Dossiê Yamato – Pasta 01 L E
DOSSIÊ YAMATO – PASTA
LETÍCIA RAMOS & IVAIR REINALDIM Imagem p. 117
Microfilmagem de documento distribuido pela Nasa Fotografia
0.16 x 0.8 cm
Crédito da imagem: Letícia Ramos Imagem p. 119
Espectro Polaroid 8.5x19 cm
Crédito da imagem: Letícia Ramos Imagem p. 121
Microficha
Jaqueta de microficha e microfilmes. 8.5x19 cm
Crédito da imagem: Letícia Ramos Imagens p. 122 e 123
Contatos , 2015
Contatos fotográficos a partir de microfilmagem Crédito da imagem: Letícia Ramos
Imagem p. 124 e 125 Meteorito 1
fotografia a partir de microfilmagem Crédito da imagem: Letícia Ramos
A PRAIA
AREAL & CRISTIANA TEJO Imagem p. 128 e p. 137 sem título (mover-se), 2015 instalação
02 telas – loops filme I
60 min. 4:3. cor. som filme II
60 min. 4:3. cor. som
Crédito da imagem: André Severo
BIBLIOGRAFIA
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PREFACE
A book written by hand. The pleasure of the text established through the relationship between paper, pen (invariably a 0.38mm black felt-tip pen for writing in general and a red one for emphasis) and, of course, the analog gesture of writing uniting both – paper and pen – in the time of drawing of the word which is so curiously different from the time of construction of thought. Then, a transcript.
For the notebooks of a specific project, I keep the same style and sequential numbers, accompanied by a stamp (with a single word identifying the project): Mover-se (1), Mover-se (2), Mover-se (3), and so on, until a specific number which necessarily corresponds to the deadline to turn a thought public (a thought which keeps growing and does not end at its birth; on the contrary). At that particular moment filled with high density of information, when someone (me, here surrounded by 23 attentive and generous interlocutors) wants to communicate something to someone else (you), one cannot help but notice the many autobiographical passages (which will not be identified here) that an idea conceived to become a book (at least initially) involves. All in us corresponds to one intern cause, Balzac would tell us.
Preceded by a long and strenuous survey of movement in contemporary Brazilian artworks made after 2000, this list is a representative reduction of the diversity of artistic propositions of the Mover-se [‘to move oneself,’ ‘to walk,’ the meanings may vary] included and excluded in its set of very different operations. The choices are subjective
in nature, like all inner experiences, as Bataille pointed out.
This project is based on the here-and- now, with its layers of accumulated past references for futures to come (or silence, in its absence). What originated as an affirmation – “Práticas Contemporâneas do Mover-se” (or 10 dialogues about errancy in recent Brazilian art) – an excessively long title, no doubt – has become a question: when does movement become erratic?
About life, two things are certain: birth and death. What lies between them is a unique experience of anguish and ecstasy (in ongoing alternation) where the inevitable – even minimum – movement, can be established through two metaphors – where one does not exclude the other, but rather complements it – to be a tree, to be a bird, or better: to find oneself temporarily as a tree or a bird. If the world gives man an enigma to solve (going back to Bataille), the desires for movement, exile, and strategies to get out (even when one realizes that there is no ‘outside’) are contained in that mystery. The enigma of motion does not end and generates more questions than answers, more doubts than affirmations. Here is outlined a provisional theory about the current state of motion in Brazilian contemporary art. As Balzac would say – My foreword finished there. I begin.
London, spring 2015.
ENGLISH
(THEORY OF) MOTION: A SYNOPSIS