Hello and welcome to The Coop a HEN Hangout
and we're so happy to welcome you all to the first session of 2025.
So we are the organizers of The Coop.
So I'm T Braun, Franklin Bonivento van Grieken
...
Denise Rogers Valenzuela,
and we are the curators of The Coop.
and we work in consultation with Laura Levin and Tracy Tidgwell and Firmo Pompeu
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 to show.
You can listen to the original audio
or English or Portuguese, and you'll hear two voices
during the interpretation, the original speaker and Firmo.
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 where it says "more".
And if you can't see the captions, which is like 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 Coop is an online gathering where we invite guests involved
with the Hemispheric Encounters Network and beyond for a conversation.
And although many of you are involved with Hemispheric Encounters,
the Hemispheric Encounters Network or HEN 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 would like to hear about future sessions of The Coop, you can follow
Hemispheric Encounters on Instagram at HemiEncounters.
And if you would like to see
any past sessions or something you lost, you can view them on the HEN website.
You can also get in touch with us via email at
the.coop.hangout@gmail.com
I will paste 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 Tiohtià:ke or what is known as Montreal.
So, today I'll just speak from that perspective.
So, Montreal corresponds to the unceded territory of the Kanien'kéha people,
and the name of this territory in Kanien'kéha is Tiohtià:ke,
which means broken in two 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, the Kanien'kéha 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
Tidgwell, who I would like to acknowledge and send all the good vibes to Vernada,
her cat is not having the best time.
So, now let's turn to our guest, and today
we will have a conversation about the exhibition Invento o Cais
at Sesc Niterói, curated by Julia
Naidin, Fernando Codeço and Daniel Toledo, which showcases works by 14
artists from CasaDuna’s residencies in Atafona Beach,
one of the world's most climate vulnerable regions in Rio de Janeiro.
Through reflections of marine erosion, the artworks
explore the environment, collective and process based perspective
reinterpreting 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 Julia Naidin, and Fernando Codeço,
as well as researcher Sérgio Pereira Andrade, a professor
in the Department of Arts and Culture of Theater Studies at the University
of Amsterdam in the Netherlands.
We also have Shauna Janssen, professor of performance
creation in the Department of Theater of Concordia University of Montreal,
and Laura Levin, director and a professor,
from Hemispheric Encounters, from York University.
So please, Fernando, Julia, tell us more about all this wonderful
project and all yours, welcome everybody.
Okay.
So, good afternoon to you all.
I'm Julia, I will try to speak in English, but if I have any problems,
we have Firmo here to help us.
First, I'd like also to thank you all
for receiving us to talk about the exposition.
It's a joy for us to be able to share this with you.
We were really happy with the result
of this exposition, and we think that it
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, we can just start
rolling the
the PowerPoint.
This is a great introduction
for you to know that in the last year we received
more than 16 artists and researchers there in Atafona
sharing interests
in thinking about how arts
(IN PORTUGUESE interference)
(IN PORTUGUESE interference) in some territories
and also to be able to communicate
about the situation, expanding the narratives
that's not really
localize it in the territory to amplify this,
this debate.
So, for this exposition,
we made a selection of artists,
and, especially from some specific groups that have been there.
One specific with Daniela Toledo in 2022
and another one with Hernández
It was on visual erosions, in 2018
and also with a group of
a school of arts in Rio
that's called Escola Sem Sítio, we can translate
maybe as "School of Non-place", in 2019.
So, we will show you a bit of 14 works
that we'd decided to arrange in this exposition.
So, Fernando, if you can just pass again.
As a methodology of work there,
we always try to
put ourselves as mediations
in between 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 a 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 focused on listening
to the people who lived there, and who deal
with erosion, and to learn
living with the erosion, and to adapt to
the climate crisis that the territory
has been living with for the last 17 years.
So we have there 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 a,
there's some same kind of pedagogical experience in this
conviviality
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
a special,
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, environmental
art that is created and builded, in the context,
not in solitude experience,
so there you have some images of those experiences,
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, Fernando, you can pass 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 the collections
that artists used to do in the beach.
In the the right side, you can see those small...
a word in English that I don't know is ("Brick" WORD IN PORTUGUESE), Firmo.
The small
things that people use to buy houses.
And when the houses are destroyed by the process
of erosion with the sea.
The sea and the erosion process,
do some sculpturing, this word
that I miss. ( "Brick" PORTUGUESE WORD)
Is the basis of the houses.
Brick, yes. Thank you.
And yes, so
there you can see, you can have an estimate of time
that the brick is rolling
in the sea, and in the beach.
And we have different sizes of these bricks.
So it's a
it's an interesting process that one of the artists
made, not only him, but it's an interesting process
to think about how time processes destruction also.
And in the other side, we have an artist
that worked a lot photographing, and after
making collages, with the
I don't know if collage
is the right word, but making together
different photographs, cutting and rearranging to
to think differently about the images and the imagination that can,
that can be created when we reorganize the images.
So, you can pass.
There were in a
in a specific place.
It's a bar, and also atelie, and also a house.
Where lived a
great friend of ours, Nico.
And his place was amazing because he created, he lived there.
It was, his house
was the bar where he sells drinks, but there
he works with the material of the land,
as well, to build
a really specific place totally created by him.
And he also has this conception
of creating with what the earth gives,
with what the sea brings,
and re-imaginating functions
and images with all that,
most of the time, people see only as garbage.
So, it was a specific place
that we normally take the artist there to amplify
their perspectives of art
and what we can use
to recreate the materials.
So, you can go, Fer, please.
There
is Daniele Toledo, which is also an artist
and was the creator exposition
there, he has written "future" in the sand.
But what seems to be the sand there, in this image,
was actually the rest of a street.
How can I say this word in English?
Also, (CONCRETO PORTUGUESE WORD).
Yes, concrete of the street.
It used to be a street, but the sea has already destroyed.
This specific area used to have like
four kilometers ahead.
And now what is happened in this beach
is that all the city is going backwards.
As the sea advances 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
this area where we have a limit between the sand
and where it's written "future".
So, it's like a catastrophic image "future",
but also invites us to think about
"future."
And what can we do in this case.
But is a work that Daniel
have been doing in different places
and he's been thinking about this as a
as a crisis, as a problematic and he's been reaching this
in so many spaces.
And there, he chooses this one.
And I think it was a specific work.
It was not what is in its position but
we choose to show to you
because of this limited experience.
That these were written in this place, can bring to us.
You can
go ahead, Fernando, please.
There you have some experience of
video works that were there,
in the image above, is Fernanda Branco, and
she stayed there repeatedly, with these
roots of trees
and did a kind of dance
where she goes backwards and then she got into this tree
and then
she danced in this root
and we have a video of this performance in the exposition
and it's a powerful video.
Maybe you can see it in another moment, if you'd like
we can talk to her and maybe send to you,
because it's a kind of fusion between
between the body and the root,
with the sea that came in the root, while she was there.
So, it's really sensitive work, as well.
You can pass, Fer, please.
This 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
what is a basis for a creation.
And there is another residence, _________, that spend
a few days with us there and made some performance
in this bar.
And then ______ was able
to take some photos and in the exposition we
we could put these photos in there, in a (Wallpaper in PORTUGUESE).
I don't know if you know, I need help to translate (Wallpaper in PORTUGUESE).
There's word for it in English.
"Wallpaper."
Wallpaper, maybe.
Thank you, Mari.
I think it's wheat based-
"Wheat based posters."
(PORTUGUESE)
Wheat based posters. (PORTUGUESE)
(PORTUGUESE)
There's no point to
maintain the structure and the integrity of the work.
It's to be able to do fast
and it can be destroyed fast as well.
And there was some good images
in this that we can put in the exposition, also.
So, Fer, you can move.
There is
Mariana Moraes who just joined the meeting with us
helping with the translation and she was doing
this is performance
with- I don't know this word, as well.
(PORTUGUSE WORD), who can help me?
Is a material of the fishermen that they use to-
"Fish net"
Yeah.
It's the traditional way
in which fishermen work, not like the big
structure of fishing.
Fish net, yes.
And also Mariana, after this performance,
in the other side of the screen, you can see the process
of the video performance that she made there
in 2022.
And this video went to the exposition.
Not the performance with the fish net,
but also you can see the ambiance.
And we wanted to show you a bit of the
the visual of the environment there
and how we always are trying to
to make the works,
being created in the territory,
not in a isolated form.
You can pass, Fer, please.
Okay, there is Tetsuya,
he is also a video artist
and he works with
old films and
there in this image that you can see
he was burying the film in the sand,
"burying", like (Bury in PORTUGUESE).
And then the sand, and though
the small animals and different lives
in the sand interfere in the film
and after he processes this and passes
this film in the the exposition.
So, you have a very specific image
as results of these and he worked there-
This image is in the sand with the sea interfering, as well, as you can see.
But he also put the film
inside the river for a few days
and then it was passed by the fishes,
the vegetals, I don't know-
Everything in the sea, the animal life
that interfere in the film and then is beautiful to see the results.
And we could put in the exposition, also.
Fer, pass it, please.
That's Victor.
He's a painter and he is also an actor.
He used to work with the group theater.
But as we know that he paints, we invited him
also to a residence and ask him to
to make some paintings in houses that are already abandoned
by the the old
owners.
And there, he's performing.
Performing, with these
I don't know, "flags".
Flags. Yes.
This white flag, that's Carol Valansi, another,
artist that was 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 white flags, have an
I don't know, something like a peace sign.
But in this environment with no peace,
in an environment that is always in tension
with the nature, is always in this conflict
between the building of the city and the sea
that is coming inside the city and making this destruction,
So, in this specific context, this white flag don't bring us
exactly the best energy, but instead,
like a conflict with this symbol.
You can go ahead, Fer, 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 art to talk about the environmental crisis.
It's hard to talk about what's there.
Even though they lived in this.
Their daily lives is a sensible subject
because, you know, obviously is the reality.
But it's a sad subject, it's a trauma.
It's a living trauma, the daily situation.
So sometimes we discover that
art 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 art, to talk about environmental crisis is important to us, as well.
Fer, please.
This is Sarojini,
it's an artist from India, that in the end,
went there to work with us and make a video performance, as well.
Fernando, pass it, please.
This is part of a frame of the video work
that I've done there, I've been working with archives there.
Thinking about
something in between
how can we make a private, archive
a public archive, and vice versa.
With this complex
and political and delicate issue like what is a private archive
and how public can this be, to facilitate us
to talk about things that are political. That touch everybody.
This lady, she made an archive following the sea,
destroying this building in front of her house.
And they made a small documentary about it
which is called "Concrete Sea."
And, Fernando, maybe I think,
Can you put another image, but I think that maybe,
I can pass the words now.
Yes. For you to talk about the exposition properly,
and then we can lead to talk a bit more
in the conversation.
I will mute my microphone.
(PORTUGUESE DIALOGUE).
(PORTUGUESE)
Make me to think about art history, about concrete art.
And this material has a ghost-like character
That's how I see
the act of fishing.
Fishing has this presence in Brazilian history.
It also has an important role
to play in terms of economy.
Paolo Victor also works the that.
As you can see, this is a window that he found at the beach, in Atafona
Here we can see Daniel's work in the background.
He also works with material found
in the beach.
So, this is a whole part of the exhibition made,
with material found on the beach,
And there is a dialogue between this materials found on the beach
and with the traditional and modern
modern works.
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 pop bottles to
to make this 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 root, 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 in clay.
Beside her work, you can see Tais's 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 Luciano's photos up on the wall.
This is part of the meeting with Luciano's
and Nico's 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 Daniel's installation
Here, the detail shows how he added these pieces
together using a 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-concretism.
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 marine life
when it's back in the ocean.
So, there is an attempt to
to take care of this material, to repurpose them.
Now, the crabs.
There is a relationship to life
and to how 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 remind us of these creatures,
creatures that live in the the mangroves in Atafona.
This is Paulo, beside the window that he painted.
The work remounts to the idea that the sea is coming back,
it's a popular idea with 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, already belonged to the sea.
Scientifically speaking, that's also true.
So 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's work.
He organized these pieces of bricks
on top of notebooks.
He 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, very delicate work.
She uses glass, ceramics, latex.
And here is the same work, from a different perspective.
This is Tetsuya's work.
This is a film that he collected from an old file.
He buried this on the sand.
Money sack sand.
This is a specific kind of sand that's present there.
It's a low radiation sand.
Let's watch this now.
This is Thais work,
also a very intricate, very delicate work.
Very beautiful, it's very alive.
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, showing the corrosion
that salt caused in the work.
This is Joao Racy's work.
It's a still video, still image.
He filmed the window of a house
that's actually being buried by the sand.
There's a little bit of movement
in the plants here,
So, we created this,
we had a TV in the back to bring by this idea of a window.
This is Caroline's 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.
She made this work here by creating these stamps,
postal stamps.
It reminds 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, can see Lu by Lu's work.
This is her meeting with makeup.
And then we paste post again
here she glued them on the outside.
She talked a bit about her meeting
with Nico in Atafona.
Lu who is an activist, a trans artist,
a black person,
and she adds all of that to her work,
as a 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 us.
Here the videos,
we are not going to be able to watch them now,
but I'd like to tell you, here the videos that are present there.
Fernando Branco's video.
Julia talked about it, Julia's video.
Mariana's and Sarojini's.
So, there you have.
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.
Through many artists that came through Casa Duna.
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.
It's my turn?
Okay.
Thank you for what you brought to us today.
Fernando, Julia.
I have had the opportunity to visit
Atafona 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.
in the work.
I know how important this is to you
and you know,
and this is also a counterposition as to other works
that visit Atafona that come and go
or make a spectacle out of it.
This is an erosion process
that's 60 years long.
It has been sped up
due to industrial activity in the area.
There is a violent process that's been
getting aggravated
through interventions of abuses
on the environment.
And this shows the many ways that artists
and art can also produce,
they can also use some of this process for their work.
I think what we're trying to do is to show
an option to think about a continuity,
a process of creating connections.
You have this work
of environmental awareness with the community.
You work with the Landless Movement
in Brazil.
Oh, I'm sorry.
There is a lady that's an activist.
I forget her name.
Please forgive me.
Yes. Yeah, I can hear you.
I'm sorry.
There was there was a pause there.
So, yes.
You've been working on different fronts, right?
Academic research, art, art research.
You were working on your postdoctorate.
You work with a theater group,
Grupo ______, a Russian group.
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 do you see this process
of avoiding
making a spectacle
or to avoid romanticizing that.
The event
I create _____
right, that uses the line from the song
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 are many, many layers.
And this erosion is very symbolic.
How do you understand this non romanticizing,
this erosion process, this not
looking at this process as something exotic,
but also not making it,
you know, a doomsday kind of scenario.
Can you talk about that?
Shall we comment on this?
I guess it's better to to hear all the questions first
and then we'll answer.
at the end.
Hi everyone,
Hi, yes.
I'll be brief.
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 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 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 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 for me
has something to do with kind of countering,
making the spectacle and,
and kind of thinking about this witnessing or these actions.
I don't know if that's what you've been witnessing
'Cause 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
do you see this work as a kind of ritual or mourning or witnessing?
And I think when we see images of the water, you know, immediately,
you start to kind of feel like we're in the rhythm 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 really find the work in the project really moving.
So, I wonder if you could speak a little bit to that,
and the other question I had was to what degree the locals
and the community are embedded and working with-
If you could say a bit more about the importance of their agency
in the work and hosting,
I guess, outsiders coming into
to work in the site.
No, it's okay.
I was expecting us to sort of ask the question and answer,
ask the question and answer.
So, I think, I'll be brief 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, 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 format.
But you're also describing dance,
the woman who is dancing and the root of a tree, for example,
I'm also 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
what role performance plays in creating
a kind of language for the erosion, if it does at all, and
what can
performance do that other art forms can't 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 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.
I hear the idea of creating a language
as being in conversation, with 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.
It's a totally different context, totally different situation.
But we are talking about climate disaster in another context.
So, can we think about a language
that travels as well?
These are my thoughts.
I think I can answer better that way.
Sergio 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 it build their work that works
with the language that deals with destruction,
something that goes beyond a negative look.
But how does this destruction
affect other things being produced?
Someone leaves the house
because the sea is approaching.
Someone else will come in, or within a house
will create a bar, something that works during the summers.
And now this is something new.
It creates new life.
It created new possibilities.
This is something that might have been considered
gone, wasted.
This idea
of romanticize, of making a spectacle for this.
It's definitely a challenge, we have been there for years.
We host artists that stay for a week and then they move on,
they can create work, but we have no control over.
And that's
why our focus there is the mediation between the artists and the land
so that these artists can hear the people,
so that their experience there will impact them
in a 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 will have later on.
Obviously, we have
no control over what they will do
out the information that they gathered there.
We are always running meetings
so people can can talk about their experiences
to the artists.
So, I don't have a better answer.
I'm from Rio.
I was shocked when I arrived in
Atafona.
The teaching experience
needs to go through living with the loss
and to create within it.
It's an existential condition.
The pedagogy is not specific to a content,
the environmental loss,
it touches all of us.
If we are people
that take the environmental problems seriously.
And yeah.
In Brazil, we are feeling it.
I believe we'll all have to deal with this loss.
The material loss, the loss of a certain lifestyle,
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.
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 this,
to put the spotlight on it,
to create a dialogue 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 it
Performance is a language that's very important
to us.
We, as a theatre group,
we were always very linked to the performance.
Our works were always rooted in performance.
You know, it might be on the beach,
it might be some archive work.
It was a type of theatre that was always was born
from the territory.
And I'm going to wrap up.
Sorry, there are lots of questions. I still want to make room for Fernando.
I'd like to touch upon the idea of the end of the world.
There is an important thinker in Brazil.
__________?
He has 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 the
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 the worlds have been ending for a very long time.
I think Atafona talks about that
and in many ways it extrapolates, it connects
to many other experiences of ending,
many that we have lived, are living now.
And we'll continue to live.
I think it has an existential 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.
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 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 get 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 lived there,
but we chose to live there.
However, there are people that live there because
they have nowhere else to go.
We know that our presence there is different.
We're always going to be foreigners there in one way or another.
So, how can our work 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 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 no sound from them.
It's back.
Fernando's sound has stopped.
There is this similar place called
_____ that.... I'm sorry.
Unfortunately, I can't hear Fernando's audio.
So, we need to be aware.
Art can have many different ways,
many different ways to interact.
I'm sorry.
I don't know what's happening. I'm going to.
Yeah, It's better now.
So, where should I go back to?
Carry on from where you were.
It seems to me that there is nuance that we can
we can notice.
There is artwork.
Fernando's sound is frozen again.
Well, I mean,
I think we had
at least a good summary of the response.
The connection was erosionated.
I mean, maybe it's the moment
to close 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 until they are back.
I will send a message
to their phone.
He is saying that both of them
lost their connection.
Let me see what he's saying.
He's typing.
He would try again
via cell phone.
You know, when we are working hemispherically,
This is always a thing, you know,
the connection, always,
the timezone.
So, we need to have a little, like a
counter acts like, like performative
moments for kind of the intermissions when people leave.
I think, I would like to nominate Denise
who creates incredible short puppet shows to have something ready
for future sessions.
So, that the puppet theatre can take over
as we're waiting for the connection to come back.
It could be a way for us to organically deal
with the discomfort.
Oh, see.
That's exactly.
I also nominate Jess.
Jess, can also provide...
Here's Julia.
Julia's back.
She's back.
Sorry.
Let me see if Fernando
gets back.
If no, he will come here.
One moment.
Looks like he is
Fernando?
Can you hear me?
But how erosion effect that-
It's the end of the world.
The beginning of the world.
We were talking a little bit about the relationship
-it has dimensions that
aren't always related to
an activist
commitment,
The _______ shows that commitment.
We have other work.
Some work that are more territorial
such as a moving museum.
The idea is to create a direct dialogue
with the community
We want to bring our works to to the community,
to the fisherfolk community.
But we need to be watchful.
We need to be always thinking about this.
It doesn't matter whether I work
with painting.
Is there any way that I can make this work echo
with this place?
So, this answering Sergio's question.
Now talking about Laura's point, I talked about the idea
of creating a language that's connected to erosion.
There's something that we learn along the way, we are raised thinking that you know that
the artist is some sort of genius
that is creating something so special
and so different.
There's a
that ego plays a big role.
But what we understand now is that the work
is to work with, is to create a partnership.
Of course, we are still authors
in some sort of way, but we share
the authorship with the territory.
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.