1 00:00:11,280 --> 00:00:14,760 Hello and welcome to The Coop a HEN Hangout 2 00:00:14,760 --> 00:00:20,760 and we're so happy to welcome you all to the first session of 2025. 3 00:00:20,840 --> 00:00:24,560 So we are T Braun where the organizers of the coupe. 4 00:00:24,560 --> 00:00:27,760 So I'm t Braun Frankie Benevento A.D. 5 00:00:27,800 --> 00:00:29,560 again 6 00:00:29,560 --> 00:00:32,000 in New Jersey that Consuela 7 00:00:32,000 --> 00:00:34,880 and we are the curators of the coupe 8 00:00:34,880 --> 00:00:40,440 and we work in consultation with Laura Levin and Tracy Tidwell and Fairmont 9 00:00:40,440 --> 00:00:45,640 Davis will be doing Portuguese English interpretation today. 10 00:00:45,720 --> 00:00:49,760 So to activate the translation, you select the globe 11 00:00:49,760 --> 00:00:54,800 icon at the bottom of your screen, and if you don't see it, click on more. 12 00:00:54,840 --> 00:00:57,720 And it's called interpretation so you can listen. 13 00:00:57,720 --> 00:01:00,600 So Denise is holding up official. 14 00:01:00,600 --> 00:01:03,200 You can listen to the original audio 15 00:01:03,200 --> 00:01:07,360 or English or Portuguese, and you'll hear two voices 16 00:01:07,360 --> 00:01:11,920 during the interpretation, the original speaker and female. 17 00:01:12,000 --> 00:01:16,120 But if that's too much sensory stimulation, you can always select mute 18 00:01:16,120 --> 00:01:20,280 original audio and you can switch between those two options. 19 00:01:20,280 --> 00:01:24,360 During the event and this information we pasted in the chat. 20 00:01:24,440 --> 00:01:31,240 And if you have any tech issues or questions, you can message Denise in the chat. 21 00:01:31,320 --> 00:01:33,480 Yes. And also 22 00:01:33,480 --> 00:01:36,960 we will have closed captioning in English 23 00:01:37,120 --> 00:01:43,160 and to activate the captions you click on the three dots 24 00:01:43,240 --> 00:01:45,600 or more where he says more. 25 00:01:45,600 --> 00:01:51,280 And if you can't see the captions, which is like a two ccs in a little box 26 00:01:51,360 --> 00:01:54,760 and also at the bottom. 27 00:01:54,840 --> 00:01:55,080 Yeah. 28 00:01:55,080 --> 00:01:58,480 And if you have any questions, just message me. 29 00:01:58,560 --> 00:01:58,840 Yeah. 30 00:01:58,840 --> 00:02:02,040 And finally, we want to let you know that we will be 31 00:02:02,040 --> 00:02:05,320 recording today's event for archival purposes, 32 00:02:05,400 --> 00:02:08,520 and the group is an online gathering where we invite guys involved 33 00:02:08,520 --> 00:02:13,600 with the Hemispheric and Cultures Network and beyond for a conversation 34 00:02:13,680 --> 00:02:18,280 and although many of you are involved with hemispheric encounters 35 00:02:18,360 --> 00:02:23,080 in the Hemispheric encounters network or hidden for short 36 00:02:23,160 --> 00:02:27,000 is a growing network of activists, artists, 37 00:02:27,080 --> 00:02:32,160 academics, students and community organizations from across the Americas 38 00:02:32,240 --> 00:02:36,160 that explore hemispheric performance as a methodology, 39 00:02:36,200 --> 00:02:42,080 a pedagogical strategy, and a tool for social change. 40 00:02:42,160 --> 00:02:42,760 And if 41 00:02:42,760 --> 00:02:45,840 you will like to hear about future sessions of the group, you can follow 42 00:02:45,880 --> 00:02:49,640 Amy's very encounters on Instagram at Amy Encounters. 43 00:02:49,640 --> 00:02:50,800 And if you would like to see 44 00:02:50,800 --> 00:02:55,240 any positions or something you like, you can view them on their website. 45 00:02:55,320 --> 00:02:58,720 You can also get in touch with us via email and then that group 46 00:02:58,720 --> 00:03:01,720 that hang out at gmail.com. 47 00:03:01,760 --> 00:03:03,480 I will post these links in the chat. 48 00:03:03,480 --> 00:03:04,520 So no worries. 49 00:03:04,520 --> 00:03:06,760 You don't have to memorize all this information. 50 00:03:06,760 --> 00:03:09,760 So to be in touch. 51 00:03:09,840 --> 00:03:10,320 Okay. 52 00:03:10,320 --> 00:03:15,280 And before we hear from our speakers, we want to offer a land acknowledgment. 53 00:03:15,360 --> 00:03:17,880 So today, obviously we're gathered online. 54 00:03:17,880 --> 00:03:21,080 So we're all in different territories and each with their own 55 00:03:21,080 --> 00:03:28,000 original caretakers and their particular iterations of colonialism unfolding. 56 00:03:28,080 --> 00:03:29,240 But Franklin and I 57 00:03:29,240 --> 00:03:33,000 are presently in Chicago or what is known as Montreal. 58 00:03:33,000 --> 00:03:36,880 So today I'll just speak from that perspective. 59 00:03:36,960 --> 00:03:42,440 So Montreal corresponds to the Unceded territory of the connected Hakka people, 60 00:03:42,520 --> 00:03:46,000 and the name of this territory and connection is to charge, 61 00:03:46,000 --> 00:03:49,840 which means broken into since this is an island 62 00:03:49,840 --> 00:03:53,600 that's crossed by two rivers and has been a gathering place 63 00:03:53,600 --> 00:03:58,000 for many First Nations people and continues to be so. 64 00:03:58,080 --> 00:04:01,640 And we acknowledge that our acknowledgment is faulty 65 00:04:01,640 --> 00:04:04,800 and that land acknowledgments in general are very fraught. 66 00:04:04,800 --> 00:04:09,160 But as hosts of this event, we still want to express gratitude 67 00:04:09,240 --> 00:04:14,560 to the original hosts of this land and these waters that connect to people 68 00:04:14,640 --> 00:04:19,080 and remind ourselves of the material relations and histories 69 00:04:19,080 --> 00:04:24,160 that enable our offline lives and this virtual gathering to happen. 70 00:04:24,240 --> 00:04:27,720 And I'm sure today's conversation will offer insightful 71 00:04:27,720 --> 00:04:30,480 perspectives on these issues. 72 00:04:30,560 --> 00:04:31,800 Yeah, regularly. 73 00:04:31,800 --> 00:04:33,360 We also have here Tracy 74 00:04:33,360 --> 00:04:37,160 Tidwell, who I would like to acknowledge and send all the good bye to Granada. 75 00:04:37,160 --> 00:04:39,480 Her account with not having the best time. 76 00:04:39,480 --> 00:04:42,680 So now let's turn to our guest. Today. 77 00:04:42,680 --> 00:04:46,560 We will have a conversation about the exhibition event or archives 78 00:04:46,560 --> 00:04:49,680 at Cisco Niteroi, curated by Juliana 79 00:04:49,720 --> 00:04:54,800 Day, Fernando Cardoso and Danielle Colella, which showcases works by 14 80 00:04:54,800 --> 00:04:59,240 artists from Kassel doing residencies in at the point at which Hergé, 81 00:04:59,320 --> 00:05:04,400 one of the world's most climate vulnerable regions in Rio de Janeiro. 82 00:05:04,480 --> 00:05:08,000 Through reflections on marine erosion, the artworks 83 00:05:08,000 --> 00:05:11,800 explore environmental, collective and process based perspective 84 00:05:11,880 --> 00:05:15,760 reinterpreting erasure, erosion not just as destruction, 85 00:05:15,840 --> 00:05:20,560 but as a catalyst for new ways of seeing, adapting and acting in the world. 86 00:05:20,640 --> 00:05:24,840 Joining the conversation are curators Juliana then and Fernando Caruso, 87 00:05:24,840 --> 00:05:28,280 as well as researcher Sergio PEREIRA Andrada, a professor 88 00:05:28,320 --> 00:05:33,000 into Department of Arts and Culture of Theater Studies at the University 89 00:05:33,080 --> 00:05:36,920 University from Amsterdam in the Netherlands. 90 00:05:36,920 --> 00:05:40,440 We also have Sharna Johnson Johnson, professor of performance 91 00:05:40,680 --> 00:05:44,040 creation in the Department of Theater of Concordia University of Montreal, 92 00:05:44,280 --> 00:05:47,680 and Laura Levine, director and a professor, 93 00:05:47,680 --> 00:05:51,440 and again, countries from Yale University. 94 00:05:51,440 --> 00:05:55,400 So please, Fernando, Julia, tell us more about all this wonderful 95 00:05:55,480 --> 00:06:02,920 project and all your welcome everyone. 96 00:06:03,000 --> 00:06:03,680 Okay. 97 00:06:03,680 --> 00:06:06,600 So good afternoon to you all. 98 00:06:06,600 --> 00:06:11,480 Julia I will try to speak in English, but if I have any problems, 99 00:06:11,520 --> 00:06:15,920 we have a few more here to help us. 100 00:06:16,000 --> 00:06:18,520 First, I'd like to also to thank you all 101 00:06:18,520 --> 00:06:22,200 for receiving us to talk about the exposition. 102 00:06:22,280 --> 00:06:26,320 It's joy for us to be able to share this with you. 103 00:06:26,400 --> 00:06:29,400 We got really happy with the result 104 00:06:29,640 --> 00:06:33,600 of this exposition, and we think that some kind 105 00:06:33,800 --> 00:06:38,280 is a way of showing you parts of the work that we've been doing there. 106 00:06:38,360 --> 00:06:42,200 In the more concrete, 107 00:06:42,280 --> 00:06:44,480 how can I say visible 108 00:06:44,480 --> 00:06:47,480 way so 109 00:06:47,640 --> 00:06:53,280 we can find out if you can just start 110 00:06:53,360 --> 00:06:55,400 rolling down 111 00:06:55,400 --> 00:06:57,120 the PowerPoint. 112 00:06:57,120 --> 00:07:00,160 This is a great introduction 113 00:07:00,160 --> 00:07:04,320 to for you to know that in the last year we received 114 00:07:04,400 --> 00:07:09,960 more than 16 artists and researchers there in at the phone 115 00:07:10,040 --> 00:07:12,360 sharing interest 116 00:07:12,360 --> 00:07:15,960 in thinking about how arts 117 00:07:16,040 --> 00:07:19,680 compassion that some agent in their community project 118 00:07:19,840 --> 00:07:23,400 their perspective whether live in some territories 119 00:07:23,480 --> 00:07:26,800 and also to be able to communicate 120 00:07:26,880 --> 00:07:31,080 about this situation, expanding the narratives 121 00:07:31,200 --> 00:07:34,200 it's not really states locally 122 00:07:34,440 --> 00:07:38,600 localize it in the territory to amplify this 123 00:07:38,680 --> 00:07:41,320 day's debate. 124 00:07:41,320 --> 00:07:44,600 So we for this exposition, 125 00:07:44,600 --> 00:07:48,400 we made the selection of artists, 126 00:07:48,480 --> 00:07:54,760 and especially from some specific groups that have been there. 127 00:07:54,840 --> 00:08:01,000 One specific with the Palais in 2022 128 00:08:01,080 --> 00:08:04,320 and another one with if nineties. 129 00:08:04,320 --> 00:08:08,560 It was visual erosions in 2018 130 00:08:08,640 --> 00:08:12,160 and also with a group of 131 00:08:12,240 --> 00:08:15,160 and School of Arts in Rio 132 00:08:15,160 --> 00:08:19,240 that calls scholars and see to we can translate 133 00:08:19,240 --> 00:08:25,240 maybe is school of non place into 219. 134 00:08:25,320 --> 00:08:29,920 So we will show you a bit of 14 works 135 00:08:30,000 --> 00:08:35,200 that we'd like to to arrange in this exposition. 136 00:08:35,280 --> 00:08:43,880 So Fernando you can disperse again 137 00:08:43,960 --> 00:08:46,880 as a methodology of work there. 138 00:08:46,880 --> 00:08:50,840 We always try to 139 00:08:50,920 --> 00:08:54,160 put ourselves as mediations 140 00:08:54,240 --> 00:08:58,200 in between the, the artist and the territory 141 00:08:58,200 --> 00:09:01,440 as we were living there for the last seven years. 142 00:09:01,520 --> 00:09:03,080 So we receive them. 143 00:09:03,080 --> 00:09:07,000 And most of all, we, 144 00:09:07,080 --> 00:09:08,360 we put 145 00:09:08,360 --> 00:09:15,040 our focus on experience with the ambiance, with the atmosphere, with the erosion, 146 00:09:15,120 --> 00:09:19,200 and also with the wood part of the environment, 147 00:09:19,200 --> 00:09:24,240 of the pleasure that the environment still can offer there. 148 00:09:24,320 --> 00:09:29,440 So our mediation focus on listening 149 00:09:29,520 --> 00:09:33,520 to the people who live there and who deal 150 00:09:33,560 --> 00:09:36,920 with erosion and to learn 151 00:09:37,000 --> 00:09:41,920 living with the erosion and to adapt with the 152 00:09:42,000 --> 00:09:46,000 the climate crisis that the territory 153 00:09:46,080 --> 00:09:50,440 has living for the last 17 years. 154 00:09:50,520 --> 00:09:56,440 So we have they are people who already lost 155 00:09:56,520 --> 00:10:01,560 not one house, but sometimes five houses, seven houses. 156 00:10:01,640 --> 00:10:07,960 And how do people adapt to this and create a conviviality with this process? 157 00:10:08,040 --> 00:10:10,160 We think there's 158 00:10:10,160 --> 00:10:16,840 the same kind of pedagogical experience in this 159 00:10:16,920 --> 00:10:18,440 conflict 160 00:10:18,440 --> 00:10:20,760 with erosion, 161 00:10:20,760 --> 00:10:22,760 and we think that this is 162 00:10:22,760 --> 00:10:26,440 an important message for artists to receive. 163 00:10:26,520 --> 00:10:29,760 So our work there, as you will be able to see, 164 00:10:29,840 --> 00:10:36,960 it's not focus on only works in 165 00:10:37,040 --> 00:10:38,880 as a special, a 166 00:10:38,880 --> 00:10:42,320 separate ambiance for the artist to create, 167 00:10:42,400 --> 00:10:45,680 but also in the in the beach, 168 00:10:45,720 --> 00:10:49,720 in the sea, in the river with people. 169 00:10:49,800 --> 00:10:53,520 It's what we like to think 170 00:10:53,520 --> 00:10:56,960 as a contextual art environment. 171 00:10:57,000 --> 00:11:02,440 So art that is created in beloved, in the context, 172 00:11:02,520 --> 00:11:06,680 not in solitude experience, 173 00:11:06,760 --> 00:11:10,840 so that you have some image of those experience 174 00:11:10,840 --> 00:11:15,480 of walking around and just feeling the territory. 175 00:11:15,560 --> 00:11:19,840 We believe a lot in the kind of information 176 00:11:19,920 --> 00:11:22,720 that the experience can bring 177 00:11:22,720 --> 00:11:25,720 to the creative process. 178 00:11:25,720 --> 00:11:33,080 So now you can press again, please. 179 00:11:33,160 --> 00:11:36,760 There is an image of some process of artists. 180 00:11:36,760 --> 00:11:40,440 It's one image of inside the house, as you can see. 181 00:11:40,600 --> 00:11:44,200 But then you can see also some of collections 182 00:11:44,280 --> 00:11:48,400 that artists used to to do in the beach. 183 00:11:48,480 --> 00:11:55,120 In the the right side, you can see those small 184 00:11:55,200 --> 00:12:00,400 word images that I don't know is to all feel 185 00:12:00,480 --> 00:12:03,480 the the small 186 00:12:03,720 --> 00:12:06,240 things that people use to buy houses. 187 00:12:06,240 --> 00:12:10,440 And when the houses are destroyed by the process 188 00:12:10,520 --> 00:12:13,040 of the erosion with the sea, 189 00:12:13,040 --> 00:12:15,720 the sea and the erosion process. 190 00:12:15,720 --> 00:12:21,040 Do some sculpture in this work 191 00:12:21,240 --> 00:12:24,520 that I miss 192 00:12:24,600 --> 00:12:27,160 is the basis of the houses. 193 00:12:27,160 --> 00:12:29,080 Yes. Thank you. 194 00:12:29,080 --> 00:12:32,560 And yes, so 195 00:12:32,640 --> 00:12:38,880 there you can see, you can have an estimate of of time 196 00:12:38,960 --> 00:12:41,880 that the debris is rolling 197 00:12:41,880 --> 00:12:44,800 in the sea and in the beach. 198 00:12:44,800 --> 00:12:47,680 And we have different size of this week. 199 00:12:47,680 --> 00:12:50,520 So it's a 200 00:12:50,520 --> 00:12:53,880 it's an interesting process that one of the artists 201 00:12:53,960 --> 00:12:57,960 made, not only him, but it's it's an interesting process 202 00:12:58,000 --> 00:13:03,400 to think about how time, process, destruction also. 203 00:13:03,480 --> 00:13:06,440 And in the other side, we have an artist 204 00:13:06,440 --> 00:13:09,800 that work a lot photographing and as 205 00:13:09,800 --> 00:13:14,840 to making collages with the 206 00:13:14,920 --> 00:13:15,240 I don't know 207 00:13:15,240 --> 00:13:20,040 which college is the right word, but making together 208 00:13:20,120 --> 00:13:24,600 different photographs, cutting and rearranging to 209 00:13:24,760 --> 00:13:30,520 to think differently about the images and the imagination that came 210 00:13:30,600 --> 00:13:36,640 that can be created when we organize the images 211 00:13:36,720 --> 00:13:40,320 so you can press there. 212 00:13:40,360 --> 00:13:42,880 We were in 213 00:13:42,880 --> 00:13:44,280 in that specific place. 214 00:13:44,280 --> 00:13:48,960 It's a bar and also ateliers and also a house. 215 00:13:49,040 --> 00:13:51,960 The we well lived 216 00:13:51,960 --> 00:13:55,200 great friend of us, Nicole. 217 00:13:55,280 --> 00:13:59,920 And his place was amazing because he created oh delete. 218 00:13:59,920 --> 00:14:03,680 There was his house 219 00:14:03,800 --> 00:14:08,840 was the bar where it sells drinks but there he 220 00:14:08,920 --> 00:14:12,560 he works with the material of the lens 221 00:14:12,560 --> 00:14:15,840 as well to to build 222 00:14:15,920 --> 00:14:20,680 a really specific place totally created by him. 223 00:14:20,760 --> 00:14:24,040 And he also has this this conception 224 00:14:24,040 --> 00:14:29,080 of creating with what the art gives 225 00:14:29,160 --> 00:14:32,000 with the sea brings 226 00:14:32,000 --> 00:14:35,320 and reminds in 18 functions 227 00:14:35,400 --> 00:14:39,520 and and images with that 228 00:14:39,600 --> 00:14:43,960 most of the time people see only garbage. 229 00:14:44,040 --> 00:14:46,920 So it's a it was a specific place 230 00:14:46,920 --> 00:14:51,840 that we normally take the art is there to to amplify 231 00:14:51,920 --> 00:14:55,240 the the perspectives of art 232 00:14:55,320 --> 00:14:57,920 and what we can use 233 00:14:57,920 --> 00:15:03,800 to to create the to recreate the materials 234 00:15:03,880 --> 00:15:12,480 so you can go a place. 235 00:15:12,560 --> 00:15:13,120 There 236 00:15:13,120 --> 00:15:17,640 is Daniele Pulido which is also an artist 237 00:15:17,640 --> 00:15:20,640 and the was the creator exposition 238 00:15:20,800 --> 00:15:24,680 there, his writing future in the sand. 239 00:15:24,760 --> 00:15:28,200 But what seems to be the sand there in this image 240 00:15:28,280 --> 00:15:35,080 was actually the rest of the street. 241 00:15:35,160 --> 00:15:36,760 How can I say this word in English? 242 00:15:36,760 --> 00:15:42,400 Also A to the the concrete. 243 00:15:42,480 --> 00:15:44,200 Yes, the concrete of the street. 244 00:15:44,200 --> 00:15:50,240 It used to be a street, but the sea has already destroyed 245 00:15:50,320 --> 00:15:54,160 these specific area used to have like 246 00:15:54,240 --> 00:15:56,880 four kilometers ahead. 247 00:15:56,880 --> 00:16:02,560 And now the what is happened in this beach 248 00:16:02,640 --> 00:16:06,920 is that the oh, the city is going backwards. 249 00:16:07,000 --> 00:16:10,840 As the sea events in the city. 250 00:16:10,840 --> 00:16:17,000 The city is building, rebuilding itself back 251 00:16:17,080 --> 00:16:19,800 like the sea came and the 252 00:16:19,800 --> 00:16:22,800 the constructions go backwards. 253 00:16:22,960 --> 00:16:27,400 And there I don't know if you can see the 254 00:16:27,480 --> 00:16:28,360 there's this 255 00:16:28,360 --> 00:16:31,360 area where you have a limit between the sands 256 00:16:31,560 --> 00:16:35,200 and where is reaching future. 257 00:16:35,280 --> 00:16:39,800 So it's like a catastrophic image future, 258 00:16:39,880 --> 00:16:44,560 but also invites us to think about 259 00:16:44,640 --> 00:16:45,560 future. 260 00:16:45,560 --> 00:16:49,800 What can we what can we do in this case 261 00:16:49,880 --> 00:16:52,560 but is so work that Daniele 262 00:16:52,560 --> 00:16:56,760 have been doing in different places 263 00:16:56,840 --> 00:17:00,240 and he's been thinking about this as a 264 00:17:00,440 --> 00:17:05,600 as a as a crisis, as a problematic and he's been reaching these 265 00:17:05,600 --> 00:17:07,440 in so many spaces. 266 00:17:07,440 --> 00:17:10,440 And then he chooses this one. 267 00:17:10,560 --> 00:17:15,320 And I think we saw was a specific work. 268 00:17:15,320 --> 00:17:18,600 It was not what is in its position but 269 00:17:18,600 --> 00:17:22,120 we we choose to to show to you 270 00:17:22,200 --> 00:17:25,200 because of this limited experience 271 00:17:25,440 --> 00:17:30,960 that these were written in this place can bring to us. 272 00:17:31,040 --> 00:17:32,560 You can 273 00:17:32,640 --> 00:17:39,240 go ahead, please 274 00:17:39,320 --> 00:17:43,720 that you have some experience of 275 00:17:43,800 --> 00:17:49,000 video works that was being there in 276 00:17:49,040 --> 00:17:54,680 the image above is for an the ground and 277 00:17:54,760 --> 00:18:00,240 see that repeatedly with these 278 00:18:00,320 --> 00:18:03,000 groups of three 279 00:18:03,000 --> 00:18:07,040 and do a and of dance 280 00:18:07,120 --> 00:18:12,640 where she she goes backwards and then she got into this tree 281 00:18:12,720 --> 00:18:15,280 and then 282 00:18:15,280 --> 00:18:18,000 she dance in this route 283 00:18:18,000 --> 00:18:22,480 and we have a video of this performance in the exposition 284 00:18:22,560 --> 00:18:25,560 and it's also video. 285 00:18:25,640 --> 00:18:28,520 Maybe you can see another moment, if you like. 286 00:18:28,520 --> 00:18:31,520 We can talk to her and maybe send to you, 287 00:18:31,520 --> 00:18:35,840 because it's a it's a kind of fusion between 288 00:18:35,920 --> 00:18:38,920 between the body and the root 289 00:18:38,960 --> 00:18:44,000 with the sea that came in the route while she was there. 290 00:18:44,080 --> 00:18:48,280 So it's really sensitive work as well. 291 00:18:48,360 --> 00:18:51,360 You can best fit, please. 292 00:18:51,440 --> 00:18:55,640 Well, 293 00:18:55,720 --> 00:18:58,920 there is inside Nico's house, as you can see. 294 00:18:58,920 --> 00:19:04,000 I was telling you that he built everything and each small part of this bar 295 00:19:04,040 --> 00:19:09,720 was created by him with any material that you can imagine. 296 00:19:09,800 --> 00:19:13,400 Like there's no limits to 297 00:19:13,480 --> 00:19:19,120 to, to what is a basis for a creation. 298 00:19:19,200 --> 00:19:24,040 And there is another resident, Lucien, of Uncle Sam's, that spend 299 00:19:24,040 --> 00:19:28,840 a few days with us there and made some performance 300 00:19:28,920 --> 00:19:32,240 in the in this bar. 301 00:19:32,320 --> 00:19:34,200 And then Vogue Canada was able 302 00:19:34,200 --> 00:19:38,840 to make some photos and in the exposition we 303 00:19:38,920 --> 00:19:43,720 we could put this photos in there in the lumber. 304 00:19:43,800 --> 00:19:48,160 I don't know if you know, I need help to translate lambada. 305 00:19:48,240 --> 00:19:51,000 There's word for it in English 306 00:19:51,000 --> 00:19:53,760 for wallpaper. 307 00:19:53,760 --> 00:19:55,320 Wallpaper, maybe. 308 00:19:55,320 --> 00:19:56,920 Thank you, Marty. 309 00:19:56,920 --> 00:19:59,560 I think it's wheat bait. 310 00:19:59,560 --> 00:20:03,040 Wheat paste, posters, 311 00:20:03,120 --> 00:20:04,960 controversy. 312 00:20:04,960 --> 00:20:08,440 But Qatar's King 313 00:20:08,520 --> 00:20:11,320 Kong Energy 314 00:20:11,320 --> 00:20:14,520 feed the Congo Energy defining wheat 315 00:20:14,600 --> 00:20:19,600 wheat based posters of that that can come in You guys. 316 00:20:19,680 --> 00:20:20,720 Yeah. 317 00:20:20,720 --> 00:20:24,800 Give money to popular book soup to a buffet. 318 00:20:24,800 --> 00:20:28,360 It's a stick with it stomach was a happy then 319 00:20:28,440 --> 00:20:31,440 there's no point of this 320 00:20:31,560 --> 00:20:36,000 Maintain the structure and the dignity of the work. 321 00:20:36,160 --> 00:20:39,320 It's to be a to to be able to do fast 322 00:20:39,320 --> 00:20:43,600 and it can be destroyed first as well. 323 00:20:43,680 --> 00:20:47,120 And there were some good images 324 00:20:47,120 --> 00:20:50,920 in this that we can put in this position also. 325 00:20:51,000 --> 00:20:58,040 So you can most 326 00:20:58,120 --> 00:20:59,200 there is 327 00:20:59,200 --> 00:21:03,560 maybe what eyes who just enter in the meeting with this helping 328 00:21:03,560 --> 00:21:06,920 with the translation and he was doing she was doing 329 00:21:06,920 --> 00:21:10,360 this is performance 330 00:21:10,440 --> 00:21:12,960 which I don't know this word as well. 331 00:21:12,960 --> 00:21:17,240 He did a basic who can help me 332 00:21:17,320 --> 00:21:18,520 is a material of the 333 00:21:18,520 --> 00:21:22,840 fishermen that they use to reach net fish in that. 334 00:21:22,920 --> 00:21:23,720 Yeah. 335 00:21:23,720 --> 00:21:24,360 Yeah. 336 00:21:24,360 --> 00:21:27,120 In the 337 00:21:27,120 --> 00:21:30,520 it's a traditional ways 338 00:21:30,600 --> 00:21:35,120 that fishermen works not like the big 339 00:21:35,200 --> 00:21:37,960 structure of of fishing. 340 00:21:37,960 --> 00:21:39,840 Fishing. Yes. 341 00:21:39,840 --> 00:21:44,440 And and also Mariana, after this performance 342 00:21:44,520 --> 00:21:48,520 in the other side of the screen, you can see a process 343 00:21:48,520 --> 00:21:52,440 of the DVD performance that she made did 344 00:21:52,520 --> 00:21:55,200 18 and 2022. 345 00:21:55,200 --> 00:21:57,680 And this video went to exposition. 346 00:21:57,680 --> 00:22:00,680 Not the, the performance with the fishnet, 347 00:22:00,880 --> 00:22:04,760 but the also you can see the ambiance. 348 00:22:04,840 --> 00:22:08,080 And we wanted to show you a bit of the 349 00:22:08,160 --> 00:22:10,800 the visual of the environments there 350 00:22:10,800 --> 00:22:15,400 and how we always are trying to 351 00:22:15,480 --> 00:22:18,760 to make the words the works 352 00:22:18,840 --> 00:22:22,640 being created in the territory, 353 00:22:22,720 --> 00:22:25,720 not in the isolated form. 354 00:22:25,760 --> 00:22:30,840 You can't best fit. Please. 355 00:22:30,920 --> 00:22:34,440 Okay there is that Sweden 356 00:22:34,520 --> 00:22:37,840 and he's also a video artist 357 00:22:37,920 --> 00:22:41,200 and he works with 358 00:22:41,280 --> 00:22:44,720 old films and he is 359 00:22:44,800 --> 00:22:48,360 there in this image that you can see 360 00:22:48,440 --> 00:22:54,800 he would like very the the film in the same 361 00:22:54,880 --> 00:22:58,280 berry I think the hunger it 362 00:22:58,360 --> 00:23:02,520 yeah yeah and those and then the sand and though 363 00:23:02,560 --> 00:23:06,480 the small animals and different lives 364 00:23:06,480 --> 00:23:10,240 in the sand interfere in the feel 365 00:23:10,320 --> 00:23:14,840 and after he he he process this and best 366 00:23:14,880 --> 00:23:18,600 since this feel in the the exposition 367 00:23:18,680 --> 00:23:21,640 so you have a very specific image 368 00:23:21,640 --> 00:23:25,680 as results of these and he work there they 369 00:23:25,680 --> 00:23:30,640 this image is in the same with the sea interfering as well as you can see. 370 00:23:30,640 --> 00:23:33,640 But he also puts the film 371 00:23:33,880 --> 00:23:36,880 inside the river for a few days 372 00:23:37,120 --> 00:23:40,040 and then blessed by the fishes, 373 00:23:40,040 --> 00:23:43,960 the the vegetables, vegetable, the 374 00:23:44,040 --> 00:23:47,160 everything in the sea, the other the the animal life 375 00:23:47,400 --> 00:23:51,760 that interfere in the film and then is beautiful to see the results. 376 00:23:52,000 --> 00:23:56,360 And we could put in the exposition, also 377 00:23:56,440 --> 00:24:00,360 see possible. 378 00:24:00,440 --> 00:24:01,600 That's from Vito. 379 00:24:01,600 --> 00:24:05,080 He's a painter and he so so on that 380 00:24:05,160 --> 00:24:09,280 he used to work with this with the group theater. 381 00:24:09,360 --> 00:24:12,840 But as we know that he thinks we invited him 382 00:24:12,840 --> 00:24:16,000 also in the residence and ask her to 383 00:24:16,000 --> 00:24:21,520 to make some paintings in houses that are already abandoned 384 00:24:21,600 --> 00:24:24,120 by the the old 385 00:24:24,120 --> 00:24:27,320 owners. 386 00:24:27,400 --> 00:24:29,640 Sorry. 387 00:24:29,640 --> 00:24:32,920 And that he's performing. 388 00:24:33,000 --> 00:24:37,400 Let's talk with these 389 00:24:37,480 --> 00:24:40,480 but there I don't know some plug 390 00:24:40,720 --> 00:24:42,200 for that. Yes. 391 00:24:42,200 --> 00:24:44,640 This white flag that's Carolyn 392 00:24:44,640 --> 00:24:47,640 fell and see another 393 00:24:47,640 --> 00:24:50,280 artist that were with us 394 00:24:50,280 --> 00:24:54,000 and this day was, as you can see, a cloudy day, 395 00:24:54,080 --> 00:24:58,240 sort of raining day with strong wind. 396 00:24:58,320 --> 00:25:02,440 So I don't know these these white flags. 397 00:25:02,640 --> 00:25:05,560 And it has a 398 00:25:05,560 --> 00:25:07,440 and and 399 00:25:07,440 --> 00:25:11,640 I don't know, something like a peace sign. 400 00:25:11,880 --> 00:25:18,760 But in this environment with non beings, 401 00:25:18,840 --> 00:25:22,320 in an environment that is always in tension 402 00:25:22,400 --> 00:25:26,400 with the nature is so always in this conflict 403 00:25:26,520 --> 00:25:32,440 between the building of the city and the the sea 404 00:25:32,440 --> 00:25:36,400 that is coming inside the city and making this restriction. 405 00:25:36,600 --> 00:25:41,800 So in this context specific, this white flag don't bring us 406 00:25:41,880 --> 00:25:46,920 exactly the the beast energy, but instead 407 00:25:47,000 --> 00:25:50,400 like a conflict with this symbol. 408 00:25:50,480 --> 00:25:58,040 Now you can go ahead, sit it, please. 409 00:25:58,120 --> 00:25:58,640 Yeah. 410 00:25:58,640 --> 00:26:04,560 This is a part of the educational program that we do there as well. 411 00:26:04,640 --> 00:26:09,560 This is a group of students that we receive with the teacher 412 00:26:09,800 --> 00:26:15,200 that teaches there and knows the work and is always in contact 413 00:26:15,320 --> 00:26:20,760 with us to bring some students for us to talk about this relation 414 00:26:20,840 --> 00:26:25,760 between art and education and what are the possibilities 415 00:26:25,880 --> 00:26:30,760 of the art to talk about the environmental crisis. 416 00:26:30,840 --> 00:26:33,360 It's hard to talk about what's there. 417 00:26:33,360 --> 00:26:36,240 Even though they lived in this. 418 00:26:36,240 --> 00:26:40,480 The daily lives is a sensible subject 419 00:26:40,560 --> 00:26:44,320 because, you know, obviously is is the reality. 420 00:26:44,320 --> 00:26:48,720 But it's it's the said subject is a trauma. 421 00:26:48,800 --> 00:26:52,360 It's a live the trauma, the daily situation. 422 00:26:52,440 --> 00:26:55,440 So sometimes we discover that 423 00:26:55,680 --> 00:26:58,800 it helps to talk about these 424 00:26:58,800 --> 00:27:01,800 and to deal with the trauma of the 425 00:27:02,000 --> 00:27:06,080 the losing, losing of houses, losing of memories. 426 00:27:06,160 --> 00:27:11,640 So this kind of pedagogical function 427 00:27:11,680 --> 00:27:17,360 of it, to talk about environmental surprises is important to us as well. 428 00:27:17,440 --> 00:27:23,960 Say, please, you know, 429 00:27:24,040 --> 00:27:26,320 this Rossini is a 430 00:27:26,320 --> 00:27:31,000 and an artist from India that in the end 431 00:27:31,080 --> 00:27:36,000 we went there to work with this and make a video performance as well. 432 00:27:36,080 --> 00:27:43,920 Then the best piece, 433 00:27:44,000 --> 00:27:49,360 this is a parts of a frame of the video work 434 00:27:49,360 --> 00:27:53,480 that I've done there I've been working with achieves. 435 00:27:53,480 --> 00:27:56,960 Then thinking about 436 00:27:57,040 --> 00:27:58,840 something between was 437 00:27:58,840 --> 00:28:02,240 how can we make a private, achieve 438 00:28:02,280 --> 00:28:06,080 a public achieve and vice versa. 439 00:28:06,160 --> 00:28:09,040 What is the is this complex 440 00:28:09,040 --> 00:28:14,000 and political and delicate issue like what is a private achieve 441 00:28:14,000 --> 00:28:19,600 and how public can this be to collaborate this to 442 00:28:19,680 --> 00:28:24,760 to talk about things that are political that's attached to everybody. 443 00:28:24,760 --> 00:28:29,560 This lady he made and now she's following the sea, 444 00:28:29,560 --> 00:28:32,560 destroying this building in front of her house. 445 00:28:32,640 --> 00:28:37,040 And they made a small documentary about it 446 00:28:37,120 --> 00:28:39,840 which calls concrete sea. 447 00:28:39,840 --> 00:28:44,880 And the maybe I think, 448 00:28:44,960 --> 00:28:46,120 how you can 449 00:28:46,120 --> 00:28:50,240 you put another image, but I think that maybe 450 00:28:50,320 --> 00:28:53,600 I can pass the words now. 451 00:28:53,680 --> 00:28:57,440 Yes. To for you to talk about the exposition properly 452 00:28:57,440 --> 00:29:01,480 and then we can lead to talk a bit more 453 00:29:01,560 --> 00:29:04,160 in the conversation. 454 00:29:04,240 --> 00:29:11,000 I will put my microphone 455 00:29:11,080 --> 00:29:13,880 won't evolve Falak Fuku. 456 00:29:13,880 --> 00:29:18,360 But if you mean to this was so present, then do premiere 457 00:29:18,360 --> 00:29:22,520 or Kim Panorama is now the community organizer. 458 00:29:22,520 --> 00:29:23,480 I suppose so. 459 00:29:23,480 --> 00:29:29,040 There was one victim as oppressed don't suppose sums up para sit on a peasant. 460 00:29:29,080 --> 00:29:32,040 Sometimes you will and I in the process. 461 00:29:32,040 --> 00:29:33,280 Yeah. Ki is interesting. 462 00:29:33,280 --> 00:29:37,960 AC was imagines a qui mostyn-owen 463 00:29:37,960 --> 00:29:41,720 mccomas as oppressed photo organized in response 464 00:29:41,800 --> 00:29:44,960 pensando simply as the swings in three 465 00:29:44,960 --> 00:29:49,440 l isn't the homeless budding career, i.e. 466 00:29:49,520 --> 00:29:55,400 losing three in three process which are that Euston Nasser Let's imagine. 467 00:29:55,400 --> 00:29:57,400 It's interesting 468 00:29:57,400 --> 00:30:00,400 today struck by the stories daily so Mills Key 469 00:30:00,640 --> 00:30:04,240 is to maximize agitate the kill will Scott engage 470 00:30:04,320 --> 00:30:07,120 in passive messages trapped by this conventional the questions 471 00:30:07,120 --> 00:30:11,920 about the ice cube standing up riot yes here the skill could 472 00:30:11,920 --> 00:30:16,160 use is in Stella's voice, a key vote. 473 00:30:16,160 --> 00:30:19,400 The main concern to transform and have been to me main Michaela. 474 00:30:19,400 --> 00:30:21,360 So I'm going to get started. 475 00:30:21,360 --> 00:30:26,160 The action in a material dodge, a keystone 476 00:30:26,240 --> 00:30:27,640 that concrete that makes 477 00:30:27,640 --> 00:30:32,080 me to think about art history, about concrete art, 478 00:30:32,160 --> 00:30:35,440 phantasmagoria. 479 00:30:35,520 --> 00:30:37,320 And those material has a ghost 480 00:30:37,320 --> 00:30:40,320 like character. 481 00:30:40,480 --> 00:30:42,560 That's how I see 482 00:30:42,560 --> 00:30:45,040 the act of fishing and fishing 483 00:30:45,040 --> 00:30:48,920 has this presence in Brazilian history. 484 00:30:49,000 --> 00:30:51,480 It also has an important role 485 00:30:51,480 --> 00:30:54,920 to play in terms of economy. 486 00:30:55,000 --> 00:30:57,080 Paolo Vitor also works the VAT. 487 00:30:57,080 --> 00:31:06,400 As you can see, this is a window that he found at the beach and a lot of Arizona 488 00:31:06,480 --> 00:31:06,840 near. 489 00:31:06,840 --> 00:31:11,280 We can see Daniel's work in the background. 490 00:31:11,360 --> 00:31:13,480 He also works with material fan 491 00:31:13,480 --> 00:31:17,680 on the beach. 492 00:31:17,760 --> 00:31:20,320 So this whole part of the exhibition made, 493 00:31:20,320 --> 00:31:25,320 but with material found on the beach, 494 00:31:25,400 --> 00:31:28,720 there is a dialog between this materials found on the beach. 495 00:31:28,720 --> 00:31:33,280 They were not traditional and modern 496 00:31:33,360 --> 00:31:38,560 modern works, but 497 00:31:38,640 --> 00:31:42,600 Daniel also works with collages. 498 00:31:42,680 --> 00:31:44,520 He uses wood. 499 00:31:44,520 --> 00:31:47,520 You can see some of them in the background 500 00:31:47,680 --> 00:31:49,080 and he grows them. 501 00:31:49,080 --> 00:31:53,160 He uses the plastic from from pop bottles to 502 00:31:53,200 --> 00:31:57,040 to make these montage. 503 00:31:57,120 --> 00:32:02,560 We can see here some video work. 504 00:32:02,640 --> 00:32:03,840 This is part of the video 505 00:32:03,840 --> 00:32:06,840 that's part of the exhibition. 506 00:32:06,880 --> 00:32:09,480 We'll also see some of Isabella's work. 507 00:32:09,480 --> 00:32:12,760 We'll see them in more detail later 508 00:32:12,840 --> 00:32:13,200 here. 509 00:32:13,200 --> 00:32:16,040 You can see some of her work. 510 00:32:16,040 --> 00:32:21,080 This is a type of route, but it's actually made of latex. 511 00:32:21,160 --> 00:32:22,720 This is the one that you see 512 00:32:22,720 --> 00:32:26,840 towards the center of the photo. 513 00:32:26,920 --> 00:32:30,720 There's something else in the background that has a more aggressive character. 514 00:32:30,720 --> 00:32:36,360 It's made of glass and that in clay 515 00:32:36,440 --> 00:32:39,160 beside her work, you can see taste is work. 516 00:32:39,160 --> 00:32:41,720 Here. 517 00:32:41,800 --> 00:32:44,800 This is work made in a studio. 518 00:32:44,920 --> 00:32:48,520 The goal is to bring the atmosphere, parts 519 00:32:48,520 --> 00:32:54,240 of the landscape that they saw and tried to capture. 520 00:32:54,320 --> 00:32:59,760 You can see Louisiana's photos on the wall. 521 00:32:59,840 --> 00:33:02,040 This is part of the meeting with Oceana, 522 00:33:02,040 --> 00:33:07,960 Nikos Bar. 523 00:33:08,040 --> 00:33:09,640 This is Rafael's work, 524 00:33:09,640 --> 00:33:12,640 and that's Cara's work. 525 00:33:12,800 --> 00:33:16,160 So this was a very quick walk through the exhibition, 526 00:33:16,200 --> 00:33:19,640 but now we can look at them in more detail. 527 00:33:19,720 --> 00:33:23,720 So this is Danielle's installation 528 00:33:23,800 --> 00:33:24,360 here. 529 00:33:24,360 --> 00:33:27,680 The detail shows how he added these pieces 530 00:33:27,680 --> 00:33:31,040 together using plastic bottle. 531 00:33:31,120 --> 00:33:33,800 All the elements were found on the beach. 532 00:33:33,800 --> 00:33:37,040 This is my work. 533 00:33:37,120 --> 00:33:40,960 This is how I attach the net. 534 00:33:41,040 --> 00:33:43,280 It shows the idea of creating 535 00:33:43,280 --> 00:33:47,200 these geometric forms 536 00:33:47,280 --> 00:33:49,640 and adding the Brazilian neo 537 00:33:49,640 --> 00:33:59,120 concrete system. 538 00:33:59,200 --> 00:34:02,400 This material is very abundant. 539 00:34:02,480 --> 00:34:04,680 The the nets fall apart 540 00:34:04,680 --> 00:34:08,680 and the fishermen just throw them out. 541 00:34:08,760 --> 00:34:12,920 I have made a lot of work with it because this is the kind of material 542 00:34:12,920 --> 00:34:16,000 that's very dangerous for for marine life 543 00:34:16,000 --> 00:34:19,840 when it's back in the ocean. 544 00:34:19,920 --> 00:34:23,320 So there is there is an attempt to 545 00:34:23,400 --> 00:34:26,760 to take care of this material, to repurpose 546 00:34:26,760 --> 00:34:31,760 them. 547 00:34:31,840 --> 00:34:37,080 Now, the crabs 548 00:34:37,160 --> 00:34:39,280 there is there is a relationship to life. 549 00:34:39,280 --> 00:34:44,520 And still how erosion of erosion comes in. 550 00:34:44,520 --> 00:34:46,760 So all I'm doing is putting it together. 551 00:34:46,760 --> 00:34:51,480 I'm finding the bricks and these iron broads and I'm putting them together. 552 00:34:51,480 --> 00:34:56,160 So they kind of reminded us of these creatures, 553 00:34:56,240 --> 00:35:00,640 creatures that live in the main, the mangroves and a phone in 554 00:35:00,680 --> 00:35:05,400 this is Paolo, beside the window that he painted. 555 00:35:05,480 --> 00:35:07,240 Thank you. 556 00:35:07,240 --> 00:35:10,240 The work amounts to the idea that the sea is coming back 557 00:35:10,480 --> 00:35:15,040 to popular idea of the locals, especially with the Fisher people. 558 00:35:15,120 --> 00:35:18,120 This idea that the sea is reclaiming 559 00:35:18,160 --> 00:35:22,680 what belongs to it. 560 00:35:22,760 --> 00:35:23,720 In fact, 561 00:35:23,720 --> 00:35:28,760 that piece of land at some point ready belong to the sea. 562 00:35:28,840 --> 00:35:32,240 Scientifically speaking, that's also true. 563 00:35:32,320 --> 00:35:35,000 So that's that's what it says. 564 00:35:35,000 --> 00:35:36,240 The sea is coming back. 565 00:35:36,240 --> 00:35:39,200 You can see this in the painting. 566 00:35:39,200 --> 00:35:42,200 This is also beautiful work that was present. 567 00:35:42,440 --> 00:35:45,440 This is Rafael, his work. 568 00:35:45,680 --> 00:35:48,480 He organizes these pieces of bricks 569 00:35:48,480 --> 00:35:52,520 on top of notebooks 570 00:35:52,600 --> 00:35:56,320 in invites us to think about 571 00:35:56,320 --> 00:36:00,160 a type of geological writing. 572 00:36:00,200 --> 00:36:04,960 Also about the process of the artist. 573 00:36:05,040 --> 00:36:07,440 We are creating a language 574 00:36:07,440 --> 00:36:12,040 through the erosion. 575 00:36:12,120 --> 00:36:16,320 This is part of the reference. 576 00:36:16,400 --> 00:36:18,720 This is Isabella's work. 577 00:36:18,720 --> 00:36:23,680 You can see it in a close up to delicate work. 578 00:36:23,760 --> 00:36:28,600 She uses glass, ceramics, latex. 579 00:36:28,640 --> 00:36:32,280 And here is the same work from a different perspective. 580 00:36:32,360 --> 00:36:38,040 This statue is work. 581 00:36:38,120 --> 00:36:42,320 This is a film that he collected from an old file. 582 00:36:42,400 --> 00:36:44,960 He buried this in the sand. 583 00:36:44,960 --> 00:36:47,120 Money sack sand. 584 00:36:47,120 --> 00:36:52,080 This is a specific kind of sand that's present there. 585 00:36:52,160 --> 00:36:56,720 It's a low radiation sand. 586 00:36:56,800 --> 00:37:15,600 Let's let's watch this now. 587 00:37:15,680 --> 00:37:18,240 This is Tice's work, 588 00:37:18,240 --> 00:37:22,200 also a very intricate, very delicate work. 589 00:37:22,280 --> 00:37:24,480 Your beautiful interior lives. 590 00:37:24,480 --> 00:37:27,480 She creates this dynamic between salt, 591 00:37:27,480 --> 00:37:30,680 glass and iron. 592 00:37:30,760 --> 00:37:36,200 The salt kind of erodes the iron that holds up the glass. 593 00:37:36,280 --> 00:37:39,840 You can see this and the image the one on the left was when she 594 00:37:39,840 --> 00:37:42,720 first put it together. 595 00:37:42,800 --> 00:37:46,000 And this is later that showing the corrosion 596 00:37:46,080 --> 00:37:50,880 that salt caused in the work. 597 00:37:50,960 --> 00:37:54,640 This is Jerome Rossi's work. 598 00:37:54,720 --> 00:37:59,480 It's a still video, still image 599 00:37:59,560 --> 00:37:59,880 here. 600 00:37:59,880 --> 00:38:03,200 Filmed the window of a warehouse 601 00:38:03,200 --> 00:38:07,280 that's actually being buried by the sands. 602 00:38:07,360 --> 00:38:09,400 There's a little bit of movement 603 00:38:09,400 --> 00:38:14,680 in the plants here, 604 00:38:14,760 --> 00:38:16,640 so we create this. 605 00:38:16,640 --> 00:38:22,080 We had a TV in the back to make it to bring by this idea of a window. 606 00:38:22,160 --> 00:38:27,480 This is Corral corrals work. 607 00:38:27,560 --> 00:38:28,840 We also saw this 608 00:38:28,840 --> 00:38:32,280 during Julia's presentation. 609 00:38:32,360 --> 00:38:36,840 She has a huge flag that she brings to the meeting place 610 00:38:36,920 --> 00:38:42,040 between the river and the sea. 611 00:38:42,120 --> 00:38:47,720 He made this work here by creating these stamps, 612 00:38:47,800 --> 00:38:51,360 postal stamps. 613 00:38:51,440 --> 00:38:53,480 It remains a little bit of a video, right, 614 00:38:53,480 --> 00:38:57,320 Because you can see the flag movement along the way. 615 00:38:57,400 --> 00:38:58,480 And here is the flag. 616 00:38:58,480 --> 00:39:03,520 We installed it on the outside of the exhibition 617 00:39:03,600 --> 00:39:03,920 here. 618 00:39:03,920 --> 00:39:08,200 We can see why this work. 619 00:39:08,280 --> 00:39:11,280 This is her meeting with Maker. 620 00:39:11,480 --> 00:39:14,480 And then we paste post again 621 00:39:14,720 --> 00:39:18,760 here and she glue them on the outside. 622 00:39:18,840 --> 00:39:20,880 She talked a bit about her meeting 623 00:39:20,880 --> 00:39:24,280 with Nico in Arizona, Lou, 624 00:39:24,280 --> 00:39:27,840 who is an activist, a trans artist, 625 00:39:28,080 --> 00:39:31,760 a black person, 626 00:39:31,840 --> 00:39:34,840 and she adds all of that to her work, 627 00:39:34,880 --> 00:39:41,120 a black trans trans woman in Brazil. 628 00:39:41,200 --> 00:39:42,600 It's important to her 629 00:39:42,600 --> 00:39:48,120 to share these moments, 630 00:39:48,200 --> 00:39:52,040 moments where she can express her artistry, 631 00:39:52,080 --> 00:39:57,280 her subjectivity, 632 00:39:57,360 --> 00:39:59,520 and she was able to share a lot of her 633 00:39:59,520 --> 00:40:04,560 thinking with that. 634 00:40:04,640 --> 00:40:05,520 Here are the videos. 635 00:40:05,520 --> 00:40:09,760 We're not going to be able to watch them now, 636 00:40:09,840 --> 00:40:13,600 but I like to tell you here the videos that are present there. 637 00:40:13,680 --> 00:40:15,840 Fernando Breakfast video. 638 00:40:15,840 --> 00:40:18,840 Julia talked about Julia video. 639 00:40:18,960 --> 00:40:23,680 This video of Mariana and Sara. Jamie it's 640 00:40:23,760 --> 00:40:24,960 so there and 641 00:40:24,960 --> 00:40:28,440 I tried to stay on point. 642 00:40:28,520 --> 00:40:30,320 So we have enough time to talk. 643 00:40:30,320 --> 00:40:33,640 I hope this gives you a general view 644 00:40:33,720 --> 00:40:39,800 of the exhibition 645 00:40:39,880 --> 00:40:41,560 We had to choose. 646 00:40:41,560 --> 00:40:44,200 There were many artists that came through Casa 647 00:40:44,200 --> 00:40:51,080 Dona. 648 00:40:51,160 --> 00:40:54,160 I hope that this gives you an idea of the work that we did. 649 00:40:54,360 --> 00:40:56,680 I'd like to thank you. 650 00:40:56,680 --> 00:41:09,920 And I want to open the floor so we can continue the conversation. 651 00:41:10,000 --> 00:41:11,760 And it's my turn. 652 00:41:11,760 --> 00:41:14,760 Okay, 653 00:41:15,000 --> 00:41:16,640 Tyler, do this. 654 00:41:16,640 --> 00:41:21,480 Do this before what you brought to us today. 655 00:41:21,480 --> 00:41:24,480 Fernando. Julia, 656 00:41:24,520 --> 00:41:27,000 I have had the opportunity to visit. 657 00:41:27,000 --> 00:41:28,960 I had a phone with both of you. 658 00:41:28,960 --> 00:41:36,200 I was able to witness the work that you developed there. 659 00:41:36,280 --> 00:41:37,200 I think it's important 660 00:41:37,200 --> 00:41:44,320 to share this to this group that's with us today. 661 00:41:44,400 --> 00:41:47,320 I'm reinforcing something that I see in your work, Right? 662 00:41:47,320 --> 00:41:49,600 There's this persistence. 663 00:41:49,600 --> 00:41:51,360 You've been there for eight years now. 664 00:41:51,360 --> 00:41:56,720 You've been there since 2017, 665 00:41:56,800 --> 00:41:58,760 so it's been eight years. 666 00:41:58,760 --> 00:42:04,760 And the work 667 00:42:04,840 --> 00:42:12,760 I know how important this is to to you 668 00:42:12,840 --> 00:42:13,920 and you know, 669 00:42:13,920 --> 00:42:18,520 and this is also a cancer position as to other works 670 00:42:18,520 --> 00:42:21,520 that visit out of Toronto that come and go 671 00:42:21,520 --> 00:42:26,560 or make a spectacle out of it, 672 00:42:26,640 --> 00:42:29,640 the this is an erosion process 673 00:42:29,640 --> 00:42:35,000 that's 60 years long. 674 00:42:35,080 --> 00:42:37,840 It has been sped up 675 00:42:37,840 --> 00:42:48,720 doing to industrial activity in the area and 676 00:42:48,800 --> 00:42:55,240 there is a violent process that's been 677 00:42:55,320 --> 00:42:57,360 getting aggravated 678 00:42:57,360 --> 00:43:01,480 with through interventions of abuses 679 00:43:01,520 --> 00:43:04,520 on the environment. 680 00:43:04,560 --> 00:43:08,480 And this shows the many ways that artists 681 00:43:08,560 --> 00:43:11,920 and art can also produce, 682 00:43:12,000 --> 00:43:16,600 make and also use some of these process for their work. 683 00:43:16,680 --> 00:43:19,680 I think what you're trying to do is to show 684 00:43:19,800 --> 00:43:26,120 a an option to think about a continuity, 685 00:43:26,200 --> 00:43:31,760 a process of creating connections. 686 00:43:31,840 --> 00:43:33,240 You have this work 687 00:43:33,240 --> 00:43:37,720 of environmental awareness within the community. 688 00:43:37,800 --> 00:43:41,600 You work with the Landless Movement 689 00:43:41,680 --> 00:43:46,960 in Brazil. 690 00:43:47,040 --> 00:43:48,480 Ramon 691 00:43:48,480 --> 00:43:49,720 Oh, I'm sorry. 692 00:43:49,720 --> 00:43:52,320 Then there is a lady that's an activist. 693 00:43:52,320 --> 00:43:53,560 I forget her name. 694 00:43:53,560 --> 00:44:00,320 Please forgive me. 695 00:44:00,400 --> 00:44:03,400 No, no, no. 696 00:44:03,400 --> 00:44:08,080 In the manga and it's. 697 00:44:08,160 --> 00:44:09,840 Yes. Yeah, I can hear you. 698 00:44:09,840 --> 00:44:10,760 I'm sorry. There. 699 00:44:10,760 --> 00:44:13,000 There was there was a pause there. 700 00:44:13,000 --> 00:44:19,400 So. Yes. 701 00:44:19,480 --> 00:44:23,360 You've been working on different fronts, right? 702 00:44:23,440 --> 00:44:29,000 Academic research and, art, art, research. 703 00:44:29,080 --> 00:44:32,760 You were working on your postdoc, doctor. 704 00:44:32,760 --> 00:44:38,080 You work with a theater group, 705 00:44:38,160 --> 00:44:42,120 Grupo Arizona, the Russian group. 706 00:44:42,200 --> 00:44:49,480 So. But I have a question. 707 00:44:49,560 --> 00:44:52,320 My question is related to this choice 708 00:44:52,320 --> 00:44:55,320 to not make a spectacle 709 00:44:55,440 --> 00:44:59,720 of the erosion process. 710 00:44:59,800 --> 00:45:03,600 It's a choice not to romanticize this process. 711 00:45:03,600 --> 00:45:05,760 Can you talk about that? 712 00:45:05,840 --> 00:45:08,160 How how do you see this process 713 00:45:08,160 --> 00:45:12,400 of not knowing, of avoiding 714 00:45:12,480 --> 00:45:16,080 making a a spectacle 715 00:45:16,080 --> 00:45:21,280 or to avoid romanticizing that 716 00:45:21,360 --> 00:45:24,360 the the event 717 00:45:24,440 --> 00:45:26,400 and by creating peer 718 00:45:26,400 --> 00:45:30,640 right that uses the line from the song 719 00:45:30,720 --> 00:45:35,520 and right of of creating something, of recreating something, 720 00:45:35,520 --> 00:45:43,360 something that needs to be constantly re created 721 00:45:43,440 --> 00:45:49,200 then there is an idea to keep creating 722 00:45:49,200 --> 00:45:54,880 and recreating. 723 00:45:54,960 --> 00:45:56,520 There is 724 00:45:56,520 --> 00:46:00,880 there there are there are many, many layers. 725 00:46:00,960 --> 00:46:04,360 And this erosion is very symbolic. 726 00:46:04,440 --> 00:46:07,600 How do you understand there's non romanticizing, 727 00:46:07,600 --> 00:46:12,200 there's erosion process, there's known 728 00:46:12,280 --> 00:46:16,960 looking at this process as something exotic, 729 00:46:17,040 --> 00:46:19,160 but also now making it, 730 00:46:19,160 --> 00:46:22,800 you know, a doomsday kind of scenario. 731 00:46:22,800 --> 00:46:28,040 Can you talk about that? 732 00:46:28,120 --> 00:46:33,440 Shall we shall we comment on this? 733 00:46:33,520 --> 00:46:37,760 I guess it's better to to hear all the questions first 734 00:46:37,840 --> 00:46:39,000 and then we'll answer. 735 00:46:39,000 --> 00:46:52,480 And at the end. 736 00:46:52,560 --> 00:46:53,360 One. Yes. 737 00:46:53,360 --> 00:46:56,040 Hi. Hi. 738 00:46:56,040 --> 00:46:57,400 I'll be brief. 739 00:46:57,400 --> 00:47:00,000 Can I. Can everybody hear me? 740 00:47:00,000 --> 00:47:00,520 Great. 741 00:47:00,520 --> 00:47:03,120 Okay. 742 00:47:03,120 --> 00:47:05,120 Well, I mean, I wanted to, 743 00:47:05,120 --> 00:47:08,160 first of all, say thank you to Julia and Fernando 744 00:47:08,160 --> 00:47:11,160 for presenting this 745 00:47:11,320 --> 00:47:13,920 amazing work and, 746 00:47:13,920 --> 00:47:17,120 you know, maybe picking up a little bit on 747 00:47:17,200 --> 00:47:19,800 what Sergio is commenting on about how do you do this 748 00:47:19,800 --> 00:47:23,720 work and be in community and not 749 00:47:23,800 --> 00:47:26,960 so into romanticizing the work. 750 00:47:26,960 --> 00:47:30,960 And I mean, I don't know if I have much of a as much of a question or a comment, 751 00:47:30,960 --> 00:47:35,320 but what I was struck by is this tension 752 00:47:35,400 --> 00:47:37,040 and drawing attention and mobilizing 753 00:47:37,040 --> 00:47:40,800 publics and community around this tension of 754 00:47:40,920 --> 00:47:47,640 of of these culture, nature, nature, culture dynamics and 755 00:47:47,720 --> 00:47:52,200 especially with some of the earlier work you were sharing, Julia, 756 00:47:52,280 --> 00:47:54,560 kind of thinking about even just from the images 757 00:47:54,560 --> 00:47:58,360 and through this screen, there's this that some of these artworks 758 00:47:58,360 --> 00:48:01,360 are conjuring 759 00:48:01,600 --> 00:48:03,400 feelings of, of tenderness. 760 00:48:03,400 --> 00:48:07,000 For me, ritual mourning. 761 00:48:07,080 --> 00:48:11,680 And I started to think about, like this kind of process of ritual, of witnessing 762 00:48:11,760 --> 00:48:16,120 that's happening on the site as well. 763 00:48:16,200 --> 00:48:18,240 So I'm just wondering if that that for me 764 00:48:18,240 --> 00:48:22,040 has something to do with kind of countering, 765 00:48:22,120 --> 00:48:24,880 making the spectacle and, and, 766 00:48:24,880 --> 00:48:27,720 and kind of thinking about this witnessing or these actions. 767 00:48:27,720 --> 00:48:30,120 I don't know if that's what you've been witnessing 768 00:48:30,120 --> 00:48:35,200 because you're so embedded and embodying that site and have been for a long time. 769 00:48:35,200 --> 00:48:40,640 So I think it's it's a it's a question of thinking about 770 00:48:40,720 --> 00:48:41,480 how you see 771 00:48:41,480 --> 00:48:46,360 do you see this work as a kind of ritual or or mourning or witnessing. 772 00:48:46,360 --> 00:48:50,040 And I think when we see images of the water, you know, immediate, 773 00:48:50,120 --> 00:48:55,080 you start to kind of feel like we're in the rhythm of of this erosion 774 00:48:55,080 --> 00:48:58,960 and witnessing in this kind of a still life form and in the documentation. 775 00:48:59,040 --> 00:49:01,680 So I don't know if that's really a question as much as it is a comment. 776 00:49:01,680 --> 00:49:08,200 I find I really find the work in the project really moving. 777 00:49:08,280 --> 00:49:11,000 So I wonder if you could speak a little bit to that or 778 00:49:11,000 --> 00:49:15,720 and the other question I had was to what degree the locals 779 00:49:15,800 --> 00:49:19,960 and the community are embedded in and working with, Have they? 780 00:49:20,160 --> 00:49:23,960 What's the if you could say a bit more about the importance of their agency 781 00:49:24,040 --> 00:49:27,840 in the work and, and, and hosting 782 00:49:27,920 --> 00:49:30,600 I guess outsiders coming in to 783 00:49:30,600 --> 00:49:44,880 to work in the site 784 00:49:44,960 --> 00:49:48,160 for that. 785 00:49:48,360 --> 00:49:49,560 No it's okay. 786 00:49:49,560 --> 00:49:51,200 I mean if I, 787 00:49:51,200 --> 00:49:55,200 I what I was expecting us to sort of ask a question and answer 788 00:49:55,200 --> 00:49:56,240 or ask the question and answer. 789 00:49:56,240 --> 00:50:02,480 So I think like showed I'll be brief if we're if we're going in this way, 790 00:50:02,560 --> 00:50:05,240 I'll also say thank you for sharing this with us 791 00:50:05,240 --> 00:50:08,520 and congratulations. 792 00:50:08,600 --> 00:50:10,320 This is really moving 793 00:50:10,320 --> 00:50:15,720 and amazing work that I think we can all learn so much from. 794 00:50:15,800 --> 00:50:19,320 I'm really interested in 795 00:50:19,400 --> 00:50:21,240 something that Fernando said. 796 00:50:21,240 --> 00:50:24,960 We were talking about creating a language 797 00:50:25,040 --> 00:50:30,480 for the erosion and 798 00:50:30,560 --> 00:50:33,760 and it made me think about the question 799 00:50:33,760 --> 00:50:39,720 of what role performance plays in your work. 800 00:50:39,800 --> 00:50:41,680 You know, how a question 801 00:50:41,680 --> 00:50:45,800 what I keep coming back to because the presentation of the work 802 00:50:45,880 --> 00:50:50,560 in this way, in this form we're seeing it in a kind of an installation and format. 803 00:50:50,640 --> 00:50:53,320 But you're also describing dance 804 00:50:53,320 --> 00:50:57,280 the the woman who is dancing and the root of a tree, for example, 805 00:50:57,360 --> 00:50:59,040 must look familiar with some of your other work. 806 00:50:59,040 --> 00:51:02,760 That's more theater based and had the pleasure of engaging 807 00:51:02,760 --> 00:51:08,000 in a workshop that Fernando led that was theater based as well. 808 00:51:08,080 --> 00:51:10,360 So I'm kind of interested in like 809 00:51:10,360 --> 00:51:13,480 how is what role performance plays in creating 810 00:51:13,480 --> 00:51:18,240 a kind of language for the erosion and if it if it does at all, and 811 00:51:18,320 --> 00:51:18,840 what can 812 00:51:18,840 --> 00:51:24,000 performance do that other art forms can't or or is performance 813 00:51:24,000 --> 00:51:26,000 not the most useful term in thinking 814 00:51:26,000 --> 00:51:29,800 about this particular body of work that you're sharing with us? 815 00:51:29,880 --> 00:51:32,560 Just interested in the specificity of artworks 816 00:51:32,560 --> 00:51:37,320 and the language that they create in the context of environmental collapse. 817 00:51:37,400 --> 00:51:40,400 And I think that like for me, that also goes back to something 818 00:51:40,400 --> 00:51:43,960 that Julia was talking about that I found really moving, which is thinking 819 00:51:43,960 --> 00:51:48,040 about the pedagogy part of this work 820 00:51:48,120 --> 00:51:51,120 and Julia, you were talking about 821 00:51:51,240 --> 00:51:54,600 how art in the context of environmental crisis 822 00:51:54,600 --> 00:51:58,600 can help us with dealing with the trauma of loss, 823 00:51:58,680 --> 00:52:03,120 the trauma of losing tangible things that mean a great deal to us, and 824 00:52:03,320 --> 00:52:07,320 and also the loss of memory eventually as well. 825 00:52:07,400 --> 00:52:11,600 So I see these two things as kind of operating in conversation 826 00:52:11,600 --> 00:52:12,280 with one another. 827 00:52:12,280 --> 00:52:16,280 The idea of I hear the idea of creating a language 828 00:52:16,360 --> 00:52:20,960 as being in conversation, this idea of helping people to deal with trauma. 829 00:52:21,000 --> 00:52:26,760 And I was interested in hearing you talk a little bit more about all of that. 830 00:52:26,840 --> 00:52:30,280 And then secondarily, just because Hemispheric Encounters 831 00:52:30,280 --> 00:52:35,360 is a transnational project, thinking about whether this language is site specific 832 00:52:35,360 --> 00:52:40,000 or whether it could be transferable to other contexts of environmental collapse. 833 00:52:40,080 --> 00:52:43,880 You know, in North America, for example, we've seen really stark 834 00:52:43,880 --> 00:52:46,880 images, for example, of L.A. 835 00:52:47,000 --> 00:52:50,200 and severe environmental destruction, 836 00:52:50,280 --> 00:52:54,240 a totally different context, totally different situation. 837 00:52:54,320 --> 00:52:54,720 But we're 838 00:52:54,720 --> 00:52:58,440 talking about climate disaster in another context. 839 00:52:58,520 --> 00:53:02,760 So can can we think about laying a language 840 00:53:02,760 --> 00:53:08,560 that that troubles as well? 841 00:53:08,640 --> 00:53:29,000 So my thoughts 842 00:53:29,080 --> 00:53:30,280 evolve along book 843 00:53:30,280 --> 00:53:33,280 together go and okay feeding 844 00:53:33,360 --> 00:53:35,560 and I respond 845 00:53:35,560 --> 00:53:37,680 I think I think I can 846 00:53:37,680 --> 00:53:40,360 I can answer better that way. 847 00:53:40,360 --> 00:53:43,320 So you brought up a lot of problems. 848 00:53:43,320 --> 00:53:45,720 You brought up paradoxes, 849 00:53:45,720 --> 00:53:49,600 struggles, obstacles. 850 00:53:49,680 --> 00:53:51,280 I think a reason to be 851 00:53:51,280 --> 00:53:59,120 there is to work on those paradoxes. 852 00:53:59,200 --> 00:54:01,360 How can we build 853 00:54:01,360 --> 00:54:04,280 how can you build the work that works 854 00:54:04,280 --> 00:54:08,240 with the language that deals with destruction, 855 00:54:08,320 --> 00:54:10,720 something that goes beyond and negative? 856 00:54:10,720 --> 00:54:13,720 Look, 857 00:54:13,920 --> 00:54:16,040 But how does this abstraction 858 00:54:16,040 --> 00:54:20,000 affect other things being produced? 859 00:54:20,080 --> 00:54:21,240 Someone leaves the house 860 00:54:21,240 --> 00:54:24,240 because the sea is approaching. 861 00:54:24,240 --> 00:54:28,000 Someone else will come in or within that house 862 00:54:28,000 --> 00:54:32,920 will create a bar, something that worked during the summers. It 863 00:54:33,000 --> 00:54:36,200 this and now this is this is something new. 864 00:54:36,280 --> 00:54:37,680 It creates new life. 865 00:54:37,680 --> 00:54:40,040 It created new possibilities. 866 00:54:40,040 --> 00:54:42,560 This is something that might have been considered 867 00:54:42,560 --> 00:54:47,080 gone, wasted 868 00:54:47,160 --> 00:54:48,480 the this idea 869 00:54:48,480 --> 00:54:52,120 of romanticize of of making a spectacle. 870 00:54:52,120 --> 00:54:58,120 But it's it's it's definitely a challenge for have been there for years 871 00:54:58,200 --> 00:55:03,080 with host artists that stay for for a week and then they move on 872 00:55:03,120 --> 00:55:08,880 they can create work that we have no control over. 873 00:55:08,960 --> 00:55:10,320 And that's that's 874 00:55:10,320 --> 00:55:15,840 why our focus there is the mediation between the artists and the land 875 00:55:15,920 --> 00:55:19,680 so that these artists can hear to the people, 876 00:55:19,680 --> 00:55:23,520 so that their experience that will impact them 877 00:55:23,600 --> 00:55:27,520 and in a sense sensitive way 878 00:55:27,600 --> 00:55:30,600 in their work later on, 879 00:55:30,840 --> 00:55:34,040 they may develop something that will sell or not. 880 00:55:34,040 --> 00:55:34,680 You know what? 881 00:55:34,680 --> 00:55:35,880 We're not worried about that. 882 00:55:35,880 --> 00:55:45,040 We're more worried about the learning process that this or have later on. 883 00:55:45,120 --> 00:55:46,120 Obviously, we have 884 00:55:46,120 --> 00:55:49,960 no control over what they will do 885 00:55:50,040 --> 00:55:53,520 out of our the information that they gathered 886 00:55:53,520 --> 00:55:59,120 there were always running meetings 887 00:55:59,120 --> 00:56:02,600 so people can can talk about their experiences 888 00:56:02,600 --> 00:56:07,600 to the artists. 889 00:56:07,680 --> 00:56:08,840 So we 890 00:56:08,840 --> 00:56:16,120 I don't have a better answer. 891 00:56:16,200 --> 00:56:18,760 I'm from Rio. 892 00:56:18,760 --> 00:56:21,760 I was shocked when I arrived in 893 00:56:21,760 --> 00:56:25,440 at our phone at 894 00:56:25,520 --> 00:56:27,000 the teaching experience 895 00:56:27,000 --> 00:56:30,520 needs to go through living with the laws 896 00:56:30,600 --> 00:56:33,600 and to create within it. 897 00:56:33,640 --> 00:56:43,480 It's an existential condition. 898 00:56:43,560 --> 00:56:48,080 The pedagogy is not specific to a content, 899 00:56:48,160 --> 00:56:50,040 the environmental laws, 900 00:56:50,040 --> 00:56:53,840 but it touches all of us 901 00:56:53,920 --> 00:56:54,920 if we are people 902 00:56:54,920 --> 00:56:59,680 that take the environmental problems seriously. 903 00:56:59,760 --> 00:57:02,160 And yeah, 904 00:57:02,160 --> 00:57:06,640 we are in Brazil, we are feeling it. 905 00:57:06,720 --> 00:57:10,120 I believe we'll all have to deal with this loss. 906 00:57:10,200 --> 00:57:15,280 The lot, the material loss, the loss of a certain lifestyle, 907 00:57:15,360 --> 00:57:21,480 lots of lots of loss. 908 00:57:21,560 --> 00:57:24,560 How does the community receive this? 909 00:57:24,600 --> 00:57:26,080 Well, very well. 910 00:57:26,080 --> 00:57:30,640 They're often very happy about it, 911 00:57:30,720 --> 00:57:32,320 Believe it or not, 912 00:57:32,320 --> 00:57:41,320 this is not a topic that receives a lot of attention. 913 00:57:41,400 --> 00:57:42,920 So we don't. 914 00:57:42,920 --> 00:57:44,040 But we moved there. 915 00:57:44,040 --> 00:57:48,080 And so we we became neighbors. 916 00:57:48,160 --> 00:57:51,000 And that's how people see this. 917 00:57:51,000 --> 00:57:54,160 The work our work is to bring attention to us, 918 00:57:54,400 --> 00:57:57,400 but to put the spotlight on it, 919 00:57:57,520 --> 00:58:04,200 to to create a dialog around it. 920 00:58:04,280 --> 00:58:06,960 I think performance has a special role 921 00:58:06,960 --> 00:58:10,480 in the work that we develop. 922 00:58:10,560 --> 00:58:14,800 I think it's the context I think is the very nature of performance 923 00:58:14,800 --> 00:58:21,120 that allows us to use that and to to 924 00:58:21,200 --> 00:58:23,800 performance is a language that's very important 925 00:58:23,800 --> 00:58:26,800 to us. 926 00:58:26,800 --> 00:58:30,240 We as a theater group, 927 00:58:30,320 --> 00:58:36,920 we were always very linked to the performance. 928 00:58:37,000 --> 00:58:43,360 Our works were always rooted in performance. 929 00:58:43,440 --> 00:58:45,080 You know, I might be on the beach, 930 00:58:45,080 --> 00:58:48,520 it might be some archive work. 931 00:58:48,600 --> 00:58:51,880 It was a type of theater that was that was born 932 00:58:51,960 --> 00:58:54,960 from the territory. 933 00:58:55,200 --> 00:58:56,880 And I'm going to wrap up. 934 00:58:56,880 --> 00:58:59,720 Sorry, there are lots of questions I still want to make from our friend on 935 00:58:59,720 --> 00:59:04,320 the I'd like to touch 936 00:59:04,320 --> 00:59:08,280 upon the idea of the end of the world. 937 00:59:08,360 --> 00:59:10,680 There is an important thinker in Brazil. 938 00:59:10,680 --> 00:59:13,680 I read some Quranic. 939 00:59:13,720 --> 00:59:17,040 He here said that the world has ended many times. 940 00:59:17,160 --> 00:59:21,440 Many worlds have. 941 00:59:21,520 --> 00:59:24,240 So when we go over there, 942 00:59:24,240 --> 00:59:27,240 what we see is that this is not the end of the world. 943 00:59:27,360 --> 00:59:31,560 It's the end of a world. 944 00:59:31,640 --> 00:59:36,960 It's something that will lead us to a new experience. 945 00:59:37,040 --> 00:59:38,720 It's part of a cycle. 946 00:59:38,720 --> 00:59:43,720 It's not the apocalypse that will be the end of all of us. 947 00:59:43,800 --> 00:59:46,200 We are going to have to keep dealing with it. 948 00:59:46,200 --> 00:59:50,080 Consequences of our actions, of our explorations, 949 00:59:50,160 --> 00:59:54,200 our way of interacting. 950 00:59:54,280 --> 00:59:58,640 So it might be more complex than simply an end, 951 00:59:58,720 --> 01:00:01,080 something that would simply put 952 01:00:01,080 --> 01:00:04,600 an end to our problems. 953 01:00:04,680 --> 01:00:14,360 There is no end 954 01:00:14,440 --> 01:00:18,480 and their worlds have been ending for a very long time. 955 01:00:18,480 --> 01:00:22,400 I think at a phone TED talks about that 956 01:00:22,480 --> 01:00:26,680 and in many ways and it extrapolates and and connects 957 01:00:26,680 --> 01:00:29,760 to many other experiences 958 01:00:29,760 --> 01:00:33,280 of ending many that we have lived by living now. 959 01:00:33,280 --> 01:00:35,760 And we'll continue to live. 960 01:00:35,760 --> 01:00:41,120 I think it has an existential pedagogy, pedagogy. 961 01:00:41,200 --> 01:00:44,480 It's sad and happy at the same time. 962 01:00:44,560 --> 01:00:46,440 It brings a sadness and a 963 01:00:46,440 --> 01:00:54,440 melancholy in its nature. 964 01:00:54,520 --> 01:00:56,880 I think it's a very rich experience 965 01:00:56,880 --> 01:01:00,840 to live in that territory, something very valuable. 966 01:01:00,920 --> 01:01:07,600 That's it for me. 967 01:01:07,680 --> 01:01:09,880 I'm going to try to add something to what 968 01:01:09,880 --> 01:01:17,200 Julia said, 969 01:01:17,280 --> 01:01:25,360 and I'm going to start with Sergio's points. 970 01:01:25,440 --> 01:01:26,760 It seems to me 971 01:01:26,760 --> 01:01:31,920 that when we work with an art and we try to engage or 972 01:01:31,920 --> 01:01:36,480 we try to be environmentally responsible, we we 973 01:01:36,480 --> 01:01:41,280 we don't really have an answer, 974 01:01:41,360 --> 01:01:43,200 but there is something we know 975 01:01:43,200 --> 01:01:46,200 we are going to need to build alliances. 976 01:01:46,200 --> 01:01:49,080 We're going to have to compromise. 977 01:01:49,080 --> 01:01:53,800 We're going to have to involved with the territories. 978 01:01:53,880 --> 01:02:03,040 We're going to have to spend time there. 979 01:02:03,120 --> 01:02:04,840 There are some points that we know 980 01:02:04,840 --> 01:02:09,120 are just vital so that the work will make sense in a way 981 01:02:09,120 --> 01:02:17,560 so that they will have some sort of impact for the people that live there. 982 01:02:17,640 --> 01:02:19,040 We we live there, 983 01:02:19,040 --> 01:02:22,040 but we chose to live there. 984 01:02:22,120 --> 01:02:23,880 However, there are people that live there because they have 985 01:02:23,880 --> 01:02:29,160 nowhere else go. 986 01:02:29,240 --> 01:02:33,000 We know that our presence there is different from it. 987 01:02:33,000 --> 01:02:37,720 We're always going to be foreigners there in one way or another. 988 01:02:37,800 --> 01:02:42,320 So how can our work be become relevant to them? 989 01:02:42,400 --> 01:02:46,800 We don't know. 990 01:02:46,880 --> 01:02:48,120 But we understand that 991 01:02:48,120 --> 01:02:52,000 there is art that doesn't care about that. 992 01:02:52,080 --> 01:02:55,480 There is art that is for producing 993 01:02:55,560 --> 01:03:04,560 the exploitation processes, 994 01:03:04,640 --> 01:03:06,480 but we are there 995 01:03:06,480 --> 01:03:10,880 and we it is our job to sometimes point the finger and say, Hey, 996 01:03:10,960 --> 01:03:15,120 what you're doing here is this like you're not being any better? 997 01:03:15,120 --> 01:03:15,640 Excuse me. 998 01:03:15,640 --> 01:03:19,320 There is there is no sound from us. 999 01:03:19,400 --> 01:03:26,600 It's back. 1000 01:03:26,680 --> 01:03:31,120 And then those sound I stopped 1001 01:03:31,200 --> 01:03:34,200 there is this similar 1002 01:03:34,360 --> 01:03:37,320 to a similar place called us. 1003 01:03:37,320 --> 01:03:40,040 Assume that I'm. I'm sorry. 1004 01:03:40,040 --> 01:03:48,880 Unfortunately I can't hear Fernando's audio, 1005 01:03:48,960 --> 01:04:03,160 so we need to be aware. 1006 01:04:03,240 --> 01:04:07,560 Art. Art can have many different ways, 1007 01:04:07,640 --> 01:04:35,720 many different ways to interact. 1008 01:04:35,800 --> 01:04:36,760 I'm sorry. 1009 01:04:36,760 --> 01:04:38,800 I don't know. I don't know what's happened. I'm going to. 1010 01:04:38,800 --> 01:04:40,560 Maybe. Maybe if I. 1011 01:04:40,560 --> 01:04:43,000 Yeah. Yeah, It's better now. 1012 01:04:43,000 --> 01:04:49,920 Yeah. 1013 01:04:50,000 --> 01:04:55,360 So where should I go back to 1014 01:04:55,440 --> 01:04:56,160 this? 1015 01:04:56,160 --> 01:05:02,360 Carry on from where you were. 1016 01:05:02,440 --> 01:05:05,960 It seems to me that there is nuance that we can. 1017 01:05:05,960 --> 01:05:09,400 We can know this. 1018 01:05:09,480 --> 01:05:09,960 There is. 1019 01:05:09,960 --> 01:05:12,480 There is artwork. 1020 01:05:12,480 --> 01:06:14,680 Fernanda Sound is frozen again. 1021 01:06:14,760 --> 01:06:15,480 Well, I mean, 1022 01:06:15,480 --> 01:06:19,600 I think we had like a huge like 1023 01:06:19,680 --> 01:06:24,120 at least a good summary of the response, like, 1024 01:06:24,200 --> 01:06:25,320 oh, what to say? 1025 01:06:25,320 --> 01:06:30,440 Like this connection was originated 1026 01:06:30,520 --> 01:06:33,360 by this team, but 1027 01:06:33,360 --> 01:06:34,920 I mean, maybe it's mom 1028 01:06:34,920 --> 01:06:37,920 and who clones this space and we can 1029 01:06:37,920 --> 01:06:41,560 or should wait a little bit. 1030 01:06:41,640 --> 01:06:42,200 Yeah, let's wait. 1031 01:06:42,200 --> 01:06:43,640 We can wait then. 1032 01:06:43,640 --> 01:06:44,880 Yeah, let's wait then. 1033 01:06:44,880 --> 01:06:46,840 At least they they back. 1034 01:06:46,840 --> 01:06:49,240 I will send a message 1035 01:06:49,240 --> 01:07:08,600 on their phone. 1036 01:07:08,680 --> 01:07:08,960 Yeah. 1037 01:07:08,960 --> 01:07:10,680 He saved both of them. 1038 01:07:10,680 --> 01:07:13,680 Lost the connection. 1039 01:07:13,800 --> 01:07:15,320 Let me see what he's saying. 1040 01:07:15,320 --> 01:07:19,320 Uh, standby. 1041 01:07:19,400 --> 01:07:21,640 He would try again 1042 01:07:21,640 --> 01:07:31,720 via cell phone. 1043 01:07:31,800 --> 01:07:33,720 You know, when we are working the hemispherical. 1044 01:07:33,720 --> 01:07:34,520 Me, the. 1045 01:07:34,520 --> 01:07:37,440 This is always a thing, you know, 1046 01:07:37,440 --> 01:07:40,640 the connection, always 1047 01:07:40,720 --> 01:07:43,720 the the timezone. 1048 01:07:43,920 --> 01:07:47,560 So we need to have it all like 1049 01:07:47,640 --> 01:07:51,680 entourage like, like performative 1050 01:07:51,760 --> 01:07:55,640 moments for kind of the intermissions when people leave. 1051 01:07:55,640 --> 01:07:58,640 I think I would like to nominate the niece 1052 01:07:58,680 --> 01:08:05,200 who creates incredible short puppet shows to have something ready 1053 01:08:05,280 --> 01:08:07,000 for sessions 1054 01:08:07,000 --> 01:08:09,760 so that the puppet theater can take over 1055 01:08:09,760 --> 01:08:12,480 as we're 1056 01:08:12,480 --> 01:08:15,480 as we're waiting for the connection to come back. 1057 01:08:15,520 --> 01:08:17,880 It could be a way for us to organically deal 1058 01:08:17,880 --> 01:08:21,400 with the discomfort of 1059 01:08:21,480 --> 01:08:22,040 good. 1060 01:08:22,040 --> 01:08:28,000 Oh, see, 1061 01:08:28,080 --> 01:08:30,160 that's exactly. 1062 01:08:30,160 --> 01:08:31,080 Yeah. 1063 01:08:31,080 --> 01:08:33,760 I also nominate Jess. 1064 01:08:33,760 --> 01:08:35,840 Jess can also. 1065 01:08:35,840 --> 01:08:38,920 Yes, provide. 1066 01:08:39,000 --> 01:08:40,600 Yes, but yes. 1067 01:08:40,600 --> 01:08:46,240 Oh, time. 1068 01:08:46,320 --> 01:08:47,880 Here's Julia. 1069 01:08:47,880 --> 01:08:50,520 Julia's back. 1070 01:08:50,520 --> 01:08:51,680 Oh, no. 1071 01:08:51,680 --> 01:08:52,120 Oh yeah. 1072 01:08:52,120 --> 01:08:59,920 She's about Wow. 1073 01:09:00,000 --> 01:09:01,920 Sorry. 1074 01:09:01,920 --> 01:09:04,120 Let me 1075 01:09:04,120 --> 01:09:05,600 get sick. 1076 01:09:05,600 --> 01:09:05,920 It's. 1077 01:09:05,920 --> 01:09:08,920 No, Hey, come here. 1078 01:09:08,960 --> 01:09:12,160 One moment. 1079 01:09:12,240 --> 01:09:12,600 Yeah. 1080 01:09:12,600 --> 01:09:14,880 Looks like he. He's. 1081 01:09:14,880 --> 01:09:20,720 It's going to 1082 01:09:20,800 --> 01:09:37,480 another. 1083 01:09:37,560 --> 01:09:39,440 Yeah, They're shooting today. 1084 01:09:39,440 --> 01:09:43,040 So now that Kim is 1085 01:09:43,120 --> 01:09:46,520 loyal to them, the. 1086 01:09:46,600 --> 01:09:47,880 He can't hear me 1087 01:09:47,880 --> 01:09:58,600 when they have internet. 1088 01:09:58,680 --> 01:10:01,360 But how erosion effect that. Yeah. 1089 01:10:01,360 --> 01:10:02,520 The end of the world. 1090 01:10:02,520 --> 01:10:06,160 The beginning of the world interview follow the book that's. 1091 01:10:06,240 --> 01:10:11,560 That's a lesson that gives you a little bit about relationship 1092 01:10:11,640 --> 01:10:15,680 trouble artist creating a 1093 01:10:15,760 --> 01:10:20,120 Rasmus showing so I where it has dimensions 1094 01:10:20,120 --> 01:10:24,440 that aren't always related to two 1095 01:10:24,440 --> 01:10:28,320 as I invest 1096 01:10:28,400 --> 01:10:31,960 commitment generally I know 1097 01:10:32,040 --> 01:10:34,440 the I I create 1098 01:10:34,440 --> 01:10:37,440 I create here shows that commitment 1099 01:10:37,600 --> 01:10:41,240 we provide is some we have other work. 1100 01:10:41,320 --> 01:10:44,040 Some work that are more territorial such 1101 01:10:44,040 --> 01:10:47,040 as moving museum. 1102 01:10:47,160 --> 01:10:49,800 There's a little child giraffe to perform in the Dodge 1103 01:10:49,800 --> 01:10:52,960 or that idea to create a direct dialog 1104 01:10:52,960 --> 01:10:56,160 with the community 1105 01:10:56,240 --> 01:10:57,080 interest. 1106 01:10:57,080 --> 01:11:00,960 They want to bring words to to the community, 1107 01:11:01,040 --> 01:11:04,040 to the fisherfolk community. 1108 01:11:04,080 --> 01:11:05,640 But we need to be watchful. 1109 01:11:05,640 --> 01:11:10,200 We need to be always thinking about this social mapping to what I said. 1110 01:11:10,280 --> 01:11:12,840 It doesn't matter whether I work 1111 01:11:12,840 --> 01:11:16,200 with painting my near physical, just trouble you ten. 1112 01:11:16,280 --> 01:11:21,280 Is there any way that I can make this this work echo 1113 01:11:21,360 --> 01:11:23,720 with this place 1114 01:11:23,720 --> 01:11:26,720 as custodians and permits you made 1115 01:11:26,840 --> 01:11:34,000 because you survive the sky and trouble you could dance a case in tone, 1116 01:11:34,080 --> 01:11:36,520 add a super talented disaster in there. 1117 01:11:36,520 --> 01:11:37,360 Yeah. 1118 01:11:37,360 --> 01:11:40,920 So this is in strings section, this question 1119 01:11:41,000 --> 01:11:43,480 key callout. 1120 01:11:43,480 --> 01:11:46,160 It tries to follow too much modeling. 1121 01:11:46,160 --> 01:11:50,560 While talking about Laura's point, I talked about the idea 1122 01:11:50,560 --> 01:11:55,040 of creating a language that's connected to erosion quite in 1123 01:11:55,040 --> 01:12:00,480 to maintain the hand that you're watching, just as in check it out. 1124 01:12:00,560 --> 01:12:05,240 So something that we learn along the way, we are raised thinking that you know that 1125 01:12:05,480 --> 01:12:09,000 the artist is some sort of genius that is created. 1126 01:12:09,000 --> 01:12:12,000 He or she is creating something that something so special 1127 01:12:12,000 --> 01:12:15,000 and so different. 1128 01:12:15,080 --> 01:12:16,560 There's a there's a 1129 01:12:16,560 --> 01:12:20,640 that ego plays a big role as become fuzzy. 1130 01:12:20,880 --> 01:12:25,160 But what we understand now is that the work to work 1131 01:12:25,160 --> 01:12:29,040 with is to create a partnership. 1132 01:12:29,120 --> 01:12:32,120 Clark hasn't seen the theme compared to Rio, 1133 01:12:32,240 --> 01:12:35,760 and of course we still offers 1134 01:12:35,760 --> 01:12:39,880 in some sort of way, but we share 1135 01:12:39,960 --> 01:12:42,200 the the, the, 1136 01:12:42,200 --> 01:12:48,040 the authorship with the territory of Zoom 1137 01:12:48,120 --> 01:12:50,680 due to June, January Church Commission. 1138 01:12:50,680 --> 01:12:53,360 And we know that this work isn't simply 1139 01:12:53,360 --> 01:12:56,360 the product of an artistic genius. 1140 01:12:56,440 --> 01:12:57,240 Is this job. 1141 01:12:57,240 --> 01:13:01,120 We are listening to what the erosion is producing, 1142 01:13:01,120 --> 01:13:04,400 to what those lads are telling us taught them. 1143 01:13:04,480 --> 01:13:08,440 We are working on some sort of interpreter that the man. 1144 01:13:08,520 --> 01:13:11,280 I think the idea of like translation 1145 01:13:11,280 --> 01:13:14,680 in an arts is also something that's really interesting. 1146 01:13:14,760 --> 01:13:16,720 Whipsawing the sink is exciting. 1147 01:13:16,720 --> 01:13:19,920 The man is into the key 1148 01:13:20,000 --> 01:13:22,520 to Archibald parts inside the Apache. 1149 01:13:22,520 --> 01:13:23,720 That's a perspective. 1150 01:13:23,720 --> 01:13:27,240 You can also understand art from this perspective 1151 01:13:27,240 --> 01:13:31,000 is something that's beyond what's human. 1152 01:13:31,080 --> 01:13:34,600 A perspective on art doesn't 1153 01:13:34,680 --> 01:13:37,920 all belong only to the human perspective. 1154 01:13:38,000 --> 01:13:43,120 We could think about art and in this way, and there's this type of art 1155 01:13:43,120 --> 01:13:49,960 that we were working with as something that actually exists in this process. 1156 01:13:50,080 --> 01:13:54,520 In this meeting point, you start to realize that it exists 1157 01:13:54,600 --> 01:13:59,040 within this environmental processes in time 1158 01:13:59,120 --> 01:14:01,560 that exists within the senses. 1159 01:14:01,560 --> 01:14:04,520 And the other thing is, 1160 01:14:04,520 --> 01:14:08,520 I don't know that there is a way create this language 1161 01:14:08,600 --> 01:14:13,720 aside from this relationship to create Abdallah El Apache sea sponges. 1162 01:14:13,800 --> 01:14:16,480 But I think once created, 1163 01:14:16,480 --> 01:14:19,760 yes, that language can expand. 1164 01:14:19,840 --> 01:14:23,440 Yes, we are working locally, but we understand that these are global 1165 01:14:23,440 --> 01:14:24,120 topics. 1166 01:14:24,120 --> 01:14:29,240 They are particular to a phone that we keep them at. 1167 01:14:29,240 --> 01:14:34,200 A phone is reflecting questions that exist and in other places 1168 01:14:34,440 --> 01:14:38,200 seeing you ask them to you Marquesa 1169 01:14:38,280 --> 01:14:41,280 and this issue the dome 1170 01:14:41,400 --> 01:14:44,840 and I think that is reflected in the works. 1171 01:14:44,920 --> 01:14:48,800 Keita visit is a puzzle that may asking I might be. 1172 01:14:48,800 --> 01:14:50,920 I may be missing something. 1173 01:14:50,920 --> 01:14:52,640 Uh, a proposal. 1174 01:14:52,640 --> 01:14:54,520 But in general terms, I think that's that. 1175 01:14:54,520 --> 01:14:56,560 That's what I had to to share with you. 1176 01:14:56,560 --> 01:15:16,040 These are my thoughts. 1177 01:15:16,120 --> 01:15:17,040 Because insofar as I 1178 01:15:17,040 --> 01:15:20,040 go over and now what do we do? 1179 01:15:20,080 --> 01:15:23,360 We a comment about spam 1180 01:15:23,440 --> 01:15:24,440 camera 1181 01:15:24,440 --> 01:15:29,200 and clap noses so game the Kentucky cat Zimmer 1182 01:15:29,280 --> 01:15:32,920 which McCoy's I don't know if there's an is there anyone here 1183 01:15:32,920 --> 01:15:37,200 that would like to say something because it's just myself Flora and Shauna. 1184 01:15:37,280 --> 01:15:40,800 But maybe there is someone else here that would like to make a comment. 1185 01:15:40,880 --> 01:15:44,720 Mr. Hopkins Just to make sure that wrapping up 1186 01:15:44,800 --> 01:15:47,960 of sad 1187 01:15:48,040 --> 01:15:49,800 my response to the farmer, 1188 01:15:49,800 --> 01:16:02,680 But I'd like to open the space. 1189 01:16:02,760 --> 01:16:07,480 Everybody's too shy to say anything. 1190 01:16:07,560 --> 01:16:09,560 It's fine. 1191 01:16:09,560 --> 01:16:10,960 No problem. 1192 01:16:10,960 --> 01:16:13,960 Yeah, I think we have to to wrap up now. 1193 01:16:13,960 --> 01:16:15,640 Otherwise we. 1194 01:16:15,640 --> 01:16:17,240 We would need our back up for fear. 1195 01:16:17,240 --> 01:16:19,560 Marcus have been doing an amazing job. 1196 01:16:19,560 --> 01:16:22,560 Yeah, yeah, yeah. 1197 01:16:22,600 --> 01:16:23,040 Thank you. 1198 01:16:23,040 --> 01:16:23,640 Feel more. 1199 01:16:23,640 --> 01:16:27,400 But, God, this human penalty of the people 1200 01:16:27,480 --> 01:16:29,800 together feel 1201 01:16:29,800 --> 01:16:30,520 they are. 1202 01:16:30,520 --> 01:16:36,280 The stories are amazing translators. 1203 01:16:36,360 --> 01:16:36,960 Great job. 1204 01:16:36,960 --> 01:16:39,840 Always. 1205 01:16:39,840 --> 01:16:42,840 But regardless, in regard to Jane Spiller 1206 01:16:42,840 --> 01:16:46,800 teleported in the presence. 1207 01:16:46,880 --> 01:16:48,480 Still 1208 01:16:48,480 --> 01:16:49,120 presence. 1209 01:16:49,120 --> 01:16:50,560 Thank you. Thank everyone. 1210 01:16:50,560 --> 01:16:52,920 Thank you for this opportunity. 1211 01:16:52,920 --> 01:16:55,640 It's so important to us. 1212 01:16:55,640 --> 01:16:57,240 It's so important to be part of this. 1213 01:16:57,240 --> 01:16:58,440 I don't think I. 1214 01:16:58,440 --> 01:17:01,280 I thanked everyone from the Nicole. 1215 01:17:01,280 --> 01:17:01,520 Yeah. 1216 01:17:01,520 --> 01:17:05,040 I mean, she as it's time to get out this opportunity. 1217 01:17:05,040 --> 01:17:06,520 That's where the contextually 1218 01:17:06,520 --> 01:17:10,640 very grateful for this opportunity to share this with you. 1219 01:17:10,720 --> 01:17:14,200 And I hope we can continue this dialog. 1220 01:17:14,280 --> 01:17:16,160 Yeah, it's it's so important. 1221 01:17:16,160 --> 01:17:18,240 It's such an important work. 1222 01:17:18,240 --> 01:17:21,960 It still is but that we're very happy about it. 1223 01:17:22,040 --> 01:17:23,760 Both of my time after I got this set. 1224 01:17:23,760 --> 01:17:30,920 I mean, momentum is very can countless and can you to take them right now to 1225 01:17:31,000 --> 01:17:35,680 to thank in the name of this great encounter this is large network we 1226 01:17:35,760 --> 01:17:40,360 had. Fernando is our most post-doc member. 1227 01:17:40,440 --> 01:17:43,360 He just finished his product project 1228 01:17:43,360 --> 01:17:46,080 about June and I'd like to thank him. 1229 01:17:46,080 --> 01:17:51,240 We gave us the opportunity to meet because he's doing a work unit. 1230 01:17:51,320 --> 01:17:52,960 And so 1231 01:17:52,960 --> 01:17:55,520 I'd like to thank for this partnership 1232 01:17:55,520 --> 01:17:59,280 and I hope that we can keep working 1233 01:17:59,360 --> 01:18:02,960 and as I get more, 1234 01:18:02,960 --> 01:18:06,880 I think it's that then easy D 1235 01:18:06,960 --> 01:18:11,000 And frankly, everybody, 1236 01:18:11,080 --> 01:18:12,840 thanks to all the people 1237 01:18:12,840 --> 01:18:15,600 that have gathered to the moon. 1238 01:18:15,600 --> 01:18:17,320 Thank you, everyone. Thank you.