is to act in the absence or excess of meaning, crushed by the need of creativity restricted to a time, a place and a condition: replaceable work/worker. Lasting eight hours, the piece deals with the commodification of human beings, and specifically of the artist, and questions the value and depreciation of their work.
Watercolor and ink on paper and drawings on Canson paper 130gr
140 x 205 cm (watercolor) and 29.7 x 21 cm
In the lecture performance, Lia Chaia reenacts previous works adding new contours to them.
In Mikado, the audience is invited to participate in the game along with dancers. The game requires body awareness, collaboration and questions the role of the audience.
Language and writing are the main tools in the work of Argentine artist Liv Schulman that employs different forms of collective consciousness, submission and sociability. In El Method Covensky project, Schulman employs the technique developed by Mr. Covensky a controversial character who in the 1990s created a motivational method for companies that employs employees’ bodies to generate a particular form of consciousness. The project reconstructs mythical sessions of Covensky in which the viewer’s body is transformed into living sculpture.
Video-performance-installation consisting of four videos.
In Ensaio para um corpo, a series of actions are fragmented by mirrors or potentiated by transitory sculptural constructions that coalesce in order to constitute a discourse on the construction of the body as an image: since the real body is elusive, what becomes accessible are some conscious and unconscious perceptions generated from the partial experiences that this same body makes possible.
Video | color | stereo | 5’45” | Full HD
The performance tries to look at the time/space contained in the now as “impossible” as a product of our memories which face multiple processes that involve appearance, forgetting and reappearance.
The work adds continuity to the artist’s recent research on the formation of a social being as performative event, or the performance as an opportunity for establishing a social political being. Ianês’ research continues to involve not only a relationship with the participant through dialogue that seeks to break the relations of power and hierarchies between artist and viewer, placing them in the same situation, but also proposing an specific space that changes and deconstructs this relationship. The presence of the artist, even if important, is not required, and the object itself can be displayed and enabled by the public always in pairs without Ianês is present.
Dramaturgy, direction and performance: Ariel Volkova, Honório Félix, Tayana Tavares, William Pereira Monte and Wladimir Cavalcante.
Sound edition: Ariel Volkova, Honório Félix, Liana Cavalcante, Tayana Tavares, William Pereira Monte and Wladimir Cavalcante
Mixing: Wladimir Cavalcante
Text: Félix Guattari, Gilles Deleuze e William Pereira Monte
Vídeo: Trio A, de Yvonne Rainer
Artistic collaboration: Bio Falcão
The performer reaches the place of performance wearing a shirt and pants, a backpack, sneakers. Then she opens the bag and pulls out several scarves and colorful necklaces. After emptying the bag, the artist takes her clothes and tie the scarves in different ways in your body, paints her whole body, creates a turban with an overlap of scarves, necklaces, one by one. Finally, she puts her shoes and the bag and as a regular visitor, walk through the exhibition.
Using ingredients found in the streets of of São Paulo, Pipa creates a different menu consisting of dishes and drinks that will be sold during the nights of Verbo 2015.
Simulating an experiment based on very ordinary actions, the performance gradually highlights the limits between the shape of certain objects and the shape of the body. Limits arise from the different body resistances (of the performer and of the objects) and the constant refusal of the information that each performed action presupposes.