The 14th edition of Verbo Performance Art Festival, held at Galeria Vermelho from 3 to 6 of July, and at Galpão VB on 7 of July, counted with the participation of more than 40 Brazilian and foreign artists. The selection of projects was done by university Professor and researcher, PhD in Communication and Semiotics at PUC-SP, Ana Teixeira, and Marcos Gallon artistic director of Verbo. Verbo 2018 hosted the launch of Verbo SLZ, the artistic residence platform created in partnership with Projeto CHÃO, in São Luís (Maranhão). The partnership established between Verbo and Videobrasil Dance Season in 2017 continued in 2018 with the presentation of two film programs of two French initiatives. Ciné-Corps a film and video festival held in three different cities: Paris, Rennes and Montreal. The main focus of the festival is the body and its possibilities through dance. Ciné-Corps participates with a contemporary short film selection.
Suported by Institut Français Paris, Institut Français Brasil and Consulado Geral da França em Sao Paulo.
With a series of perpendicular movements to the ground, Ana Pi invites the audience to appreciate the stability of a standing body; a body that defies gravity, the law of gravity that operates over all bodies, but also gravity that operates only on some bodies. The name of this dance is COROA (crow), but could also be called “plumb line”, “para-ray” or “vertex”, but it is COROA. COROA here alludes to those of the folias, reisados and congados (Brazilian folk dances). The vigorous movements of this dance belongs to the dimension of prayer, of this line that is placed between two hands. The verticality of the body that dances here celebrates the great wheel to which it is part of, a great circle of living black bodies, ancestral, disappeared and invisible. Ana Pi turns to infinity for herself, as well as for all the others, she reverences them, her body overflows.
Directed by Andrea Dip and Guilherme Peters
Director of Photography Camila Cornelsen
Executive Production Didi Lima and Roberta Carteiro
Production Didi Lima
Research and interviews Andrea Dip
Montage Guilherme Peters
Sound Guilherme Peters
Photo assistant Yale Oliveira
Driver Gerson Rodrigues
Steadicam Francisco Orlandi
Sound Design Bruno Palazzo
Finishing and color correction Francisco Orlandi
Lawer Eduardo Correa Kissajikian
Interviews with Amara Moira, Bianca Santana, Dani Regina, Debora Franco Machado,
Indira Gabriela, Joana Souza, Joseane Dias, Jules de Faria, Leticia Naísa, Leticia Pichinin, Micha Nunes, Miguel Soares, Natália Pinheiro, Pedro Lucas Rodriguez, Sabrina Custódia da Silva and Simone Hozawa.
Cast in order of appearance Caroline Ferrari, Marina Dias, Nyle Ferrari, Anna Beatriz Pouza, Miguel Soares, Didi Lima, Camila Cornelsen, Patrícia Batista and Laura Peters.
Fear, affections and subjectivity in occupying the public space of the city through the eyes of over 2,500 women set the tone of this documentary of the senses.
Mágicas José Adler
Voice-over Barbara Gulobicki
A magician performs a series of tricks where several symbolic objects intermingle in each act, between the distraction, the appearance and disappearance of these elements we hear a story that in his narrative tells us about a concrete fact happened on December 20, 2001 in Buenos Aires, Argentina. In a stoic way, the story explains, through examples related to economic theories and real events, a series of economic movements, where money is revealed not as an economic instrument but as an essentially political reality.
Photography Azul Serra
In the video, the artist intervenes on street signs from São Paulo whose names pay homage to torturers active during the military dictatorship years.
Sound Hebert Baioco
Rastreando (Tracking) is a multimedia action that employs images from newspapers and magazines from the Brazilian dictatorship years as a tool to comment on elements from the past seen in the present. The work tackles political subjects in such a way that between aesthetic fascination and thoughtful reflection, the observer is challenged to look to the past overlapping its events. The action reveals the impermanence of historic memory, of evasion and oblivion. As it is ephemeral and easily erased there are only traces of subjectiveness.
In the action, the artist’s body is transformed into a projection screen evidencing the masculinization of the positions of power. From the founding of the Republic (1889), Brasil has had one single woman in the presidency. Every decision governing our daily lives is made by men. Our female bodies remain subject to these decisions.
Created and Directed by Charlene Bicalho
Sound Elton Pinheiro
Videomaker Bruno Gava
Costumes Maria Inez Bicalho
Edition Matheus Noronha
Research and Transportation Agnaldo
Guidance Renan Andrade
Production Casa. Lab Infinitas
Artistic Residency Program Fabrica.Lab2017
Curated by Franz Manata
The work proposes a discussion of the silences consolidated daily with the erasing of the identity of black and female bodies, whether in the voices gagged by colonization processes or in the violence against these bodies legitimated daily by the pervasive racism in Brasilian society. The same silences in the depths of the sea, thrown from the ships that crossed the Atlantic from Africa to Brasil, serve as anchor for the ship keeping the artist from drifting away into the ocean, until the body-ship is wrecked. The scene was filmed at the Porto canal, between Vila Velha and Vitória (State of Espírito Santo), where the largest number of African slaves entered the state.
10 inkjet prints
40 X 60 cm
Photo Silvio Fernandes and André Sheik
Series of actions created by Fernandes with garbage and sewer in the North area of Rio de Janeiro. Portraying the contrast between the body’s vulnerability and the city’s waste, the photographic series establishes a dialogue with the work COME INTO THE (W)HOLE (1999), by artist Marcos Chaves, in which the artist creates a play of words that intends completeness and incompleteness, totality and emptiness.
The video is based on the images of artworks that were in the foundational exhibition of the Museum of Modern Art in São Paulo, “From Figurativism to Abstraccionism”, in 1949. The exhibition exalted abstract art as the most developed form of art and among its pieces there were several artworks donated and borrowed by Nelson Rockefeller. The video revisits the pieces, combining excerpts of letters send by Rockefeller to the founder of the museum in SP, Ciccillo Matarazzo, with excerpts of “The Rockefeller Report on the Americas”, secretly written between 1948-1969 to the US President, and released many years later. The audio is composed by an extract of the moment in which Ze Carioca, the Brasilian character, appears at Disney film “Saludos Amigos”, commissioned by Rockefeller in 1948. The video explores the relationship between art and politics and investigate the use of modern art as an instrument of colonialism and domination.
The video was conceived based on two situations of conflict and their consequences. The first is the period of dictatorship in Argentina, when the regime would eliminate political prisoners by dumping them into the Río de la Prata or in the ocean. The second instance is the great migration movement illegally carried out over water.
With Bruno Ferreira, Celso Nino, Claudia Guimarães, Dora Longo Bahia, Felipe Salem, Francisco Miguez, Ilê Sartuzi, Talita Hoffmann, Lahayda, Marina Lima, Murillu, Pedro Andrada, Rosangela Pestana, Victor Hugo Dantas and Victor Maia.
Depois do fim da arte (After the End of Art) is a group formed to investigate the role of the artist after overcoming the Situationist Art. Recent events involving censorship of works of art by institutions or autonomous conservative movements, have triggered the need to study the relationship among art, sexuality, gender and pornography. The reading of texts by Bataille, Marcuse, Foucault, Sartre, Sacher-Masoch, Butler and Preciado, led to the creation of Palestra-Palestra: FODA (Lecture-Lecture: FUCKING GOOD). Divided in four lecture-performances of 60’ each, the work will discuss these topics from four different approaches: body, work, architecture and thing.
With Desvio Coletivo
Vídeo of the intervention carried out in the ground-level plaza from MASP, on April 23, 2016.
Achievement: Desvio Coletivo (Leandro Brasilio, Marcos Bulhões, Marie Auip and Priscilla Toscano).
Images and Edition Viny Psoa
Suported by Laboratório de Práticas Performativas da USP
The action integrated the movement Arte pela Democracia (Art for Democracy) that took place in São Paulo, in 2016.
Every eleven minutes, a woman is raped in Brazil. Every eleven minutes, a woman screams amid the people present.
Choreography (in collaboration) with Elisa Yvelin, Benjamin Kahn and Lucia Fernandez Santoro.
Camera Edvard Falch Alsos
Production Lofoten International Art Festival
Thanks to Nordland kunst-og filmfagskole
Liquid Power Has No Shame is a site-specific performance, developed for Lofoten International Art Festival comprising a procession and a ritual. Set on the remote island, the performers form a small procession leading towards the nearby rocks on the ocean. Choreography is slightly reminiscent of religious pilgrimage, (knee walk) while it is at the same time explicitly sensual and auto erotic. At the rocks, a ritual is performed, in which different shapes of sea-animals are embodied and spells are cast into the water, proclaiming the death of patriarchy and heralding the presence of ecofeminism. The performance is accompanied by the video in which the choreography is framed in the landscape and a voice-over narration overlaid with images meditates about the meaning of circular movements, and pelvic pulsations in relation the rocks and the ocean.
Video Alexander Santiago, Alexandre Colasuonno Orlandi and Jp Accacio
Directed by Elisabete Finger and Manuela Eichner
Created and performed by Barbara Elias, Danielli Mendes, Josefa Pereira, Mariana Costa and Patrícia Bergantin.
Costumes Lu Mugayar
Photography Debby Gram
Production Carolina Goulart
A choreographic collage for people and plants. A sequence of independent choreographic cells – action blocks that adhere to and separate from each other rather brutally, as if snipped by scissors. Within each block there’s a common enunciation, but each plant-person assembly responds distinctively, building a non-totality with each snip: a collage, a community, an ecosystem, a MONSTER. Between analog and digital. Between domesticated and wild. Between delicate and delirious. Between screaming and climaxing. A 335-million-year existence seen in 360 degrees.
With Alexandre Magno
Using Orozco´s Notebooks as a reference, that set forth essential matters in formal realization such as order, foresight and geometric rigor, Tovar develops a project where time, structure, space and movement are the main actors. A work that reflects the variations and contrasts of current context, the particularities articulated in relation with the whole. An alternative vision in relation to the geometric reflection and the expansion of space, which could propose new models with alternative structures to the automated and mechanized system of modernity. Thus the action that consists of a dancer moving in a room in which, on the floor, 3 geometric forms were drawn with carbon dust, lime and cement, extracted and transferred to the exhibition space from ¨Boceto para Ballet II¨, painted in 1945 by Jose Clemente Orozco. The choreographer realizes 43 different sequences (making reference to the Ayotzinapa case) that represent distinct ways of walking. In this space where the materials lay, different orders were followed in each one of the choreographies, until all 43 different forms and rhythms of walking were completed, disintegrating the geometric composition, destroying the order and generating visual chaos. In this way, the structures pre-established by physical forces and geometric stereotypes that seek perfection, equilibrium and balance, ideal in the sculptural space to question the social system, are fractured.
Action and vídeo installation based on fake news in the so-called “Post-Truth Age”.
On March 24, 2017, the Internacional Errorista took to the streets as part of Argentina’s Memory Day, homage to the victims of the 1976 coup. A few days earlier (March 20), President Mauricio Macri and the governor of Buenos Aires Province participated in an event offering financial support to a small helicopter manufacturer. The government used the act as a form of political proselytism to announce that the economy was finally being reactivated through incentives to the domestic industry and with that, new jobs were being generated. The Erroristas decided to comment the event by building a helicopter from cardboard boxes. The cardboard helicopter was received with laughter and applause by protesters on Memory Day, at Plaza de Mayo. However, the symbolic meaning of the helicopter was immediately taken out of context by the media, which reinterpreted it as a “destabilizing element” due to possible reference to the helicopter that former President Fernando de la Rúa used during the social crisis of 2001 to escape the Palácio do Governo. The Erroristas’ performance was criminalized as an attempt to destabilize the government, leading to a boom of fake news rarely seen before.
Created in January 2017 by actress and art educator Fernanda Brandão, É Cena is an artistic project that uses the internet (Facebook and YouTube) as a platform for video content production. In the form of scenes, these videos discuss political and social issues based on interpretation and text.
Ação para 5 adolescentes.
Protocol specially created by Gabinete Homo Extraterrestre for Verbo 2018, Marcha, Orden y Progreso (March, Order and Progress) is a choreographic march that employs moviments of flag escort repeated every Monday in middle schools throughout the Mexican public school system as a civic exercise. The goal of such exercise is to instill respect and teach children about the patriotic symbols of Mexico. The indoctrinating effects, however, are immediately noticeable in this ritual that seeks through order and discipline to build a nation based on military thinking, and procedures .
Gabriela Noujaim’s book Presente 2016 is a narrative of some of the political events that occurred in Brasil in 2016, culminating in the impeachment of the president Dilma Rousseff. In the book, the artist highlights through images and texts a selection of emblematic episodes of that historical moment. Among them, the deplorable verbal aggression made in a national network by federal deputies.
Action for 7 lyric singers
Staged in various locations and contexts, Elegy performances call together a group of female vocal performers who collectively enact a ritual of mourning. Durational and physically taxing, the performance sustains a kind of sung cry – evoking the presence of an absent individual. Responding to the physical, ontological and structural outworking of rape-culture in South Africa, Elegy performances recall the identity of individuals whose subjectivities have been fundamentally violated. With each performance commemorating a specific woman or LGBTQI+ individual raped and killed in South Africa, significant to the work is how loss becomes a site for community, and for empathic, cross-cultural and cross-national encounters. Seeking to work around the kinds of symbolic violence through which traumatized black bodies are routinely objectified, Elegy performances open a distinctly decolonial and intersectional space, wherein mourning is presented as a social and productive work –not in the sense of healing or ‘closure’, but as a necessary and sustained irresolution.
city-scape is an ongoing video, dance, performance collaboration that serves as a linguistic intervention; a stand-in for “city that escapes.” Cruz and Villacorta examines the notion of fleeting identities in relation to cities and bodies in relation to their hometown Manila and its historicities and contexts respective to particular spaces they work with. It plays along an interesting point of view as city-scape examines through a queer Asian male body (Cruz) through the optic of a female observer (Villacorta) as they play around aesthetics and dance as an act of resistance to transform their identities in light of the global and the digital age, a constant transformation, and something always in transition. This particular body of work explores gestures of the digital as how performances and gestures dissipate through a digital platform. It plays around identities alongside linguistic interventions about a city that escapes that also falls well within the context of the work being explored as a process and a dialogue rendered through the digital. It posits a counter narrative about bodies and cities in its fleeting nature as well as the inscribed postcolonial and decolonial tendencies of the intent by the two authors (Cruz and Villacorta) and the respective contexts they play with and operate from.
With Alessandro Lins dos Anjos, Anita Silvia Vieira Lima Miranda, Anne Dourado, Camila Valones, Daniela Pinheiro, Danilo Victor, Dudu Quintanilha, Fabíola Dummond, Ivana Siqueira, João Dias Turchi, Julia Matos, Luciana Mugayar, Marcio, Mary Jane, Patrícia Borges, Roberto Lima Miranda, Sabelly Silva, Suzy Muniz, Tatiane de Campobello e Yasmin Bispo.
Thanks to Benjamin Seroussi and Casa do Povo
Suported by Programa VAI da Secretaria de Cultura de São Paulo.
In the action, MEXA restages live and with the participation of the public scenes of the movie Cancioneiro Terminal 10mg in real time.
Lecture-performance and publication
Livro Doralice de Oliveira Foseca, Kelly dos Reis Santos, Lindasony Salgado Pereira, Tatiane Antunes, Valdelice Duarte Torres e Viviane Batista.
Produção Tetembua Dandara
Ponto Cego ou os estilhaços alojados entre a virilha e o pescoço (Blind Spot or Splinters Lodged between Groin and Neck) is a text written and read by Carolina Nóbrega and Nádia Recioli stitching together a patchwork of contradictory elements from a process of contextual research on the São Paulo Penitentiary System. For a year, the artists visited the Women’s Prison of Santana. The book was born with the addition of experiences from six women, all detained at the time. The work includes a series of 83 postcards with images that depict the façade of the 83 prisons of the Sate of São Paulo restricted custody system. Other than images, the postcard series also includes self-evident data on the mass incarceration policy, and will be stamped with a “Welcome to the State of São Paulo” seal during the action. This narrative lays bare the arbitrary practices of a lawless power operating within the blind spot sustained by a system maintained by tools of censorship and coercion. The books and postcards from the Ponto Cego series will be distributed during the action.
Em Safeword, Peters appears immobilized in the position of macaw’s perch, method of torture historically used in Brazil especially during the period of Military Regime. Simultaneously, on a TV monitor, a male voice dictates a humiliating, reactionary, and imperative text that orders the artist to repeat his words. A mask with a microphone which suffocates him, is attached to his face and linked to pedals that distort his voice. The process continues until the artist manages to break free.
Directed by Juliana Fochtman
Production Nicole Ernst
Direction of Photography Josefina Grant
Camera Josefina Grant and Nicole Ernst
Sound Juan Coronel Moya
Montage Juliana Fochtman
Color Josefina Grant and Nicole Ernst
Editing and Sound Post-production Josefina Grant and Nicole Ernst
Suported by Universidade de Buenos Aires, Curso de Design da Imagen e Som, Cátedra Campos-Trilnick.
Short-feature film showing the dedication of a group of doctors and specialists to perfecting a species. In this universe, scientific and economic interests converge on a single goal: cloning. In the process, we enter a dream-like realm where the animal becomes malleable and ponder on the limits of creation.
Com Lia Chaia e Júlia Rocha
Assistant Nicole Koutsantonis
Sentido Inverso (Inverse Direction) is a site-specific action created for the large glass
windows of Galeria Vermelho. On these windows, which separate two spaces, two environments and two situations, and that show different senses and choices, Chaia draws an imbricated system of arrows that cross the body creating flows and overlays
Performance Grupo MEXA
Camera Luisa Cavanagh, Danilo Barros and Diogo Terra Vargas
Edição: Luisa Cavanagh, Rusi Millan Pastori, Dudu Quintanilha and Grupo MEXA
Eterno work in progress is a Cine club project conceived by Luisa Cavanagh and Dudu Quintanilha showing audiovisual media that takes over the exhibition space to prolong, complement and transform the work through a performance. Terminal 10mg is a document of a musical performance by Grupo MEXA held in several areas of São Paulo, on September 23, 2017. The film has been conceived based on the notion of a cancioneiro (songbook). To that effect, members of the group will interact with the projection playing musical instruments and other offstage audio, as well as reading excerpts from the Terminal 10 mg book, to be launched during Verbo 2018 on July 07.
With Natacha Janus
Choreography and Interpretation Marisol Cal y Mayor
Building a body from an “object” state, unaware of soulful, psychological, emotive and rational qualities that are characteristic of human beings is main element of Bajo la carne, infinito (Under the flesh, infinite). The body acts as a motionless indifferent “object” akin to a cocoon, dominated by an outer circumstance as it struggles to erupt from itself. With the body’s metaphorical “objectification,” the action seeks to evoke the image of a Being that portrays the moment we are living as individuals, as a society and as a civilization. The existence of such a Being is shown as a unitary composition formed by two poles, with the human as an example of unique consciousness in which the universe observes its double nature and understands itself as something at once integral and fragmented; and as a structure in which notions of male and female, fear and love, birth and death, oneself and another’s are but facets of an androgynous prism that must struggle to be born, to be, and to free itself.
The action takes the form of a dialogue consisting of continuous and improvised questions. Each question is answered with another question, and when put into sequential context it causes a disturbing or absurd effect. The game ends when one of the interlocutors, by chance or exhaustion, answers the question of the previous one. By asking questions that instigate the speech of the other, the two women establish a relationship of trust provoking noises and small déjà vus that often go against the questions of those who observe, reverberating infinite possible answers that reverberate in space.
* “Piece of questions” by Yoko Ono in the book Grapefruit (1964).
Started in 2005, Cozinha Pós-pornô is a video with instructions teaching how to try the so-called post-pornographic cooking. Arousing ingredients, bodily fluids, lack of “hygiene.” How far can we explore the pleasures of sex? The project is part of a series of actions by
Paulx Castello that seek to ‘hack’ the imagination and feed dissenting forms of desire.
With Pedro Mira
Camera Rodrigo Rodriguez
Camera & Sound Jacobo Zambrano
Music Armando Rosales
Production Support Raúl Mirlo and Santiago Andres Gomez.
Editing and lighting Javier Velázquez Cabrero
Directed by Javier Velázquez Cabrero
Suported by SOMA, Alumnos 47
The cognitive prisoner is a processual project that takes the form of a film and a performance. The work is the result of an existential contract built from a long process of negotiation between the Mexican actor Pedro Mira and the artist. This contract works as an essay of the most basic social relationship. 1 individual + 1 individual = ?. In this contract Pedro expresses his desire to play 2 characters: the psychiatrist Viktor Frankl and the poet Paul Celan. Both contemporary, Frankl creates an existential therapy to avoid suicide while Celan ends up committing suicide.
Direction, production, research, script and editing Rubens Passaro
Mixing Laurent Mis
Image Research Rubens Passaro, Gustavo Leitão
Locution Harpo Software
Music Laurent Mis – Physical Tension, Alabê Ôni – Aré – Toque para Bará, Ba Kimbuta, U.P.P. (intro)
The film Universo Preto Paralelo depicts only archive material, mostly from the public domain and fully accessible. By framing preexisting images and using audio and film editing, the aim is to give the imagery new meanings by underlining its role as a witness to its time, but also their relevance for current times. The idea of appropriating drives the movie, from its images and audio to its title, borrowed from Brasilian rapper Ba Kimbuta.
Artistic Residence launch
5 queer manifestos inserted inside Verbo 2018 catalogue.
Com Laima Leyton, Iggor Cavalera, Donna MacCabe, Rachel Quinn, Mona Atkinson, Bruna Petreca, Ana Helena Resende, Simeon Smith e Masamba Samba School.
Fotografia Steve O’Connor, Cian Brennan, Cristiane Schimdt, Andrea Lavezzaro.
Edição Kauê Kabrera
Sound Design Laima Leyton, Iggor Cavalera.
Apoio Sabrina Leal
Peripheral action to Verbo 2018 happening on a small indoor shop at Avenida Paulista (address below), the Balcão de Adesão is part of the Cvlto do Fvtvrv project where the public may apply to become members or volunteers, obtain a free ID card, buy books and magazines and get information on the Igreja do Fvtvrv (Church of the Future). To create a “church-cult” with all elements we have come to expect (anthropomorphic icons of deities, hymns, publications, uniforms, medals, ID cards, enrollment stand and voluntary work), the artist removes the mystical and ideological content from these well-known structures and adds symbols created from contemporary themes, such as corporate democracy, consumerism, imperialism and post-truth.
Cvlto do Fvtvru, procure conhecer. www.fvtvrv.org