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 the organizers of The Coop. 4 00:00:24,560 --> 00:00:27,760 So I'm T Braun, Franklin Bonivento van Grieken 5 00:00:27,800 --> 00:00:29,560 ... 6 00:00:29,560 --> 00:00:32,000 Denise Rogers Valenzuela, 7 00:00:32,000 --> 00:00:34,880 and we are the curators of The Coop. 8 00:00:34,880 --> 00:00:40,440 and we work in consultation with Laura Levin and Tracy Tidgwell and Firmo Pompeu 9 00:00:40,440 --> 00:00:45,640 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 to show. 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 Firmo. 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 where it says "more". 25 00:01:45,600 --> 00:01:51,280 And if you can't see the captions, which is like 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 Coop is an online gathering where we invite guests involved 33 00:02:08,520 --> 00:02:13,600 with the Hemispheric Encounters 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 the Hemispheric Encounters Network or HEN 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 would like to hear about future sessions of The Coop, you can follow 42 00:02:45,880 --> 00:02:49,640 Hemispheric Encounters on Instagram at HemiEncounters. 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 past sessions or something you lost, you can view them on the HEN website. 45 00:02:55,320 --> 00:02:58,150 You can also get in touch with us via email at 46 00:02:58,160 --> 00:03:01,720 the.coop.hangout@gmail.com 47 00:03:01,760 --> 00:03:03,480 I will paste 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 Tiohtià:ke 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 Kanien'kéha people, 60 00:03:42,520 --> 00:03:46,000 and the name of this territory in Kanien'kéha is Tiohtià:ke, 61 00:03:46,000 --> 00:03:49,840 which means broken in two 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, the Kanien'kéha 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 Tidgwell, who I would like to acknowledge and send all the good vibes to Vernada, 75 00:04:37,160 --> 00:04:39,480 her cat is not having the best time. 76 00:04:39,480 --> 00:04:42,680 So, now let's turn to our guest, and today 77 00:04:42,680 --> 00:04:46,560 we will have a conversation about the exhibition Invento o Cais 78 00:04:46,560 --> 00:04:49,680 at Sesc Niterói, curated by Julia 79 00:04:49,720 --> 00:04:54,800 Naidin, Fernando Codeço and Daniel Toledo, which showcases works by 14 80 00:04:54,800 --> 00:04:59,240 artists from CasaDuna’s residencies in Atafona Beach, 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 of marine erosion, the artworks 83 00:05:08,000 --> 00:05:11,800 explore the environment, collective and process based perspective 84 00:05:11,880 --> 00:05:15,760 reinterpreting 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 Julia Naidin, and Fernando Codeço, 87 00:05:24,840 --> 00:05:28,280 as well as researcher Sérgio Pereira Andrade, a professor 88 00:05:28,320 --> 00:05:33,000 in the Department of Arts and Culture of Theater Studies at the University 89 00:05:33,080 --> 00:05:36,920 of Amsterdam in the Netherlands. 90 00:05:36,920 --> 00:05:40,440 We also have Shauna Janssen, 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 Levin, director and a professor, 93 00:05:47,680 --> 00:05:51,440 from Hemispheric Encounters, from York 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 yours, welcome everybody. 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 I'm 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 Firmo here to help us. 100 00:06:16,000 --> 00:06:18,520 First, I'd like 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 a joy for us to be able to share this with you. 103 00:06:26,400 --> 00:06:29,400 We were really happy with the result 104 00:06:29,640 --> 00:06:33,600 of this exposition, and we think that it 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, we can just start 110 00:06:53,360 --> 00:06:55,400 rolling the 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 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 Atafona 115 00:07:10,040 --> 00:07:12,360 sharing interests 116 00:07:12,360 --> 00:07:15,960 in thinking about how arts 117 00:07:16,040 --> 00:07:19,680 (IN PORTUGUESE interference) 118 00:07:19,840 --> 00:07:23,400 (IN PORTUGUESE interference) 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 the situation, expanding the narratives 121 00:07:31,200 --> 00:07:34,200 that's not really 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 this debate. 124 00:07:41,320 --> 00:07:44,600 So, for this exposition, 125 00:07:44,600 --> 00:07:48,400 we made a 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 Daniela Toledo in 2022 128 00:08:01,080 --> 00:08:04,320 and another one with Hernández 129 00:08:04,320 --> 00:08:08,560 It was on 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 a school of arts in Rio 132 00:08:15,160 --> 00:08:19,240 that's called Escola Sem Sítio, we can translate 133 00:08:19,240 --> 00:08:25,240 maybe as "School of Non-place", in 2019. 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 decided to arrange in this exposition. 136 00:08:35,280 --> 00:08:40,790 So, Fernando, if you can just pass 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 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 a 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 focused on listening 149 00:09:29,520 --> 00:09:33,520 to the people who lived 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 to 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 been living with for the last 17 years. 154 00:09:50,520 --> 00:09:56,440 So we have there 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 a, 158 00:10:10,160 --> 00:10:16,840 there's some same kind of pedagogical experience in this 159 00:10:16,920 --> 00:10:18,440 conviviality 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 a special, 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, environmental 171 00:10:57,000 --> 00:11:02,440 art that is created and builded, 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 there you have some images of those experiences, 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, Fernando, you can pass 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 the collections 182 00:11:44,280 --> 00:11:48,400 that artists used 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 a word in English that I don't know is ("Brick" WORD IN PORTUGUESE), Firmo. 185 00:12:00,480 --> 00:12:03,480 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 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 sculpturing, this word 191 00:12:21,240 --> 00:12:24,520 that I miss. ( "Brick" PORTUGUESE WORD) 192 00:12:24,600 --> 00:12:26,760 Is the basis of the houses. 193 00:12:26,760 --> 00:12:29,080 Brick, 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 time 196 00:12:38,960 --> 00:12:41,880 that the brick 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 sizes of these bricks. 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 an interesting process 202 00:12:58,000 --> 00:13:03,400 to think about how time processes 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 worked a lot photographing, and after 205 00:13:09,800 --> 00:13:14,840 making collages, with the 206 00:13:14,920 --> 00:13:16,350 I don't know if collage 207 00:13:16,350 --> 00:13:20,040 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 can, 210 00:13:30,600 --> 00:13:36,640 that can be created when we reorganize the images. 211 00:13:36,720 --> 00:13:40,040 So, you can pass. 212 00:13:40,040 --> 00:13:42,880 There were in a 213 00:13:42,880 --> 00:13:44,280 in a specific place. 214 00:13:44,280 --> 00:13:48,960 It's a bar, and also atelie, and also a house. 215 00:13:49,040 --> 00:13:51,960 Where lived a 216 00:13:51,960 --> 00:13:55,200 great friend of ours, Nico. 217 00:13:55,280 --> 00:14:00,590 And his place was amazing because he created, he lived there. 218 00:14:00,590 --> 00:14:03,740 It was, his house 219 00:14:03,800 --> 00:14:08,840 was the bar where he sells drinks, but there 220 00:14:08,920 --> 00:14:12,560 he works with the material of the land, 221 00:14:12,560 --> 00:14:15,840 as well, 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 conception 224 00:14:24,040 --> 00:14:29,080 of creating with what the earth gives, 225 00:14:29,160 --> 00:14:32,000 with what the sea brings, 226 00:14:32,000 --> 00:14:35,320 and re-imaginating functions 227 00:14:35,400 --> 00:14:39,520 and images with all that, 228 00:14:39,600 --> 00:14:43,960 most of the time, people see only as garbage. 229 00:14:44,040 --> 00:14:46,920 So, it was a specific place 230 00:14:46,920 --> 00:14:51,840 that we normally take the artist there to amplify 231 00:14:51,920 --> 00:14:55,240 their 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 recreate the materials. 234 00:15:03,880 --> 00:15:07,760 So, you can go, Fer, please. 235 00:15:12,560 --> 00:15:13,120 There 236 00:15:13,120 --> 00:15:17,640 is Daniele Toledo, which is also an artist 237 00:15:17,640 --> 00:15:20,640 and was the creator exposition 238 00:15:20,800 --> 00:15:24,680 there, he has written "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 a 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, (CONCRETO PORTUGUESE WORD). 243 00:15:42,480 --> 00:15:44,200 Yes, 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 This 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 what is happened in this beach 248 00:16:02,640 --> 00:16:06,920 is that all the city is going backwards. 249 00:16:07,000 --> 00:16:10,840 As the sea advances 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 254 00:16:27,990 --> 00:16:31,360 this area where we have a limit between the sand 255 00:16:31,560 --> 00:16:35,200 and where it's written "future". 256 00:16:35,280 --> 00:16:39,800 So, it's like a catastrophic image "future", 257 00:16:39,880 --> 00:16:44,560 but also invites us to think about 258 00:16:44,640 --> 00:16:45,560 "future." 259 00:16:45,560 --> 00:16:49,800 And what can we do in this case. 260 00:16:49,880 --> 00:16:52,560 But is a work that Daniel 261 00:16:52,560 --> 00:16:56,760 have been doing in different places 262 00:16:56,840 --> 00:17:00,240 and he's been thinking about this as a 263 00:17:00,440 --> 00:17:05,600 as a crisis, as a problematic and he's been reaching this 264 00:17:05,600 --> 00:17:07,440 in so many spaces. 265 00:17:07,440 --> 00:17:10,440 And there, he chooses this one. 266 00:17:10,560 --> 00:17:15,320 And I think it was a specific work. 267 00:17:15,320 --> 00:17:18,600 It was not what is in its position but 268 00:17:18,600 --> 00:17:22,120 we choose to show to you 269 00:17:22,200 --> 00:17:25,200 because of this limited experience. 270 00:17:25,440 --> 00:17:30,960 That these were written in this place, can bring to us. 271 00:17:31,040 --> 00:17:32,560 You can 272 00:17:32,640 --> 00:17:39,240 go ahead, Fernando, please. 273 00:17:39,320 --> 00:17:43,720 There you have some experience of 274 00:17:43,800 --> 00:17:47,415 video works that were there, 275 00:17:47,435 --> 00:17:54,680 in the image above, is Fernanda Branco, and 276 00:17:54,760 --> 00:18:00,240 she stayed there repeatedly, with these 277 00:18:00,320 --> 00:18:03,000 roots of trees 278 00:18:03,000 --> 00:18:07,040 and did a kind of dance 279 00:18:07,120 --> 00:18:12,640 where she goes backwards and then she got into this tree 280 00:18:12,720 --> 00:18:15,280 and then 281 00:18:15,280 --> 00:18:18,000 she danced in this root 282 00:18:18,000 --> 00:18:22,480 and we have a video of this performance in the exposition 283 00:18:22,560 --> 00:18:25,560 and it's a powerful video. 284 00:18:25,640 --> 00:18:28,520 Maybe you can see it in another moment, if you'd like 285 00:18:28,520 --> 00:18:31,520 we can talk to her and maybe send to you, 286 00:18:31,520 --> 00:18:35,840 because it's a kind of fusion between 287 00:18:35,920 --> 00:18:38,920 between the body and the root, 288 00:18:38,960 --> 00:18:44,000 with the sea that came in the root, while she was there. 289 00:18:44,080 --> 00:18:48,280 So, it's really sensitive work, as well. 290 00:18:48,360 --> 00:18:51,360 You can pass, Fer, please. 291 00:18:55,720 --> 00:18:58,920 This is inside Nico's house, as you can see. 292 00:18:58,920 --> 00:19:04,000 I was telling you that he built everything and each small part of this bar 293 00:19:04,040 --> 00:19:09,720 was created by him with any material that you can imagine. 294 00:19:09,800 --> 00:19:13,400 Like, there's no limits to 295 00:19:13,480 --> 00:19:19,120 what is a basis for a creation. 296 00:19:19,200 --> 00:19:24,040 And there is another residence, _________, that spend 297 00:19:24,040 --> 00:19:28,840 a few days with us there and made some performance 298 00:19:28,920 --> 00:19:32,240 in this bar. 299 00:19:32,320 --> 00:19:34,200 And then ______ was able 300 00:19:34,200 --> 00:19:38,840 to take some photos and in the exposition we 301 00:19:38,920 --> 00:19:43,720 we could put these photos in there, in a (Wallpaper in PORTUGUESE). 302 00:19:43,800 --> 00:19:48,160 I don't know if you know, I need help to translate (Wallpaper in PORTUGUESE). 303 00:19:48,240 --> 00:19:51,000 There's word for it in English. 304 00:19:51,000 --> 00:19:53,760 "Wallpaper." 305 00:19:53,760 --> 00:19:55,320 Wallpaper, maybe. 306 00:19:55,320 --> 00:19:56,920 Thank you, Mari. 307 00:19:56,920 --> 00:19:59,560 I think it's wheat based- 308 00:19:59,560 --> 00:20:03,040 "Wheat based posters." 309 00:20:03,120 --> 00:20:04,960 (PORTUGUESE) 310 00:20:04,960 --> 00:20:08,440 (PORTUGUESE) 311 00:20:08,520 --> 00:20:11,320 (PORTUGUESE) 312 00:20:11,320 --> 00:20:14,520 (PORTUGUESE) 313 00:20:14,600 --> 00:20:19,600 Wheat based posters. (PORTUGUESE) 314 00:20:20,720 --> 00:20:24,800 (PORTUGUESE) 315 00:20:24,800 --> 00:20:28,360 (PORTUGUESE) 316 00:20:28,440 --> 00:20:31,440 There's no point to 317 00:20:31,560 --> 00:20:36,000 maintain the structure and the integrity of the work. 318 00:20:36,160 --> 00:20:39,320 It's to be able to do fast 319 00:20:39,320 --> 00:20:43,600 and it can be destroyed fast as well. 320 00:20:43,680 --> 00:20:47,120 And there was some good images 321 00:20:47,120 --> 00:20:50,920 in this that we can put in the exposition, also. 322 00:20:51,000 --> 00:20:53,980 So, Fer, you can move. 323 00:20:58,120 --> 00:20:59,200 There is 324 00:20:59,200 --> 00:21:02,940 Mariana Moraes who just joined the meeting with us 325 00:21:02,960 --> 00:21:06,920 helping with the translation and she was doing 326 00:21:06,920 --> 00:21:10,360 this is performance 327 00:21:10,440 --> 00:21:12,960 with- I don't know this word, as well. 328 00:21:12,960 --> 00:21:17,240 (PORTUGUSE WORD), who can help me? 329 00:21:17,320 --> 00:21:20,244 Is a material of the fishermen that they use to- 330 00:21:20,244 --> 00:21:22,840 "Fish net" 331 00:21:23,560 --> 00:21:24,360 Yeah. 332 00:21:27,120 --> 00:21:30,520 It's the traditional way 333 00:21:30,600 --> 00:21:35,120 in which fishermen work, not like the big 334 00:21:35,200 --> 00:21:37,960 structure of fishing. 335 00:21:37,960 --> 00:21:39,840 Fish net, yes. 336 00:21:39,840 --> 00:21:44,440 And also Mariana, after this performance, 337 00:21:44,520 --> 00:21:48,520 in the other side of the screen, you can see the process 338 00:21:48,520 --> 00:21:52,440 of the video performance that she made there 339 00:21:52,520 --> 00:21:55,200 in 2022. 340 00:21:55,200 --> 00:21:57,680 And this video went to the exposition. 341 00:21:57,680 --> 00:22:00,680 Not the performance with the fish net, 342 00:22:00,880 --> 00:22:04,760 but also you can see the ambiance. 343 00:22:04,840 --> 00:22:08,080 And we wanted to show you a bit of the 344 00:22:08,160 --> 00:22:10,800 the visual of the environment there 345 00:22:10,800 --> 00:22:15,400 and how we always are trying to 346 00:22:15,480 --> 00:22:18,760 to make the works, 347 00:22:18,840 --> 00:22:22,640 being created in the territory, 348 00:22:22,720 --> 00:22:25,720 not in a isolated form. 349 00:22:25,760 --> 00:22:28,020 You can pass, Fer, please. 350 00:22:30,920 --> 00:22:34,440 Okay, there is Tetsuya, 351 00:22:34,520 --> 00:22:37,840 he is also a video artist 352 00:22:37,920 --> 00:22:41,200 and he works with 353 00:22:41,280 --> 00:22:44,720 old films and 354 00:22:44,800 --> 00:22:48,360 there in this image that you can see 355 00:22:48,440 --> 00:22:54,800 he was burying the film in the sand, 356 00:22:54,880 --> 00:22:58,280 "burying", like (Bury in PORTUGUESE). 357 00:22:58,360 --> 00:23:02,520 And then the sand, and though 358 00:23:02,560 --> 00:23:06,480 the small animals and different lives 359 00:23:06,480 --> 00:23:10,240 in the sand interfere in the film 360 00:23:10,320 --> 00:23:14,840 and after he processes this and passes 361 00:23:14,880 --> 00:23:18,600 this film in the the exposition. 362 00:23:18,680 --> 00:23:21,640 So, you have a very specific image 363 00:23:21,640 --> 00:23:25,680 as results of these and he worked there- 364 00:23:25,680 --> 00:23:30,640 This image is in the sand with the sea interfering, as well, as you can see. 365 00:23:30,640 --> 00:23:33,640 But he also put the film 366 00:23:33,880 --> 00:23:36,880 inside the river for a few days 367 00:23:37,120 --> 00:23:40,040 and then it was passed by the fishes, 368 00:23:40,040 --> 00:23:43,960 the vegetals, I don't know- 369 00:23:44,040 --> 00:23:47,160 Everything in the sea, the animal life 370 00:23:47,400 --> 00:23:51,760 that interfere in the film and then is beautiful to see the results. 371 00:23:52,000 --> 00:23:56,360 And we could put in the exposition, also. 372 00:23:56,440 --> 00:23:58,241 Fer, pass it, please. 373 00:24:00,440 --> 00:24:01,600 That's Victor. 374 00:24:01,600 --> 00:24:05,080 He's a painter and he is also an actor. 375 00:24:05,160 --> 00:24:09,280 He used to work with the group theater. 376 00:24:09,360 --> 00:24:12,840 But as we know that he paints, we invited him 377 00:24:12,840 --> 00:24:16,000 also to a residence and ask him to 378 00:24:16,000 --> 00:24:21,520 to make some paintings in houses that are already abandoned 379 00:24:21,600 --> 00:24:24,120 by the the old 380 00:24:24,120 --> 00:24:25,761 owners. 381 00:24:29,640 --> 00:24:32,920 And there, he's performing. 382 00:24:33,000 --> 00:24:37,400 Performing, with these 383 00:24:37,480 --> 00:24:40,480 I don't know, "flags". 384 00:24:40,720 --> 00:24:42,200 Flags. Yes. 385 00:24:42,200 --> 00:24:47,640 This white flag, that's Carol Valansi, another, 386 00:24:47,640 --> 00:24:50,280 artist that was with us, 387 00:24:50,280 --> 00:24:54,000 and this day was, as you can see, a cloudy day, 388 00:24:54,080 --> 00:24:58,240 sort of raining day with strong wind. 389 00:24:58,320 --> 00:25:07,090 So, I don't know, these white flags, have an 390 00:25:07,440 --> 00:25:11,640 I don't know, something like a peace sign. 391 00:25:11,880 --> 00:25:18,760 But in this environment with no peace, 392 00:25:18,840 --> 00:25:22,320 in an environment that is always in tension 393 00:25:22,400 --> 00:25:26,400 with the nature, is always in this conflict 394 00:25:26,520 --> 00:25:32,440 between the building of the city and the sea 395 00:25:32,440 --> 00:25:36,400 that is coming inside the city and making this destruction, 396 00:25:36,600 --> 00:25:41,800 So, in this specific context, this white flag don't bring us 397 00:25:41,880 --> 00:25:46,920 exactly the best energy, but instead, 398 00:25:47,000 --> 00:25:50,400 like a conflict with this symbol. 399 00:25:50,480 --> 00:25:54,979 You can go ahead, Fer, please. 400 00:25:58,120 --> 00:25:58,640 Yeah. 401 00:25:58,640 --> 00:26:04,560 This is a part of the educational program that we do there, as well. 402 00:26:04,640 --> 00:26:09,560 This is a group of students that we receive with the teacher 403 00:26:09,800 --> 00:26:15,200 that teaches there and knows the work and is always in contact 404 00:26:15,320 --> 00:26:20,760 with us to bring some students for us to talk about this relation 405 00:26:20,840 --> 00:26:25,760 between art and education and what are the possibilities 406 00:26:25,880 --> 00:26:30,760 of art to talk about the environmental crisis. 407 00:26:30,840 --> 00:26:33,360 It's hard to talk about what's there. 408 00:26:33,360 --> 00:26:36,240 Even though they lived in this. 409 00:26:36,240 --> 00:26:40,480 Their daily lives is a sensible subject 410 00:26:40,560 --> 00:26:44,320 because, you know, obviously is the reality. 411 00:26:44,320 --> 00:26:48,720 But it's a sad subject, it's a trauma. 412 00:26:48,800 --> 00:26:52,360 It's a living trauma, the daily situation. 413 00:26:52,440 --> 00:26:55,440 So sometimes we discover that 414 00:26:55,680 --> 00:26:58,800 art helps to talk about these 415 00:26:58,800 --> 00:27:01,800 and to deal with the trauma of the 416 00:27:02,000 --> 00:27:06,080 the losing, losing of houses, losing of memories. 417 00:27:06,160 --> 00:27:11,640 So, this kind of pedagogical function 418 00:27:11,680 --> 00:27:17,360 of art, to talk about environmental crisis is important to us, as well. 419 00:27:17,440 --> 00:27:19,200 Fer, please. 420 00:27:24,040 --> 00:27:26,320 This is Sarojini, 421 00:27:26,320 --> 00:27:31,000 it's an artist from India, that in the end, 422 00:27:31,080 --> 00:27:36,000 went there to work with us and make a video performance, as well. 423 00:27:36,080 --> 00:27:38,840 Fernando, pass it, please. 424 00:27:44,000 --> 00:27:49,360 This is part of a frame of the video work 425 00:27:49,360 --> 00:27:54,000 that I've done there, I've been working with archives there. 426 00:27:54,000 --> 00:27:57,040 Thinking about 427 00:27:57,040 --> 00:27:58,840 something in between 428 00:27:58,840 --> 00:28:02,240 how can we make a private, archive 429 00:28:02,280 --> 00:28:06,080 a public archive, and vice versa. 430 00:28:06,160 --> 00:28:09,040 With this complex 431 00:28:09,040 --> 00:28:14,000 and political and delicate issue like what is a private archive 432 00:28:14,000 --> 00:28:19,600 and how public can this be, to facilitate us 433 00:28:19,680 --> 00:28:24,760 to talk about things that are political. That touch everybody. 434 00:28:24,760 --> 00:28:29,560 This lady, she made an archive following the sea, 435 00:28:29,560 --> 00:28:32,560 destroying this building in front of her house. 436 00:28:32,640 --> 00:28:37,040 And they made a small documentary about it 437 00:28:37,120 --> 00:28:39,840 which is called "Concrete Sea." 438 00:28:39,840 --> 00:28:44,880 And, Fernando, maybe I think, 439 00:28:44,920 --> 00:28:50,240 Can you put another image, but I think that maybe, 440 00:28:50,320 --> 00:28:53,600 I can pass the words now. 441 00:28:53,680 --> 00:28:57,440 Yes. For you to talk about the exposition properly, 442 00:28:57,440 --> 00:29:01,480 and then we can lead to talk a bit more 443 00:29:01,560 --> 00:29:04,160 in the conversation. 444 00:29:04,240 --> 00:29:11,000 I will mute my microphone. 445 00:29:11,080 --> 00:29:13,880 (PORTUGUESE DIALOGUE). 446 00:29:13,880 --> 00:29:18,360 (PORTUGUESE) 447 00:29:18,360 --> 00:29:22,520 (PORTUGUESE) 448 00:29:22,520 --> 00:29:23,480 (PORTUGUESE) 449 00:29:23,480 --> 00:29:29,040 (PORTUGUESE) 450 00:29:29,080 --> 00:29:32,040 (PORTUGUESE) 451 00:29:32,040 --> 00:29:33,280 (PORTUGUESE) 452 00:29:33,280 --> 00:29:37,960 (PORTUGUESE) 453 00:29:37,960 --> 00:29:41,720 (PORTUGUESE) 454 00:29:41,800 --> 00:29:44,960 (PORTUGUESE) 455 00:29:44,960 --> 00:29:49,440 (PORTUGUESE) 456 00:29:49,520 --> 00:29:55,400 (PORTUGUESE) 457 00:29:55,400 --> 00:29:57,400 (PORTUGUESE) 458 00:29:57,400 --> 00:30:00,400 (PORTUGUESE) 459 00:30:00,640 --> 00:30:04,240 (PORTUGUESE) 460 00:30:04,320 --> 00:30:07,120 (PORTUGUESE) 461 00:30:07,120 --> 00:30:11,920 (PORTUGUESE) 462 00:30:11,920 --> 00:30:16,160 (PORTUGUESE) 463 00:30:16,160 --> 00:30:19,400 (PORTUGUESE) 464 00:30:19,400 --> 00:30:21,360 (PORTUGUESE) 465 00:30:21,360 --> 00:30:26,160 (PORTUGUESE) 466 00:30:26,240 --> 00:30:27,640 (PORTUGUESE) 467 00:30:27,640 --> 00:30:32,080 Make me to think about art history, about concrete art. 468 00:30:35,520 --> 00:30:40,370 And this material has a ghost-like character 469 00:30:40,480 --> 00:30:42,560 That's how I see 470 00:30:42,560 --> 00:30:44,680 the act of fishing. 471 00:30:44,680 --> 00:30:48,920 Fishing has this presence in Brazilian history. 472 00:30:49,000 --> 00:30:51,480 It also has an important role 473 00:30:51,480 --> 00:30:54,920 to play in terms of economy. 474 00:30:55,000 --> 00:30:57,080 Paolo Victor also works the that. 475 00:30:57,080 --> 00:31:06,400 As you can see, this is a window that he found at the beach, in Atafona 476 00:31:06,400 --> 00:31:11,280 Here we can see Daniel's work in the background. 477 00:31:11,360 --> 00:31:13,480 He also works with material found 478 00:31:13,480 --> 00:31:17,680 in the beach. 479 00:31:17,760 --> 00:31:20,320 So, this is a whole part of the exhibition made, 480 00:31:20,320 --> 00:31:25,320 with material found on the beach, 481 00:31:25,400 --> 00:31:28,720 And there is a dialogue between this materials found on the beach 482 00:31:28,720 --> 00:31:33,280 and with the traditional and modern 483 00:31:33,360 --> 00:31:35,490 modern works. 484 00:31:38,640 --> 00:31:42,600 Daniel also works with collages. 485 00:31:42,680 --> 00:31:44,520 He uses wood. 486 00:31:44,520 --> 00:31:47,520 You can see some of them in the background 487 00:31:47,680 --> 00:31:49,080 and he grows them. 488 00:31:49,080 --> 00:31:53,160 He uses the plastic from pop bottles to 489 00:31:53,200 --> 00:31:57,040 to make this montage. 490 00:31:57,120 --> 00:32:02,560 We can see here some video work. 491 00:32:02,640 --> 00:32:03,840 This is part of the video 492 00:32:03,840 --> 00:32:06,840 that's part of the exhibition. 493 00:32:06,880 --> 00:32:09,480 We'll also see some of Isabella's work. 494 00:32:09,480 --> 00:32:12,760 We'll see them in more detail later. 495 00:32:12,760 --> 00:32:16,040 Here, you can see some of her work. 496 00:32:16,040 --> 00:32:21,080 This is a type of root, but it's actually made of latex. 497 00:32:21,160 --> 00:32:22,720 This is the one that you see 498 00:32:22,720 --> 00:32:26,840 towards the center of the photo. 499 00:32:26,920 --> 00:32:30,720 There's something else in the background that has a more aggressive character. 500 00:32:30,720 --> 00:32:36,360 It's made of glass and in clay. 501 00:32:36,440 --> 00:32:40,560 Beside her work, you can see Tais's work here. 502 00:32:41,800 --> 00:32:44,800 This is work made in a studio. 503 00:32:44,920 --> 00:32:48,520 The goal is to bring the atmosphere, parts 504 00:32:48,520 --> 00:32:54,240 of the landscape that they saw and tried to capture. 505 00:32:54,320 --> 00:32:59,760 You can see Luciano's photos up on the wall. 506 00:32:59,840 --> 00:33:02,040 This is part of the meeting with Luciano's 507 00:33:02,040 --> 00:33:04,196 and Nico's bar. 508 00:33:08,040 --> 00:33:09,640 This is Rafael's work, 509 00:33:09,640 --> 00:33:12,640 and that's Cara's work. 510 00:33:12,800 --> 00:33:16,160 So, this was a very quick walk through the exhibition, 511 00:33:16,200 --> 00:33:19,640 but now we can look at them in more detail. 512 00:33:19,720 --> 00:33:23,720 So, this is Daniel's installation 513 00:33:23,720 --> 00:33:27,680 Here, the detail shows how he added these pieces 514 00:33:27,680 --> 00:33:31,040 together using a plastic bottle. 515 00:33:31,120 --> 00:33:33,800 All the elements were found on the beach. 516 00:33:33,800 --> 00:33:37,040 This is my work. 517 00:33:37,120 --> 00:33:40,960 This is how I attach the net. 518 00:33:41,040 --> 00:33:43,280 It shows the idea of creating 519 00:33:43,280 --> 00:33:47,200 these geometric forms 520 00:33:47,280 --> 00:33:49,380 and adding the Brazilian neo-concretism. 521 00:33:59,200 --> 00:34:02,400 This material is very abundant. 522 00:34:02,480 --> 00:34:04,680 The the nets fall apart 523 00:34:04,680 --> 00:34:08,680 and the fishermen just throw them out. 524 00:34:08,760 --> 00:34:12,920 I have made a lot of work with it because this is the kind of material 525 00:34:12,920 --> 00:34:16,000 that's very dangerous for marine life 526 00:34:16,000 --> 00:34:19,840 when it's back in the ocean. 527 00:34:19,920 --> 00:34:23,320 So, there is an attempt to 528 00:34:23,400 --> 00:34:27,340 to take care of this material, to repurpose them. 529 00:34:31,840 --> 00:34:37,080 Now, the crabs. 530 00:34:37,160 --> 00:34:39,280 There is a relationship to life 531 00:34:39,280 --> 00:34:44,520 and to how erosion comes in. 532 00:34:44,520 --> 00:34:46,760 So, all I'm doing is putting it together. 533 00:34:46,760 --> 00:34:51,480 I'm finding the bricks and these iron broads and I'm putting them together. 534 00:34:51,480 --> 00:34:56,160 So, they kind of remind us of these creatures, 535 00:34:56,240 --> 00:35:00,640 creatures that live in the the mangroves in Atafona. 536 00:35:00,680 --> 00:35:05,400 This is Paulo, beside the window that he painted. 537 00:35:07,240 --> 00:35:10,240 The work remounts to the idea that the sea is coming back, 538 00:35:10,480 --> 00:35:15,040 it's a popular idea with the locals, especially with the fisher people. 539 00:35:15,120 --> 00:35:18,120 This idea that the sea is reclaiming 540 00:35:18,160 --> 00:35:22,680 what belongs to it. 541 00:35:22,760 --> 00:35:23,720 In fact, 542 00:35:23,720 --> 00:35:28,760 that piece of land at some point, already belonged to the sea. 543 00:35:28,840 --> 00:35:32,240 Scientifically speaking, that's also true. 544 00:35:32,320 --> 00:35:35,000 So that's what it says. 545 00:35:35,000 --> 00:35:36,240 The sea is coming back. 546 00:35:36,240 --> 00:35:39,200 You can see this in the painting. 547 00:35:39,200 --> 00:35:42,200 This is also beautiful work that was present. 548 00:35:42,440 --> 00:35:45,440 This is Rafael's work. 549 00:35:45,680 --> 00:35:48,480 He organized these pieces of bricks 550 00:35:48,480 --> 00:35:52,520 on top of notebooks. 551 00:35:52,600 --> 00:35:56,320 He invites us to think about 552 00:35:56,320 --> 00:36:00,160 a type of geological writing. 553 00:36:00,200 --> 00:36:04,960 Also, about the process of the artist. 554 00:36:05,040 --> 00:36:07,440 We are creating a language 555 00:36:07,440 --> 00:36:12,040 through the erosion. 556 00:36:12,120 --> 00:36:16,320 This is part of the reference. 557 00:36:16,400 --> 00:36:18,720 This is Isabella's work. 558 00:36:18,720 --> 00:36:23,680 You can see it in a close up, very delicate work. 559 00:36:23,760 --> 00:36:28,600 She uses glass, ceramics, latex. 560 00:36:28,640 --> 00:36:32,280 And here is the same work, from a different perspective. 561 00:36:32,360 --> 00:36:34,670 This is Tetsuya's work. 562 00:36:38,120 --> 00:36:42,320 This is a film that he collected from an old file. 563 00:36:42,400 --> 00:36:44,960 He buried this on the sand. 564 00:36:44,960 --> 00:36:47,120 Money sack sand. 565 00:36:47,120 --> 00:36:52,080 This is a specific kind of sand that's present there. 566 00:36:52,160 --> 00:36:56,720 It's a low radiation sand. 567 00:36:56,800 --> 00:37:00,450 Let's watch this now. 568 00:37:15,680 --> 00:37:18,240 This is Thais work, 569 00:37:18,240 --> 00:37:22,200 also a very intricate, very delicate work. 570 00:37:22,280 --> 00:37:24,480 Very beautiful, it's very alive. 571 00:37:24,480 --> 00:37:27,480 She creates this dynamic between salt, 572 00:37:27,480 --> 00:37:30,680 glass and iron. 573 00:37:30,760 --> 00:37:36,200 The salt kind of erodes the iron that holds up the glass. 574 00:37:36,280 --> 00:37:39,840 You can see this and the image, the one on the left was when she 575 00:37:39,840 --> 00:37:42,720 first put it together. 576 00:37:42,800 --> 00:37:46,000 And this is later, showing the corrosion 577 00:37:46,080 --> 00:37:50,880 that salt caused in the work. 578 00:37:50,960 --> 00:37:54,640 This is Joao Racy's work. 579 00:37:54,720 --> 00:37:59,480 It's a still video, still image. 580 00:37:59,880 --> 00:38:03,200 He filmed the window of a house 581 00:38:03,200 --> 00:38:07,280 that's actually being buried by the sand. 582 00:38:07,360 --> 00:38:09,400 There's a little bit of movement 583 00:38:09,400 --> 00:38:12,220 in the plants here, 584 00:38:14,760 --> 00:38:16,640 So, we created this, 585 00:38:16,640 --> 00:38:22,080 we had a TV in the back to bring by this idea of a window. 586 00:38:22,160 --> 00:38:27,480 This is Caroline's work, 587 00:38:27,560 --> 00:38:28,840 We also saw this 588 00:38:28,840 --> 00:38:32,280 during Julia's presentation. 589 00:38:32,360 --> 00:38:36,840 She has a huge flag that she brings to the meeting place 590 00:38:36,920 --> 00:38:42,040 between the river and the sea. 591 00:38:42,120 --> 00:38:47,720 She made this work here by creating these stamps, 592 00:38:47,800 --> 00:38:51,360 postal stamps. 593 00:38:51,440 --> 00:38:53,480 It reminds a little bit of a video, right, 594 00:38:53,480 --> 00:38:57,320 because you can see the flag movement along the way. 595 00:38:57,400 --> 00:38:58,480 And here is the flag. 596 00:38:58,480 --> 00:39:03,520 We installed it on the outside of the exhibition, 597 00:39:03,520 --> 00:39:08,200 Here, can see Lu by Lu's work. 598 00:39:08,280 --> 00:39:11,280 This is her meeting with makeup. 599 00:39:11,480 --> 00:39:14,480 And then we paste post again 600 00:39:14,720 --> 00:39:18,760 here she glued them on the outside. 601 00:39:18,840 --> 00:39:20,880 She talked a bit about her meeting 602 00:39:20,880 --> 00:39:24,280 with Nico in Atafona. 603 00:39:24,280 --> 00:39:27,840 Lu who is an activist, a trans artist, 604 00:39:28,080 --> 00:39:31,760 a black person, 605 00:39:31,840 --> 00:39:34,840 and she adds all of that to her work, 606 00:39:34,880 --> 00:39:38,910 as a trans woman in Brazil. 607 00:39:41,200 --> 00:39:42,600 It's important to her 608 00:39:42,600 --> 00:39:48,120 to share these moments, 609 00:39:48,200 --> 00:39:52,040 moments where she can express her artistry, 610 00:39:52,080 --> 00:39:57,280 her subjectivity, 611 00:39:57,360 --> 00:39:59,520 and she was able to share a lot of her 612 00:39:59,520 --> 00:40:01,830 thinking with us. 613 00:40:04,640 --> 00:40:05,520 Here the videos, 614 00:40:05,520 --> 00:40:09,760 we are not going to be able to watch them now, 615 00:40:09,840 --> 00:40:13,600 but I'd like to tell you, here the videos that are present there. 616 00:40:13,680 --> 00:40:15,840 Fernando Branco's video. 617 00:40:15,840 --> 00:40:19,500 Julia talked about it, Julia's video. 618 00:40:19,560 --> 00:40:23,680 Mariana's and Sarojini's. 619 00:40:23,760 --> 00:40:24,960 So, there you have. 620 00:40:24,960 --> 00:40:28,440 I tried to stay on point. 621 00:40:28,520 --> 00:40:30,320 So, we have enough time to talk. 622 00:40:30,320 --> 00:40:33,640 I hope this gives you a general view 623 00:40:33,720 --> 00:40:35,290 of the exhibition 624 00:40:39,880 --> 00:40:41,560 We had to choose. 625 00:40:41,560 --> 00:40:45,670 Through many artists that came through Casa Duna. 626 00:40:51,160 --> 00:40:54,160 I hope that this gives you an idea of the work that we did. 627 00:40:54,360 --> 00:40:56,680 I'd like to thank you. 628 00:40:56,680 --> 00:41:00,970 And I want to open the floor so we can continue the conversation. 629 00:41:10,000 --> 00:41:11,760 It's my turn? 630 00:41:11,760 --> 00:41:14,760 Okay. 631 00:41:16,640 --> 00:41:21,480 Thank you for what you brought to us today. 632 00:41:21,480 --> 00:41:24,480 Fernando, Julia. 633 00:41:24,520 --> 00:41:27,000 I have had the opportunity to visit 634 00:41:27,000 --> 00:41:28,960 Atafona with both of you. 635 00:41:28,960 --> 00:41:36,200 I was able to witness the work that you developed there. 636 00:41:36,280 --> 00:41:37,200 I think it's important 637 00:41:37,200 --> 00:41:44,320 to share this to this group that's with us today. 638 00:41:44,400 --> 00:41:47,320 I'm reinforcing something that I see in your work, right? 639 00:41:47,320 --> 00:41:49,600 There's this persistence. 640 00:41:49,600 --> 00:41:51,360 You've been there for eight years now. 641 00:41:51,360 --> 00:41:56,720 You've been there since 2017, 642 00:41:56,800 --> 00:41:58,760 so it's been eight years. 643 00:41:58,760 --> 00:42:00,930 in the work. 644 00:42:04,840 --> 00:42:12,760 I know how important this is to you 645 00:42:12,840 --> 00:42:13,920 and you know, 646 00:42:13,920 --> 00:42:18,520 and this is also a counterposition as to other works 647 00:42:18,520 --> 00:42:21,520 that visit Atafona that come and go 648 00:42:21,520 --> 00:42:26,560 or make a spectacle out of it. 649 00:42:26,640 --> 00:42:29,640 This is an erosion process 650 00:42:29,640 --> 00:42:35,000 that's 60 years long. 651 00:42:35,080 --> 00:42:37,840 It has been sped up 652 00:42:37,840 --> 00:42:42,165 due to industrial activity in the area. 653 00:42:48,800 --> 00:42:55,240 There is a violent process that's been 654 00:42:55,320 --> 00:42:57,360 getting aggravated 655 00:42:57,360 --> 00:43:01,480 through interventions of abuses 656 00:43:01,520 --> 00:43:04,520 on the environment. 657 00:43:04,560 --> 00:43:08,480 And this shows the many ways that artists 658 00:43:08,560 --> 00:43:11,920 and art can also produce, 659 00:43:12,000 --> 00:43:16,600 they can also use some of this process for their work. 660 00:43:16,680 --> 00:43:19,680 I think what we're trying to do is to show 661 00:43:19,800 --> 00:43:26,120 an option to think about a continuity, 662 00:43:26,200 --> 00:43:31,760 a process of creating connections. 663 00:43:31,840 --> 00:43:33,240 You have this work 664 00:43:33,240 --> 00:43:37,720 of environmental awareness with the community. 665 00:43:37,800 --> 00:43:41,600 You work with the Landless Movement 666 00:43:41,680 --> 00:43:43,290 in Brazil. 667 00:43:48,480 --> 00:43:49,720 Oh, I'm sorry. 668 00:43:49,720 --> 00:43:52,320 There is a lady that's an activist. 669 00:43:52,320 --> 00:43:53,560 I forget her name. 670 00:43:53,560 --> 00:43:56,830 Please forgive me. 671 00:44:08,160 --> 00:44:09,840 Yes. Yeah, I can hear you. 672 00:44:09,840 --> 00:44:10,760 I'm sorry. 673 00:44:10,760 --> 00:44:13,000 There was there was a pause there. 674 00:44:13,000 --> 00:44:14,862 So, yes. 675 00:44:19,400 --> 00:44:23,360 You've been working on different fronts, right? 676 00:44:23,440 --> 00:44:29,000 Academic research, art, art research. 677 00:44:29,080 --> 00:44:32,760 You were working on your postdoctorate. 678 00:44:32,760 --> 00:44:38,080 You work with a theater group, 679 00:44:38,160 --> 00:44:42,120 Grupo ______, a Russian group. 680 00:44:42,200 --> 00:44:45,200 But I have a question. 681 00:44:49,560 --> 00:44:52,320 My question is related to this choice 682 00:44:52,320 --> 00:44:55,320 to not make a spectacle 683 00:44:55,440 --> 00:44:59,720 of the erosion process. 684 00:44:59,800 --> 00:45:03,600 It's a choice not to romanticize this process. 685 00:45:03,600 --> 00:45:05,760 Can you talk about that? 686 00:45:05,840 --> 00:45:08,160 How do you see this process 687 00:45:08,160 --> 00:45:12,400 of avoiding 688 00:45:12,480 --> 00:45:16,080 making a spectacle 689 00:45:16,080 --> 00:45:19,390 or to avoid romanticizing that. 690 00:45:21,360 --> 00:45:24,360 The event 691 00:45:24,440 --> 00:45:26,400 I create _____ 692 00:45:26,400 --> 00:45:30,640 right, that uses the line from the song 693 00:45:30,720 --> 00:45:35,520 of creating something, of recreating something, 694 00:45:35,520 --> 00:45:43,360 something that needs to be constantly re-created. 695 00:45:43,440 --> 00:45:49,200 Then, there is an idea to keep creating 696 00:45:49,200 --> 00:45:52,709 and recreating. 697 00:45:54,960 --> 00:45:56,520 There is 698 00:45:56,520 --> 00:46:00,880 there are many, many layers. 699 00:46:00,960 --> 00:46:04,360 And this erosion is very symbolic. 700 00:46:04,440 --> 00:46:07,600 How do you understand this non romanticizing, 701 00:46:07,600 --> 00:46:12,200 this erosion process, this not 702 00:46:12,280 --> 00:46:16,960 looking at this process as something exotic, 703 00:46:17,040 --> 00:46:19,160 but also not making it, 704 00:46:19,160 --> 00:46:22,800 you know, a doomsday kind of scenario. 705 00:46:22,800 --> 00:46:28,040 Can you talk about that? 706 00:46:28,120 --> 00:46:33,440 Shall we comment on this? 707 00:46:33,520 --> 00:46:37,760 I guess it's better to to hear all the questions first 708 00:46:37,840 --> 00:46:39,000 and then we'll answer. 709 00:46:39,000 --> 00:46:40,660 at the end. 710 00:46:52,560 --> 00:46:53,360 Hi everyone, 711 00:46:53,360 --> 00:46:54,640 Hi, yes. 712 00:46:56,040 --> 00:46:57,400 I'll be brief. 713 00:46:57,400 --> 00:47:00,000 Can everybody hear me? 714 00:47:00,000 --> 00:47:00,520 Great. 715 00:47:00,520 --> 00:47:03,120 Okay. 716 00:47:03,120 --> 00:47:05,120 Well, I mean, I wanted to, 717 00:47:05,120 --> 00:47:08,160 first of all, say thank you to Julia and Fernando 718 00:47:08,160 --> 00:47:11,160 for presenting this 719 00:47:11,320 --> 00:47:13,920 amazing work and, 720 00:47:13,920 --> 00:47:17,120 you know, maybe picking up a little bit on 721 00:47:17,200 --> 00:47:19,800 what Sergio is commenting on about how do you do this 722 00:47:19,800 --> 00:47:23,720 work and be in community and not 723 00:47:23,800 --> 00:47:26,960 so into romanticizing the work. 724 00:47:26,960 --> 00:47:30,960 And I mean, I don't know if I have much as much of a question or a comment, 725 00:47:30,960 --> 00:47:35,320 but what I was struck by is this tension 726 00:47:35,400 --> 00:47:37,040 and drawing attention and mobilizing 727 00:47:37,040 --> 00:47:40,800 publics and community around this tension of 728 00:47:40,920 --> 00:47:47,640 of these culture-nature, nature-culture dynamics, and 729 00:47:47,720 --> 00:47:52,200 especially with some of the earlier work you were sharing, Julia, 730 00:47:52,280 --> 00:47:54,560 kind of thinking about, even just from the images 731 00:47:54,560 --> 00:47:58,360 and through this screen, there's this, that some of these artworks 732 00:47:58,360 --> 00:48:01,360 are conjuring 733 00:48:01,600 --> 00:48:04,274 feelings of tenderness for me 734 00:48:04,274 --> 00:48:07,000 ritual mourning. 735 00:48:07,080 --> 00:48:11,680 And I started to think about, like this kind of process of ritual, of witnessing 736 00:48:11,760 --> 00:48:16,120 that's happening on the site as well. 737 00:48:16,200 --> 00:48:18,240 So I'm just wondering if, that for me 738 00:48:18,240 --> 00:48:22,040 has something to do with kind of countering, 739 00:48:22,120 --> 00:48:24,880 making the spectacle and, 740 00:48:24,880 --> 00:48:27,720 and kind of thinking about this witnessing or these actions. 741 00:48:27,720 --> 00:48:30,120 I don't know if that's what you've been witnessing 742 00:48:30,120 --> 00:48:35,200 'Cause you're so embedded and embodying that site, and have been for a long time. 743 00:48:35,200 --> 00:48:40,640 So, I think it's it's a it's a question of thinking about 744 00:48:41,480 --> 00:48:46,360 do you see this work as a kind of ritual or mourning or witnessing? 745 00:48:46,360 --> 00:48:50,310 And I think when we see images of the water, you know, immediately, 746 00:48:50,310 --> 00:48:55,080 you start to kind of feel like we're in the rhythm of this erosion 747 00:48:55,080 --> 00:48:58,960 and witnessing in this kind of a still life form and in the documentation. 748 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. 749 00:49:01,680 --> 00:49:08,200 I really find the work in the project really moving. 750 00:49:08,280 --> 00:49:11,000 So, I wonder if you could speak a little bit to that, 751 00:49:11,000 --> 00:49:15,720 and the other question I had was to what degree the locals 752 00:49:15,800 --> 00:49:19,960 and the community are embedded and working with- 753 00:49:20,160 --> 00:49:23,960 If you could say a bit more about the importance of their agency 754 00:49:24,040 --> 00:49:27,840 in the work and hosting, 755 00:49:27,920 --> 00:49:30,600 I guess, outsiders coming into 756 00:49:30,600 --> 00:49:32,200 to work in the site. 757 00:49:48,360 --> 00:49:49,560 No, it's okay. 758 00:49:51,200 --> 00:49:55,200 I was expecting us to sort of ask the question and answer, 759 00:49:55,200 --> 00:49:56,240 ask the question and answer. 760 00:49:56,240 --> 00:50:02,480 So, I think, I'll be brief if we're going in this way, 761 00:50:02,560 --> 00:50:05,240 I'll also say thank you for sharing this with us 762 00:50:05,240 --> 00:50:08,520 and congratulations. 763 00:50:08,600 --> 00:50:10,320 This is really moving 764 00:50:10,320 --> 00:50:15,720 and amazing work that I think we can all learn so much from. 765 00:50:15,800 --> 00:50:19,320 I'm really interested in 766 00:50:19,400 --> 00:50:21,240 something that Fernando said. 767 00:50:21,240 --> 00:50:24,960 We were talking about creating a language 768 00:50:25,040 --> 00:50:30,480 for the erosion and 769 00:50:30,560 --> 00:50:33,760 and it made me think about the question 770 00:50:33,760 --> 00:50:39,720 of what role performance plays in your work. 771 00:50:39,800 --> 00:50:41,680 You know, a question, 772 00:50:41,680 --> 00:50:45,800 what I keep coming back to because the presentation of the work 773 00:50:45,880 --> 00:50:50,560 in this way, in this form we're seeing it in a kind of an installation format. 774 00:50:50,640 --> 00:50:53,320 But you're also describing dance, 775 00:50:53,320 --> 00:50:57,280 the woman who is dancing and the root of a tree, for example, 776 00:50:57,360 --> 00:50:59,040 I'm also familiar with some of your other work. 777 00:50:59,040 --> 00:51:02,760 That's more theater based and had the pleasure of engaging 778 00:51:02,840 --> 00:51:08,080 in a workshop that Fernando led that was theater based as well. 779 00:51:08,080 --> 00:51:10,360 So, I'm kind of interested in 780 00:51:10,360 --> 00:51:13,480 what role performance plays in creating 781 00:51:13,480 --> 00:51:18,240 a kind of language for the erosion, if it does at all, and 782 00:51:18,320 --> 00:51:18,840 what can 783 00:51:18,840 --> 00:51:24,000 performance do that other art forms can't or is performance 784 00:51:24,000 --> 00:51:26,000 not the most useful term in thinking 785 00:51:26,000 --> 00:51:29,800 about this particular body of work that you're sharing with us? 786 00:51:29,880 --> 00:51:32,560 Just interested in the specificity of artworks 787 00:51:32,560 --> 00:51:37,320 and the language that they create in the context of environmental collapse. 788 00:51:37,400 --> 00:51:40,400 And I think that for me, that also goes back to something 789 00:51:40,400 --> 00:51:43,960 that Julia was talking about, that I found really moving, which is thinking 790 00:51:43,960 --> 00:51:48,040 about the pedagogy part of this work 791 00:51:48,120 --> 00:51:51,120 and Julia, you were talking about 792 00:51:51,240 --> 00:51:54,600 how art in the context of environmental crisis 793 00:51:54,600 --> 00:51:58,600 can help us with dealing with the trauma of loss, 794 00:51:58,680 --> 00:52:03,120 the trauma of losing tangible things that mean a great deal to us, and 795 00:52:03,320 --> 00:52:07,320 and also the loss of memory eventually as well. 796 00:52:07,400 --> 00:52:11,430 So, I see these two things as kind of operating in conversation 797 00:52:11,430 --> 00:52:12,280 with one another. 798 00:52:12,280 --> 00:52:16,280 I hear the idea of creating a language 799 00:52:16,360 --> 00:52:20,960 as being in conversation, with this idea of helping people to deal with trauma. 800 00:52:21,000 --> 00:52:26,760 And I was interested in hearing you talk a little bit more about all of that. 801 00:52:26,840 --> 00:52:30,280 And then secondarily, just because Hemispheric Encounters 802 00:52:30,280 --> 00:52:35,360 is a transnational project, thinking about whether this language is site specific 803 00:52:35,360 --> 00:52:40,000 or whether it could be transferable to other contexts of environmental collapse. 804 00:52:40,080 --> 00:52:43,880 You know, in North America, for example, we've seen really stark 805 00:52:43,880 --> 00:52:46,880 images, for example, of L.A. 806 00:52:47,000 --> 00:52:50,200 and severe environmental destruction. 807 00:52:50,280 --> 00:52:54,240 It's a totally different context, totally different situation. 808 00:52:54,240 --> 00:52:58,440 But we are talking about climate disaster in another context. 809 00:52:58,520 --> 00:53:02,760 So, can we think about a language 810 00:53:02,760 --> 00:53:08,560 that travels as well? 811 00:53:08,640 --> 00:53:10,830 These are my thoughts. 812 00:53:36,006 --> 00:53:40,360 I think I can answer better that way. 813 00:53:40,360 --> 00:53:43,320 Sergio brought up a lot of problems. 814 00:53:43,320 --> 00:53:45,720 You brought up paradoxes, 815 00:53:45,720 --> 00:53:49,600 struggles, obstacles. 816 00:53:49,680 --> 00:53:51,280 I think a reason to be 817 00:53:51,280 --> 00:53:55,410 there is to work on those paradoxes. 818 00:53:59,200 --> 00:54:01,360 How can we build, 819 00:54:01,360 --> 00:54:04,280 how can it build their work that works 820 00:54:04,280 --> 00:54:08,240 with the language that deals with destruction, 821 00:54:08,320 --> 00:54:11,430 something that goes beyond a negative look. 822 00:54:13,920 --> 00:54:16,040 But how does this destruction 823 00:54:16,040 --> 00:54:20,000 affect other things being produced? 824 00:54:20,080 --> 00:54:21,240 Someone leaves the house 825 00:54:21,240 --> 00:54:24,240 because the sea is approaching. 826 00:54:24,240 --> 00:54:28,000 Someone else will come in, or within a house 827 00:54:28,000 --> 00:54:32,920 will create a bar, something that works during the summers. 828 00:54:33,000 --> 00:54:36,200 And now this is something new. 829 00:54:36,280 --> 00:54:37,680 It creates new life. 830 00:54:37,680 --> 00:54:40,040 It created new possibilities. 831 00:54:40,040 --> 00:54:42,560 This is something that might have been considered 832 00:54:42,560 --> 00:54:47,080 gone, wasted. 833 00:54:47,160 --> 00:54:48,480 This idea 834 00:54:48,480 --> 00:54:52,718 of romanticize, of making a spectacle for this. 835 00:54:52,718 --> 00:54:58,120 It's definitely a challenge, we have been there for years. 836 00:54:58,200 --> 00:55:03,080 We host artists that stay for a week and then they move on, 837 00:55:03,120 --> 00:55:06,840 they can create work, but we have no control over. 838 00:55:08,960 --> 00:55:10,320 And that's 839 00:55:10,320 --> 00:55:15,840 why our focus there is the mediation between the artists and the land 840 00:55:15,920 --> 00:55:19,680 so that these artists can hear the people, 841 00:55:19,680 --> 00:55:23,520 so that their experience there will impact them 842 00:55:23,600 --> 00:55:27,520 in a sensitive way 843 00:55:27,600 --> 00:55:30,600 in their work later on. 844 00:55:30,840 --> 00:55:34,040 They may develop something that will sell or not. 845 00:55:34,040 --> 00:55:34,680 You know what? 846 00:55:34,680 --> 00:55:35,880 We're not worried about that. 847 00:55:35,880 --> 00:55:45,040 We're more worried about the learning process that this will have later on. 848 00:55:45,120 --> 00:55:46,120 Obviously, we have 849 00:55:46,120 --> 00:55:49,960 no control over what they will do 850 00:55:50,040 --> 00:55:54,310 out the information that they gathered there. 851 00:55:56,690 --> 00:55:59,120 We are always running meetings 852 00:55:59,120 --> 00:56:02,600 so people can can talk about their experiences 853 00:56:02,600 --> 00:56:04,380 to the artists. 854 00:56:07,930 --> 00:56:12,410 So, I don't have a better answer. 855 00:56:16,200 --> 00:56:18,760 I'm from Rio. 856 00:56:18,760 --> 00:56:21,760 I was shocked when I arrived in 857 00:56:21,760 --> 00:56:23,540 Atafona. 858 00:56:25,520 --> 00:56:27,000 The teaching experience 859 00:56:27,000 --> 00:56:30,520 needs to go through living with the loss 860 00:56:30,600 --> 00:56:33,600 and to create within it. 861 00:56:33,640 --> 00:56:37,770 It's an existential condition. 862 00:56:43,560 --> 00:56:48,080 The pedagogy is not specific to a content, 863 00:56:48,160 --> 00:56:50,040 the environmental loss, 864 00:56:50,040 --> 00:56:53,840 it touches all of us. 865 00:56:53,920 --> 00:56:54,920 If we are people 866 00:56:54,920 --> 00:56:59,680 that take the environmental problems seriously. 867 00:56:59,760 --> 00:57:02,160 And yeah. 868 00:57:02,160 --> 00:57:06,640 In Brazil, we are feeling it. 869 00:57:06,720 --> 00:57:10,120 I believe we'll all have to deal with this loss. 870 00:57:10,200 --> 00:57:15,280 The material loss, the loss of a certain lifestyle, 871 00:57:15,360 --> 00:57:17,760 lots of loss. 872 00:57:21,560 --> 00:57:24,560 How does the community receive this? 873 00:57:24,600 --> 00:57:26,080 Well, very well. 874 00:57:26,080 --> 00:57:30,640 They're often very happy about it. 875 00:57:30,720 --> 00:57:32,320 Believe it or not, 876 00:57:32,320 --> 00:57:36,970 this is not a topic that receives a lot of attention. 877 00:57:42,030 --> 00:57:44,040 But we moved there. 878 00:57:44,040 --> 00:57:48,080 And so we we became neighbors. 879 00:57:48,160 --> 00:57:51,000 And that's how people see this. 880 00:57:51,000 --> 00:57:54,160 The work, our work is to bring attention to this, 881 00:57:54,400 --> 00:57:57,400 to put the spotlight on it, 882 00:57:57,520 --> 00:58:00,976 to create a dialogue around it. 883 00:58:04,280 --> 00:58:06,960 I think performance has a special role 884 00:58:06,960 --> 00:58:10,480 in the work that we develop. 885 00:58:10,560 --> 00:58:14,800 I think it's the context, I think is the very nature of performance 886 00:58:14,800 --> 00:58:18,650 that allows us to use it 887 00:58:21,200 --> 00:58:23,800 Performance is a language that's very important 888 00:58:23,800 --> 00:58:25,600 to us. 889 00:58:26,800 --> 00:58:30,240 We, as a theatre group, 890 00:58:30,320 --> 00:58:36,920 we were always very linked to the performance. 891 00:58:37,000 --> 00:58:43,360 Our works were always rooted in performance. 892 00:58:43,440 --> 00:58:45,080 You know, it might be on the beach, 893 00:58:45,080 --> 00:58:48,520 it might be some archive work. 894 00:58:48,600 --> 00:58:51,880 It was a type of theatre that was always was born 895 00:58:51,960 --> 00:58:54,960 from the territory. 896 00:58:55,200 --> 00:58:56,880 And I'm going to wrap up. 897 00:58:56,880 --> 00:58:59,720 Sorry, there are lots of questions. I still want to make room for Fernando. 898 00:59:04,320 --> 00:59:08,280 I'd like to touch upon the idea of the end of the world. 899 00:59:08,360 --> 00:59:10,680 There is an important thinker in Brazil. 900 00:59:10,680 --> 00:59:13,680 __________? 901 00:59:13,720 --> 00:59:17,040 He has said that the world has ended many times. 902 00:59:17,160 --> 00:59:21,440 Many worlds have. 903 00:59:21,520 --> 00:59:24,240 So, when we go over there, 904 00:59:24,240 --> 00:59:27,240 what we see is that this is not the end of "the" world. 905 00:59:27,360 --> 00:59:31,560 It's the end of "a" world. 906 00:59:31,640 --> 00:59:36,960 It's something that will lead us to a new experience. 907 00:59:37,040 --> 00:59:38,720 It's part of a cycle. 908 00:59:38,720 --> 00:59:43,720 It's not the apocalypse that will be the end of all of us. 909 00:59:43,800 --> 00:59:46,200 We are going to have to keep dealing with the 910 00:59:46,200 --> 00:59:50,080 consequences of our actions, of our explorations, 911 00:59:50,160 --> 00:59:54,200 our way of interacting. 912 00:59:54,280 --> 00:59:58,640 So, it might be more complex than simply an end, 913 00:59:58,720 --> 01:00:01,080 something that would simply put 914 01:00:01,080 --> 01:00:04,600 an end to our problems. 915 01:00:04,680 --> 01:00:07,170 There is no end. 916 01:00:14,440 --> 01:00:18,480 And the worlds have been ending for a very long time. 917 01:00:18,480 --> 01:00:22,400 I think Atafona talks about that 918 01:00:22,480 --> 01:00:26,680 and in many ways it extrapolates, it connects 919 01:00:26,680 --> 01:00:30,785 to many other experiences of ending, 920 01:00:30,785 --> 01:00:33,280 many that we have lived, are living now. 921 01:00:33,280 --> 01:00:35,760 And we'll continue to live. 922 01:00:35,760 --> 01:00:41,120 I think it has an existential pedagogy. 923 01:00:41,200 --> 01:00:44,480 It's sad and happy at the same time. 924 01:00:44,560 --> 01:00:46,440 It brings a sadness and a 925 01:00:46,440 --> 01:00:50,100 melancholy in its nature. 926 01:00:54,520 --> 01:00:56,880 I think it's a very rich experience 927 01:00:56,880 --> 01:01:00,840 to live in that territory, something very valuable. 928 01:01:00,920 --> 01:01:03,080 That's it for me. 929 01:01:07,680 --> 01:01:09,880 I'm going to try to add something to what 930 01:01:09,880 --> 01:01:12,180 Julia said. 931 01:01:17,280 --> 01:01:22,020 I'm going to start with Sergio's points. 932 01:01:25,440 --> 01:01:26,760 It seems to me 933 01:01:26,760 --> 01:01:31,920 that when we work with an art and we try to engage or 934 01:01:31,920 --> 01:01:36,480 we try to be environmentally responsible, 935 01:01:36,480 --> 01:01:41,280 we don't really have an answer, 936 01:01:41,360 --> 01:01:43,200 but there is something we know, 937 01:01:43,200 --> 01:01:46,200 we are going to need to build alliances. 938 01:01:46,200 --> 01:01:49,080 We're going to have to compromise. 939 01:01:49,080 --> 01:01:53,800 We're going to have to get involved with the territories. 940 01:01:53,880 --> 01:01:59,030 We're going to have to spend time there. 941 01:02:03,120 --> 01:02:04,840 There are some points that we know 942 01:02:04,840 --> 01:02:09,120 are just vital so that the work will make sense in a way 943 01:02:09,120 --> 01:02:13,760 so that they will have some sort of impact for the people that live there. 944 01:02:17,640 --> 01:02:19,040 We lived there, 945 01:02:19,040 --> 01:02:22,040 but we chose to live there. 946 01:02:22,110 --> 01:02:23,880 However, there are people that live there because 947 01:02:23,880 --> 01:02:29,240 they have nowhere else to go. 948 01:02:29,240 --> 01:02:33,000 We know that our presence there is different. 949 01:02:33,000 --> 01:02:37,720 We're always going to be foreigners there in one way or another. 950 01:02:37,800 --> 01:02:42,320 So, how can our work become relevant to them? 951 01:02:42,400 --> 01:02:45,060 We don't know. 952 01:02:46,880 --> 01:02:48,120 But we understand that 953 01:02:48,120 --> 01:02:52,000 there is art that doesn't care about that. 954 01:02:52,080 --> 01:02:55,480 There is art that is for producing 955 01:02:55,560 --> 01:03:01,140 the exploitation processes, 956 01:03:04,640 --> 01:03:06,480 but we are there 957 01:03:06,480 --> 01:03:10,880 and it is our job to sometimes point the finger and say, "hey, 958 01:03:10,960 --> 01:03:15,120 what you're doing here is this", like you're not being any better? 959 01:03:15,120 --> 01:03:15,640 Excuse me, 960 01:03:15,640 --> 01:03:19,320 there is no sound from them. 961 01:03:19,400 --> 01:03:22,130 It's back. 962 01:03:26,680 --> 01:03:31,120 Fernando's sound has stopped. 963 01:03:31,200 --> 01:03:36,940 There is this similar place called 964 01:03:37,320 --> 01:03:40,040 _____ that.... I'm sorry. 965 01:03:40,040 --> 01:03:43,380 Unfortunately, I can't hear Fernando's audio. 966 01:03:48,960 --> 01:03:52,360 So, we need to be aware. 967 01:04:03,240 --> 01:04:07,560 Art can have many different ways, 968 01:04:07,640 --> 01:04:10,710 many different ways to interact. 969 01:04:35,800 --> 01:04:36,760 I'm sorry. 970 01:04:36,760 --> 01:04:38,800 I don't know what's happening. I'm going to. 971 01:04:40,560 --> 01:04:43,000 Yeah, It's better now. 972 01:04:50,000 --> 01:04:55,360 So, where should I go back to? 973 01:04:56,160 --> 01:04:58,950 Carry on from where you were. 974 01:05:02,440 --> 01:05:05,960 It seems to me that there is nuance that we can 975 01:05:05,960 --> 01:05:09,400 we can notice. 976 01:05:09,960 --> 01:05:12,480 There is artwork. 977 01:05:12,480 --> 01:05:15,310 Fernando's sound is frozen again. 978 01:06:14,760 --> 01:06:15,480 Well, I mean, 979 01:06:15,480 --> 01:06:19,600 I think we had 980 01:06:19,680 --> 01:06:24,120 at least a good summary of the response. 981 01:06:25,320 --> 01:06:30,440 The connection was erosionated. 982 01:06:33,360 --> 01:06:34,920 I mean, maybe it's the moment 983 01:06:34,920 --> 01:06:37,920 to close this space and we can 984 01:06:37,920 --> 01:06:41,560 or should wait a little bit? 985 01:06:41,640 --> 01:06:42,200 Yeah, let's wait. 986 01:06:42,200 --> 01:06:43,640 We can wait then. 987 01:06:43,640 --> 01:06:44,880 Yeah, let's wait then. 988 01:06:44,880 --> 01:06:46,840 At least until they are back. 989 01:06:46,840 --> 01:06:49,240 I will send a message 990 01:06:49,240 --> 01:06:51,640 to their phone. 991 01:07:08,960 --> 01:07:10,680 He is saying that both of them 992 01:07:10,680 --> 01:07:13,680 lost their connection. 993 01:07:13,800 --> 01:07:15,320 Let me see what he's saying. 994 01:07:15,320 --> 01:07:17,514 He's typing. 995 01:07:19,400 --> 01:07:21,640 He would try again 996 01:07:21,640 --> 01:07:23,800 via cell phone. 997 01:07:31,800 --> 01:07:33,720 You know, when we are working hemispherically, 998 01:07:34,520 --> 01:07:37,440 This is always a thing, you know, 999 01:07:37,440 --> 01:07:40,640 the connection, always, 1000 01:07:40,720 --> 01:07:43,720 the timezone. 1001 01:07:43,920 --> 01:07:47,560 So, we need to have a little, like a 1002 01:07:47,640 --> 01:07:51,680 counter acts like, like performative 1003 01:07:51,760 --> 01:07:55,640 moments for kind of the intermissions when people leave. 1004 01:07:55,640 --> 01:07:58,640 I think, I would like to nominate Denise 1005 01:07:58,680 --> 01:08:05,200 who creates incredible short puppet shows to have something ready 1006 01:08:05,280 --> 01:08:07,000 for future sessions. 1007 01:08:07,000 --> 01:08:09,760 So, that the puppet theatre can take over 1008 01:08:12,480 --> 01:08:15,480 as we're waiting for the connection to come back. 1009 01:08:15,520 --> 01:08:17,880 It could be a way for us to organically deal 1010 01:08:17,880 --> 01:08:21,400 with the discomfort. 1011 01:08:22,040 --> 01:08:28,000 Oh, see. 1012 01:08:28,080 --> 01:08:30,160 That's exactly. 1013 01:08:31,080 --> 01:08:33,760 I also nominate Jess. 1014 01:08:33,760 --> 01:08:41,670 Jess, can also provide... 1015 01:08:46,320 --> 01:08:47,880 Here's Julia. 1016 01:08:47,880 --> 01:08:50,520 Julia's back. 1017 01:08:52,120 --> 01:08:54,350 She's back. 1018 01:09:00,000 --> 01:09:01,920 Sorry. 1019 01:09:01,920 --> 01:09:04,120 Let me see if Fernando 1020 01:09:04,120 --> 01:09:05,600 gets back. 1021 01:09:05,600 --> 01:09:08,920 If no, he will come here. 1022 01:09:08,960 --> 01:09:12,160 One moment. 1023 01:09:12,600 --> 01:09:14,880 Looks like he is 1024 01:09:20,800 --> 01:09:23,510 Fernando? 1025 01:09:46,600 --> 01:09:47,880 Can you hear me? 1026 01:09:58,680 --> 01:10:01,360 But how erosion effect that- 1027 01:10:01,360 --> 01:10:02,520 It's the end of the world. 1028 01:10:02,520 --> 01:10:06,160 The beginning of the world. 1029 01:10:07,974 --> 01:10:11,560 We were talking a little bit about the relationship 1030 01:10:15,760 --> 01:10:20,120 -it has dimensions that 1031 01:10:20,120 --> 01:10:24,440 aren't always related to 1032 01:10:24,440 --> 01:10:28,320 an activist 1033 01:10:28,400 --> 01:10:31,960 commitment, 1034 01:10:34,440 --> 01:10:37,440 The _______ shows that commitment. 1035 01:10:37,600 --> 01:10:41,240 We have other work. 1036 01:10:41,320 --> 01:10:43,850 Some work that are more territorial 1037 01:10:43,860 --> 01:10:47,040 such as a moving museum. 1038 01:10:49,800 --> 01:10:52,960 The idea is to create a direct dialogue 1039 01:10:52,960 --> 01:10:56,160 with the community 1040 01:10:57,080 --> 01:11:00,960 We want to bring our works to to the community, 1041 01:11:01,040 --> 01:11:04,040 to the fisherfolk community. 1042 01:11:04,080 --> 01:11:05,640 But we need to be watchful. 1043 01:11:05,640 --> 01:11:10,200 We need to be always thinking about this. 1044 01:11:10,280 --> 01:11:12,840 It doesn't matter whether I work 1045 01:11:12,840 --> 01:11:16,200 with painting. 1046 01:11:16,280 --> 01:11:21,280 Is there any way that I can make this work echo 1047 01:11:21,360 --> 01:11:23,720 with this place? 1048 01:11:37,360 --> 01:11:40,920 So, this answering Sergio's question. 1049 01:11:46,160 --> 01:11:50,560 Now talking about Laura's point, I talked about the idea 1050 01:11:50,560 --> 01:11:55,040 of creating a language that's connected to erosion. 1051 01:12:00,560 --> 01:12:05,240 There's something that we learn along the way, we are raised thinking that you know that 1052 01:12:05,480 --> 01:12:07,950 the artist is some sort of genius 1053 01:12:07,950 --> 01:12:12,000 that is creating something so special 1054 01:12:12,000 --> 01:12:15,000 and so different. 1055 01:12:15,080 --> 01:12:16,560 There's a 1056 01:12:16,560 --> 01:12:20,640 that ego plays a big role. 1057 01:12:20,880 --> 01:12:25,160 But what we understand now is that the work 1058 01:12:25,160 --> 01:12:29,040 is to work with, is to create a partnership. 1059 01:12:32,240 --> 01:12:35,760 Of course, we are still authors 1060 01:12:35,760 --> 01:12:39,880 in some sort of way, but we share 1061 01:12:42,200 --> 01:12:45,500 the authorship with the territory. 1062 01:12:50,680 --> 01:12:53,360 We know that this work isn't simply 1063 01:12:53,360 --> 01:12:56,360 the product of an artistic genius. 1064 01:12:57,240 --> 01:13:01,120 We are listening to what the erosion is producing, 1065 01:13:01,120 --> 01:13:04,400 to what those lands are telling us. 1066 01:13:04,480 --> 01:13:08,440 We are working with some sort of interpreter. 1067 01:13:08,520 --> 01:13:11,280 I think the idea of translation 1068 01:13:11,280 --> 01:13:14,680 in arts is also something that's really interesting. 1069 01:13:23,720 --> 01:13:27,240 You can also understand art from this perspective. 1070 01:13:27,240 --> 01:13:31,000 Something that's beyond what's human. 1071 01:13:32,846 --> 01:13:37,920 Art doesn't belong only to the human perspective. 1072 01:13:38,000 --> 01:13:43,120 We could think about art in this way, and this type of art 1073 01:13:43,120 --> 01:13:49,960 that we are working with, has something that actually exists in this 1074 01:13:50,080 --> 01:13:54,520 in this meeting point, that it exists 1075 01:13:54,600 --> 01:13:59,040 within these environmental processes. 1076 01:13:59,120 --> 01:14:01,560 That exists within the senses. 1077 01:14:04,520 --> 01:14:08,520 I don't know that there is a way to create this language 1078 01:14:08,600 --> 01:14:13,720 aside from this relationship. 1079 01:14:13,800 --> 01:14:16,480 But I think once created, 1080 01:14:16,480 --> 01:14:19,760 yes, that language can expand. 1081 01:14:19,840 --> 01:14:23,440 Yes, we are working locally, but we understand that these are global 1082 01:14:23,440 --> 01:14:24,120 topics. 1083 01:14:24,120 --> 01:14:29,240 They are particular to Atafona. 1084 01:14:29,240 --> 01:14:34,200 Atafona is reflecting questions that exist in other places. 1085 01:14:41,400 --> 01:14:44,840 I think that is reflected in the works. 1086 01:14:48,800 --> 01:14:50,920 I may be missing something. 1087 01:14:52,640 --> 01:14:54,520 But in general terms, I think that's that. 1088 01:14:54,520 --> 01:14:56,560 That's what I had to share with you. 1089 01:14:56,560 --> 01:14:59,700 These are my thoughts. 1090 01:15:18,390 --> 01:15:20,040 Now what do we do? 1091 01:15:23,050 --> 01:15:26,930 Turn your camera on and clap. 1092 01:15:29,280 --> 01:15:32,920 I don't know is there anyone here 1093 01:15:32,920 --> 01:15:37,200 that would like to say something? Because it's just myself, Laura and Shauna. 1094 01:15:37,280 --> 01:15:40,800 But maybe there is someone else here that would like to make a comment. 1095 01:15:49,800 --> 01:15:53,550 But I'd like to open the space. 1096 01:16:02,760 --> 01:16:07,480 Everybody is too shy to say anything. 1097 01:16:07,560 --> 01:16:09,560 It's fine. 1098 01:16:09,560 --> 01:16:10,960 No problem. 1099 01:16:10,960 --> 01:16:13,960 Yeah, I think we have to wrap up, 1100 01:16:13,960 --> 01:16:15,640 Otherwise, we 1101 01:16:15,640 --> 01:16:17,240 we would need a back up for Firmo 1102 01:16:17,240 --> 01:16:19,560 who has been doing an amazing job. 1103 01:16:22,600 --> 01:16:23,640 Thank you, Firmo. 1104 01:16:36,360 --> 01:16:36,960 Great job. 1105 01:16:36,960 --> 01:16:39,840 Always. 1106 01:16:49,120 --> 01:16:50,560 Thank you, thank you, everyone. 1107 01:16:50,560 --> 01:16:52,920 Thank you for this opportunity. 1108 01:16:52,920 --> 01:16:55,640 It's so important to us. 1109 01:16:55,640 --> 01:16:57,240 It's so important to be part of this. 1110 01:16:57,240 --> 01:16:58,440 I don't think I 1111 01:16:58,440 --> 01:17:01,280 I thanked everyone from The Coop. 1112 01:17:05,040 --> 01:17:07,630 We are truly very greatful, 1113 01:17:07,630 --> 01:17:10,640 for this opportunity to share this with you. 1114 01:17:10,720 --> 01:17:14,200 And I hope we can continue this dialogue. 1115 01:17:16,160 --> 01:17:18,240 It's such important work. 1116 01:17:18,240 --> 01:17:21,960 That's it, we're very happy about it. 1117 01:17:26,240 --> 01:17:30,920 I am going to take the mic now to 1118 01:17:31,000 --> 01:17:35,680 to thank in the name of this Hemispheric Encounters, that is this large network of people. 1119 01:17:35,760 --> 01:17:40,360 Fernando is our post-doc member. 1120 01:17:40,440 --> 01:17:43,360 He just finished his project 1121 01:17:43,360 --> 01:17:46,080 And I'd like to thank him. 1122 01:17:46,080 --> 01:17:51,240 He gave us the opportunity to meet the CasaDuna work. 1123 01:17:52,960 --> 01:17:55,520 I'd like to thank for this partnership 1124 01:17:55,520 --> 01:17:59,280 and I hope that we can keep working. 1125 01:18:02,320 --> 01:18:04,520 That's it. 1126 01:18:11,080 --> 01:18:12,840 Thanks you all. 1127 01:18:15,600 --> 01:18:16,840 Thank you, everyone. Thank you.