Hello and welcome to the Coupe Ahead
Hangout
and we're so happy to welcome you
all to the first session of 2025.
So we are T Braun
where the organizers of the coupe.
So I'm t Braun Frankie Benevento A.D.
again
in New Jersey that Consuela
and we are the curators of the coupe
and we work in consultation with Laura
Levin and Tracy Tidwell and Fairmont
Davis will be doing Portuguese
English interpretation today.
So to activate the translation,
you select the globe
icon at the bottom of your screen,
and if you don't see it, click on more.
And it's called interpretation
so you can listen.
So Denise is holding up official.
You can listen to the original audio
or English or Portuguese,
and you'll hear two voices
during the interpretation,
the original speaker and female.
But if that's too much sensory
stimulation, you can always select mute
original audio and you can switch
between those two options.
During the event and this information
we pasted in the chat.
And if you have any tech issues or questions, you can message Denise in the chat.
Yes. And also
we will have closed captioning in English
and to activate the captions
you click on the three dots
or more where he says more.
And if you can't see the captions,
which is like a two ccs in a little box
and also at the bottom.
Yeah.
And if you have any questions,
just message me.
Yeah.
And finally,
we want to let you know that we will be
recording
today's event for archival purposes,
and the group is an online gathering
where we invite guys involved
with the Hemispheric and Cultures Network
and beyond for a conversation
and although many of you are involved
with hemispheric encounters
in the Hemispheric encounters
network or hidden for short
is a growing network
of activists, artists,
academics, students and community
organizations from across the Americas
that explore hemispheric performance
as a methodology,
a pedagogical strategy,
and a tool for social change.
And if
you will like to hear about future
sessions of the group, you can follow
Amy's very encounters on Instagram
at Amy Encounters.
And if you would like to see
any positions or something you like,
you can view them on their website.
You can also get in touch with us
via email and then that group
that hang out at gmail.com.
I will post these links in the chat.
So no worries.
You don't have to memorize
all this information.
So to be in touch.
Okay.
And before we hear from our speakers,
we want to offer a land acknowledgment.
So today, obviously we're gathered online.
So we're all in different territories
and each with their own
original caretakers and their particular
iterations of colonialism unfolding.
But Franklin and I
are presently in Chicago
or what is known as Montreal.
So today
I'll just speak from that perspective.
So Montreal corresponds to the Unceded
territory of the connected Hakka people,
and the name of this territory
and connection is to charge,
which means broken into since
this is an island
that's crossed by two rivers
and has been a gathering place
for many First Nations
people and continues to be so.
And we acknowledge
that our acknowledgment is faulty
and that land acknowledgments in
general are very fraught.
But as hosts of this event,
we still want to express gratitude
to the original hosts of this land
and these waters that connect to people
and remind ourselves
of the material relations and histories
that enable our offline lives
and this virtual gathering to happen.
And I'm sure today's conversation
will offer insightful
perspectives on these issues.
Yeah, regularly.
We also have here Tracy
Tidwell, who I would like to acknowledge
and send all the good bye to Granada.
Her account with not having the best time.
So now let's turn to our guest. Today.
We will have a conversation
about the exhibition event or archives
at Cisco Niteroi, curated by Juliana
Day, Fernando Cardoso and Danielle
Colella, which showcases works by 14
artists from Kassel doing residencies in
at the point at which Hergé,
one of the world's most climate
vulnerable regions in Rio de Janeiro.
Through reflections on marine erosion,
the artworks
explore environmental, collective
and process based perspective
reinterpreting erasure, erosion
not just as destruction,
but as a catalyst for new ways of seeing,
adapting and acting in the world.
Joining the conversation are curators
Juliana then and Fernando Caruso,
as well as researcher Sergio
PEREIRA Andrada, a professor
into Department of Arts and Culture
of Theater Studies at the University
University
from Amsterdam in the Netherlands.
We also have Sharna Johnson Johnson,
professor of performance
creation in the Department of Theater
of Concordia University of Montreal,
and Laura Levine, director
and a professor,
and again, countries from Yale University.
So please, Fernando, Julia,
tell us more about all this wonderful
project and all your welcome everyone.
Okay.
So good afternoon to you all.
Julia I will try to speak in English,
but if I have any problems,
we have a few more here to help us.
First, I'd like to also to thank you all
for receiving us
to talk about the exposition.
It's joy
for us to be able to share this with you.
We got really happy with the result
of this exposition,
and we think that some kind
is a way of showing you parts of the work
that we've been doing there.
In the more concrete,
how can I say visible
way so
we can find out if you can just start
rolling down
the PowerPoint.
This is a great introduction
to for you to know that in the last year
we received
more than 16 artists and researchers
there in at the phone
sharing interest
in thinking about how arts
compassion
that some agent in their community project
their perspective
whether live in some territories
and also to be able to communicate
about this situation,
expanding the narratives
it's not really states locally
localize it in
the territory to amplify this
day's debate.
So we for this exposition,
we made the selection of artists,
and especially from some specific groups
that have been there.
One specific with the Palais in 2022
and another one with if nineties.
It was visual erosions in 2018
and also with a group of
and School of Arts in Rio
that calls scholars and see to
we can translate
maybe is school of non place into 219.
So we will show you a bit of 14 works
that we'd like to to arrange
in this exposition.
So Fernando you can disperse again
as a methodology of work there.
We always try to
put ourselves as mediations
in between the, the artist
and the territory
as we were living there
for the last seven years.
So we receive them.
And most of all, we,
we put
our focus on experience with the ambiance,
with the atmosphere, with the erosion,
and also with the wood part
of the environment,
of the pleasure that the environment
still can offer there.
So our mediation focus on listening
to the people who live there and who deal
with erosion and to learn
living with the erosion
and to adapt with the
the climate crisis that the territory
has living for the last 17 years.
So we have
they are people who already lost
not one house,
but sometimes five houses, seven houses.
And how do people adapt to this and create
a conviviality with this process?
We think there's
the same kind of pedagogical experience
in this
conflict
with erosion,
and we think that this is
an important message
for artists to receive.
So our work
there, as you will be able to see,
it's not focus on only works in
as a special, a
separate ambiance
for the artist to create,
but also in the in the beach,
in the sea, in the river with people.
It's what we like to think
as a contextual art environment.
So art that is created in beloved,
in the context,
not in solitude experience,
so that you have some image
of those experience
of walking around
and just feeling the territory.
We believe a lot
in the kind of information
that the experience can bring
to the creative process.
So now you can press again, please.
There is an image of some process
of artists.
It's one image of inside the house,
as you can see.
But then you can see
also some of collections
that artists used to to do in the beach.
In the
the right side, you can see those small
word images
that I don't know is to all feel
the the small
things that people use to buy houses.
And when the houses are destroyed
by the process
of the erosion with the sea,
the sea and the erosion process.
Do some sculpture in this work
that I miss
is the basis of the houses.
Yes. Thank you.
And yes, so
there you can see,
you can have an estimate of of time
that the debris is rolling
in the sea and in the beach.
And we have different size of this week.
So it's a
it's an interesting process
that one of the artists
made, not only him,
but it's it's an interesting process
to think about how time, process,
destruction also.
And in the other side, we have an artist
that work a lot photographing and as
to making collages with the
I don't know
which college is the right word,
but making together
different photographs,
cutting and rearranging to
to think differently about the images
and the imagination that came
that can be created
when we organize the images
so you can press there.
We were in
in that specific place.
It's a bar and also ateliers
and also a house.
The we well lived
great friend of us, Nicole.
And his place was amazing
because he created oh delete.
There was his house
was the bar where it sells drinks
but there he
he works with the material of the lens
as well to to build
a really specific place
totally created by him.
And he also has this this conception
of creating with what the art gives
with the sea brings
and reminds in 18 functions
and and images with that
most of the time people see only garbage.
So it's a it was a specific place
that we normally take the art
is there to to amplify
the the perspectives of art
and what we can use
to to create the to recreate the materials
so you can go a place.
There
is Daniele Pulido which is also an artist
and the was the creator exposition
there, his writing future in the sand.
But what seems to be the sand there in
this image
was actually the rest of the street.
How can I say this word in English?
Also A to the the concrete.
Yes, the concrete of the street.
It used to be a street,
but the sea has already destroyed
these specific area used to have like
four kilometers ahead.
And now the what is happened in this beach
is that the oh,
the city is going backwards.
As the sea events in the city.
The city is building,
rebuilding itself back
like the sea came and the
the constructions go backwards.
And there I don't know if you can see the
there's this
area where you have a limit
between the sands
and where is reaching future.
So it's like a catastrophic image future,
but also invites us to think about
future.
What can we what can we do in this case
but is so work that Daniele
have been doing in different places
and he's been thinking about this as a
as a as a crisis, as a problematic
and he's been reaching these
in so many spaces.
And then he chooses this one.
And I think we saw was a specific work.
It was not what is in its position but
we we choose to to show to you
because of this limited experience
that these were written in
this place can bring to us.
You can
go ahead, please
that you have some experience of
video works that was being there in
the image above is for an the ground and
see that repeatedly with these
groups of three
and do a and of dance
where she she goes backwards
and then she got into this tree
and then
she dance in this route
and we have a video of this performance
in the exposition
and it's also video.
Maybe you can see another moment,
if you like.
We can talk to her and maybe send to you,
because it's a it's a kind of fusion
between
between the body and the root
with the sea that came in the route
while she was there.
So it's really sensitive work as well.
You can best fit, please.
Well,
there is inside Nico's house,
as you can see.
I was telling you that he built everything
and each small part of this bar
was created by him with any material
that you can imagine.
Like there's no limits to
to, to what is a basis for a creation.
And there is another resident,
Lucien, of Uncle Sam's, that spend
a few days with us there
and made some performance
in the in this bar.
And then Vogue Canada was able
to make some photos
and in the exposition we
we could put this photos in there
in the lumber.
I don't know if you know,
I need help to translate lambada.
There's word for it in English
for wallpaper.
Wallpaper, maybe.
Thank you, Marty.
I think it's wheat bait.
Wheat paste, posters,
controversy.
But Qatar's King
Kong Energy
feed the Congo Energy defining wheat
wheat based posters of that
that can come in You guys.
Yeah.
Give money to popular book
soup to a buffet.
It's a stick with it
stomach was a happy then
there's no point of this
Maintain
the structure and the dignity of the work.
It's to be a to to be able to do fast
and it can be destroyed first as well.
And there were some good images
in this
that we can put in this position also.
So you can most
there is
maybe what eyes who just enter
in the meeting with this helping
with the translation and he was doing
she was doing
this is performance
which I don't know this word as well.
He did a basic who can help me
is a material of the
fishermen
that they use to reach net fish in that.
Yeah.
Yeah.
In the
it's a traditional ways
that fishermen works not like the big
structure of of fishing.
Fishing. Yes.
And and also Mariana,
after this performance
in the other side of the screen,
you can see a process
of the DVD performance that she made did
18 and 2022.
And this video went to exposition.
Not the, the performance with the fishnet,
but the also you can see the ambiance.
And we wanted to show you a bit of the
the visual of the environments there
and how we always are trying to
to make the words the works
being created in the territory,
not in the isolated form.
You can't best fit. Please.
Okay there is that Sweden
and he's also a video artist
and he works with
old films and he is
there in this image that you can see
he would like very the
the film in the same
berry I think the hunger it
yeah yeah and those and then the sand
and though
the small animals and different lives
in the sand interfere in the feel
and after he he he process this and best
since this feel in the the exposition
so you have a very specific image
as results of these and he work there they
this image is in the same with the sea
interfering as well as you can see.
But he also puts the film
inside the river for a few days
and then blessed by the fishes,
the the vegetables, vegetable, the
everything in the sea,
the other the the animal life
that interfere in the film
and then is beautiful to see the results.
And we could put in the exposition, also
see possible.
That's from Vito.
He's a painter and he so so on that
he used to work with this
with the group theater.
But as we know that
he thinks we invited him
also in the residence and ask her to
to make some paintings in houses
that are already abandoned
by the the old
owners.
Sorry.
And that he's performing.
Let's talk with these
but there I don't know some plug
for that. Yes.
This white flag that's Carolyn
fell and see another
artist that were with us
and this day was,
as you can see, a cloudy day,
sort of raining day with strong wind.
So I don't know these these white flags.
And it has a
and and
I don't know, something like a peace sign.
But in this environment with non beings,
in an
environment that is always in tension
with the nature
is so always in this conflict
between the building of the city
and the the sea
that is coming inside the city
and making this restriction.
So in this context specific,
this white flag don't bring us
exactly the the beast energy, but instead
like a conflict with this symbol.
Now you can go ahead, sit it, please.
Yeah.
This is a part of the educational program
that we do there as well.
This is a group of students
that we receive with the teacher
that teaches there and knows the work
and is always in contact
with us to bring some students
for us to talk about this relation
between art and education
and what are the possibilities
of the art
to talk about the environmental crisis.
It's hard to talk about what's there.
Even though they lived in this.
The daily lives is a sensible subject
because, you know,
obviously is is the reality.
But it's it's
the said subject is a trauma.
It's a live
the trauma, the daily situation.
So sometimes we discover that
it helps to talk about these
and to deal with the trauma of the
the losing,
losing of houses, losing of memories.
So this kind of pedagogical function
of it, to talk about environmental
surprises is important to us as well.
Say, please, you know,
this Rossini is a
and an artist from India that in the end
we went there to work with this
and make a video performance as well.
Then the best piece,
this is a parts
of a frame of the video work
that I've done there
I've been working with achieves.
Then thinking about
something between was
how can we make a private, achieve
a public achieve and vice versa.
What is the is this complex
and political and delicate issue
like what is a private achieve
and how public can this be
to collaborate this to
to talk about things that are political
that's attached to everybody.
This lady he made
and now she's following the sea,
destroying this building
in front of her house.
And they made a small documentary about it
which calls concrete sea.
And the maybe I think,
how you can
you put another image,
but I think that maybe
I can pass the words now.
Yes. To for you to talk
about the exposition properly
and then we can lead to talk a bit more
in the conversation.
I will put my microphone
won't evolve Falak Fuku.
But if you mean to
this was so present, then do premiere
or Kim
Panorama is now the community organizer.
I suppose so.
There was one victim as oppressed don't
suppose sums up para sit on a peasant.
Sometimes you will and I in the process.
Yeah. Ki is interesting.
AC was imagines a qui mostyn-owen
mccomas as oppressed
photo organized in response
pensando simply as the swings in three
l isn't the homeless budding career, i.e.
losing three in three process which are
that Euston Nasser Let's imagine.
It's interesting
today struck by the stories daily
so Mills Key
is to maximize agitate
the kill will Scott engage
in passive messages
trapped by this conventional the questions
about the ice cube standing up riot
yes here the skill could
use is in Stella's voice, a key vote.
The main concern to transform
and have been to me main Michaela.
So I'm going to get started.
The action in a material dodge, a keystone
that concrete that makes
me to think about art history,
about concrete art,
phantasmagoria.
And those material has a ghost
like character.
That's how I see
the act of fishing and fishing
has this presence in Brazilian history.
It also has an important role
to play in terms of economy.
Paolo Vitor also works the VAT.
As you can see, this is a window that
he found at the beach and a lot of Arizona
near.
We can see Daniel's
work in the background.
He also works with material fan
on the beach.
So this whole part of the exhibition made,
but with material found on the beach,
there is a dialog
between this materials found on the beach.
They were not traditional and modern
modern works, but
Daniel also works with collages.
He uses wood.
You can see some of them in the background
and he grows them.
He uses the plastic
from from pop bottles to
to make these montage.
We can see here some video work.
This is part of the video
that's part of the exhibition.
We'll also see some of Isabella's work.
We'll see them in more detail later
here.
You can see some of her work.
This is a type of route,
but it's actually made of latex.
This is the one that you see
towards the center of the photo.
There's something else in the background
that has a more aggressive character.
It's made of glass and that in clay
beside her work,
you can see taste is work.
Here.
This is work made in a studio.
The goal is to bring the atmosphere, parts
of the landscape
that they saw and tried to capture.
You can see Louisiana's
photos on the wall.
This is part of the meeting with Oceana,
Nikos Bar.
This is Rafael's work,
and that's Cara's work.
So this was a very quick
walk through the exhibition,
but now we can
look at them in more detail.
So this is Danielle's installation
here.
The detail shows how he added these pieces
together using plastic bottle.
All the elements were found on the beach.
This is my work.
This is how I attach the net.
It shows the idea of creating
these geometric forms
and adding the Brazilian neo
concrete system.
This material is very abundant.
The the nets fall apart
and the fishermen just throw them out.
I have made a lot of work with it
because this is the kind of material
that's very dangerous for for marine life
when it's back in the ocean.
So there is there is an attempt to
to take care of this material,
to repurpose
them.
Now, the crabs
there is there is a relationship to life.
And still how erosion of erosion comes in.
So all I'm doing is putting it together.
I'm finding the bricks and these
iron broads and I'm putting them together.
So they kind of reminded us
of these creatures,
creatures that live in the main,
the mangroves and a phone in
this is Paolo,
beside the window that he painted.
Thank you.
The work amounts to the idea
that the sea is coming back
to popular idea of the locals,
especially with the Fisher people.
This idea that the sea is reclaiming
what belongs to it.
In fact,
that piece of land at some point ready
belong to the sea.
Scientifically speaking, that's also true.
So that's that's what it says.
The sea is coming back.
You can see this in the painting.
This is also beautiful work
that was present.
This is Rafael, his work.
He organizes these pieces of bricks
on top of notebooks
in invites us to think about
a type of geological writing.
Also about the process of the artist.
We are creating a language
through the erosion.
This is part of the reference.
This is Isabella's work.
You can see it in a close up
to delicate work.
She uses glass, ceramics, latex.
And here is the same work
from a different perspective.
This statue is work.
This is a film that he collected
from an old file.
He buried this in the sand.
Money sack sand.
This is a specific kind of sand
that's present there.
It's a low radiation sand.
Let's let's watch this now.
This is Tice's work,
also a very intricate, very delicate work.
Your beautiful interior lives.
She creates this dynamic between salt,
glass and iron.
The salt kind of erodes
the iron that holds up the glass.
You can see this and the image
the one on the left was when she
first put it together.
And this
is later that showing the corrosion
that salt caused in the work.
This is Jerome Rossi's work.
It's a still video, still image
here.
Filmed the window of a warehouse
that's actually being buried by the sands.
There's a little bit of movement
in the plants here,
so we create this.
We had a TV in the back to make it
to bring by this idea of a window.
This is Corral corrals work.
We also saw this
during Julia's presentation.
She has a huge flag that she brings
to the meeting place
between the river and the sea.
He made this work here
by creating these stamps,
postal stamps.
It remains a little bit of a video, right,
Because you can see the flag movement
along the way.
And here is the flag.
We installed it
on the outside of the exhibition
here.
We can see why this work.
This is her meeting with Maker.
And then we paste post again
here and she glue them on the outside.
She talked a bit about her meeting
with Nico in Arizona, Lou,
who is an activist, a trans artist,
a black person,
and she adds all of that to her work,
a black trans trans woman in Brazil.
It's important to her
to share these moments,
moments
where she can express her artistry,
her subjectivity,
and she was able to share a lot of her
thinking with that.
Here are the videos.
We're not going to be able
to watch them now,
but I like to tell you here
the videos that are present there.
Fernando Breakfast video.
Julia talked about Julia video.
This video of Mariana and Sara. Jamie it's
so there and
I tried to stay on point.
So we have enough time to talk.
I hope this gives you a general view
of the exhibition
We had to choose.
There were many artists
that came through Casa
Dona.
I hope that this gives you
an idea of the work that we did.
I'd like to thank you.
And I want to open the floor
so we can continue the conversation.
And it's my turn.
Okay,
Tyler, do this.
Do this before what you brought to us
today.
Fernando. Julia,
I have had the opportunity to visit.
I had a phone with both of you.
I was able to witness
the work that you developed there.
I think it's important
to share this to this
group that's with us today.
I'm reinforcing
something that I see in your work, Right?
There's this persistence.
You've been there for eight years now.
You've been there since 2017,
so it's been eight years.
And the work
I know how important this is to to you
and you know,
and this is also a cancer position
as to other works
that visit out of Toronto that come and go
or make a spectacle out of it,
the this is an erosion process
that's 60 years long.
It has been sped up
doing to industrial activity
in the area and
there is a violent process that's been
getting aggravated
with through interventions of abuses
on the environment.
And this shows the many ways that artists
and art can also produce,
make and also use some of these process
for their work.
I think what you're trying to do
is to show
a an option to think about a continuity,
a process of creating connections.
You have this work
of environmental awareness
within the community.
You work with the Landless Movement
in Brazil.
Ramon
Oh, I'm sorry.
Then there is a lady that's an activist.
I forget her name.
Please forgive me.
No, no, no.
In the manga and it's.
Yes. Yeah, I can hear you.
I'm sorry. There.
There was there was a pause there.
So. Yes.
You've been working on different
fronts, right?
Academic research and, art, art, research.
You were working on your postdoc, doctor.
You work with a theater group,
Grupo Arizona, the Russian group.
So. But I have a question.
My question is related to this choice
to not make a spectacle
of the erosion process.
It's a choice not to romanticize
this process.
Can you talk about that?
How how do you see this process
of not knowing, of avoiding
making a a spectacle
or to avoid romanticizing that
the the event
and by creating peer
right that uses the line from the song
and right of of creating something,
of recreating something,
something that needs
to be constantly re created
then there is an idea to keep creating
and recreating.
There is
there there are
there are many, many layers.
And this erosion is very symbolic.
How do you understand
there's non romanticizing,
there's erosion process, there's known
looking at this process
as something exotic,
but also now making it,
you know, a doomsday kind of scenario.
Can you talk about that?
Shall we shall we comment on this?
I guess it's better to
to hear all the questions first
and then we'll answer.
And at the end.
One. Yes.
Hi. Hi.
I'll be brief.
Can I. Can everybody hear me?
Great.
Okay.
Well, I mean, I wanted to,
first of all, say thank you to Julia
and Fernando
for presenting this
amazing work and,
you know, maybe picking up a little bit on
what Sergio is commenting on about
how do you do this
work and be in community and not
so into romanticizing the work.
And I mean, I don't know if I have much
of a as much of a question or a comment,
but what I was struck by is this tension
and drawing attention and mobilizing
publics and community
around this tension of
of of these culture, nature,
nature, culture dynamics and
especially with some of the earlier
work you were sharing, Julia,
kind of
thinking about even just from the images
and through this screen,
there's this that some of these artworks
are conjuring
feelings of, of tenderness.
For me, ritual mourning.
And I started to think about, like this
kind of process of ritual, of witnessing
that's happening on the site as well.
So I'm just wondering if that that for me
has something to do
with kind of countering,
making the spectacle and, and,
and kind of thinking about this witnessing
or these actions.
I don't know if that's
what you've been witnessing
because you're so embedded and embodying
that site and have been for a long time.
So I think it's it's a
it's a question of thinking about
how you see
do you see this work as a kind of ritual
or or mourning or witnessing.
And I think when we see
images of the water, you know, immediate,
you start to kind of feel like
we're in the rhythm of of this erosion
and witnessing in this kind of a
still life form and in the documentation.
So I don't know if that's really
a question as much as it is a comment.
I find I really find the work
in the project really moving.
So I wonder
if you could speak a little bit to that or
and the other question
I had was to what degree the locals
and the community are embedded in
and working with, Have they?
What's the if you could say a bit
more about the importance of their agency
in the work and, and, and hosting
I guess outsiders coming in to
to work in the site
for that.
No it's okay.
I mean if I,
I what I was expecting us to sort of ask
a question and answer
or ask the question and answer.
So I think like showed I'll be brief
if we're if we're going in this way,
I'll also say thank you
for sharing this with us
and congratulations.
This is really moving
and amazing work that I think
we can all learn so much from.
I'm really interested in
something that Fernando said.
We were talking about creating a language
for the erosion and
and it made me think about the question
of what role
performance plays in your work.
You know, how a question
what I keep coming back to
because the presentation of the work
in this way, in this form we're seeing it
in a kind of an installation and format.
But you're also describing dance
the the woman who is dancing
and the root of a tree, for example,
must look familiar
with some of your other work.
That's more theater based
and had the pleasure of engaging
in a workshop that Fernando led
that was theater based as well.
So I'm kind of interested in like
how is what role performance plays
in creating
a kind of language for the erosion
and if it if it does at all, and
what can
performance do that other art forms
can't or or is performance
not the most useful term in thinking
about this particular body of work
that you're sharing with us?
Just interested
in the specificity of artworks
and the language that they create
in the context of environmental collapse.
And I think that like for me,
that also goes back to something
that Julia was talking about that
I found really moving, which is thinking
about the pedagogy part of this work
and Julia, you were talking about
how art in the context
of environmental crisis
can help us with dealing
with the trauma of loss,
the trauma of losing tangible things
that mean a great deal to us, and
and also the loss of memory
eventually as well.
So I see these two things
as kind of operating in conversation
with one another.
The idea of
I hear the idea of creating a language
as being in conversation, this idea
of helping people to deal with trauma.
And I was interested in hearing you talk
a little bit more about all of that.
And then secondarily,
just because Hemispheric Encounters
is a transnational project, thinking about
whether this language is site specific
or whether it could be transferable to
other contexts of environmental collapse.
You know, in North America, for example,
we've seen really stark
images, for example, of L.A.
and severe environmental destruction,
a totally different context,
totally different situation.
But we're
talking about climate disaster
in another context.
So can can
we think about laying a language
that that troubles as well?
So my thoughts
evolve along book
together go and okay feeding
and I respond
I think I think I can
I can answer better that way.
So you brought up a lot of problems.
You brought up paradoxes,
struggles, obstacles.
I think a reason to be
there is to work on those paradoxes.
How can we build
how can you build the work that works
with the language
that deals with destruction,
something that goes beyond and negative?
Look,
But how does this abstraction
affect other things being produced?
Someone leaves the house
because the sea is approaching.
Someone else will come in or within
that house
will create a bar, something that
worked during the summers. It
this and
now this is this is something new.
It creates new life.
It created new possibilities.
This is something
that might have been considered
gone, wasted
the this idea
of romanticize of of making a spectacle.
But it's it's it's definitely a challenge
for have been there for years
with host artists that stay for for a week
and then they move on
they can create work
that we have no control over.
And that's that's
why our focus there is the mediation
between the artists and the land
so that these artists
can hear to the people,
so that their experience
that will impact them
and in a sense sensitive way
in their work later on,
they may develop
something that will sell or not.
You know what?
We're not worried about that.
We're more worried about the learning
process that this or have later on.
Obviously, we have
no control over what they will do
out of our
the information that they gathered
there were always running meetings
so people can can talk about
their experiences
to the artists.
So we
I don't have a better answer.
I'm from Rio.
I was shocked when I arrived in
at our phone at
the teaching experience
needs to go through living with the laws
and to create within it.
It's an existential condition.
The pedagogy is not specific to a content,
the environmental laws,
but it touches all of us
if we are people
that take the environmental problems
seriously.
And yeah,
we are in Brazil, we are feeling it.
I believe we'll all have to deal with this
loss.
The lot, the material loss,
the loss of a certain lifestyle,
lots of lots of loss.
How does the community receive this?
Well, very well.
They're often very happy about it,
Believe it or not,
this is not a topic
that receives a lot of attention.
So we don't.
But we moved there.
And so we we became neighbors.
And that's how people see this.
The work
our work is to bring attention to us,
but to put the spotlight on it,
to to create a dialog around it.
I think performance has a special role
in the work that we develop.
I think it's the context
I think is the very nature of performance
that allows us to use that and to to
performance is a language
that's very important
to us.
We as a theater group,
we were always very
linked to the performance.
Our works
were always rooted in performance.
You know, I might be on the beach,
it might be some archive work.
It was a type of theater
that was that was born
from the territory.
And I'm going to wrap up.
Sorry, there are lots of questions
I still want to make from our friend on
the I'd like to touch
upon the idea of the end of the world.
There is an important thinker in Brazil.
I read some Quranic.
He here said that the world has ended
many times.
Many worlds have.
So when we go over there,
what we see is that
this is not the end of the world.
It's the end of a world.
It's something that will
lead us to a new experience.
It's part of a cycle.
It's not the apocalypse
that will be the end of all of us.
We are going to have to keep dealing
with it.
Consequences
of our actions, of our explorations,
our way of interacting.
So it might be more complex
than simply an end,
something that would simply put
an end to our problems.
There is no end
and their worlds
have been ending for a very long time.
I think at a phone TED talks about that
and in many ways
and it extrapolates and and connects
to many other experiences
of ending many
that we have lived by living now.
And we'll continue to live.
I think it has an existential pedagogy,
pedagogy.
It's sad and happy at the same time.
It brings a sadness and a
melancholy in its nature.
I think it's a very rich experience
to live in that territory,
something very valuable.
That's it for me.
I'm going to try to add something to what
Julia said,
and I'm
going to start with Sergio's points.
It seems to me
that when we work with an art
and we try to engage or
we try to be environmentally responsible,
we we
we don't really have an answer,
but there is something we know
we are going to need to build alliances.
We're going to have to compromise.
We're going to have to involved
with the territories.
We're going to have to spend time there.
There are some points that we know
are just vital
so that the work will make sense in a way
so that they will have some sort of impact
for the people that live there.
We we live there,
but we chose to live there.
However, there are people that live there
because they have
nowhere else go.
We know that our presence
there is different from it.
We're always going to be foreigners
there in one way or another.
So how can our work
be become relevant to them?
We don't know.
But we understand that
there is art that doesn't care about that.
There is art that is for producing
the exploitation processes,
but we are there
and we it is our job to sometimes
point the finger and say, Hey,
what you're doing here
is this like you're not being any better?
Excuse me.
There is there is no sound from us.
It's back.
And then those sound I stopped
there is this similar
to a similar place called us.
Assume that I'm. I'm sorry.
Unfortunately
I can't hear Fernando's audio,
so we need to be aware.
Art. Art can have many different ways,
many different ways to interact.
I'm sorry.
I don't know. I don't know
what's happened. I'm going to.
Maybe. Maybe if I.
Yeah. Yeah, It's better now.
Yeah.
So where should I go back to
this?
Carry on from where you were.
It seems to me
that there is nuance that we can.
We can know this.
There is.
There is artwork.
Fernanda Sound is frozen again.
Well, I mean,
I think we had like a huge like
at least a good summary of the response,
like,
oh, what to say?
Like this connection was originated
by this team, but
I mean, maybe it's mom
and who clones this space and we can
or should wait a little bit.
Yeah, let's wait.
We can wait then.
Yeah, let's wait then.
At least they they back.
I will send a message
on their phone.
Yeah.
He saved both of them.
Lost the connection.
Let me see what he's saying.
Uh, standby.
He would try again
via cell phone.
You know,
when we are working the hemispherical.
Me, the.
This is always a thing, you know,
the connection, always
the the timezone.
So we need to have it all like
entourage like, like performative
moments for kind of the intermissions
when people leave.
I think I would like to nominate the niece
who creates incredible short
puppet shows to have something ready
for sessions
so that the puppet theater can take over
as we're
as we're
waiting for the connection to come back.
It could be a way for us
to organically deal
with the discomfort of
good.
Oh, see,
that's exactly.
Yeah.
I also nominate Jess.
Jess can also.
Yes, provide.
Yes, but yes.
Oh, time.
Here's Julia.
Julia's back.
Oh, no.
Oh yeah.
She's about Wow.
Sorry.
Let me
get sick.
It's.
No, Hey, come here.
One moment.
Yeah.
Looks like he. He's.
It's going to
another.
Yeah, They're shooting today.
So now that Kim is
loyal to them, the.
He can't hear me
when they have internet.
But how erosion effect that. Yeah.
The end of the world.
The beginning of the world interview
follow the book that's.
That's a lesson that gives you
a little bit about relationship
trouble artist creating a
Rasmus showing
so I where it has dimensions
that aren't always related to two
as I invest
commitment generally I know
the I I create
I create here shows that commitment
we provide is some we have other work.
Some work that are more territorial such
as moving museum.
There's a little child
giraffe to perform in the Dodge
or that idea to create a direct dialog
with the community
interest.
They want to bring words to
to the community,
to the fisherfolk community.
But we need to be watchful.
We need to be always thinking
about this social mapping to what I said.
It doesn't matter whether I work
with painting
my near physical, just trouble you ten.
Is there any way that I
can make this this work echo
with this place
as custodians and permits you made
because you survive the sky and trouble
you could dance a case in tone,
add a super talented disaster in there.
Yeah.
So this is in strings
section, this question
key callout.
It tries to follow too much modeling.
While talking about Laura's point,
I talked about the idea
of creating a language
that's connected to erosion quite in
to maintain the hand that you're watching,
just as in check it out.
So something that we learn along the way,
we are raised thinking that you know that
the artist is some sort of genius
that is created.
He or she is creating something
that something so special
and so different.
There's a there's a
that ego plays a big role as become fuzzy.
But what we understand
now is that the work to work
with is to create a partnership.
Clark
hasn't seen the theme compared to Rio,
and of course we still offers
in some sort of way, but we share
the the, the,
the authorship with the territory of Zoom
due to June, January Church Commission.
And we know that this work isn't simply
the product of an artistic genius.
Is this job.
We are listening to
what the erosion is producing,
to what those lads are telling us
taught them.
We are working on some sort of interpreter
that the man.
I think the idea of like translation
in an arts is also something
that's really interesting.
Whipsawing the sink is exciting.
The man is into the key
to Archibald parts inside the Apache.
That's a perspective.
You can also understand
art from this perspective
is something that's beyond what's human.
A perspective on art doesn't
all belong only to the human perspective.
We could think about art and in this way,
and there's this type of art
that we were working with as something
that actually exists in this process.
In this meeting point,
you start to realize that it exists
within this environmental
processes in time
that exists within the senses.
And the other thing is,
I don't know that there is a way
create this language
aside from this relationship
to create Abdallah El Apache sea sponges.
But I think once created,
yes, that language can expand.
Yes, we are working locally,
but we understand that these are global
topics.
They are particular to a phone
that we keep them at.
A phone is reflecting questions
that exist and in other places
seeing you ask them to you Marquesa
and this issue the dome
and I think that is reflected
in the works.
Keita visit is a puzzle that may asking
I might be.
I may be missing something.
Uh, a proposal.
But in general terms, I think that's that.
That's what I had to to share with you.
These are my thoughts.
Because insofar as I
go over and now what do we do?
We a comment about spam
camera
and clap noses
so game the Kentucky cat Zimmer
which McCoy's I don't know if there's an
is there anyone here
that would like to say something
because it's just myself Flora and Shauna.
But maybe there is someone else here
that would like to make a comment.
Mr. Hopkins
Just to make sure that wrapping up
of sad
my response to the farmer,
But I'd like to open the space.
Everybody's too shy to say anything.
It's fine.
No problem.
Yeah, I think we have to to wrap up now.
Otherwise we.
We would need our back up for fear.
Marcus have been doing an amazing job.
Yeah, yeah, yeah.
Thank you.
Feel more.
But, God, this human penalty of the people
together feel
they are.
The stories are amazing translators.
Great job.
Always.
But regardless, in regard to Jane Spiller
teleported in the presence.
Still
presence.
Thank you. Thank everyone.
Thank you for this opportunity.
It's so important to us.
It's so important to be part of this.
I don't think I.
I thanked everyone from the Nicole.
Yeah.
I mean, she as it's time
to get out this opportunity.
That's where the contextually
very grateful for this opportunity
to share this with you.
And I hope we can continue this dialog.
Yeah, it's it's so important.
It's such an important work.
It still is
but that we're very happy about it.
Both of my time after I got this set.
I mean, momentum is very can countless
and can you to take them right now to
to thank in the name of this
great encounter this is large network we
had. Fernando is our most post-doc member.
He just finished his product project
about June and I'd like to thank him.
We gave us the opportunity to meet
because he's doing a work unit.
And so
I'd like to thank for this partnership
and I hope that we can keep working
and as I get more,
I think it's that then easy D
And frankly, everybody,
thanks to all the people
that have gathered to the moon.
Thank you, everyone. Thank you.