0:00:11.280,0:00:14.760
Hello and welcome to The Coop a HEN[br]Hangout

0:00:14.760,0:00:20.760
and we're so happy to welcome you[br]all to the first session of 2025.

0:00:20.840,0:00:24.560
So we are the organizers of The Coop.

0:00:24.560,0:00:27.760
So I'm T Braun, Franklin Bonivento van Grieken

0:00:27.800,0:00:29.560
...

0:00:29.560,0:00:32.000
Denise Rogers Valenzuela,

0:00:32.000,0:00:34.880
and we are the curators of The Coop.

0:00:34.880,0:00:40.440
and we work in consultation with Laura[br]Levin and Tracy Tidgwell and Firmo Pompeu

0:00:40.440,0:00:45.640
will be doing Portuguese[br]English interpretation today.

0:00:45.720,0:00:49.760
So to activate the translation,[br]you select the globe

0:00:49.760,0:00:54.800
icon at the bottom of your screen,[br]and if you don't see it, click on more.

0:00:54.840,0:00:57.720
And it's called interpretation[br]so you can listen.

0:00:57.720,0:01:00.600
So Denise is holding up to show.

0:01:00.600,0:01:03.200
You can listen to the original audio

0:01:03.200,0:01:07.360
or English or Portuguese,[br]and you'll hear two voices

0:01:07.360,0:01:11.920
during the interpretation,[br]the original speaker and Firmo.

0:01:12.000,0:01:16.120
But if that's too much sensory[br]stimulation, you can always select mute

0:01:16.120,0:01:20.280
original audio and you can switch[br]between those two options

0:01:20.280,0:01:24.360
during the event, and this information[br]we pasted in the chat.

0:01:24.440,0:01:31.240
And if you have any tech issues or questions, you can message Denise in the chat.

0:01:31.320,0:01:33.480
Yes, and also

0:01:33.480,0:01:36.960
we will have closed captioning in English

0:01:37.120,0:01:43.160
and to activate the captions[br]you click on the three dots

0:01:43.240,0:01:45.600
or where it says "more".

0:01:45.600,0:01:51.280
And if you can't see the captions,[br]which is like two ccs in a little box

0:01:51.360,0:01:54.760
and also at the bottom.

0:01:54.840,0:01:55.080
Yeah.

0:01:55.080,0:01:58.480
And if you have any questions,[br]just message me.

0:01:58.560,0:01:58.840
Yeah,

0:01:58.840,0:02:02.040
and finally,[br]we want to let you know that we will be

0:02:02.040,0:02:05.320
recording[br]today's event for archival purposes,

0:02:05.400,0:02:08.520
and The Coop is an online gathering[br]where we invite guests involved

0:02:08.520,0:02:13.600
with the Hemispheric Encounters Network[br]and beyond for a conversation.

0:02:13.680,0:02:18.280
And although many of you are involved[br]with Hemispheric Encounters,

0:02:18.360,0:02:23.080
the Hemispheric Encounters[br]Network or HEN for short

0:02:23.160,0:02:27.000
is a growing network[br]of activists, artists,

0:02:27.080,0:02:32.160
academics, students and community[br]organizations from across the Americas

0:02:32.240,0:02:36.160
that explore hemispheric performance[br]as a methodology,

0:02:36.200,0:02:42.080
a pedagogical strategy,[br]and a tool for social change.

0:02:42.160,0:02:42.760
And if

0:02:42.760,0:02:45.840
you would like to hear about future[br]sessions of The Coop, you can follow

0:02:45.880,0:02:49.640
Hemispheric Encounters on Instagram[br]at HemiEncounters.

0:02:49.640,0:02:50.800
And if you would like to see

0:02:50.800,0:02:55.240
any past sessions or something you lost, [br]you can view them on the HEN website.

0:02:55.320,0:02:58.150
You can also get in touch with us[br]via email at

0:02:58.160,0:03:01.720
the.coop.hangout@gmail.com

0:03:01.760,0:03:03.480
I will paste these links in the chat.

0:03:03.480,0:03:04.520
So, no worries.

0:03:04.520,0:03:06.760
You don't have to memorize[br]all this information,

0:03:06.760,0:03:09.760
so, to be in touch.

0:03:09.840,0:03:10.320
Okay.

0:03:10.320,0:03:15.280
And before we hear from our speakers,[br]we want to offer a land acknowledgment.

0:03:15.360,0:03:17.880
So today, obviously we're gathered online.

0:03:17.880,0:03:21.080
So we're all in different territories[br]and each with their own

0:03:21.080,0:03:28.000
original caretakers and their particular[br]iterations of colonialism unfolding.

0:03:28.080,0:03:29.240
But Franklin and I

0:03:29.240,0:03:33.000
are presently in Tiohtià:ke[br]or what is known as Montreal.

0:03:33.000,0:03:36.880
So, today[br]I'll just speak from that perspective.

0:03:36.960,0:03:42.440
So, Montreal corresponds to the unceded[br]territory of the Kanien'kéha people,

0:03:42.520,0:03:46.000
and the name of this territory[br]in Kanien'kéha is Tiohtià:ke,

0:03:46.000,0:03:49.840
which means broken in two since[br]this is an island

0:03:49.840,0:03:53.600
that's crossed by two rivers[br]and has been a gathering place

0:03:53.600,0:03:58.000
for many First Nations[br]people and continues to be so.

0:03:58.080,0:04:01.640
And we acknowledge[br]that our acknowledgment is faulty

0:04:01.640,0:04:04.800
and that land acknowledgments in[br]general are very fraught.

0:04:04.800,0:04:09.160
But as hosts of this event,[br]we still want to express gratitude

0:04:09.240,0:04:14.560
to the original hosts of this land[br]and these waters, the Kanien'kéha people

0:04:14.640,0:04:19.080
and remind ourselves[br]of the material relations and histories

0:04:19.080,0:04:24.160
that enable our offline lives[br]and this virtual gathering to happen.

0:04:24.240,0:04:27.720
And I'm sure today's conversation[br]will offer insightful

0:04:27.720,0:04:30.480
perspectives on these issues.

0:04:30.560,0:04:31.800
Yeah, regularly.

0:04:31.800,0:04:33.360
We also have here Tracy

0:04:33.360,0:04:37.160
Tidgwell, who I would like to acknowledge[br]and send all the good vibes to Vernada,

0:04:37.160,0:04:39.480
her cat is not having the best time.

0:04:39.480,0:04:42.680
So, now let's turn to our guest, and today

0:04:42.680,0:04:46.560
we will have a conversation[br]about the exhibition Invento o Cais

0:04:46.560,0:04:49.680
at Sesc Niterói, curated by Julia

0:04:49.720,0:04:54.800
Naidin, Fernando Codeço and Daniel [br]Toledo, which showcases works by 14

0:04:54.800,0:04:59.240
artists from CasaDuna’s residencies [br]in Atafona Beach,

0:04:59.320,0:05:04.400
one of the world's most climate[br]vulnerable regions in Rio de Janeiro.

0:05:04.480,0:05:08.000
Through reflections of marine erosion,[br]the artworks

0:05:08.000,0:05:11.800
explore the environment, collective[br]and process based perspective

0:05:11.880,0:05:15.760
reinterpreting erosion,[br]not just as destruction,

0:05:15.840,0:05:20.560
but as a catalyst for new ways of seeing,[br]adapting and acting in the world.

0:05:20.640,0:05:24.840
Joining the conversation are curators[br]Julia Naidin, and Fernando Codeço,

0:05:24.840,0:05:28.280
as well as researcher Sérgio Pereira Andrade,[br]a professor

0:05:28.320,0:05:33.000
in the Department of Arts and Culture[br]of Theater Studies at the University

0:05:33.080,0:05:36.920
of Amsterdam in the Netherlands.

0:05:36.920,0:05:40.440
We also have Shauna Janssen,[br]professor of performance

0:05:40.680,0:05:44.040
creation in the Department of Theater [br]of Concordia University of Montreal,

0:05:44.280,0:05:47.680
and Laura Levin, director[br]and a professor,

0:05:47.680,0:05:51.440
from Hemispheric Encounters,[br]from York University.

0:05:51.440,0:05:55.400
So please, Fernando, Julia,[br]tell us more about all this wonderful

0:05:55.480,0:06:02.920
project and all yours, welcome everybody.

0:06:03.000,0:06:03.680
Okay.

0:06:03.680,0:06:06.600
So, good afternoon to you all.

0:06:06.600,0:06:11.480
I'm Julia, I will try to speak in English,[br]but if I have any problems,

0:06:11.520,0:06:15.920
we have Firmo here to help us.

0:06:16.000,0:06:18.520
First, I'd like also to thank you all

0:06:18.520,0:06:22.200
for receiving us[br]to talk about the exposition.

0:06:22.280,0:06:26.320
It's a joy[br]for us to be able to share this with you.

0:06:26.400,0:06:29.400
We were really happy with the result

0:06:29.640,0:06:33.600
of this exposition,[br]and we think that it

0:06:33.800,0:06:38.280
is a way of showing you parts of the work[br]that we've been doing there.

0:06:38.360,0:06:42.200
In the more concrete,

0:06:42.280,0:06:44.480
how can I say, visible

0:06:44.480,0:06:47.480
way, so

0:06:47.640,0:06:53.280
we can, we can just start

0:06:53.360,0:06:55.400
rolling the

0:06:55.400,0:06:57.120
the PowerPoint.

0:06:57.120,0:07:00.160
This is a great introduction

0:07:00.160,0:07:04.320
for you to know that in the last year[br]we received

0:07:04.400,0:07:09.960
more than 16 artists and researchers[br]there in Atafona

0:07:10.040,0:07:12.360
sharing interests

0:07:12.360,0:07:15.960
in thinking about how arts

0:07:16.040,0:07:19.680
(IN PORTUGUESE interference)

0:07:19.840,0:07:23.400
(IN PORTUGUESE interference) in some territories

0:07:23.480,0:07:26.800
and also to be able to communicate

0:07:26.880,0:07:31.080
about the situation,[br]expanding the narratives

0:07:31.200,0:07:34.200
that's not really

0:07:34.440,0:07:38.600
localize it in[br]the territory to amplify this,

0:07:38.680,0:07:41.320
this debate.

0:07:41.320,0:07:44.600
So, for this exposition,

0:07:44.600,0:07:48.400
we made a selection of artists,

0:07:48.480,0:07:54.760
and, especially from some specific groups[br]that have been there.

0:07:54.840,0:08:01.000
One specific with Daniela Toledo in 2022

0:08:01.080,0:08:04.320
and another one with Hernández

0:08:04.320,0:08:08.560
It was on visual erosions, in 2018

0:08:08.640,0:08:12.160
and also with a group of

0:08:12.240,0:08:15.160
a school of arts in Rio

0:08:15.160,0:08:19.240
that's called Escola Sem Sítio, [br]we can translate

0:08:19.240,0:08:25.240
maybe as "School of Non-place", in 2019.

0:08:25.320,0:08:29.920
So, we will show you a bit of 14 works

0:08:30.000,0:08:35.200
that we'd decided to arrange[br]in this exposition.

0:08:35.280,0:08:40.790
So, Fernando, if you can just pass again.

0:08:43.960,0:08:46.880
As a methodology of work there,

0:08:46.880,0:08:50.840
we always try to

0:08:50.920,0:08:54.160
put ourselves as mediations

0:08:54.240,0:08:58.200
in between the artist[br]and the territory

0:08:58.200,0:09:01.440
as we were living there[br]for the last seven years.

0:09:01.520,0:09:03.080
So, we receive them.

0:09:03.080,0:09:07.000
And most of all, we,

0:09:07.080,0:09:08.360
we put

0:09:08.360,0:09:15.040
our focus on a experience with the ambiance,[br]with the atmosphere, with the erosion,

0:09:15.120,0:09:19.200
and also with the wood part[br]of the environment,

0:09:19.200,0:09:24.240
of the pleasure that the environment[br]still can offer there.

0:09:24.320,0:09:29.440
So, our mediation focused on listening

0:09:29.520,0:09:33.520
to the people who lived there, and who deal

0:09:33.560,0:09:36.920
with erosion, and to learn

0:09:37.000,0:09:41.920
living with the erosion, and to adapt to

0:09:42.000,0:09:46.000
the climate crisis that the territory

0:09:46.080,0:09:50.440
has been living with for the last 17 years.

0:09:50.520,0:09:56.440
So we have[br]there people who already lost

0:09:56.520,0:10:01.560
not one house,[br]but sometimes five houses, seven houses.

0:10:01.640,0:10:07.960
And how do people adapt to this and create[br]a conviviality with this process?

0:10:08.040,0:10:10.160
We think there's a,

0:10:10.160,0:10:16.840
there's some same kind of pedagogical experience[br]in this

0:10:16.920,0:10:18.440
conviviality

0:10:18.440,0:10:20.760
with erosion,

0:10:20.760,0:10:22.760
and we think that this is

0:10:22.760,0:10:26.440
an important message[br]for artists to receive.

0:10:26.520,0:10:29.760
So, our work[br]there, as you will be able to see,

0:10:29.840,0:10:36.960
it's not focus on only works in

0:10:37.040,0:10:38.880
a special,

0:10:38.880,0:10:42.320
separate ambiance[br]for the artist to create,

0:10:42.400,0:10:45.680
but also in the, in the beach,

0:10:45.720,0:10:49.720
in the sea, in the river, with people.

0:10:49.800,0:10:53.520
It's what we like to think

0:10:53.520,0:10:56.960
as a contextual art, environmental

0:10:57.000,0:11:02.440
art that is created and builded,[br]in the context,

0:11:02.520,0:11:06.680
not in solitude experience,

0:11:06.760,0:11:10.840
so there you have some images[br]of those experiences,

0:11:10.840,0:11:15.480
of walking around,[br]and just feeling the territory.

0:11:15.560,0:11:19.840
We believe a lot[br]in the kind of information

0:11:19.920,0:11:22.720
that the experience can bring

0:11:22.720,0:11:25.720
to the creative process.

0:11:25.720,0:11:33.080
So, Fernando, you can pass again, please.

0:11:33.160,0:11:36.760
There is an image of some process[br]of artists.

0:11:36.760,0:11:40.440
It's one image of inside the house,[br]as you can see.

0:11:40.600,0:11:44.200
But then you can see[br]also some of the collections

0:11:44.280,0:11:48.400
that artists used to do in the beach.

0:11:48.480,0:11:55.120
In the[br]the right side, you can see those small...

0:11:55.200,0:12:00.400
a word in English that I don't know is [br]("Brick" WORD IN PORTUGUESE), Firmo.

0:12:00.480,0:12:03.480
The small

0:12:03.720,0:12:06.240
things that people use to buy houses.

0:12:06.240,0:12:10.440
And when the houses are destroyed[br]by the process

0:12:10.520,0:12:13.040
of erosion with the sea.

0:12:13.040,0:12:15.720
The sea and the erosion process,

0:12:15.720,0:12:21.040
do some sculpturing, this word

0:12:21.240,0:12:24.520
that I miss. ( "Brick" PORTUGUESE WORD)

0:12:24.600,0:12:26.760
Is the basis of the houses.

0:12:26.760,0:12:29.080
Brick, yes. Thank you.

0:12:29.080,0:12:32.560
And yes, so

0:12:32.640,0:12:38.880
there you can see,[br]you can have an estimate of time

0:12:38.960,0:12:41.880
that the brick is rolling

0:12:41.880,0:12:44.800
in the sea, and in the beach.

0:12:44.800,0:12:47.680
And we have different sizes of these bricks.

0:12:47.680,0:12:50.520
So it's a

0:12:50.520,0:12:53.880
it's an interesting process[br]that one of the artists

0:12:53.960,0:12:57.960
made, not only him,[br]but it's an interesting process

0:12:58.000,0:13:03.400
to think about how time processes [br]destruction also.

0:13:03.480,0:13:06.440
And in the other side, we have an artist

0:13:06.440,0:13:09.800
that worked a lot photographing, and after

0:13:09.800,0:13:14.840
making collages, with the

0:13:14.920,0:13:16.350
I don't know if collage

0:13:16.350,0:13:20.040
is the right word,[br]but making together

0:13:20.120,0:13:24.600
different photographs,[br]cutting and rearranging to

0:13:24.760,0:13:30.520
to think differently about the images[br]and the imagination that can,

0:13:30.600,0:13:36.640
that can be created[br]when we reorganize the images.

0:13:36.720,0:13:40.040
So, you can pass.

0:13:40.040,0:13:42.880
There were in a

0:13:42.880,0:13:44.280
in a specific place.

0:13:44.280,0:13:48.960
It's a bar, and also atelie,[br]and also a house.

0:13:49.040,0:13:51.960
Where lived a

0:13:51.960,0:13:55.200
great friend of ours, Nico.

0:13:55.280,0:14:00.590
And his place was amazing[br]because he created, he lived there.

0:14:00.590,0:14:03.740
It was, his house

0:14:03.800,0:14:08.840
was the bar where he sells drinks,[br]but there

0:14:08.920,0:14:12.560
he works with the material of the land,

0:14:12.560,0:14:15.840
as well, to build

0:14:15.920,0:14:20.680
a really specific place[br]totally created by him.

0:14:20.760,0:14:24.040
And he also has this conception

0:14:24.040,0:14:29.080
of creating with what the earth gives,

0:14:29.160,0:14:32.000
with what the sea brings,

0:14:32.000,0:14:35.320
and re-imaginating functions

0:14:35.400,0:14:39.520
and images with all that,

0:14:39.600,0:14:43.960
most of the time, people see only as garbage.

0:14:44.040,0:14:46.920
So, it was a specific place

0:14:46.920,0:14:51.840
that we normally take the artist[br]there to amplify

0:14:51.920,0:14:55.240
their perspectives of art

0:14:55.320,0:14:57.920
and what we can use

0:14:57.920,0:15:03.800
to recreate the materials.

0:15:03.880,0:15:07.760
So, you can go, Fer, please.

0:15:12.560,0:15:13.120
There

0:15:13.120,0:15:17.640
is Daniele Toledo, which is also an artist

0:15:17.640,0:15:20.640
and was the creator exposition

0:15:20.800,0:15:24.680
there, he has written "future" in the sand.

0:15:24.760,0:15:28.200
But what seems to be the sand there, in[br]this image,

0:15:28.280,0:15:35.080
was actually the rest of a street.

0:15:35.160,0:15:36.760
How can I say this word in English?

0:15:36.760,0:15:42.400
Also, (CONCRETO PORTUGUESE WORD).

0:15:42.480,0:15:44.200
Yes, concrete of the street.

0:15:44.200,0:15:50.240
It used to be a street,[br]but the sea has already destroyed.

0:15:50.320,0:15:54.160
This specific area used to have like

0:15:54.240,0:15:56.880
four kilometers ahead.

0:15:56.880,0:16:02.560
And now what is happened in this beach

0:16:02.640,0:16:06.920
is that all the city is going backwards.

0:16:07.000,0:16:10.840
As the sea advances in the city,

0:16:10.840,0:16:17.000
The city is building,[br]rebuilding itself back,

0:16:17.080,0:16:19.800
like the sea came, and the

0:16:19.800,0:16:22.800
the constructions go backwards.

0:16:22.960,0:16:27.400
And there, I don't know, if you can see

0:16:27.990,0:16:31.360
this area where we have a limit[br]between the sand

0:16:31.560,0:16:35.200
and where it's written "future".

0:16:35.280,0:16:39.800
So, it's like a catastrophic image "future",

0:16:39.880,0:16:44.560
but also invites us to think about

0:16:44.640,0:16:45.560
"future."

0:16:45.560,0:16:49.800
And what can we do in this case.

0:16:49.880,0:16:52.560
But is a work that Daniel

0:16:52.560,0:16:56.760
have been doing in different places

0:16:56.840,0:17:00.240
and he's been thinking about this as a

0:17:00.440,0:17:05.600
as a crisis, as a problematic[br]and he's been reaching this

0:17:05.600,0:17:07.440
in so many spaces.

0:17:07.440,0:17:10.440
And there, he chooses this one.

0:17:10.560,0:17:15.320
And I think it was a specific work.

0:17:15.320,0:17:18.600
It was not what is in its position but

0:17:18.600,0:17:22.120
we choose to show to you

0:17:22.200,0:17:25.200
because of this limited experience.

0:17:25.440,0:17:30.960
That these were written in[br]this place, can bring to us.

0:17:31.040,0:17:32.560
You can

0:17:32.640,0:17:39.240
go ahead, Fernando, please.

0:17:39.320,0:17:43.720
There you have some experience of

0:17:43.800,0:17:47.415
video works that were there,

0:17:47.435,0:17:54.680
in the image above, is Fernanda Branco, and

0:17:54.760,0:18:00.240
she stayed there repeatedly, with these

0:18:00.320,0:18:03.000
roots of trees

0:18:03.000,0:18:07.040
and did a kind of dance

0:18:07.120,0:18:12.640
where she goes backwards[br]and then she got into this tree

0:18:12.720,0:18:15.280
and then

0:18:15.280,0:18:18.000
she danced in this root

0:18:18.000,0:18:22.480
and we have a video of this performance[br]in the exposition

0:18:22.560,0:18:25.560
and it's a powerful video.

0:18:25.640,0:18:28.520
Maybe you can see it in another moment,[br]if you'd like

0:18:28.520,0:18:31.520
we can talk to her and maybe send to you,

0:18:31.520,0:18:35.840
because it's a kind of fusion[br]between

0:18:35.920,0:18:38.920
between the body and the root,

0:18:38.960,0:18:44.000
with the sea that came in the root,[br]while she was there.

0:18:44.080,0:18:48.280
So, it's really sensitive work, as well.

0:18:48.360,0:18:51.360
You can pass, Fer, please.

0:18:55.720,0:18:58.920
This is inside Nico's house,[br]as you can see.

0:18:58.920,0:19:04.000
I was telling you that he built everything[br]and each small part of this bar

0:19:04.040,0:19:09.720
was created by him with any material[br]that you can imagine.

0:19:09.800,0:19:13.400
Like, there's no limits to

0:19:13.480,0:19:19.120
what is a basis for a creation.

0:19:19.200,0:19:24.040
And there is another residence,[br]_________, that spend

0:19:24.040,0:19:28.840
a few days with us there[br]and made some performance

0:19:28.920,0:19:32.240
in this bar.

0:19:32.320,0:19:34.200
And then ______ was able

0:19:34.200,0:19:38.840
to take some photos[br]and in the exposition we

0:19:38.920,0:19:43.720
we could put these photos in there,[br]in a (Wallpaper in PORTUGUESE).

0:19:43.800,0:19:48.160
I don't know if you know,[br]I need help to translate (Wallpaper in PORTUGUESE).

0:19:48.240,0:19:51.000
There's word for it in English.

0:19:51.000,0:19:53.760
"Wallpaper."

0:19:53.760,0:19:55.320
Wallpaper, maybe.

0:19:55.320,0:19:56.920
Thank you, Mari.

0:19:56.920,0:19:59.560
I think it's wheat based-

0:19:59.560,0:20:03.040
"Wheat based posters."

0:20:03.120,0:20:04.960
(PORTUGUESE)

0:20:04.960,0:20:08.440
(PORTUGUESE)

0:20:08.520,0:20:11.320
(PORTUGUESE)

0:20:11.320,0:20:14.520
(PORTUGUESE)

0:20:14.600,0:20:19.600
Wheat based posters. (PORTUGUESE)

0:20:20.720,0:20:24.800
(PORTUGUESE)

0:20:24.800,0:20:28.360
(PORTUGUESE)

0:20:28.440,0:20:31.440
There's no point to

0:20:31.560,0:20:36.000
maintain the structure [br]and the integrity of the work.

0:20:36.160,0:20:39.320
It's to be able to do fast

0:20:39.320,0:20:43.600
and it can be destroyed fast as well.

0:20:43.680,0:20:47.120
And there was some good images

0:20:47.120,0:20:50.920
in this[br]that we can put in the exposition, also.

0:20:51.000,0:20:53.980
So, Fer, you can move.

0:20:58.120,0:20:59.200
There is

0:20:59.200,0:21:02.940
Mariana Moraes who just joined[br]the meeting with us

0:21:02.960,0:21:06.920
helping with the translation and[br]she was doing

0:21:06.920,0:21:10.360
this is performance

0:21:10.440,0:21:12.960
with- I don't know this word, as well.

0:21:12.960,0:21:17.240
(PORTUGUSE WORD), who can help me?

0:21:17.320,0:21:20.244
Is a material of the fishermen that they use to-

0:21:20.244,0:21:22.840
"Fish net"

0:21:23.560,0:21:24.360
Yeah.

0:21:27.120,0:21:30.520
It's the traditional way

0:21:30.600,0:21:35.120
in which fishermen work, not like the big

0:21:35.200,0:21:37.960
structure of fishing.

0:21:37.960,0:21:39.840
Fish net, yes.

0:21:39.840,0:21:44.440
And also Mariana,[br]after this performance,

0:21:44.520,0:21:48.520
in the other side of the screen,[br]you can see the process

0:21:48.520,0:21:52.440
of the video performance that she made there

0:21:52.520,0:21:55.200
in 2022.

0:21:55.200,0:21:57.680
And this video went to the exposition.

0:21:57.680,0:22:00.680
Not the performance with the fish net,

0:22:00.880,0:22:04.760
but also you can see the ambiance.

0:22:04.840,0:22:08.080
And we wanted to show you a bit of the

0:22:08.160,0:22:10.800
the visual of the environment there

0:22:10.800,0:22:15.400
and how we always are trying to

0:22:15.480,0:22:18.760
to make the works,

0:22:18.840,0:22:22.640
being created in the territory,

0:22:22.720,0:22:25.720
not in a isolated form.

0:22:25.760,0:22:28.020
You can pass, Fer, please.

0:22:30.920,0:22:34.440
Okay, there is Tetsuya,

0:22:34.520,0:22:37.840
he is also a video artist

0:22:37.920,0:22:41.200
and he works with

0:22:41.280,0:22:44.720
old films and

0:22:44.800,0:22:48.360
there in this image that you can see

0:22:48.440,0:22:54.800
he was burying[br]the film in the sand,

0:22:54.880,0:22:58.280
"burying", like (Bury in PORTUGUESE).

0:22:58.360,0:23:02.520
And then the sand,[br]and though

0:23:02.560,0:23:06.480
the small animals and different lives

0:23:06.480,0:23:10.240
in the sand interfere in the film

0:23:10.320,0:23:14.840
and after he processes this and passes

0:23:14.880,0:23:18.600
this film in the the exposition.

0:23:18.680,0:23:21.640
So, you have a very specific image

0:23:21.640,0:23:25.680
as results of these and he worked there-

0:23:25.680,0:23:30.640
This image is in the sand with the sea[br]interfering, as well, as you can see.

0:23:30.640,0:23:33.640
But he also put the film

0:23:33.880,0:23:36.880
inside the river for a few days

0:23:37.120,0:23:40.040
and then it was passed by the fishes,

0:23:40.040,0:23:43.960
the vegetals, I don't know-

0:23:44.040,0:23:47.160
Everything in the sea,[br]the animal life

0:23:47.400,0:23:51.760
that interfere in the film[br]and then is beautiful to see the results.

0:23:52.000,0:23:56.360
And we could put in the exposition, also.

0:23:56.440,0:23:58.241
Fer, pass it, please.

0:24:00.440,0:24:01.600
That's Victor.

0:24:01.600,0:24:05.080
He's a painter and he is also an actor.

0:24:05.160,0:24:09.280
He used to work [br]with the group theater.

0:24:09.360,0:24:12.840
But as we know that[br]he paints, we invited him

0:24:12.840,0:24:16.000
also to a residence and ask him to

0:24:16.000,0:24:21.520
to make some paintings in houses[br]that are already abandoned

0:24:21.600,0:24:24.120
by the the old

0:24:24.120,0:24:25.761
owners.

0:24:29.640,0:24:32.920
And there, he's performing.

0:24:33.000,0:24:37.400
Performing, with these

0:24:37.480,0:24:40.480
I don't know, "flags".

0:24:40.720,0:24:42.200
Flags. Yes.

0:24:42.200,0:24:47.640
This white flag, that's Carol Valansi,[br]another,

0:24:47.640,0:24:50.280
artist that was with us,

0:24:50.280,0:24:54.000
and this day was,[br]as you can see, a cloudy day,

0:24:54.080,0:24:58.240
sort of raining day with strong wind.

0:24:58.320,0:25:07.090
So, I don't know, these white flags,[br]have an

0:25:07.440,0:25:11.640
I don't know, something like a peace sign.

0:25:11.880,0:25:18.760
But in this environment with no peace,

0:25:18.840,0:25:22.320
in an[br]environment that is always in tension

0:25:22.400,0:25:26.400
with the nature,[br]is always in this conflict

0:25:26.520,0:25:32.440
between the building of the city[br]and the sea

0:25:32.440,0:25:36.400
that is coming inside the city[br]and making this destruction,

0:25:36.600,0:25:41.800
So, in this specific context,[br]this white flag don't bring us

0:25:41.880,0:25:46.920
exactly the best energy, but instead,

0:25:47.000,0:25:50.400
like a conflict with this symbol.

0:25:50.480,0:25:54.979
You can go ahead, Fer, please.

0:25:58.120,0:25:58.640
Yeah.

0:25:58.640,0:26:04.560
This is a part of the educational program[br]that we do there, as well.

0:26:04.640,0:26:09.560
This is a group of students[br]that we receive with the teacher

0:26:09.800,0:26:15.200
that teaches there and knows the work[br]and is always in contact

0:26:15.320,0:26:20.760
with us to bring some students[br]for us to talk about this relation

0:26:20.840,0:26:25.760
between art and education[br]and what are the possibilities

0:26:25.880,0:26:30.760
of art[br]to talk about the environmental crisis.

0:26:30.840,0:26:33.360
It's hard to talk about what's there.

0:26:33.360,0:26:36.240
Even though they lived in this.

0:26:36.240,0:26:40.480
Their daily lives is a sensible subject

0:26:40.560,0:26:44.320
because, you know,[br]obviously is the reality.

0:26:44.320,0:26:48.720
But it's[br]a sad subject, it's a trauma.

0:26:48.800,0:26:52.360
It's a living trauma,[br]the daily situation.

0:26:52.440,0:26:55.440
So sometimes we discover that

0:26:55.680,0:26:58.800
art helps to talk about these

0:26:58.800,0:27:01.800
and to deal with the trauma of the

0:27:02.000,0:27:06.080
the losing,[br]losing of houses, losing of memories.

0:27:06.160,0:27:11.640
So, this kind of pedagogical function

0:27:11.680,0:27:17.360
of art, to talk about environmental[br]crisis is important to us, as well.

0:27:17.440,0:27:19.200
Fer, please.

0:27:24.040,0:27:26.320
This is Sarojini,

0:27:26.320,0:27:31.000
it's an artist from India, that in the end,

0:27:31.080,0:27:36.000
went there to work with us[br]and make a video performance, as well.

0:27:36.080,0:27:38.840
Fernando, pass it, please.

0:27:44.000,0:27:49.360
This is part[br]of a frame of the video work

0:27:49.360,0:27:54.000
that I've done there,[br]I've been working with archives there.

0:27:54.000,0:27:57.040
Thinking about

0:27:57.040,0:27:58.840
something in between

0:27:58.840,0:28:02.240
how can we make a private, archive

0:28:02.280,0:28:06.080
a public archive, and vice versa.

0:28:06.160,0:28:09.040
With this complex

0:28:09.040,0:28:14.000
and political and delicate issue[br]like what is a private archive

0:28:14.000,0:28:19.600
and how public can this be,[br]to facilitate us

0:28:19.680,0:28:24.760
to talk about things that are political. [br]That touch everybody.

0:28:24.760,0:28:29.560
This lady, she made an archive[br]following the sea,

0:28:29.560,0:28:32.560
destroying this building[br]in front of her house.

0:28:32.640,0:28:37.040
And they made a small documentary about it

0:28:37.120,0:28:39.840
which is called "Concrete Sea."

0:28:39.840,0:28:44.880
And, Fernando, maybe I think,

0:28:44.920,0:28:50.240
Can you put another image,[br]but I think that maybe,

0:28:50.320,0:28:53.600
I can pass the words now.

0:28:53.680,0:28:57.440
Yes. For you to talk[br]about the exposition properly,

0:28:57.440,0:29:01.480
and then we can lead to talk a bit more

0:29:01.560,0:29:04.160
in the conversation.

0:29:04.240,0:29:11.000
I will mute my microphone.

0:29:11.080,0:29:13.880
(PORTUGUESE DIALOGUE).

0:29:13.880,0:29:18.360
(PORTUGUESE)

0:29:18.360,0:29:22.520
(PORTUGUESE)

0:29:22.520,0:29:23.480
(PORTUGUESE)

0:29:23.480,0:29:29.040
(PORTUGUESE)

0:29:29.080,0:29:32.040
(PORTUGUESE)

0:29:32.040,0:29:33.280
(PORTUGUESE)

0:29:33.280,0:29:37.960
(PORTUGUESE)

0:29:37.960,0:29:41.720
(PORTUGUESE)

0:29:41.800,0:29:44.960
(PORTUGUESE)

0:29:44.960,0:29:49.440
(PORTUGUESE)

0:29:49.520,0:29:55.400
(PORTUGUESE)

0:29:55.400,0:29:57.400
(PORTUGUESE)

0:29:57.400,0:30:00.400
(PORTUGUESE)

0:30:00.640,0:30:04.240
(PORTUGUESE)

0:30:04.320,0:30:07.120
(PORTUGUESE)

0:30:07.120,0:30:11.920
(PORTUGUESE)

0:30:11.920,0:30:16.160
(PORTUGUESE)

0:30:16.160,0:30:19.400
(PORTUGUESE)

0:30:19.400,0:30:21.360
(PORTUGUESE)

0:30:21.360,0:30:26.160
(PORTUGUESE)

0:30:26.240,0:30:27.640
(PORTUGUESE)

0:30:27.640,0:30:32.080
Make me to think about art history,[br]about concrete art.

0:30:35.520,0:30:40.370
And this material has a [br]ghost-like character

0:30:40.480,0:30:42.560
That's how I see

0:30:42.560,0:30:44.680
the act of fishing.

0:30:44.680,0:30:48.920
Fishing has this presence [br]in Brazilian history.

0:30:49.000,0:30:51.480
It also has an important role

0:30:51.480,0:30:54.920
to play in terms of economy.

0:30:55.000,0:30:57.080
Paolo Victor also works the that.

0:30:57.080,0:31:06.400
As you can see, this is a window that[br]he found at the beach, in Atafona

0:31:06.400,0:31:11.280
Here we can see Daniel's[br]work in the background.

0:31:11.360,0:31:13.480
He also works with material found

0:31:13.480,0:31:17.680
in the beach.

0:31:17.760,0:31:20.320
So, this is a whole part of [br]the exhibition made,

0:31:20.320,0:31:25.320
with material found on the beach,

0:31:25.400,0:31:28.720
And there is a dialogue[br]between this materials found on the beach

0:31:28.720,0:31:33.280
and with the traditional and modern

0:31:33.360,0:31:35.490
modern works.

0:31:38.640,0:31:42.600
Daniel also works with collages.

0:31:42.680,0:31:44.520
He uses wood.

0:31:44.520,0:31:47.520
You can see some of them in the background

0:31:47.680,0:31:49.080
and he grows them.

0:31:49.080,0:31:53.160
He uses the plastic[br]from pop bottles to

0:31:53.200,0:31:57.040
to make this montage.

0:31:57.120,0:32:02.560
We can see here some video work.

0:32:02.640,0:32:03.840
This is part of the video

0:32:03.840,0:32:06.840
that's part of the exhibition.

0:32:06.880,0:32:09.480
We'll also see some of Isabella's work.

0:32:09.480,0:32:12.760
We'll see them in more detail later.

0:32:12.760,0:32:16.040
Here, you can see some of her work.

0:32:16.040,0:32:21.080
This is a type of root,[br]but it's actually made of latex.

0:32:21.160,0:32:22.720
This is the one that you see

0:32:22.720,0:32:26.840
towards the center of the photo.

0:32:26.920,0:32:30.720
There's something else in the background[br]that has a more aggressive character.

0:32:30.720,0:32:36.360
It's made of glass and in clay.

0:32:36.440,0:32:40.560
Beside her work,[br]you can see Tais's work here.

0:32:41.800,0:32:44.800
This is work made in a studio.

0:32:44.920,0:32:48.520
The goal is to bring the atmosphere, parts

0:32:48.520,0:32:54.240
of the landscape[br]that they saw and tried to capture.

0:32:54.320,0:32:59.760
You can see Luciano's[br]photos up on the wall.

0:32:59.840,0:33:02.040
This is part of the meeting with Luciano's

0:33:02.040,0:33:04.196
and Nico's bar.

0:33:08.040,0:33:09.640
This is Rafael's work,

0:33:09.640,0:33:12.640
and that's Cara's work.

0:33:12.800,0:33:16.160
So, this was a very quick[br]walk through the exhibition,

0:33:16.200,0:33:19.640
but now we can[br]look at them in more detail.

0:33:19.720,0:33:23.720
So, this is Daniel's installation

0:33:23.720,0:33:27.680
Here, the detail shows how [br]he added these pieces

0:33:27.680,0:33:31.040
together using a plastic bottle.

0:33:31.120,0:33:33.800
All the elements were found on the beach.

0:33:33.800,0:33:37.040
This is my work.

0:33:37.120,0:33:40.960
This is how I attach the net.

0:33:41.040,0:33:43.280
It shows the idea of creating

0:33:43.280,0:33:47.200
these geometric forms

0:33:47.280,0:33:49.380
and adding the Brazilian[br]neo-concretism.

0:33:59.200,0:34:02.400
This material is very abundant.

0:34:02.480,0:34:04.680
The the nets fall apart

0:34:04.680,0:34:08.680
and the fishermen just throw them out.

0:34:08.760,0:34:12.920
I have made a lot of work with it[br]because this is the kind of material

0:34:12.920,0:34:16.000
that's very dangerous for marine life

0:34:16.000,0:34:19.840
when it's back in the ocean.

0:34:19.920,0:34:23.320
So, there is an attempt to

0:34:23.400,0:34:27.340
to take care of this material,[br]to repurpose them.

0:34:31.840,0:34:37.080
Now, the crabs.

0:34:37.160,0:34:39.280
There is a relationship to life

0:34:39.280,0:34:44.520
and to how erosion comes in.

0:34:44.520,0:34:46.760
So, all I'm doing is putting it together.

0:34:46.760,0:34:51.480
I'm finding the bricks and these[br]iron broads and I'm putting them together.

0:34:51.480,0:34:56.160
So, they kind of remind us[br]of these creatures,

0:34:56.240,0:35:00.640
creatures that live in the[br]the mangroves in Atafona.

0:35:00.680,0:35:05.400
This is Paulo,[br]beside the window that he painted.

0:35:07.240,0:35:10.240
The work remounts to the idea[br]that the sea is coming back,

0:35:10.480,0:35:15.040
it's a popular idea with the locals,[br]especially with the fisher people.

0:35:15.120,0:35:18.120
This idea that the sea is reclaiming

0:35:18.160,0:35:22.680
what belongs to it.

0:35:22.760,0:35:23.720
In fact,

0:35:23.720,0:35:28.760
that piece of land at some point, already[br]belonged to the sea.

0:35:28.840,0:35:32.240
Scientifically speaking, that's also true.

0:35:32.320,0:35:35.000
So that's what it says.

0:35:35.000,0:35:36.240
The sea is coming back.

0:35:36.240,0:35:39.200
You can see this in the painting.

0:35:39.200,0:35:42.200
This is also beautiful work[br]that was present.

0:35:42.440,0:35:45.440
This is Rafael's work.

0:35:45.680,0:35:48.480
He organized these pieces of bricks

0:35:48.480,0:35:52.520
on top of notebooks.

0:35:52.600,0:35:56.320
He invites us to think about

0:35:56.320,0:36:00.160
a type of geological writing.

0:36:00.200,0:36:04.960
Also, about the process of the artist.

0:36:05.040,0:36:07.440
We are creating a language

0:36:07.440,0:36:12.040
through the erosion.

0:36:12.120,0:36:16.320
This is part of the reference.

0:36:16.400,0:36:18.720
This is Isabella's work.

0:36:18.720,0:36:23.680
You can see it in a close up,[br]very delicate work.

0:36:23.760,0:36:28.600
She uses glass, ceramics, latex.

0:36:28.640,0:36:32.280
And here is the same work,[br]from a different perspective.

0:36:32.360,0:36:34.670
This is Tetsuya's work.

0:36:38.120,0:36:42.320
This is a film that he collected[br]from an old file.

0:36:42.400,0:36:44.960
He buried this on the sand.

0:36:44.960,0:36:47.120
Money sack sand.

0:36:47.120,0:36:52.080
This is a specific kind of sand[br]that's present there.

0:36:52.160,0:36:56.720
It's a low radiation sand.

0:36:56.800,0:37:00.450
Let's watch this now.

0:37:15.680,0:37:18.240
This is Thais work,

0:37:18.240,0:37:22.200
also a very intricate, very delicate work.

0:37:22.280,0:37:24.480
Very beautiful, it's very alive.

0:37:24.480,0:37:27.480
She creates this dynamic between salt,

0:37:27.480,0:37:30.680
glass and iron.

0:37:30.760,0:37:36.200
The salt kind of erodes[br]the iron that holds up the glass.

0:37:36.280,0:37:39.840
You can see this and the image,[br]the one on the left was when she

0:37:39.840,0:37:42.720
first put it together.

0:37:42.800,0:37:46.000
And this[br]is later, showing the corrosion

0:37:46.080,0:37:50.880
that salt caused in the work.

0:37:50.960,0:37:54.640
This is Joao Racy's work.

0:37:54.720,0:37:59.480
It's a still video, still image.

0:37:59.880,0:38:03.200
He filmed the window of a house

0:38:03.200,0:38:07.280
that's actually being buried by the sand.

0:38:07.360,0:38:09.400
There's a little bit of movement

0:38:09.400,0:38:12.220
in the plants here,

0:38:14.760,0:38:16.640
So, we created this,

0:38:16.640,0:38:22.080
we had a TV in the back[br]to bring by this idea of a window.

0:38:22.160,0:38:27.480
This is Caroline's work,

0:38:27.560,0:38:28.840
We also saw this

0:38:28.840,0:38:32.280
during Julia's presentation.

0:38:32.360,0:38:36.840
She has a huge flag that she brings[br]to the meeting place

0:38:36.920,0:38:42.040
between the river and the sea.

0:38:42.120,0:38:47.720
She made this work here[br]by creating these stamps,

0:38:47.800,0:38:51.360
postal stamps.

0:38:51.440,0:38:53.480
It reminds a little bit of a video, right,

0:38:53.480,0:38:57.320
because you can see the flag movement[br]along the way.

0:38:57.400,0:38:58.480
And here is the flag.

0:38:58.480,0:39:03.520
We installed it[br]on the outside of the exhibition,

0:39:03.520,0:39:08.200
Here, can see Lu by Lu's work.

0:39:08.280,0:39:11.280
This is her meeting with makeup.

0:39:11.480,0:39:14.480
And then we paste post again

0:39:14.720,0:39:18.760
here she glued them on the outside.

0:39:18.840,0:39:20.880
She talked a bit about her meeting

0:39:20.880,0:39:24.280
with Nico in Atafona.

0:39:24.280,0:39:27.840
Lu who is an activist, a trans artist,

0:39:28.080,0:39:31.760
a black person,

0:39:31.840,0:39:34.840
and she adds all of that to her work,

0:39:34.880,0:39:38.910
as a trans woman in Brazil.

0:39:41.200,0:39:42.600
It's important to her

0:39:42.600,0:39:48.120
to share these moments,

0:39:48.200,0:39:52.040
moments[br]where she can express her artistry,

0:39:52.080,0:39:57.280
her subjectivity,

0:39:57.360,0:39:59.520
and she was able to share a lot of her

0:39:59.520,0:40:01.830
thinking with us.

0:40:04.640,0:40:05.520
Here the videos,

0:40:05.520,0:40:09.760
we are not going to be able[br]to watch them now,

0:40:09.840,0:40:13.600
but I'd like to tell you, here[br]the videos that are present there.

0:40:13.680,0:40:15.840
Fernando Branco's video.

0:40:15.840,0:40:19.500
Julia talked about it, Julia's video.

0:40:19.560,0:40:23.680
Mariana's and Sarojini's.

0:40:23.760,0:40:24.960
So, there you have.

0:40:24.960,0:40:28.440
I tried to stay on point.

0:40:28.520,0:40:30.320
So, we have enough time to talk.

0:40:30.320,0:40:33.640
I hope this gives you a general view

0:40:33.720,0:40:35.290
of the exhibition

0:40:39.880,0:40:41.560
We had to choose.

0:40:41.560,0:40:45.670
Through many artists[br]that came through Casa Duna.

0:40:51.160,0:40:54.160
I hope that this gives you[br]an idea of the work that we did.

0:40:54.360,0:40:56.680
I'd like to thank you.

0:40:56.680,0:41:00.970
And I want to open the floor[br]so we can continue the conversation.

0:41:10.000,0:41:11.760
It's my turn?

0:41:11.760,0:41:14.760
Okay.

0:41:16.640,0:41:21.480
Thank you for what you brought to us[br]today.

0:41:21.480,0:41:24.480
Fernando, Julia.

0:41:24.520,0:41:27.000
I have had the opportunity to visit

0:41:27.000,0:41:28.960
Atafona with both of you.

0:41:28.960,0:41:36.200
I was able to witness[br]the work that you developed there.

0:41:36.280,0:41:37.200
I think it's important

0:41:37.200,0:41:44.320
to share this to this[br]group that's with us today.

0:41:44.400,0:41:47.320
I'm reinforcing[br]something that I see in your work, right?

0:41:47.320,0:41:49.600
There's this persistence.

0:41:49.600,0:41:51.360
You've been there for eight years now.

0:41:51.360,0:41:56.720
You've been there since 2017,

0:41:56.800,0:41:58.760
so it's been eight years.

0:41:58.760,0:42:00.930
in the work.

0:42:04.840,0:42:12.760
I know how important this is to you

0:42:12.840,0:42:13.920
and you know,

0:42:13.920,0:42:18.520
and this is also a counterposition[br]as to other works

0:42:18.520,0:42:21.520
that visit Atafona that come and go

0:42:21.520,0:42:26.560
or make a spectacle out of it.

0:42:26.640,0:42:29.640
This is an erosion process

0:42:29.640,0:42:35.000
that's 60 years long.

0:42:35.080,0:42:37.840
It has been sped up

0:42:37.840,0:42:42.165
due to industrial activity[br]in the area.

0:42:48.800,0:42:55.240
There is a violent process that's been

0:42:55.320,0:42:57.360
getting aggravated

0:42:57.360,0:43:01.480
through interventions of abuses

0:43:01.520,0:43:04.520
on the environment.

0:43:04.560,0:43:08.480
And this shows the many ways that artists

0:43:08.560,0:43:11.920
and art can also produce,

0:43:12.000,0:43:16.600
they can also use some of this process[br]for their work.

0:43:16.680,0:43:19.680
I think what we're trying to do[br]is to show

0:43:19.800,0:43:26.120
an option to think about a continuity,

0:43:26.200,0:43:31.760
a process of creating connections.

0:43:31.840,0:43:33.240
You have this work

0:43:33.240,0:43:37.720
of environmental awareness[br]with the community.

0:43:37.800,0:43:41.600
You work with the Landless Movement

0:43:41.680,0:43:43.290
in Brazil.

0:43:48.480,0:43:49.720
Oh, I'm sorry.

0:43:49.720,0:43:52.320
There is a lady that's an activist.

0:43:52.320,0:43:53.560
I forget her name.

0:43:53.560,0:43:56.830
Please forgive me.

0:44:08.160,0:44:09.840
Yes. Yeah, I can hear you.

0:44:09.840,0:44:10.760
I'm sorry.

0:44:10.760,0:44:13.000
There was there was a pause there.

0:44:13.000,0:44:14.862
So, yes.

0:44:19.400,0:44:23.360
You've been working on different[br]fronts, right?

0:44:23.440,0:44:29.000
Academic research, art, art research.

0:44:29.080,0:44:32.760
You were working on your postdoctorate.

0:44:32.760,0:44:38.080
You work with a theater group,

0:44:38.160,0:44:42.120
Grupo ______, a Russian group.

0:44:42.200,0:44:45.200
But I have a question.

0:44:49.560,0:44:52.320
My question is related to this choice

0:44:52.320,0:44:55.320
to not make a spectacle

0:44:55.440,0:44:59.720
of the erosion process.

0:44:59.800,0:45:03.600
It's a choice not to romanticize[br]this process.

0:45:03.600,0:45:05.760
Can you talk about that?

0:45:05.840,0:45:08.160
How do you see this process

0:45:08.160,0:45:12.400
of avoiding

0:45:12.480,0:45:16.080
making a spectacle

0:45:16.080,0:45:19.390
or to avoid romanticizing that.

0:45:21.360,0:45:24.360
The event

0:45:24.440,0:45:26.400
I create _____

0:45:26.400,0:45:30.640
right, that uses the line from the song

0:45:30.720,0:45:35.520
of creating something,[br]of recreating something,

0:45:35.520,0:45:43.360
something that needs[br]to be constantly re-created.

0:45:43.440,0:45:49.200
Then, there is an idea to keep creating

0:45:49.200,0:45:52.709
and recreating.

0:45:54.960,0:45:56.520
There is

0:45:56.520,0:46:00.880
there are[br]many, many layers.

0:46:00.960,0:46:04.360
And this erosion is very symbolic.

0:46:04.440,0:46:07.600
How do you understand[br]this non romanticizing,

0:46:07.600,0:46:12.200
this erosion process, this not

0:46:12.280,0:46:16.960
looking at this process[br]as something exotic,

0:46:17.040,0:46:19.160
but also not making it,

0:46:19.160,0:46:22.800
you know, a doomsday kind of scenario.

0:46:22.800,0:46:28.040
Can you talk about that?

0:46:28.120,0:46:33.440
Shall we comment on this?

0:46:33.520,0:46:37.760
I guess it's better to[br]to hear all the questions first

0:46:37.840,0:46:39.000
and then we'll answer.

0:46:39.000,0:46:40.660
at the end.

0:46:52.560,0:46:53.360
Hi everyone,

0:46:53.360,0:46:54.640
Hi, yes.

0:46:56.040,0:46:57.400
I'll be brief.

0:46:57.400,0:47:00.000
Can everybody hear me?

0:47:00.000,0:47:00.520
Great.

0:47:00.520,0:47:03.120
Okay.

0:47:03.120,0:47:05.120
Well, I mean, I wanted to,

0:47:05.120,0:47:08.160
first of all, say thank you to Julia[br]and Fernando

0:47:08.160,0:47:11.160
for presenting this

0:47:11.320,0:47:13.920
amazing work and,

0:47:13.920,0:47:17.120
you know, maybe picking up a little bit on

0:47:17.200,0:47:19.800
what Sergio is commenting on about[br]how do you do this

0:47:19.800,0:47:23.720
work and be in community and not

0:47:23.800,0:47:26.960
so into romanticizing the work.

0:47:26.960,0:47:30.960
And I mean, I don't know if I have much[br]as much of a question or a comment,

0:47:30.960,0:47:35.320
but what I was struck by is this tension

0:47:35.400,0:47:37.040
and drawing attention and mobilizing

0:47:37.040,0:47:40.800
publics and community[br]around this tension of

0:47:40.920,0:47:47.640
of these culture-nature,[br]nature-culture dynamics, and

0:47:47.720,0:47:52.200
especially with some of the earlier[br]work you were sharing, Julia,

0:47:52.280,0:47:54.560
kind of[br]thinking about, even just from the images

0:47:54.560,0:47:58.360
and through this screen,[br]there's this, that some of these artworks

0:47:58.360,0:48:01.360
are conjuring

0:48:01.600,0:48:04.274
feelings of tenderness[br]for me

0:48:04.274,0:48:07.000
ritual mourning.

0:48:07.080,0:48:11.680
And I started to think about, like this[br]kind of process of ritual, of witnessing

0:48:11.760,0:48:16.120
that's happening on the site as well.

0:48:16.200,0:48:18.240
So I'm just wondering if, that for me

0:48:18.240,0:48:22.040
has something to do[br]with kind of countering,

0:48:22.120,0:48:24.880
making the spectacle and,

0:48:24.880,0:48:27.720
and kind of thinking about this witnessing[br]or these actions.

0:48:27.720,0:48:30.120
I don't know if that's[br]what you've been witnessing

0:48:30.120,0:48:35.200
'Cause you're so embedded and embodying[br]that site, and have been for a long time.

0:48:35.200,0:48:40.640
So, I think it's it's a[br]it's a question of thinking about

0:48:41.480,0:48:46.360
do you see this work as a kind of ritual[br]or mourning or witnessing?

0:48:46.360,0:48:50.310
And I think when we see images of [br]the water, you know, immediately,

0:48:50.310,0:48:55.080
you start to kind of feel like[br]we're in the rhythm of this erosion

0:48:55.080,0:48:58.960
and witnessing in this kind of a[br]still life form and in the documentation.

0:48:59.040,0:49:01.680
So, I don't know if that's really[br]a question as much as it is a comment.

0:49:01.680,0:49:08.200
I really find the work[br]in the project really moving.

0:49:08.280,0:49:11.000
So, I wonder[br]if you could speak a little bit to that,

0:49:11.000,0:49:15.720
and the other question[br]I had was to what degree the locals

0:49:15.800,0:49:19.960
and the community are embedded[br]and working with-

0:49:20.160,0:49:23.960
If you could say a bit[br]more about the importance of their agency

0:49:24.040,0:49:27.840
in the work and hosting,

0:49:27.920,0:49:30.600
I guess, outsiders coming into

0:49:30.600,0:49:32.200
to work in the site.

0:49:48.360,0:49:49.560
No, it's okay.

0:49:51.200,0:49:55.200
I was expecting us to sort of ask[br]the question and answer,

0:49:55.200,0:49:56.240
ask the question and answer.

0:49:56.240,0:50:02.480
So, I think, I'll be brief[br]if we're going in this way,

0:50:02.560,0:50:05.240
I'll also say thank you[br]for sharing this with us

0:50:05.240,0:50:08.520
and congratulations.

0:50:08.600,0:50:10.320
This is really moving

0:50:10.320,0:50:15.720
and amazing work that I think[br]we can all learn so much from.

0:50:15.800,0:50:19.320
I'm really interested in

0:50:19.400,0:50:21.240
something that Fernando said.

0:50:21.240,0:50:24.960
We were talking about creating a language

0:50:25.040,0:50:30.480
for the erosion and

0:50:30.560,0:50:33.760
and it made me think about the question

0:50:33.760,0:50:39.720
of what role[br]performance plays in your work.

0:50:39.800,0:50:41.680
You know, a question,

0:50:41.680,0:50:45.800
what I keep coming back to[br]because the presentation of the work

0:50:45.880,0:50:50.560
in this way, in this form we're seeing it[br]in a kind of an installation format.

0:50:50.640,0:50:53.320
But you're also describing dance,

0:50:53.320,0:50:57.280
the woman who is dancing[br]and the root of a tree, for example,

0:50:57.360,0:50:59.040
I'm also familiar[br]with some of your other work.

0:50:59.040,0:51:02.760
That's more theater based[br]and had the pleasure of engaging

0:51:02.840,0:51:08.080
in a workshop that Fernando led[br]that was theater based as well.

0:51:08.080,0:51:10.360
So, I'm kind of interested in

0:51:10.360,0:51:13.480
what role performance plays[br]in creating

0:51:13.480,0:51:18.240
a kind of language for the erosion,[br]if it does at all, and

0:51:18.320,0:51:18.840
what can

0:51:18.840,0:51:24.000
performance do that other art forms[br]can't or is performance

0:51:24.000,0:51:26.000
not the most useful term in thinking

0:51:26.000,0:51:29.800
about this particular body of work[br]that you're sharing with us?

0:51:29.880,0:51:32.560
Just interested[br]in the specificity of artworks

0:51:32.560,0:51:37.320
and the language that they create[br]in the context of environmental collapse.

0:51:37.400,0:51:40.400
And I think that for me,[br]that also goes back to something

0:51:40.400,0:51:43.960
that Julia was talking about, that[br]I found really moving, which is thinking

0:51:43.960,0:51:48.040
about the pedagogy part of this work

0:51:48.120,0:51:51.120
and Julia, you were talking about

0:51:51.240,0:51:54.600
how art in the context[br]of environmental crisis

0:51:54.600,0:51:58.600
can help us with dealing[br]with the trauma of loss,

0:51:58.680,0:52:03.120
the trauma of losing tangible things[br]that mean a great deal to us, and

0:52:03.320,0:52:07.320
and also the loss of memory[br]eventually as well.

0:52:07.400,0:52:11.430
So, I see these two things[br]as kind of operating in conversation

0:52:11.430,0:52:12.280
with one another.

0:52:12.280,0:52:16.280
I hear the idea of creating a language

0:52:16.360,0:52:20.960
as being in conversation, with this idea[br]of helping people to deal with trauma.

0:52:21.000,0:52:26.760
And I was interested in hearing you talk[br]a little bit more about all of that.

0:52:26.840,0:52:30.280
And then secondarily,[br]just because Hemispheric Encounters

0:52:30.280,0:52:35.360
is a transnational project, thinking about[br]whether this language is site specific

0:52:35.360,0:52:40.000
or whether it could be transferable to[br]other contexts of environmental collapse.

0:52:40.080,0:52:43.880
You know, in North America, for example,[br]we've seen really stark

0:52:43.880,0:52:46.880
images, for example, of L.A.

0:52:47.000,0:52:50.200
and severe environmental destruction.

0:52:50.280,0:52:54.240
It's a totally different context,[br]totally different situation.

0:52:54.240,0:52:58.440
But we are talking about climate disaster[br]in another context.

0:52:58.520,0:53:02.760
So, can[br]we think about a language

0:53:02.760,0:53:08.560
that travels as well?

0:53:08.640,0:53:10.830
These are my thoughts.

0:53:36.006,0:53:40.360
I think I can answer better that way.

0:53:40.360,0:53:43.320
Sergio brought up a lot of problems.

0:53:43.320,0:53:45.720
You brought up paradoxes,

0:53:45.720,0:53:49.600
struggles, obstacles.

0:53:49.680,0:53:51.280
I think a reason to be

0:53:51.280,0:53:55.410
there is to work on those paradoxes.

0:53:59.200,0:54:01.360
How can we build,

0:54:01.360,0:54:04.280
how can it build their work that works

0:54:04.280,0:54:08.240
with the language[br]that deals with destruction,

0:54:08.320,0:54:11.430
something that goes [br]beyond a negative look.

0:54:13.920,0:54:16.040
But how does this destruction

0:54:16.040,0:54:20.000
affect other things being produced?

0:54:20.080,0:54:21.240
Someone leaves the house

0:54:21.240,0:54:24.240
because the sea is approaching.

0:54:24.240,0:54:28.000
Someone else will come in, or within[br]a house

0:54:28.000,0:54:32.920
will create a bar, something that[br]works during the summers.

0:54:33.000,0:54:36.200
And now[br]this is something new.

0:54:36.280,0:54:37.680
It creates new life.

0:54:37.680,0:54:40.040
It created new possibilities.

0:54:40.040,0:54:42.560
This is something[br]that might have been considered

0:54:42.560,0:54:47.080
gone, wasted.

0:54:47.160,0:54:48.480
This idea

0:54:48.480,0:54:52.718
of romanticize, of making a spectacle [br]for this.

0:54:52.718,0:54:58.120
It's definitely a challenge,[br]we have been there for years.

0:54:58.200,0:55:03.080
We host artists that stay for a week[br]and then they move on,

0:55:03.120,0:55:06.840
they can create work,[br]but we have no control over.

0:55:08.960,0:55:10.320
And that's

0:55:10.320,0:55:15.840
why our focus there is the mediation[br]between the artists and the land

0:55:15.920,0:55:19.680
so that these artists[br]can hear the people,

0:55:19.680,0:55:23.520
so that their experience[br]there will impact them

0:55:23.600,0:55:27.520
in a sensitive way

0:55:27.600,0:55:30.600
in their work later on.

0:55:30.840,0:55:34.040
They may develop[br]something that will sell or not.

0:55:34.040,0:55:34.680
You know what?

0:55:34.680,0:55:35.880
We're not worried about that.

0:55:35.880,0:55:45.040
We're more worried about the learning[br]process that this will have later on.

0:55:45.120,0:55:46.120
Obviously, we have

0:55:46.120,0:55:49.960
no control over what they will do

0:55:50.040,0:55:54.310
out the information that they [br]gathered there.

0:55:56.690,0:55:59.120
We are always running meetings

0:55:59.120,0:56:02.600
so people can can talk about[br]their experiences

0:56:02.600,0:56:04.380
to the artists.

0:56:07.930,0:56:12.410
So, I don't have a better answer.

0:56:16.200,0:56:18.760
I'm from Rio.

0:56:18.760,0:56:21.760
I was shocked when I arrived in

0:56:21.760,0:56:23.540
Atafona.

0:56:25.520,0:56:27.000
The teaching experience

0:56:27.000,0:56:30.520
needs to go through living with the loss

0:56:30.600,0:56:33.600
and to create within it.

0:56:33.640,0:56:37.770
It's an existential condition.

0:56:43.560,0:56:48.080
The pedagogy is not specific to a content,

0:56:48.160,0:56:50.040
the environmental loss,

0:56:50.040,0:56:53.840
it touches all of us.

0:56:53.920,0:56:54.920
If we are people

0:56:54.920,0:56:59.680
that take the environmental problems[br]seriously.

0:56:59.760,0:57:02.160
And yeah.

0:57:02.160,0:57:06.640
In Brazil, we are feeling it.

0:57:06.720,0:57:10.120
I believe we'll all have to deal with this[br]loss.

0:57:10.200,0:57:15.280
The material loss,[br]the loss of a certain lifestyle,

0:57:15.360,0:57:17.760
lots of loss.

0:57:21.560,0:57:24.560
How does the community receive this?

0:57:24.600,0:57:26.080
Well, very well.

0:57:26.080,0:57:30.640
They're often very happy about it.

0:57:30.720,0:57:32.320
Believe it or not,

0:57:32.320,0:57:36.970
this is not a topic[br]that receives a lot of attention.

0:57:42.030,0:57:44.040
But we moved there.

0:57:44.040,0:57:48.080
And so we we became neighbors.

0:57:48.160,0:57:51.000
And that's how people see this.

0:57:51.000,0:57:54.160
The work,[br]our work is to bring attention to this,

0:57:54.400,0:57:57.400
to put the spotlight on it,

0:57:57.520,0:58:00.976
to create a dialogue around it.

0:58:04.280,0:58:06.960
I think performance has a special role

0:58:06.960,0:58:10.480
in the work that we develop.

0:58:10.560,0:58:14.800
I think it's the context,[br]I think is the very nature of performance

0:58:14.800,0:58:18.650
that allows us to use it

0:58:21.200,0:58:23.800
Performance is a language[br]that's very important

0:58:23.800,0:58:25.600
to us.

0:58:26.800,0:58:30.240
We, as a theatre group,

0:58:30.320,0:58:36.920
we were always very[br]linked to the performance.

0:58:37.000,0:58:43.360
Our works[br]were always rooted in performance.

0:58:43.440,0:58:45.080
You know, it might be on the beach,

0:58:45.080,0:58:48.520
it might be some archive work.

0:58:48.600,0:58:51.880
It was a type of theatre[br]that was always was born

0:58:51.960,0:58:54.960
from the territory.

0:58:55.200,0:58:56.880
And I'm going to wrap up.

0:58:56.880,0:58:59.720
Sorry, there are lots of questions.[br]I still want to make room for Fernando.

0:59:04.320,0:59:08.280
I'd like to touch upon the idea [br]of the end of the world.

0:59:08.360,0:59:10.680
There is an important thinker in Brazil.

0:59:10.680,0:59:13.680
__________?

0:59:13.720,0:59:17.040
He has said that the world has ended[br]many times.

0:59:17.160,0:59:21.440
Many worlds have.

0:59:21.520,0:59:24.240
So, when we go over there,

0:59:24.240,0:59:27.240
what we see is that[br]this is not the end of "the" world.

0:59:27.360,0:59:31.560
It's the end of "a" world.

0:59:31.640,0:59:36.960
It's something that will[br]lead us to a new experience.

0:59:37.040,0:59:38.720
It's part of a cycle.

0:59:38.720,0:59:43.720
It's not the apocalypse[br]that will be the end of all of us.

0:59:43.800,0:59:46.200
We are going to have to keep dealing[br]with the

0:59:46.200,0:59:50.080
consequences[br]of our actions, of our explorations,

0:59:50.160,0:59:54.200
our way of interacting.

0:59:54.280,0:59:58.640
So, it might be more complex[br]than simply an end,

0:59:58.720,1:00:01.080
something that would simply put

1:00:01.080,1:00:04.600
an end to our problems.

1:00:04.680,1:00:07.170
There is no end.

1:00:14.440,1:00:18.480
And the worlds[br]have been ending for a very long time.

1:00:18.480,1:00:22.400
I think Atafona talks about that

1:00:22.480,1:00:26.680
and in many ways[br]it extrapolates, it connects

1:00:26.680,1:00:30.785
to many other experiences of ending,

1:00:30.785,1:00:33.280
many that we have lived, are living now.

1:00:33.280,1:00:35.760
And we'll continue to live.

1:00:35.760,1:00:41.120
I think it has an existential pedagogy.

1:00:41.200,1:00:44.480
It's sad and happy at the same time.

1:00:44.560,1:00:46.440
It brings a sadness and a

1:00:46.440,1:00:50.100
melancholy in its nature.

1:00:54.520,1:00:56.880
I think it's a very rich experience

1:00:56.880,1:01:00.840
to live in that territory,[br]something very valuable.

1:01:00.920,1:01:07.600
That's it for me.

1:01:07.680,1:01:09.880
I'm going to try to add something to what

1:01:09.880,1:01:17.200
Julia said,

1:01:17.280,1:01:25.360
and I'm[br]going to start with Sergio's points.

1:01:25.440,1:01:26.760
It seems to me

1:01:26.760,1:01:31.920
that when we work with an art[br]and we try to engage or

1:01:31.920,1:01:36.480
we try to be environmentally responsible,[br]we we

1:01:36.480,1:01:41.280
we don't really have an answer,

1:01:41.360,1:01:43.200
but there is something we know

1:01:43.200,1:01:46.200
we are going to need to build alliances.

1:01:46.200,1:01:49.080
We're going to have to compromise.

1:01:49.080,1:01:53.800
We're going to have to involved[br]with the territories.

1:01:53.880,1:02:03.040
We're going to have to spend time there.

1:02:03.120,1:02:04.840
There are some points that we know

1:02:04.840,1:02:09.120
are just vital[br]so that the work will make sense in a way

1:02:09.120,1:02:17.560
so that they will have some sort of impact[br]for the people that live there.

1:02:17.640,1:02:19.040
We we live there,

1:02:19.040,1:02:22.040
but we chose to live there.

1:02:22.120,1:02:23.880
However, there are people that live there[br]because they have

1:02:23.880,1:02:29.160
nowhere else go.

1:02:29.240,1:02:33.000
We know that our presence[br]there is different from it.

1:02:33.000,1:02:37.720
We're always going to be foreigners[br]there in one way or another.

1:02:37.800,1:02:42.320
So how can our work[br]be become relevant to them?

1:02:42.400,1:02:46.800
We don't know.

1:02:46.880,1:02:48.120
But we understand that

1:02:48.120,1:02:52.000
there is art that doesn't care about that.

1:02:52.080,1:02:55.480
There is art that is for producing

1:02:55.560,1:03:04.560
the exploitation processes,

1:03:04.640,1:03:06.480
but we are there

1:03:06.480,1:03:10.880
and we it is our job to sometimes[br]point the finger and say, Hey,

1:03:10.960,1:03:15.120
what you're doing here[br]is this like you're not being any better?

1:03:15.120,1:03:15.640
Excuse me.

1:03:15.640,1:03:19.320
There is there is no sound from us.

1:03:19.400,1:03:26.600
It's back.

1:03:26.680,1:03:31.120
And then those sound I stopped

1:03:31.200,1:03:34.200
there is this similar

1:03:34.360,1:03:37.320
to a similar place called us.

1:03:37.320,1:03:40.040
Assume that I'm. I'm sorry.

1:03:40.040,1:03:48.880
Unfortunately[br]I can't hear Fernando's audio,

1:03:48.960,1:04:03.160
so we need to be aware.

1:04:03.240,1:04:07.560
Art. Art can have many different ways,

1:04:07.640,1:04:35.720
many different ways to interact.

1:04:35.800,1:04:36.760
I'm sorry.

1:04:36.760,1:04:38.800
I don't know. I don't know[br]what's happened. I'm going to.

1:04:38.800,1:04:40.560
Maybe. Maybe if I.

1:04:40.560,1:04:43.000
Yeah. Yeah, It's better now.

1:04:43.000,1:04:49.920
Yeah.

1:04:50.000,1:04:55.360
So where should I go back to

1:04:55.440,1:04:56.160
this?

1:04:56.160,1:05:02.360
Carry on from where you were.

1:05:02.440,1:05:05.960
It seems to me[br]that there is nuance that we can.

1:05:05.960,1:05:09.400
We can know this.

1:05:09.480,1:05:09.960
There is.

1:05:09.960,1:05:12.480
There is artwork.

1:05:12.480,1:06:14.680
Fernanda Sound is frozen again.

1:06:14.760,1:06:15.480
Well, I mean,

1:06:15.480,1:06:19.600
I think we had like a huge like

1:06:19.680,1:06:24.120
at least a good summary of the response,[br]like,

1:06:24.200,1:06:25.320
oh, what to say?

1:06:25.320,1:06:30.440
Like this connection was originated

1:06:30.520,1:06:33.360
by this team, but

1:06:33.360,1:06:34.920
I mean, maybe it's mom

1:06:34.920,1:06:37.920
and who clones this space and we can

1:06:37.920,1:06:41.560
or should wait a little bit.

1:06:41.640,1:06:42.200
Yeah, let's wait.

1:06:42.200,1:06:43.640
We can wait then.

1:06:43.640,1:06:44.880
Yeah, let's wait then.

1:06:44.880,1:06:46.840
At least they they back.

1:06:46.840,1:06:49.240
I will send a message

1:06:49.240,1:07:08.600
on their phone.

1:07:08.680,1:07:08.960
Yeah.

1:07:08.960,1:07:10.680
He saved both of them.

1:07:10.680,1:07:13.680
Lost the connection.

1:07:13.800,1:07:15.320
Let me see what he's saying.

1:07:15.320,1:07:19.320
Uh, standby.

1:07:19.400,1:07:21.640
He would try again

1:07:21.640,1:07:31.720
via cell phone.

1:07:31.800,1:07:33.720
You know,[br]when we are working the hemispherical.

1:07:33.720,1:07:34.520
Me, the.

1:07:34.520,1:07:37.440
This is always a thing, you know,

1:07:37.440,1:07:40.640
the connection, always

1:07:40.720,1:07:43.720
the the timezone.

1:07:43.920,1:07:47.560
So we need to have it all like

1:07:47.640,1:07:51.680
entourage like, like performative

1:07:51.760,1:07:55.640
moments for kind of the intermissions[br]when people leave.

1:07:55.640,1:07:58.640
I think I would like to nominate the niece

1:07:58.680,1:08:05.200
who creates incredible short[br]puppet shows to have something ready

1:08:05.280,1:08:07.000
for sessions

1:08:07.000,1:08:09.760
so that the puppet theater can take over

1:08:09.760,1:08:12.480
as we're

1:08:12.480,1:08:15.480
as we're[br]waiting for the connection to come back.

1:08:15.520,1:08:17.880
It could be a way for us[br]to organically deal

1:08:17.880,1:08:21.400
with the discomfort of

1:08:21.480,1:08:22.040
good.

1:08:22.040,1:08:28.000
Oh, see,

1:08:28.080,1:08:30.160
that's exactly.

1:08:30.160,1:08:31.080
Yeah.

1:08:31.080,1:08:33.760
I also nominate Jess.

1:08:33.760,1:08:35.840
Jess can also.

1:08:35.840,1:08:38.920
Yes, provide.

1:08:39.000,1:08:40.600
Yes, but yes.

1:08:40.600,1:08:46.240
Oh, time.

1:08:46.320,1:08:47.880
Here's Julia.

1:08:47.880,1:08:50.520
Julia's back.

1:08:50.520,1:08:51.680
Oh, no.

1:08:51.680,1:08:52.120
Oh yeah.

1:08:52.120,1:08:59.920
She's about Wow.

1:09:00.000,1:09:01.920
Sorry.

1:09:01.920,1:09:04.120
Let me

1:09:04.120,1:09:05.600
get sick.

1:09:05.600,1:09:05.920
It's.

1:09:05.920,1:09:08.920
No, Hey, come here.

1:09:08.960,1:09:12.160
One moment.

1:09:12.240,1:09:12.600
Yeah.

1:09:12.600,1:09:14.880
Looks like he. He's.

1:09:14.880,1:09:20.720
It's going to

1:09:20.800,1:09:37.480
another.

1:09:37.560,1:09:39.440
Yeah, They're shooting today.

1:09:39.440,1:09:43.040
So now that Kim is

1:09:43.120,1:09:46.520
loyal to them, the.

1:09:46.600,1:09:47.880
He can't hear me

1:09:47.880,1:09:58.600
when they have internet.

1:09:58.680,1:10:01.360
But how erosion effect that. Yeah.

1:10:01.360,1:10:02.520
The end of the world.

1:10:02.520,1:10:06.160
The beginning of the world interview[br]follow the book that's.

1:10:06.240,1:10:11.560
That's a lesson that gives you[br]a little bit about relationship

1:10:11.640,1:10:15.680
trouble artist creating a

1:10:15.760,1:10:20.120
Rasmus showing[br]so I where it has dimensions

1:10:20.120,1:10:24.440
that aren't always related to two

1:10:24.440,1:10:28.320
as I invest

1:10:28.400,1:10:31.960
commitment generally I know

1:10:32.040,1:10:34.440
the I I create

1:10:34.440,1:10:37.440
I create here shows that commitment

1:10:37.600,1:10:41.240
we provide is some we have other work.

1:10:41.320,1:10:44.040
Some work that are more territorial such

1:10:44.040,1:10:47.040
as moving museum.

1:10:47.160,1:10:49.800
There's a little child[br]giraffe to perform in the Dodge

1:10:49.800,1:10:52.960
or that idea to create a direct dialog

1:10:52.960,1:10:56.160
with the community

1:10:56.240,1:10:57.080
interest.

1:10:57.080,1:11:00.960
They want to bring words to[br]to the community,

1:11:01.040,1:11:04.040
to the fisherfolk community.

1:11:04.080,1:11:05.640
But we need to be watchful.

1:11:05.640,1:11:10.200
We need to be always thinking[br]about this social mapping to what I said.

1:11:10.280,1:11:12.840
It doesn't matter whether I work

1:11:12.840,1:11:16.200
with painting[br]my near physical, just trouble you ten.

1:11:16.280,1:11:21.280
Is there any way that I[br]can make this this work echo

1:11:21.360,1:11:23.720
with this place

1:11:23.720,1:11:26.720
as custodians and permits you made

1:11:26.840,1:11:34.000
because you survive the sky and trouble[br]you could dance a case in tone,

1:11:34.080,1:11:36.520
add a super talented disaster in there.

1:11:36.520,1:11:37.360
Yeah.

1:11:37.360,1:11:40.920
So this is in strings[br]section, this question

1:11:41.000,1:11:43.480
key callout.

1:11:43.480,1:11:46.160
It tries to follow too much modeling.

1:11:46.160,1:11:50.560
While talking about Laura's point,[br]I talked about the idea

1:11:50.560,1:11:55.040
of creating a language[br]that's connected to erosion quite in

1:11:55.040,1:12:00.480
to maintain the hand that you're watching,[br]just as in check it out.

1:12:00.560,1:12:05.240
So something that we learn along the way,[br]we are raised thinking that you know that

1:12:05.480,1:12:09.000
the artist is some sort of genius[br]that is created.

1:12:09.000,1:12:12.000
He or she is creating something[br]that something so special

1:12:12.000,1:12:15.000
and so different.

1:12:15.080,1:12:16.560
There's a there's a

1:12:16.560,1:12:20.640
that ego plays a big role as become fuzzy.

1:12:20.880,1:12:25.160
But what we understand[br]now is that the work to work

1:12:25.160,1:12:29.040
with is to create a partnership.

1:12:29.120,1:12:32.120
Clark[br]hasn't seen the theme compared to Rio,

1:12:32.240,1:12:35.760
and of course we still offers

1:12:35.760,1:12:39.880
in some sort of way, but we share

1:12:39.960,1:12:42.200
the the, the,

1:12:42.200,1:12:48.040
the authorship with the territory of Zoom

1:12:48.120,1:12:50.680
due to June, January Church Commission.

1:12:50.680,1:12:53.360
And we know that this work isn't simply

1:12:53.360,1:12:56.360
the product of an artistic genius.

1:12:56.440,1:12:57.240
Is this job.

1:12:57.240,1:13:01.120
We are listening to[br]what the erosion is producing,

1:13:01.120,1:13:04.400
to what those lads are telling us[br]taught them.

1:13:04.480,1:13:08.440
We are working on some sort of interpreter[br]that the man.

1:13:08.520,1:13:11.280
I think the idea of like translation

1:13:11.280,1:13:14.680
in an arts is also something[br]that's really interesting.

1:13:14.760,1:13:16.720
Whipsawing the sink is exciting.

1:13:16.720,1:13:19.920
The man is into the key

1:13:20.000,1:13:22.520
to Archibald parts inside the Apache.

1:13:22.520,1:13:23.720
That's a perspective.

1:13:23.720,1:13:27.240
You can also understand[br]art from this perspective

1:13:27.240,1:13:31.000
is something that's beyond what's human.

1:13:31.080,1:13:34.600
A perspective on art doesn't

1:13:34.680,1:13:37.920
all belong only to the human perspective.

1:13:38.000,1:13:43.120
We could think about art and in this way,[br]and there's this type of art

1:13:43.120,1:13:49.960
that we were working with as something[br]that actually exists in this process.

1:13:50.080,1:13:54.520
In this meeting point,[br]you start to realize that it exists

1:13:54.600,1:13:59.040
within this environmental[br]processes in time

1:13:59.120,1:14:01.560
that exists within the senses.

1:14:01.560,1:14:04.520
And the other thing is,

1:14:04.520,1:14:08.520
I don't know that there is a way[br]create this language

1:14:08.600,1:14:13.720
aside from this relationship[br]to create Abdallah El Apache sea sponges.

1:14:13.800,1:14:16.480
But I think once created,

1:14:16.480,1:14:19.760
yes, that language can expand.

1:14:19.840,1:14:23.440
Yes, we are working locally,[br]but we understand that these are global

1:14:23.440,1:14:24.120
topics.

1:14:24.120,1:14:29.240
They are particular to a phone[br]that we keep them at.

1:14:29.240,1:14:34.200
A phone is reflecting questions[br]that exist and in other places

1:14:34.440,1:14:38.200
seeing you ask them to you Marquesa

1:14:38.280,1:14:41.280
and this issue the dome

1:14:41.400,1:14:44.840
and I think that is reflected[br]in the works.

1:14:44.920,1:14:48.800
Keita visit is a puzzle that may asking[br]I might be.

1:14:48.800,1:14:50.920
I may be missing something.

1:14:50.920,1:14:52.640
Uh, a proposal.

1:14:52.640,1:14:54.520
But in general terms, I think that's that.

1:14:54.520,1:14:56.560
That's what I had to to share with you.

1:14:56.560,1:15:16.040
These are my thoughts.

1:15:16.120,1:15:17.040
Because insofar as I

1:15:17.040,1:15:20.040
go over and now what do we do?

1:15:20.080,1:15:23.360
We a comment about spam

1:15:23.440,1:15:24.440
camera

1:15:24.440,1:15:29.200
and clap noses[br]so game the Kentucky cat Zimmer

1:15:29.280,1:15:32.920
which McCoy's I don't know if there's an[br]is there anyone here

1:15:32.920,1:15:37.200
that would like to say something[br]because it's just myself Flora and Shauna.

1:15:37.280,1:15:40.800
But maybe there is someone else here[br]that would like to make a comment.

1:15:40.880,1:15:44.720
Mr. Hopkins[br]Just to make sure that wrapping up

1:15:44.800,1:15:47.960
of sad

1:15:48.040,1:15:49.800
my response to the farmer,

1:15:49.800,1:16:02.680
But I'd like to open the space.

1:16:02.760,1:16:07.480
Everybody's too shy to say anything.

1:16:07.560,1:16:09.560
It's fine.

1:16:09.560,1:16:10.960
No problem.

1:16:10.960,1:16:13.960
Yeah, I think we have to to wrap up now.

1:16:13.960,1:16:15.640
Otherwise we.

1:16:15.640,1:16:17.240
We would need our back up for fear.

1:16:17.240,1:16:19.560
Marcus have been doing an amazing job.

1:16:19.560,1:16:22.560
Yeah, yeah, yeah.

1:16:22.600,1:16:23.040
Thank you.

1:16:23.040,1:16:23.640
Feel more.

1:16:23.640,1:16:27.400
But, God, this human penalty of the people

1:16:27.480,1:16:29.800
together feel

1:16:29.800,1:16:30.520
they are.

1:16:30.520,1:16:36.280
The stories are amazing translators.

1:16:36.360,1:16:36.960
Great job.

1:16:36.960,1:16:39.840
Always.

1:16:39.840,1:16:42.840
But regardless, in regard to Jane Spiller

1:16:42.840,1:16:46.800
teleported in the presence.

1:16:46.880,1:16:48.480
Still

1:16:48.480,1:16:49.120
presence.

1:16:49.120,1:16:50.560
Thank you. Thank everyone.

1:16:50.560,1:16:52.920
Thank you for this opportunity.

1:16:52.920,1:16:55.640
It's so important to us.

1:16:55.640,1:16:57.240
It's so important to be part of this.

1:16:57.240,1:16:58.440
I don't think I.

1:16:58.440,1:17:01.280
I thanked everyone from the Nicole.

1:17:01.280,1:17:01.520
Yeah.

1:17:01.520,1:17:05.040
I mean, she as it's time[br]to get out this opportunity.

1:17:05.040,1:17:06.520
That's where the contextually

1:17:06.520,1:17:10.640
very grateful for this opportunity[br]to share this with you.

1:17:10.720,1:17:14.200
And I hope we can continue this dialog.

1:17:14.280,1:17:16.160
Yeah, it's it's so important.

1:17:16.160,1:17:18.240
It's such an important work.

1:17:18.240,1:17:21.960
It still is[br]but that we're very happy about it.

1:17:22.040,1:17:23.760
Both of my time after I got this set.

1:17:23.760,1:17:30.920
I mean, momentum is very can countless[br]and can you to take them right now to

1:17:31.000,1:17:35.680
to thank in the name of this[br]great encounter this is large network we

1:17:35.760,1:17:40.360
had. Fernando is our most post-doc member.

1:17:40.440,1:17:43.360
He just finished his product project

1:17:43.360,1:17:46.080
about June and I'd like to thank him.

1:17:46.080,1:17:51.240
We gave us the opportunity to meet[br]because he's doing a work unit.

1:17:51.320,1:17:52.960
And so

1:17:52.960,1:17:55.520
I'd like to thank for this partnership

1:17:55.520,1:17:59.280
and I hope that we can keep working

1:17:59.360,1:18:02.960
and as I get more,

1:18:02.960,1:18:06.880
I think it's that then easy D

1:18:06.960,1:18:11.000
And frankly, everybody,

1:18:11.080,1:18:12.840
thanks to all the people

1:18:12.840,1:18:15.600
that have gathered to the moon.

1:18:15.600,1:18:17.320
Thank you, everyone. Thank you.