WEBVTT 00:00:11.280 --> 00:00:14.760 Hello and welcome to The Coop a HEN Hangout 00:00:14.760 --> 00:00:20.760 and we're so happy to welcome you all to the first session of 2025. 00:00:20.840 --> 00:00:24.560 So we are the organizers of The Coop. 00:00:24.560 --> 00:00:27.760 So I'm T Braun, Franklin Bonivento van Grieken 00:00:27.800 --> 00:00:29.560 ... 00:00:29.560 --> 00:00:32.000 Denise Rogers Valenzuela, 00:00:32.000 --> 00:00:34.880 and we are the curators of The Coop. 00:00:34.880 --> 00:00:40.440 and we work in consultation with Laura Levin and Tracy Tidgwell and Firmo Pompeu 00:00:40.440 --> 00:00:45.640 will be doing Portuguese English interpretation today. 00:00:45.720 --> 00:00:49.760 So to activate the translation, you select the globe 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. 00:00:54.840 --> 00:00:57.720 And it's called interpretation so you can listen. 00:00:57.720 --> 00:01:00.600 So Denise is holding up to show. 00:01:00.600 --> 00:01:03.200 You can listen to the original audio 00:01:03.200 --> 00:01:07.360 or English or Portuguese, and you'll hear two voices 00:01:07.360 --> 00:01:11.920 during the interpretation, the original speaker and Firmo. 00:01:12.000 --> 00:01:16.120 But if that's too much sensory stimulation, you can always select mute 00:01:16.120 --> 00:01:20.280 original audio and you can switch between those two options 00:01:20.280 --> 00:01:24.360 during the event, and this information we pasted in the chat. 00:01:24.440 --> 00:01:31.240 And if you have any tech issues or questions, you can message Denise in the chat. 00:01:31.320 --> 00:01:33.480 Yes, and also 00:01:33.480 --> 00:01:36.960 we will have closed captioning in English 00:01:37.120 --> 00:01:43.160 and to activate the captions you click on the three dots 00:01:43.240 --> 00:01:45.600 or where it says "more". 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 00:01:51.360 --> 00:01:54.760 and also at the bottom. 00:01:54.840 --> 00:01:55.080 Yeah. 00:01:55.080 --> 00:01:58.480 And if you have any questions, just message me. 00:01:58.560 --> 00:01:58.840 Yeah, 00:01:58.840 --> 00:02:02.040 and finally, we want to let you know that we will be 00:02:02.040 --> 00:02:05.320 recording today's event for archival purposes, 00:02:05.400 --> 00:02:08.520 and The Coop is an online gathering where we invite guests involved 00:02:08.520 --> 00:02:13.600 with the Hemispheric Encounters Network and beyond for a conversation. 00:02:13.680 --> 00:02:18.280 And although many of you are involved with Hemispheric Encounters, 00:02:18.360 --> 00:02:23.080 the Hemispheric Encounters Network or HEN for short 00:02:23.160 --> 00:02:27.000 is a growing network of activists, artists, 00:02:27.080 --> 00:02:32.160 academics, students and community organizations from across the Americas 00:02:32.240 --> 00:02:36.160 that explore hemispheric performance as a methodology, 00:02:36.200 --> 00:02:42.080 a pedagogical strategy, and a tool for social change. 00:02:42.160 --> 00:02:42.760 And if 00:02:42.760 --> 00:02:45.840 you would like to hear about future sessions of The Coop, you can follow 00:02:45.880 --> 00:02:49.640 Hemispheric Encounters on Instagram at HemiEncounters. 00:02:49.640 --> 00:02:50.800 And if you would like to see 00:02:50.800 --> 00:02:55.240 any past sessions or something you lost, you can view them on the HEN website. 00:02:55.320 --> 00:02:58.150 You can also get in touch with us via email at 00:02:58.160 --> 00:03:01.720 the.coop.hangout@gmail.com 00:03:01.760 --> 00:03:03.480 I will paste these links in the chat. 00:03:03.480 --> 00:03:04.520 So, no worries. 00:03:04.520 --> 00:03:06.760 You don't have to memorize all this information, 00:03:06.760 --> 00:03:09.760 so, to be in touch. 00:03:09.840 --> 00:03:10.320 Okay. 00:03:10.320 --> 00:03:15.280 And before we hear from our speakers, we want to offer a land acknowledgment. 00:03:15.360 --> 00:03:17.880 So today, obviously we're gathered online. 00:03:17.880 --> 00:03:21.080 So we're all in different territories and each with their own 00:03:21.080 --> 00:03:28.000 original caretakers and their particular iterations of colonialism unfolding. 00:03:28.080 --> 00:03:29.240 But Franklin and I 00:03:29.240 --> 00:03:33.000 are presently in Tiohtià:ke or what is known as Montreal. 00:03:33.000 --> 00:03:36.880 So, today I'll just speak from that perspective. 00:03:36.960 --> 00:03:42.440 So, Montreal corresponds to the unceded territory of the Kanien'kéha people, 00:03:42.520 --> 00:03:46.000 and the name of this territory in Kanien'kéha is Tiohtià:ke, 00:03:46.000 --> 00:03:49.840 which means broken in two since this is an island 00:03:49.840 --> 00:03:53.600 that's crossed by two rivers and has been a gathering place 00:03:53.600 --> 00:03:58.000 for many First Nations people and continues to be so. 00:03:58.080 --> 00:04:01.640 And we acknowledge that our acknowledgment is faulty 00:04:01.640 --> 00:04:04.800 and that land acknowledgments in general are very fraught. 00:04:04.800 --> 00:04:09.160 But as hosts of this event, we still want to express gratitude 00:04:09.240 --> 00:04:14.560 to the original hosts of this land and these waters, the Kanien'kéha people 00:04:14.640 --> 00:04:19.080 and remind ourselves of the material relations and histories 00:04:19.080 --> 00:04:24.160 that enable our offline lives and this virtual gathering to happen. 00:04:24.240 --> 00:04:27.720 And I'm sure today's conversation will offer insightful 00:04:27.720 --> 00:04:30.480 perspectives on these issues. 00:04:30.560 --> 00:04:31.800 Yeah, regularly. 00:04:31.800 --> 00:04:33.360 We also have here Tracy 00:04:33.360 --> 00:04:37.160 Tidgwell, who I would like to acknowledge and send all the good vibes to Vernada, 00:04:37.160 --> 00:04:39.480 her cat is not having the best time. 00:04:39.480 --> 00:04:42.680 So, now let's turn to our guest, and today 00:04:42.680 --> 00:04:46.560 we will have a conversation about the exhibition Invento o Cais 00:04:46.560 --> 00:04:49.680 at Sesc Niterói, curated by Julia 00:04:49.720 --> 00:04:54.800 Naidin, Fernando Codeço and Daniel Toledo, which showcases works by 14 00:04:54.800 --> 00:04:59.240 artists from CasaDuna’s residencies in Atafona Beach, 00:04:59.320 --> 00:05:04.400 one of the world's most climate vulnerable regions in Rio de Janeiro. 00:05:04.480 --> 00:05:08.000 Through reflections of marine erosion, the artworks 00:05:08.000 --> 00:05:11.800 explore the environment, collective and process based perspective 00:05:11.880 --> 00:05:15.760 reinterpreting erosion, not just as destruction, 00:05:15.840 --> 00:05:20.560 but as a catalyst for new ways of seeing, adapting and acting in the world. 00:05:20.640 --> 00:05:24.840 Joining the conversation are curators Julia Naidin, and Fernando Codeço, 00:05:24.840 --> 00:05:28.280 as well as researcher Sérgio Pereira Andrade, a professor 00:05:28.320 --> 00:05:33.000 in the Department of Arts and Culture of Theater Studies at the University 00:05:33.080 --> 00:05:36.920 of Amsterdam in the Netherlands. 00:05:36.920 --> 00:05:40.440 We also have Shauna Janssen, professor of performance 00:05:40.680 --> 00:05:44.040 creation in the Department of Theater of Concordia University of Montreal, 00:05:44.280 --> 00:05:47.680 and Laura Levin, director and a professor, 00:05:47.680 --> 00:05:51.440 from Hemispheric Encounters, from York University. 00:05:51.440 --> 00:05:55.400 So please, Fernando, Julia, tell us more about all this wonderful 00:05:55.480 --> 00:06:02.920 project and all yours, welcome everybody. 00:06:03.000 --> 00:06:03.680 Okay. 00:06:03.680 --> 00:06:06.600 So, good afternoon to you all. 00:06:06.600 --> 00:06:11.480 I'm Julia, I will try to speak in English, but if I have any problems, 00:06:11.520 --> 00:06:15.920 we have Firmo here to help us. 00:06:16.000 --> 00:06:18.520 First, I'd like also to thank you all 00:06:18.520 --> 00:06:22.200 for receiving us to talk about the exposition. 00:06:22.280 --> 00:06:26.320 It's a joy for us to be able to share this with you. 00:06:26.400 --> 00:06:29.400 We were really happy with the result 00:06:29.640 --> 00:06:33.600 of this exposition, and we think that it 00:06:33.800 --> 00:06:38.280 is a way of showing you parts of the work that we've been doing there. 00:06:38.360 --> 00:06:42.200 In the more concrete, 00:06:42.280 --> 00:06:44.480 how can I say, visible 00:06:44.480 --> 00:06:47.480 way, so 00:06:47.640 --> 00:06:53.280 we can, we can just start 00:06:53.360 --> 00:06:55.400 rolling the 00:06:55.400 --> 00:06:57.120 the PowerPoint. 00:06:57.120 --> 00:07:00.160 This is a great introduction 00:07:00.160 --> 00:07:04.320 for you to know that in the last year we received 00:07:04.400 --> 00:07:09.960 more than 16 artists and researchers there in Atafona 00:07:10.040 --> 00:07:12.360 sharing interests 00:07:12.360 --> 00:07:15.960 in thinking about how arts 00:07:16.040 --> 00:07:19.680 (IN PORTUGUESE interference) 00:07:19.840 --> 00:07:23.400 (IN PORTUGUESE interference) in some territories 00:07:23.480 --> 00:07:26.800 and also to be able to communicate 00:07:26.880 --> 00:07:31.080 about the situation, expanding the narratives 00:07:31.200 --> 00:07:34.200 that's not really 00:07:34.440 --> 00:07:38.600 localize it in the territory to amplify this, 00:07:38.680 --> 00:07:41.320 this debate. 00:07:41.320 --> 00:07:44.600 So, for this exposition, 00:07:44.600 --> 00:07:48.400 we made a selection of artists, 00:07:48.480 --> 00:07:54.760 and, especially from some specific groups that have been there. 00:07:54.840 --> 00:08:01.000 One specific with Daniela Toledo in 2022 00:08:01.080 --> 00:08:04.320 and another one with Hernández 00:08:04.320 --> 00:08:08.560 It was on visual erosions, in 2018 00:08:08.640 --> 00:08:12.160 and also with a group of 00:08:12.240 --> 00:08:15.160 a school of arts in Rio 00:08:15.160 --> 00:08:19.240 that's called Escola Sem Sítio, we can translate 00:08:19.240 --> 00:08:25.240 maybe as "School of Non-place", in 2019. 00:08:25.320 --> 00:08:29.920 So, we will show you a bit of 14 works 00:08:30.000 --> 00:08:35.200 that we'd decided to arrange in this exposition. 00:08:35.280 --> 00:08:40.790 So, Fernando, if you can just pass again. 00:08:43.960 --> 00:08:46.880 As a methodology of work there, 00:08:46.880 --> 00:08:50.840 we always try to 00:08:50.920 --> 00:08:54.160 put ourselves as mediations 00:08:54.240 --> 00:08:58.200 in between the artist and the territory 00:08:58.200 --> 00:09:01.440 as we were living there for the last seven years. 00:09:01.520 --> 00:09:03.080 So, we receive them. 00:09:03.080 --> 00:09:07.000 And most of all, we, 00:09:07.080 --> 00:09:08.360 we put 00:09:08.360 --> 00:09:15.040 our focus on a experience with the ambiance, with the atmosphere, with the erosion, 00:09:15.120 --> 00:09:19.200 and also with the wood part of the environment, 00:09:19.200 --> 00:09:24.240 of the pleasure that the environment still can offer there. 00:09:24.320 --> 00:09:29.440 So, our mediation focused on listening 00:09:29.520 --> 00:09:33.520 to the people who lived there, and who deal 00:09:33.560 --> 00:09:36.920 with erosion, and to learn 00:09:37.000 --> 00:09:41.920 living with the erosion, and to adapt to 00:09:42.000 --> 00:09:46.000 the climate crisis that the territory 00:09:46.080 --> 00:09:50.440 has been living with for the last 17 years. 00:09:50.520 --> 00:09:56.440 So we have there people who already lost 00:09:56.520 --> 00:10:01.560 not one house, but sometimes five houses, seven houses. 00:10:01.640 --> 00:10:07.960 And how do people adapt to this and create a conviviality with this process? 00:10:08.040 --> 00:10:10.160 We think there's a, 00:10:10.160 --> 00:10:16.840 there's some same kind of pedagogical experience in this 00:10:16.920 --> 00:10:18.440 conviviality 00:10:18.440 --> 00:10:20.760 with erosion, 00:10:20.760 --> 00:10:22.760 and we think that this is 00:10:22.760 --> 00:10:26.440 an important message for artists to receive. 00:10:26.520 --> 00:10:29.760 So, our work there, as you will be able to see, 00:10:29.840 --> 00:10:36.960 it's not focus on only works in 00:10:37.040 --> 00:10:38.880 a special, 00:10:38.880 --> 00:10:42.320 separate ambiance for the artist to create, 00:10:42.400 --> 00:10:45.680 but also in the, in the beach, 00:10:45.720 --> 00:10:49.720 in the sea, in the river, with people. 00:10:49.800 --> 00:10:53.520 It's what we like to think 00:10:53.520 --> 00:10:56.960 as a contextual art, environmental 00:10:57.000 --> 00:11:02.440 art that is created and builded, in the context, 00:11:02.520 --> 00:11:06.680 not in solitude experience, 00:11:06.760 --> 00:11:10.840 so there you have some images of those experiences, 00:11:10.840 --> 00:11:15.480 of walking around, and just feeling the territory. 00:11:15.560 --> 00:11:19.840 We believe a lot in the kind of information 00:11:19.920 --> 00:11:22.720 that the experience can bring 00:11:22.720 --> 00:11:25.720 to the creative process. 00:11:25.720 --> 00:11:33.080 So, Fernando, you can pass again, please. 00:11:33.160 --> 00:11:36.760 There is an image of some process of artists. 00:11:36.760 --> 00:11:40.440 It's one image of inside the house, as you can see. 00:11:40.600 --> 00:11:44.200 But then you can see also some of the collections 00:11:44.280 --> 00:11:48.400 that artists used to do in the beach. 00:11:48.480 --> 00:11:55.120 In the the right side, you can see those small... 00:11:55.200 --> 00:12:00.400 a word in English that I don't know is ("Brick" WORD IN PORTUGUESE), Firmo. 00:12:00.480 --> 00:12:03.480 The small 00:12:03.720 --> 00:12:06.240 things that people use to buy houses. 00:12:06.240 --> 00:12:10.440 And when the houses are destroyed by the process 00:12:10.520 --> 00:12:13.040 of erosion with the sea. 00:12:13.040 --> 00:12:15.720 The sea and the erosion process, 00:12:15.720 --> 00:12:21.040 do some sculpturing, this word 00:12:21.240 --> 00:12:24.520 that I miss. ( "Brick" PORTUGUESE WORD) 00:12:24.600 --> 00:12:26.760 Is the basis of the houses. 00:12:26.760 --> 00:12:29.080 Brick, yes. Thank you. 00:12:29.080 --> 00:12:32.560 And yes, so 00:12:32.640 --> 00:12:38.880 there you can see, you can have an estimate of time 00:12:38.960 --> 00:12:41.880 that the brick is rolling 00:12:41.880 --> 00:12:44.800 in the sea, and in the beach. 00:12:44.800 --> 00:12:47.680 And we have different sizes of these bricks. 00:12:47.680 --> 00:12:50.520 So it's a 00:12:50.520 --> 00:12:53.880 it's an interesting process that one of the artists 00:12:53.960 --> 00:12:57.960 made, not only him, but it's an interesting process 00:12:58.000 --> 00:13:03.400 to think about how time processes destruction also. 00:13:03.480 --> 00:13:06.440 And in the other side, we have an artist 00:13:06.440 --> 00:13:09.800 that worked a lot photographing, and after 00:13:09.800 --> 00:13:14.840 making collages, with the 00:13:14.920 --> 00:13:16.350 I don't know if collage 00:13:16.350 --> 00:13:20.040 is the right word, but making together 00:13:20.120 --> 00:13:24.600 different photographs, cutting and rearranging to 00:13:24.760 --> 00:13:30.520 to think differently about the images and the imagination that can, 00:13:30.600 --> 00:13:36.640 that can be created when we reorganize the images. 00:13:36.720 --> 00:13:40.040 So, you can pass. 00:13:40.040 --> 00:13:42.880 There were in a 00:13:42.880 --> 00:13:44.280 in a specific place. 00:13:44.280 --> 00:13:48.960 It's a bar, and also atelie, and also a house. 00:13:49.040 --> 00:13:51.960 Where lived a 00:13:51.960 --> 00:13:55.200 great friend of ours, Nico. 00:13:55.280 --> 00:14:00.590 And his place was amazing because he created, he lived there. 00:14:00.590 --> 00:14:03.740 It was, his house 00:14:03.800 --> 00:14:08.840 was the bar where he sells drinks, but there 00:14:08.920 --> 00:14:12.560 he works with the material of the land, 00:14:12.560 --> 00:14:15.840 as well, to build 00:14:15.920 --> 00:14:20.680 a really specific place totally created by him. 00:14:20.760 --> 00:14:24.040 And he also has this conception 00:14:24.040 --> 00:14:29.080 of creating with what the earth gives, 00:14:29.160 --> 00:14:32.000 with what the sea brings, 00:14:32.000 --> 00:14:35.320 and re-imaginating functions 00:14:35.400 --> 00:14:39.520 and images with all that, 00:14:39.600 --> 00:14:43.960 most of the time, people see only as garbage. 00:14:44.040 --> 00:14:46.920 So, it was a specific place 00:14:46.920 --> 00:14:51.840 that we normally take the artist there to amplify 00:14:51.920 --> 00:14:55.240 their perspectives of art 00:14:55.320 --> 00:14:57.920 and what we can use 00:14:57.920 --> 00:15:03.800 to recreate the materials. 00:15:03.880 --> 00:15:07.760 So, you can go, Fer, please. 00:15:12.560 --> 00:15:13.120 There 00:15:13.120 --> 00:15:17.640 is Daniele Toledo, which is also an artist 00:15:17.640 --> 00:15:20.640 and was the creator exposition 00:15:20.800 --> 00:15:24.680 there, he has written "future" in the sand. 00:15:24.760 --> 00:15:28.200 But what seems to be the sand there, in this image, 00:15:28.280 --> 00:15:35.080 was actually the rest of a street. 00:15:35.160 --> 00:15:36.760 How can I say this word in English? 00:15:36.760 --> 00:15:42.400 Also, (CONCRETO PORTUGUESE WORD). 00:15:42.480 --> 00:15:44.200 Yes, concrete of the street. 00:15:44.200 --> 00:15:50.240 It used to be a street, but the sea has already destroyed. 00:15:50.320 --> 00:15:54.160 This specific area used to have like 00:15:54.240 --> 00:15:56.880 four kilometers ahead. 00:15:56.880 --> 00:16:02.560 And now what is happened in this beach 00:16:02.640 --> 00:16:06.920 is that all the city is going backwards. 00:16:07.000 --> 00:16:10.840 As the sea advances in the city, 00:16:10.840 --> 00:16:17.000 The city is building, rebuilding itself back, 00:16:17.080 --> 00:16:19.800 like the sea came, and the 00:16:19.800 --> 00:16:22.800 the constructions go backwards. 00:16:22.960 --> 00:16:27.400 And there, I don't know, if you can see 00:16:27.990 --> 00:16:31.360 this area where we have a limit between the sand 00:16:31.560 --> 00:16:35.200 and where it's written "future". 00:16:35.280 --> 00:16:39.800 So, it's like a catastrophic image "future", 00:16:39.880 --> 00:16:44.560 but also invites us to think about 00:16:44.640 --> 00:16:45.560 "future." 00:16:45.560 --> 00:16:49.800 And what can we do in this case. 00:16:49.880 --> 00:16:52.560 But is a work that Daniel 00:16:52.560 --> 00:16:56.760 have been doing in different places 00:16:56.840 --> 00:17:00.240 and he's been thinking about this as a 00:17:00.440 --> 00:17:05.600 as a crisis, as a problematic and he's been reaching this 00:17:05.600 --> 00:17:07.440 in so many spaces. 00:17:07.440 --> 00:17:10.440 And there, he chooses this one. 00:17:10.560 --> 00:17:15.320 And I think it was a specific work. 00:17:15.320 --> 00:17:18.600 It was not what is in its position but 00:17:18.600 --> 00:17:22.120 we choose to show to you 00:17:22.200 --> 00:17:25.200 because of this limited experience. 00:17:25.440 --> 00:17:30.960 That these were written in this place, can bring to us. 00:17:31.040 --> 00:17:32.560 You can 00:17:32.640 --> 00:17:39.240 go ahead, Fernando, please. 00:17:39.320 --> 00:17:43.720 There you have some experience of 00:17:43.800 --> 00:17:47.415 video works that were there, 00:17:47.435 --> 00:17:54.680 in the image above, is Fernanda Branco, and 00:17:54.760 --> 00:18:00.240 she stayed there repeatedly, with these 00:18:00.320 --> 00:18:03.000 roots of trees 00:18:03.000 --> 00:18:07.040 and did a kind of dance 00:18:07.120 --> 00:18:12.640 where she goes backwards and then she got into this tree 00:18:12.720 --> 00:18:15.280 and then 00:18:15.280 --> 00:18:18.000 she danced in this root 00:18:18.000 --> 00:18:22.480 and we have a video of this performance in the exposition 00:18:22.560 --> 00:18:25.560 and it's a powerful video. 00:18:25.640 --> 00:18:28.520 Maybe you can see it in another moment, if you'd like 00:18:28.520 --> 00:18:31.520 we can talk to her and maybe send to you, 00:18:31.520 --> 00:18:35.840 because it's a kind of fusion between 00:18:35.920 --> 00:18:38.920 between the body and the root, 00:18:38.960 --> 00:18:44.000 with the sea that came in the root, while she was there. 00:18:44.080 --> 00:18:48.280 So, it's really sensitive work, as well. 00:18:48.360 --> 00:18:51.360 You can pass, Fer, please. 00:18:55.720 --> 00:18:58.920 This is inside Nico's house, as you can see. 00:18:58.920 --> 00:19:04.000 I was telling you that he built everything and each small part of this bar 00:19:04.040 --> 00:19:09.720 was created by him with any material that you can imagine. 00:19:09.800 --> 00:19:13.400 Like, there's no limits to 00:19:13.480 --> 00:19:19.120 what is a basis for a creation. 00:19:19.200 --> 00:19:24.040 And there is another residence, _________, that spend 00:19:24.040 --> 00:19:28.840 a few days with us there and made some performance 00:19:28.920 --> 00:19:32.240 in this bar. 00:19:32.320 --> 00:19:34.200 And then ______ was able 00:19:34.200 --> 00:19:38.840 to take some photos and in the exposition we 00:19:38.920 --> 00:19:43.720 we could put these photos in there, in a (Wallpaper in PORTUGUESE). 00:19:43.800 --> 00:19:48.160 I don't know if you know, I need help to translate (Wallpaper in PORTUGUESE). 00:19:48.240 --> 00:19:51.000 There's word for it in English. 00:19:51.000 --> 00:19:53.760 "Wallpaper." 00:19:53.760 --> 00:19:55.320 Wallpaper, maybe. 00:19:55.320 --> 00:19:56.920 Thank you, Mari. 00:19:56.920 --> 00:19:59.560 I think it's wheat based- 00:19:59.560 --> 00:20:03.040 "Wheat based posters." 00:20:03.120 --> 00:20:04.960 (PORTUGUESE) 00:20:04.960 --> 00:20:08.440 (PORTUGUESE) 00:20:08.520 --> 00:20:11.320 (PORTUGUESE) 00:20:11.320 --> 00:20:14.520 (PORTUGUESE) 00:20:14.600 --> 00:20:19.600 Wheat based posters. (PORTUGUESE) 00:20:20.720 --> 00:20:24.800 (PORTUGUESE) 00:20:24.800 --> 00:20:28.360 (PORTUGUESE) 00:20:28.440 --> 00:20:31.440 There's no point to 00:20:31.560 --> 00:20:36.000 maintain the structure and the integrity of the work. 00:20:36.160 --> 00:20:39.320 It's to be able to do fast 00:20:39.320 --> 00:20:43.600 and it can be destroyed fast as well. 00:20:43.680 --> 00:20:47.120 And there was some good images 00:20:47.120 --> 00:20:50.920 in this that we can put in the exposition, also. 00:20:51.000 --> 00:20:53.980 So, Fer, you can move. 00:20:58.120 --> 00:20:59.200 There is 00:20:59.200 --> 00:21:02.940 Mariana Moraes who just joined the meeting with us 00:21:02.960 --> 00:21:06.920 helping with the translation and she was doing 00:21:06.920 --> 00:21:10.360 this is performance 00:21:10.440 --> 00:21:12.960 with- I don't know this word, as well. 00:21:12.960 --> 00:21:17.240 (PORTUGUSE WORD), who can help me? 00:21:17.320 --> 00:21:20.244 Is a material of the fishermen that they use to- 00:21:20.244 --> 00:21:22.840 "Fish net" 00:21:23.560 --> 00:21:24.360 Yeah. 00:21:27.120 --> 00:21:30.520 It's the traditional way 00:21:30.600 --> 00:21:35.120 in which fishermen work, not like the big 00:21:35.200 --> 00:21:37.960 structure of fishing. 00:21:37.960 --> 00:21:39.840 Fish net, yes. 00:21:39.840 --> 00:21:44.440 And also Mariana, after this performance, 00:21:44.520 --> 00:21:48.520 in the other side of the screen, you can see the process 00:21:48.520 --> 00:21:52.440 of the video performance that she made there 00:21:52.520 --> 00:21:55.200 in 2022. 00:21:55.200 --> 00:21:57.680 And this video went to the exposition. 00:21:57.680 --> 00:22:00.680 Not the performance with the fish net, 00:22:00.880 --> 00:22:04.760 but also you can see the ambiance. 00:22:04.840 --> 00:22:08.080 And we wanted to show you a bit of the 00:22:08.160 --> 00:22:10.800 the visual of the environment there 00:22:10.800 --> 00:22:15.400 and how we always are trying to 00:22:15.480 --> 00:22:18.760 to make the works, 00:22:18.840 --> 00:22:22.640 being created in the territory, 00:22:22.720 --> 00:22:25.720 not in a isolated form. 00:22:25.760 --> 00:22:28.020 You can pass, Fer, please. 00:22:30.920 --> 00:22:34.440 Okay, there is Tetsuya, 00:22:34.520 --> 00:22:37.840 he is also a video artist 00:22:37.920 --> 00:22:41.200 and he works with 00:22:41.280 --> 00:22:44.720 old films and 00:22:44.800 --> 00:22:48.360 there in this image that you can see 00:22:48.440 --> 00:22:54.800 he was burying the film in the sand, 00:22:54.880 --> 00:22:58.280 "burying", like (Bury in PORTUGUESE). 00:22:58.360 --> 00:23:02.520 And then the sand, and though 00:23:02.560 --> 00:23:06.480 the small animals and different lives 00:23:06.480 --> 00:23:10.240 in the sand interfere in the film 00:23:10.320 --> 00:23:14.840 and after he processes this and passes 00:23:14.880 --> 00:23:18.600 this film in the the exposition. 00:23:18.680 --> 00:23:21.640 So, you have a very specific image 00:23:21.640 --> 00:23:25.680 as results of these and he worked there- 00:23:25.680 --> 00:23:30.640 This image is in the sand with the sea interfering, as well, as you can see. 00:23:30.640 --> 00:23:33.640 But he also put the film 00:23:33.880 --> 00:23:36.880 inside the river for a few days 00:23:37.120 --> 00:23:40.040 and then it was passed by the fishes, 00:23:40.040 --> 00:23:43.960 the vegetals, I don't know- 00:23:44.040 --> 00:23:47.160 Everything in the sea, the animal life 00:23:47.400 --> 00:23:51.760 that interfere in the film and then is beautiful to see the results. 00:23:52.000 --> 00:23:56.360 And we could put in the exposition, also. 00:23:56.440 --> 00:23:58.241 Fer, pass it, please. 00:24:00.440 --> 00:24:01.600 That's Victor. 00:24:01.600 --> 00:24:05.080 He's a painter and he is also an actor. 00:24:05.160 --> 00:24:09.280 He used to work with the group theater. 00:24:09.360 --> 00:24:12.840 But as we know that he paints, we invited him 00:24:12.840 --> 00:24:16.000 also to a residence and ask him to 00:24:16.000 --> 00:24:21.520 to make some paintings in houses that are already abandoned 00:24:21.600 --> 00:24:24.120 by the the old 00:24:24.120 --> 00:24:25.761 owners. 00:24:29.640 --> 00:24:32.920 And there, he's performing. 00:24:33.000 --> 00:24:37.400 Performing, with these 00:24:37.480 --> 00:24:40.480 I don't know, "flags". 00:24:40.720 --> 00:24:42.200 Flags. Yes. 00:24:42.200 --> 00:24:47.640 This white flag, that's Carol Valansi, another, 00:24:47.640 --> 00:24:50.280 artist that was with us, 00:24:50.280 --> 00:24:54.000 and this day was, as you can see, a cloudy day, 00:24:54.080 --> 00:24:58.240 sort of raining day with strong wind. 00:24:58.320 --> 00:25:07.090 So, I don't know, these white flags, have an 00:25:07.440 --> 00:25:11.640 I don't know, something like a peace sign. 00:25:11.880 --> 00:25:18.760 But in this environment with no peace, 00:25:18.840 --> 00:25:22.320 in an environment that is always in tension 00:25:22.400 --> 00:25:26.400 with the nature, is always in this conflict 00:25:26.520 --> 00:25:32.440 between the building of the city and the sea 00:25:32.440 --> 00:25:36.400 that is coming inside the city and making this destruction, 00:25:36.600 --> 00:25:41.800 So, in this specific context, this white flag don't bring us 00:25:41.880 --> 00:25:46.920 exactly the best energy, but instead, 00:25:47.000 --> 00:25:50.400 like a conflict with this symbol. 00:25:50.480 --> 00:25:54.979 You can go ahead, Fer, please. 00:25:58.120 --> 00:25:58.640 Yeah. 00:25:58.640 --> 00:26:04.560 This is a part of the educational program that we do there, as well. 00:26:04.640 --> 00:26:09.560 This is a group of students that we receive with the teacher 00:26:09.800 --> 00:26:15.200 that teaches there and knows the work and is always in contact 00:26:15.320 --> 00:26:20.760 with us to bring some students for us to talk about this relation 00:26:20.840 --> 00:26:25.760 between art and education and what are the possibilities 00:26:25.880 --> 00:26:30.760 of art to talk about the environmental crisis. 00:26:30.840 --> 00:26:33.360 It's hard to talk about what's there. 00:26:33.360 --> 00:26:36.240 Even though they lived in this. 00:26:36.240 --> 00:26:40.480 Their daily lives is a sensible subject 00:26:40.560 --> 00:26:44.320 because, you know, obviously is the reality. 00:26:44.320 --> 00:26:48.720 But it's a sad subject, it's a trauma. 00:26:48.800 --> 00:26:52.360 It's a living trauma, the daily situation. 00:26:52.440 --> 00:26:55.440 So sometimes we discover that 00:26:55.680 --> 00:26:58.800 art helps to talk about these 00:26:58.800 --> 00:27:01.800 and to deal with the trauma of the 00:27:02.000 --> 00:27:06.080 the losing, losing of houses, losing of memories. 00:27:06.160 --> 00:27:11.640 So, this kind of pedagogical function 00:27:11.680 --> 00:27:17.360 of art, to talk about environmental crisis is important to us, as well. 00:27:17.440 --> 00:27:19.200 Fer, please. 00:27:24.040 --> 00:27:26.320 This is Sarojini, 00:27:26.320 --> 00:27:31.000 it's an artist from India, that in the end, 00:27:31.080 --> 00:27:36.000 went there to work with us and make a video performance, as well. 00:27:36.080 --> 00:27:38.840 Fernando, pass it, please. 00:27:44.000 --> 00:27:49.360 This is part of a frame of the video work 00:27:49.360 --> 00:27:54.000 that I've done there, I've been working with archives there. 00:27:54.000 --> 00:27:57.040 Thinking about 00:27:57.040 --> 00:27:58.840 something in between 00:27:58.840 --> 00:28:02.240 how can we make a private, archive 00:28:02.280 --> 00:28:06.080 a public archive, and vice versa. 00:28:06.160 --> 00:28:09.040 With this complex 00:28:09.040 --> 00:28:14.000 and political and delicate issue like what is a private archive 00:28:14.000 --> 00:28:19.600 and how public can this be, to facilitate us 00:28:19.680 --> 00:28:24.760 to talk about things that are political. That touch everybody. 00:28:24.760 --> 00:28:29.560 This lady, she made an archive following the sea, 00:28:29.560 --> 00:28:32.560 destroying this building in front of her house. 00:28:32.640 --> 00:28:37.040 And they made a small documentary about it 00:28:37.120 --> 00:28:39.840 which is called "Concrete Sea." 00:28:39.840 --> 00:28:44.880 And, Fernando, maybe I think, 00:28:44.920 --> 00:28:50.240 Can you put another image, but I think that maybe, 00:28:50.320 --> 00:28:53.600 I can pass the words now. 00:28:53.680 --> 00:28:57.440 Yes. For you to talk about the exposition properly, 00:28:57.440 --> 00:29:01.480 and then we can lead to talk a bit more 00:29:01.560 --> 00:29:04.160 in the conversation. 00:29:04.240 --> 00:29:11.000 I will mute my microphone. 00:29:11.080 --> 00:29:13.880 (PORTUGUESE DIALOGUE). 00:29:13.880 --> 00:29:18.360 (PORTUGUESE) 00:29:18.360 --> 00:29:22.520 (PORTUGUESE) 00:29:22.520 --> 00:29:23.480 (PORTUGUESE) 00:29:23.480 --> 00:29:29.040 (PORTUGUESE) 00:29:29.080 --> 00:29:32.040 (PORTUGUESE) 00:29:32.040 --> 00:29:33.280 (PORTUGUESE) 00:29:33.280 --> 00:29:37.960 (PORTUGUESE) 00:29:37.960 --> 00:29:41.720 (PORTUGUESE) 00:29:41.800 --> 00:29:44.960 (PORTUGUESE) 00:29:44.960 --> 00:29:49.440 (PORTUGUESE) 00:29:49.520 --> 00:29:55.400 (PORTUGUESE) 00:29:55.400 --> 00:29:57.400 (PORTUGUESE) 00:29:57.400 --> 00:30:00.400 (PORTUGUESE) 00:30:00.640 --> 00:30:04.240 (PORTUGUESE) 00:30:04.320 --> 00:30:07.120 (PORTUGUESE) 00:30:07.120 --> 00:30:11.920 (PORTUGUESE) 00:30:11.920 --> 00:30:16.160 (PORTUGUESE) 00:30:16.160 --> 00:30:19.400 (PORTUGUESE) 00:30:19.400 --> 00:30:21.360 (PORTUGUESE) 00:30:21.360 --> 00:30:26.160 (PORTUGUESE) 00:30:26.240 --> 00:30:27.640 (PORTUGUESE) 00:30:27.640 --> 00:30:32.080 Make me to think about art history, about concrete art. 00:30:35.520 --> 00:30:40.370 And this material has a ghost-like character 00:30:40.480 --> 00:30:42.560 That's how I see 00:30:42.560 --> 00:30:44.680 the act of fishing. 00:30:44.680 --> 00:30:48.920 Fishing has this presence in Brazilian history. 00:30:49.000 --> 00:30:51.480 It also has an important role 00:30:51.480 --> 00:30:54.920 to play in terms of economy. 00:30:55.000 --> 00:30:57.080 Paolo Victor also works the that. 00:30:57.080 --> 00:31:06.400 As you can see, this is a window that he found at the beach, in Atafona 00:31:06.400 --> 00:31:11.280 Here we can see Daniel's work in the background. 00:31:11.360 --> 00:31:13.480 He also works with material found 00:31:13.480 --> 00:31:17.680 in the beach. 00:31:17.760 --> 00:31:20.320 So, this is a whole part of the exhibition made, 00:31:20.320 --> 00:31:25.320 with material found on the beach, 00:31:25.400 --> 00:31:28.720 And there is a dialogue between this materials found on the beach 00:31:28.720 --> 00:31:33.280 and with the traditional and modern 00:31:33.360 --> 00:31:35.490 modern works. 00:31:38.640 --> 00:31:42.600 Daniel also works with collages. 00:31:42.680 --> 00:31:44.520 He uses wood. 00:31:44.520 --> 00:31:47.520 You can see some of them in the background 00:31:47.680 --> 00:31:49.080 and he grows them. 00:31:49.080 --> 00:31:53.160 He uses the plastic from pop bottles to 00:31:53.200 --> 00:31:57.040 to make this montage. 00:31:57.120 --> 00:32:02.560 We can see here some video work. 00:32:02.640 --> 00:32:03.840 This is part of the video 00:32:03.840 --> 00:32:06.840 that's part of the exhibition. 00:32:06.880 --> 00:32:09.480 We'll also see some of Isabella's work. 00:32:09.480 --> 00:32:12.760 We'll see them in more detail later. 00:32:12.760 --> 00:32:16.040 Here, you can see some of her work. 00:32:16.040 --> 00:32:21.080 This is a type of root, but it's actually made of latex. 00:32:21.160 --> 00:32:22.720 This is the one that you see 00:32:22.720 --> 00:32:26.840 towards the center of the photo. 00:32:26.920 --> 00:32:30.720 There's something else in the background that has a more aggressive character. 00:32:30.720 --> 00:32:36.360 It's made of glass and in clay. 00:32:36.440 --> 00:32:40.560 Beside her work, you can see Tais's work here. 00:32:41.800 --> 00:32:44.800 This is work made in a studio. 00:32:44.920 --> 00:32:48.520 The goal is to bring the atmosphere, parts 00:32:48.520 --> 00:32:54.240 of the landscape that they saw and tried to capture. 00:32:54.320 --> 00:32:59.760 You can see Luciano's photos up on the wall. 00:32:59.840 --> 00:33:02.040 This is part of the meeting with Luciano's 00:33:02.040 --> 00:33:04.196 and Nico's bar. 00:33:08.040 --> 00:33:09.640 This is Rafael's work, 00:33:09.640 --> 00:33:12.640 and that's Cara's work. 00:33:12.800 --> 00:33:16.160 So, this was a very quick walk through the exhibition, 00:33:16.200 --> 00:33:19.640 but now we can look at them in more detail. 00:33:19.720 --> 00:33:23.720 So, this is Daniel's installation 00:33:23.720 --> 00:33:27.680 Here, the detail shows how he added these pieces 00:33:27.680 --> 00:33:31.040 together using a plastic bottle. 00:33:31.120 --> 00:33:33.800 All the elements were found on the beach. 00:33:33.800 --> 00:33:37.040 This is my work. 00:33:37.120 --> 00:33:40.960 This is how I attach the net. 00:33:41.040 --> 00:33:43.280 It shows the idea of creating 00:33:43.280 --> 00:33:47.200 these geometric forms 00:33:47.280 --> 00:33:49.380 and adding the Brazilian neo-concretism. 00:33:59.200 --> 00:34:02.400 This material is very abundant. 00:34:02.480 --> 00:34:04.680 The the nets fall apart 00:34:04.680 --> 00:34:08.680 and the fishermen just throw them out. 00:34:08.760 --> 00:34:12.920 I have made a lot of work with it because this is the kind of material 00:34:12.920 --> 00:34:16.000 that's very dangerous for marine life 00:34:16.000 --> 00:34:19.840 when it's back in the ocean. 00:34:19.920 --> 00:34:23.320 So, there is an attempt to 00:34:23.400 --> 00:34:27.340 to take care of this material, to repurpose them. 00:34:31.840 --> 00:34:37.080 Now, the crabs. 00:34:37.160 --> 00:34:39.280 There is a relationship to life 00:34:39.280 --> 00:34:44.520 and to how erosion comes in. 00:34:44.520 --> 00:34:46.760 So, all I'm doing is putting it together. 00:34:46.760 --> 00:34:51.480 I'm finding the bricks and these iron broads and I'm putting them together. 00:34:51.480 --> 00:34:56.160 So, they kind of remind us of these creatures, 00:34:56.240 --> 00:35:00.640 creatures that live in the the mangroves in Atafona. 00:35:00.680 --> 00:35:05.400 This is Paulo, beside the window that he painted. 00:35:07.240 --> 00:35:10.240 The work remounts to the idea that the sea is coming back, 00:35:10.480 --> 00:35:15.040 it's a popular idea with the locals, especially with the fisher people. 00:35:15.120 --> 00:35:18.120 This idea that the sea is reclaiming 00:35:18.160 --> 00:35:22.680 what belongs to it. 00:35:22.760 --> 00:35:23.720 In fact, 00:35:23.720 --> 00:35:28.760 that piece of land at some point, already belonged to the sea. 00:35:28.840 --> 00:35:32.240 Scientifically speaking, that's also true. 00:35:32.320 --> 00:35:35.000 So that's what it says. 00:35:35.000 --> 00:35:36.240 The sea is coming back. 00:35:36.240 --> 00:35:39.200 You can see this in the painting. 00:35:39.200 --> 00:35:42.200 This is also beautiful work that was present. 00:35:42.440 --> 00:35:45.440 This is Rafael's work. 00:35:45.680 --> 00:35:48.480 He organized these pieces of bricks 00:35:48.480 --> 00:35:52.520 on top of notebooks. 00:35:52.600 --> 00:35:56.320 He invites us to think about 00:35:56.320 --> 00:36:00.160 a type of geological writing. 00:36:00.200 --> 00:36:04.960 Also, about the process of the artist. 00:36:05.040 --> 00:36:07.440 We are creating a language 00:36:07.440 --> 00:36:12.040 through the erosion. 00:36:12.120 --> 00:36:16.320 This is part of the reference. 00:36:16.400 --> 00:36:18.720 This is Isabella's work. 00:36:18.720 --> 00:36:23.680 You can see it in a close up, very delicate work. 00:36:23.760 --> 00:36:28.600 She uses glass, ceramics, latex. 00:36:28.640 --> 00:36:32.280 And here is the same work, from a different perspective. 00:36:32.360 --> 00:36:34.670 This is Tetsuya's work. 00:36:38.120 --> 00:36:42.320 This is a film that he collected from an old file. 00:36:42.400 --> 00:36:44.960 He buried this on the sand. 00:36:44.960 --> 00:36:47.120 Money sack sand. 00:36:47.120 --> 00:36:52.080 This is a specific kind of sand that's present there. 00:36:52.160 --> 00:36:56.720 It's a low radiation sand. 00:36:56.800 --> 00:37:00.450 Let's watch this now. 00:37:15.680 --> 00:37:18.240 This is Thais work, 00:37:18.240 --> 00:37:22.200 also a very intricate, very delicate work. 00:37:22.280 --> 00:37:24.480 Very beautiful, it's very alive. 00:37:24.480 --> 00:37:27.480 She creates this dynamic between salt, 00:37:27.480 --> 00:37:30.680 glass and iron. 00:37:30.760 --> 00:37:36.200 The salt kind of erodes the iron that holds up the glass. 00:37:36.280 --> 00:37:39.840 You can see this and the image, the one on the left was when she 00:37:39.840 --> 00:37:42.720 first put it together. 00:37:42.800 --> 00:37:46.000 And this is later, showing the corrosion 00:37:46.080 --> 00:37:50.880 that salt caused in the work. 00:37:50.960 --> 00:37:54.640 This is Joao Racy's work. 00:37:54.720 --> 00:37:59.480 It's a still video, still image. 00:37:59.880 --> 00:38:03.200 He filmed the window of a house 00:38:03.200 --> 00:38:07.280 that's actually being buried by the sand. 00:38:07.360 --> 00:38:09.400 There's a little bit of movement 00:38:09.400 --> 00:38:12.220 in the plants here, 00:38:14.760 --> 00:38:16.640 So, we created this, 00:38:16.640 --> 00:38:22.080 we had a TV in the back to bring by this idea of a window. 00:38:22.160 --> 00:38:27.480 This is Caroline's work, 00:38:27.560 --> 00:38:28.840 We also saw this 00:38:28.840 --> 00:38:32.280 during Julia's presentation. 00:38:32.360 --> 00:38:36.840 She has a huge flag that she brings to the meeting place 00:38:36.920 --> 00:38:42.040 between the river and the sea. 00:38:42.120 --> 00:38:47.720 She made this work here by creating these stamps, 00:38:47.800 --> 00:38:51.360 postal stamps. 00:38:51.440 --> 00:38:53.480 It reminds a little bit of a video, right, 00:38:53.480 --> 00:38:57.320 because you can see the flag movement along the way. 00:38:57.400 --> 00:38:58.480 And here is the flag. 00:38:58.480 --> 00:39:03.520 We installed it on the outside of the exhibition, 00:39:03.520 --> 00:39:08.200 Here, can see Lu by Lu's work. 00:39:08.280 --> 00:39:11.280 This is her meeting with makeup. 00:39:11.480 --> 00:39:14.480 And then we paste post again 00:39:14.720 --> 00:39:18.760 here she glued them on the outside. 00:39:18.840 --> 00:39:20.880 She talked a bit about her meeting 00:39:20.880 --> 00:39:24.280 with Nico in Atafona. 00:39:24.280 --> 00:39:27.840 Lu who is an activist, a trans artist, 00:39:28.080 --> 00:39:31.760 a black person, 00:39:31.840 --> 00:39:34.840 and she adds all of that to her work, 00:39:34.880 --> 00:39:38.910 as a trans woman in Brazil. 00:39:41.200 --> 00:39:42.600 It's important to her 00:39:42.600 --> 00:39:48.120 to share these moments, 00:39:48.200 --> 00:39:52.040 moments where she can express her artistry, 00:39:52.080 --> 00:39:57.280 her subjectivity, 00:39:57.360 --> 00:39:59.520 and she was able to share a lot of her 00:39:59.520 --> 00:40:01.830 thinking with us. 00:40:04.640 --> 00:40:05.520 Here the videos, 00:40:05.520 --> 00:40:09.760 we are not going to be able to watch them now, 00:40:09.840 --> 00:40:13.600 but I'd like to tell you, here the videos that are present there. 00:40:13.680 --> 00:40:15.840 Fernando Branco's video. 00:40:15.840 --> 00:40:19.500 Julia talked about it, Julia's video. 00:40:19.560 --> 00:40:23.680 Mariana's and Sarojini's. 00:40:23.760 --> 00:40:24.960 So, there you have. 00:40:24.960 --> 00:40:28.440 I tried to stay on point. 00:40:28.520 --> 00:40:30.320 So, we have enough time to talk. 00:40:30.320 --> 00:40:33.640 I hope this gives you a general view 00:40:33.720 --> 00:40:35.290 of the exhibition 00:40:39.880 --> 00:40:41.560 We had to choose. 00:40:41.560 --> 00:40:45.670 Through many artists that came through Casa Duna. 00:40:51.160 --> 00:40:54.160 I hope that this gives you an idea of the work that we did. 00:40:54.360 --> 00:40:56.680 I'd like to thank you. 00:40:56.680 --> 00:41:00.970 And I want to open the floor so we can continue the conversation. 00:41:10.000 --> 00:41:11.760 It's my turn? 00:41:11.760 --> 00:41:14.760 Okay. 00:41:16.640 --> 00:41:21.480 Thank you for what you brought to us today. 00:41:21.480 --> 00:41:24.480 Fernando, Julia. 00:41:24.520 --> 00:41:27.000 I have had the opportunity to visit 00:41:27.000 --> 00:41:28.960 Atafona with both of you. 00:41:28.960 --> 00:41:36.200 I was able to witness the work that you developed there. 00:41:36.280 --> 00:41:37.200 I think it's important 00:41:37.200 --> 00:41:44.320 to share this to this group that's with us today. 00:41:44.400 --> 00:41:47.320 I'm reinforcing something that I see in your work, right? 00:41:47.320 --> 00:41:49.600 There's this persistence. 00:41:49.600 --> 00:41:51.360 You've been there for eight years now. 00:41:51.360 --> 00:41:56.720 You've been there since 2017, 00:41:56.800 --> 00:41:58.760 so it's been eight years. 00:41:58.760 --> 00:42:00.930 in the work. 00:42:04.840 --> 00:42:12.760 I know how important this is to you 00:42:12.840 --> 00:42:13.920 and you know, 00:42:13.920 --> 00:42:18.520 and this is also a counterposition as to other works 00:42:18.520 --> 00:42:21.520 that visit Atafona that come and go 00:42:21.520 --> 00:42:26.560 or make a spectacle out of it. 00:42:26.640 --> 00:42:29.640 This is an erosion process 00:42:29.640 --> 00:42:35.000 that's 60 years long. 00:42:35.080 --> 00:42:37.840 It has been sped up 00:42:37.840 --> 00:42:42.165 due to industrial activity in the area. 00:42:48.800 --> 00:42:55.240 There is a violent process that's been 00:42:55.320 --> 00:42:57.360 getting aggravated 00:42:57.360 --> 00:43:01.480 through interventions of abuses 00:43:01.520 --> 00:43:04.520 on the environment. 00:43:04.560 --> 00:43:08.480 And this shows the many ways that artists 00:43:08.560 --> 00:43:11.920 and art can also produce, 00:43:12.000 --> 00:43:16.600 they can also use some of this process for their work. 00:43:16.680 --> 00:43:19.680 I think what we're trying to do is to show 00:43:19.800 --> 00:43:26.120 an option to think about a continuity, 00:43:26.200 --> 00:43:31.760 a process of creating connections. 00:43:31.840 --> 00:43:33.240 You have this work 00:43:33.240 --> 00:43:37.720 of environmental awareness with the community. 00:43:37.800 --> 00:43:41.600 You work with the Landless Movement 00:43:41.680 --> 00:43:43.290 in Brazil. 00:43:48.480 --> 00:43:49.720 Oh, I'm sorry. 00:43:49.720 --> 00:43:52.320 There is a lady that's an activist. 00:43:52.320 --> 00:43:53.560 I forget her name. 00:43:53.560 --> 00:43:56.830 Please forgive me. 00:44:08.160 --> 00:44:09.840 Yes. Yeah, I can hear you. 00:44:09.840 --> 00:44:10.760 I'm sorry. 00:44:10.760 --> 00:44:13.000 There was there was a pause there. 00:44:13.000 --> 00:44:14.862 So, yes. 00:44:19.400 --> 00:44:23.360 You've been working on different fronts, right? 00:44:23.440 --> 00:44:29.000 Academic research, art, art research. 00:44:29.080 --> 00:44:32.760 You were working on your postdoctorate. 00:44:32.760 --> 00:44:38.080 You work with a theater group, 00:44:38.160 --> 00:44:42.120 Grupo ______, a Russian group. 00:44:42.200 --> 00:44:45.200 But I have a question. 00:44:49.560 --> 00:44:52.320 My question is related to this choice 00:44:52.320 --> 00:44:55.320 to not make a spectacle 00:44:55.440 --> 00:44:59.720 of the erosion process. 00:44:59.800 --> 00:45:03.600 It's a choice not to romanticize this process. 00:45:03.600 --> 00:45:05.760 Can you talk about that? 00:45:05.840 --> 00:45:08.160 How do you see this process 00:45:08.160 --> 00:45:12.400 of avoiding 00:45:12.480 --> 00:45:16.080 making a spectacle 00:45:16.080 --> 00:45:19.390 or to avoid romanticizing that. 00:45:21.360 --> 00:45:24.360 The event 00:45:24.440 --> 00:45:26.400 I create _____ 00:45:26.400 --> 00:45:30.640 right, that uses the line from the song 00:45:30.720 --> 00:45:35.520 of creating something, of recreating something, 00:45:35.520 --> 00:45:43.360 something that needs to be constantly re-created. 00:45:43.440 --> 00:45:49.200 Then, there is an idea to keep creating 00:45:49.200 --> 00:45:52.709 and recreating. 00:45:54.960 --> 00:45:56.520 There is 00:45:56.520 --> 00:46:00.880 there are many, many layers. 00:46:00.960 --> 00:46:04.360 And this erosion is very symbolic. 00:46:04.440 --> 00:46:07.600 How do you understand this non romanticizing, 00:46:07.600 --> 00:46:12.200 this erosion process, this not 00:46:12.280 --> 00:46:16.960 looking at this process as something exotic, 00:46:17.040 --> 00:46:19.160 but also not making it, 00:46:19.160 --> 00:46:22.800 you know, a doomsday kind of scenario. 00:46:22.800 --> 00:46:28.040 Can you talk about that? 00:46:28.120 --> 00:46:33.440 Shall we comment on this? 00:46:33.520 --> 00:46:37.760 I guess it's better to to hear all the questions first 00:46:37.840 --> 00:46:39.000 and then we'll answer. 00:46:39.000 --> 00:46:40.660 at the end. 00:46:52.560 --> 00:46:53.360 Hi everyone, 00:46:53.360 --> 00:46:54.640 Hi, yes. 00:46:56.040 --> 00:46:57.400 I'll be brief. 00:46:57.400 --> 00:47:00.000 Can everybody hear me? 00:47:00.000 --> 00:47:00.520 Great. 00:47:00.520 --> 00:47:03.120 Okay. 00:47:03.120 --> 00:47:05.120 Well, I mean, I wanted to, 00:47:05.120 --> 00:47:08.160 first of all, say thank you to Julia and Fernando 00:47:08.160 --> 00:47:11.160 for presenting this 00:47:11.320 --> 00:47:13.920 amazing work and, 00:47:13.920 --> 00:47:17.120 you know, maybe picking up a little bit on 00:47:17.200 --> 00:47:19.800 what Sergio is commenting on about how do you do this 00:47:19.800 --> 00:47:23.720 work and be in community and not 00:47:23.800 --> 00:47:26.960 so into romanticizing the work. 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, 00:47:30.960 --> 00:47:35.320 but what I was struck by is this tension 00:47:35.400 --> 00:47:37.040 and drawing attention and mobilizing 00:47:37.040 --> 00:47:40.800 publics and community around this tension of 00:47:40.920 --> 00:47:47.640 of these culture-nature, nature-culture dynamics, and 00:47:47.720 --> 00:47:52.200 especially with some of the earlier work you were sharing, Julia, 00:47:52.280 --> 00:47:54.560 kind of thinking about, even just from the images 00:47:54.560 --> 00:47:58.360 and through this screen, there's this, that some of these artworks 00:47:58.360 --> 00:48:01.360 are conjuring 00:48:01.600 --> 00:48:04.274 feelings of tenderness for me 00:48:04.274 --> 00:48:07.000 ritual mourning. 00:48:07.080 --> 00:48:11.680 And I started to think about, like this kind of process of ritual, of witnessing 00:48:11.760 --> 00:48:16.120 that's happening on the site as well. 00:48:16.200 --> 00:48:18.240 So I'm just wondering if, that for me 00:48:18.240 --> 00:48:22.040 has something to do with kind of countering, 00:48:22.120 --> 00:48:24.880 making the spectacle and, 00:48:24.880 --> 00:48:27.720 and kind of thinking about this witnessing or these actions. 00:48:27.720 --> 00:48:30.120 I don't know if that's what you've been witnessing 00:48:30.120 --> 00:48:35.200 'Cause you're so embedded and embodying that site, and have been for a long time. 00:48:35.200 --> 00:48:40.640 So, I think it's it's a it's a question of thinking about 00:48:41.480 --> 00:48:46.360 do you see this work as a kind of ritual or mourning or witnessing? 00:48:46.360 --> 00:48:50.310 And I think when we see images of the water, you know, immediately, 00:48:50.310 --> 00:48:55.080 you start to kind of feel like we're in the rhythm of this erosion 00:48:55.080 --> 00:48:58.960 and witnessing in this kind of a still life form and in the documentation. 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. 00:49:01.680 --> 00:49:08.200 I really find the work in the project really moving. 00:49:08.280 --> 00:49:11.000 So, I wonder if you could speak a little bit to that, 00:49:11.000 --> 00:49:15.720 and the other question I had was to what degree the locals 00:49:15.800 --> 00:49:19.960 and the community are embedded and working with- 00:49:20.160 --> 00:49:23.960 If you could say a bit more about the importance of their agency 00:49:24.040 --> 00:49:27.840 in the work and hosting, 00:49:27.920 --> 00:49:30.600 I guess, outsiders coming into 00:49:30.600 --> 00:49:32.200 to work in the site. 00:49:48.360 --> 00:49:49.560 No, it's okay. 00:49:51.200 --> 00:49:55.200 I was expecting us to sort of ask the question and answer, 00:49:55.200 --> 00:49:56.240 ask the question and answer. 00:49:56.240 --> 00:50:02.480 So, I think, I'll be brief if we're going in this way, 00:50:02.560 --> 00:50:05.240 I'll also say thank you for sharing this with us 00:50:05.240 --> 00:50:08.520 and congratulations. 00:50:08.600 --> 00:50:10.320 This is really moving 00:50:10.320 --> 00:50:15.720 and amazing work that I think we can all learn so much from. 00:50:15.800 --> 00:50:19.320 I'm really interested in 00:50:19.400 --> 00:50:21.240 something that Fernando said. 00:50:21.240 --> 00:50:24.960 We were talking about creating a language 00:50:25.040 --> 00:50:30.480 for the erosion and 00:50:30.560 --> 00:50:33.760 and it made me think about the question 00:50:33.760 --> 00:50:39.720 of what role performance plays in your work. 00:50:39.800 --> 00:50:41.680 You know, a question, 00:50:41.680 --> 00:50:45.800 what I keep coming back to because the presentation of the work 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. 00:50:50.640 --> 00:50:53.320 But you're also describing dance, 00:50:53.320 --> 00:50:57.280 the woman who is dancing and the root of a tree, for example, 00:50:57.360 --> 00:50:59.040 I'm also familiar with some of your other work. 00:50:59.040 --> 00:51:02.760 That's more theater based and had the pleasure of engaging 00:51:02.840 --> 00:51:08.080 in a workshop that Fernando led that was theater based as well. 00:51:08.080 --> 00:51:10.360 So, I'm kind of interested in NOTE Paragraph 00:51:10.360 --> 00:51:13.480 what role performance plays in creating 00:51:13.480 --> 00:51:18.240 a kind of language for the erosion, if it does at all, and 00:51:18.320 --> 00:51:18.840 what can 00:51:18.840 --> 00:51:24.000 performance do that other art forms can't or is performance 00:51:24.000 --> 00:51:26.000 not the most useful term in thinking 00:51:26.000 --> 00:51:29.800 about this particular body of work that you're sharing with us? 00:51:29.880 --> 00:51:32.560 Just interested in the specificity of artworks 00:51:32.560 --> 00:51:37.320 and the language that they create in the context of environmental collapse. 00:51:37.400 --> 00:51:40.400 And I think that for me, that also goes back to something 00:51:40.400 --> 00:51:43.960 that Julia was talking about, that I found really moving, which is thinking 00:51:43.960 --> 00:51:48.040 about the pedagogy part of this work 00:51:48.120 --> 00:51:51.120 and Julia, you were talking about 00:51:51.240 --> 00:51:54.600 how art in the context of environmental crisis 00:51:54.600 --> 00:51:58.600 can help us with dealing with the trauma of loss, 00:51:58.680 --> 00:52:03.120 the trauma of losing tangible things that mean a great deal to us, and 00:52:03.320 --> 00:52:07.320 and also the loss of memory eventually as well. 00:52:07.400 --> 00:52:11.430 So, I see these two things as kind of operating in conversation 00:52:11.430 --> 00:52:12.280 with one another. 00:52:12.280 --> 00:52:16.280 I hear the idea of creating a language 00:52:16.360 --> 00:52:20.960 as being in conversation, with this idea of helping people to deal with trauma. 00:52:21.000 --> 00:52:26.760 And I was interested in hearing you talk a little bit more about all of that. 00:52:26.840 --> 00:52:30.280 And then secondarily, just because Hemispheric Encounters 00:52:30.280 --> 00:52:35.360 is a transnational project, thinking about whether this language is site specific 00:52:35.360 --> 00:52:40.000 or whether it could be transferable to other contexts of environmental collapse. 00:52:40.080 --> 00:52:43.880 You know, in North America, for example, we've seen really stark 00:52:43.880 --> 00:52:46.880 images, for example, of L.A. 00:52:47.000 --> 00:52:50.200 and severe environmental destruction. 00:52:50.280 --> 00:52:54.240 It's a totally different context, totally different situation. 00:52:54.240 --> 00:52:58.440 But we are talking about climate disaster in another context. 00:52:58.520 --> 00:53:02.760 So, can we think about a language 00:53:02.760 --> 00:53:08.560 that travels as well? 00:53:08.640 --> 00:53:10.830 These are my thoughts. 00:53:36.006 --> 00:53:40.360 I think I can answer better that way. 00:53:40.360 --> 00:53:43.320 Sergio brought up a lot of problems. 00:53:43.320 --> 00:53:45.720 You brought up paradoxes, 00:53:45.720 --> 00:53:49.600 struggles, obstacles. 00:53:49.680 --> 00:53:51.280 I think a reason to be 00:53:51.280 --> 00:53:55.410 there is to work on those paradoxes. 00:53:59.200 --> 00:54:01.360 How can we build, 00:54:01.360 --> 00:54:04.280 how can it build their work that works 00:54:04.280 --> 00:54:08.240 with the language that deals with destruction, 00:54:08.320 --> 00:54:11.430 something that goes beyond a negative look. 00:54:13.920 --> 00:54:16.040 But how does this destruction 00:54:16.040 --> 00:54:20.000 affect other things being produced? 00:54:20.080 --> 00:54:21.240 Someone leaves the house 00:54:21.240 --> 00:54:24.240 because the sea is approaching. 00:54:24.240 --> 00:54:28.000 Someone else will come in, or within a house 00:54:28.000 --> 00:54:32.920 will create a bar, something that works during the summers. 00:54:33.000 --> 00:54:36.200 And now this is something new. 00:54:36.280 --> 00:54:37.680 It creates new life. 00:54:37.680 --> 00:54:40.040 It created new possibilities. 00:54:40.040 --> 00:54:42.560 This is something that might have been considered 00:54:42.560 --> 00:54:47.080 gone, wasted. 00:54:47.160 --> 00:54:48.480 This idea 00:54:48.480 --> 00:54:52.718 of romanticize, of making a spectacle for this. 00:54:52.718 --> 00:54:58.120 It's definitely a challenge, we have been there for years. 00:54:58.200 --> 00:55:03.080 We host artists that stay for a week and then they move on, 00:55:03.120 --> 00:55:06.840 they can create work, but we have no control over. 00:55:08.960 --> 00:55:10.320 And that's 00:55:10.320 --> 00:55:15.840 why our focus there is the mediation between the artists and the land 00:55:15.920 --> 00:55:19.680 so that these artists can hear the people, 00:55:19.680 --> 00:55:23.520 so that their experience there will impact them 00:55:23.600 --> 00:55:27.520 in a sensitive way 00:55:27.600 --> 00:55:30.600 in their work later on. 00:55:30.840 --> 00:55:34.040 They may develop something that will sell or not. 00:55:34.040 --> 00:55:34.680 You know what? 00:55:34.680 --> 00:55:35.880 We're not worried about that. 00:55:35.880 --> 00:55:45.040 We're more worried about the learning process that this will have later on. 00:55:45.120 --> 00:55:46.120 Obviously, we have 00:55:46.120 --> 00:55:49.960 no control over what they will do 00:55:50.040 --> 00:55:54.310 out the information that they gathered there. 00:55:56.690 --> 00:55:59.120 We are always running meetings 00:55:59.120 --> 00:56:02.600 so people can can talk about their experiences 00:56:02.600 --> 00:56:04.380 to the artists. 00:56:07.930 --> 00:56:12.410 So, I don't have a better answer. 00:56:16.200 --> 00:56:18.760 I'm from Rio. 00:56:18.760 --> 00:56:21.760 I was shocked when I arrived in 00:56:21.760 --> 00:56:23.540 Atafona. 00:56:25.520 --> 00:56:27.000 The teaching experience 00:56:27.000 --> 00:56:30.520 needs to go through living with the loss 00:56:30.600 --> 00:56:33.600 and to create within it. 00:56:33.640 --> 00:56:37.770 It's an existential condition. 00:56:43.560 --> 00:56:48.080 The pedagogy is not specific to a content, 00:56:48.160 --> 00:56:50.040 the environmental loss, 00:56:50.040 --> 00:56:53.840 it touches all of us. 00:56:53.920 --> 00:56:54.920 If we are people 00:56:54.920 --> 00:56:59.680 that take the environmental problems seriously. 00:56:59.760 --> 00:57:02.160 And yeah. 00:57:02.160 --> 00:57:06.640 In Brazil, we are feeling it. 00:57:06.720 --> 00:57:10.120 I believe we'll all have to deal with this loss. 00:57:10.200 --> 00:57:15.280 The material loss, the loss of a certain lifestyle, 00:57:15.360 --> 00:57:17.760 lots of loss. 00:57:21.560 --> 00:57:24.560 How does the community receive this? 00:57:24.600 --> 00:57:26.080 Well, very well. 00:57:26.080 --> 00:57:30.640 They're often very happy about it. 00:57:30.720 --> 00:57:32.320 Believe it or not, 00:57:32.320 --> 00:57:36.970 this is not a topic that receives a lot of attention. 00:57:42.030 --> 00:57:44.040 But we moved there. 00:57:44.040 --> 00:57:48.080 And so we we became neighbors. 00:57:48.160 --> 00:57:51.000 And that's how people see this. 00:57:51.000 --> 00:57:54.160 The work, our work is to bring attention to this, 00:57:54.400 --> 00:57:57.400 to put the spotlight on it, 00:57:57.520 --> 00:58:00.976 to create a dialogue around it. 00:58:04.280 --> 00:58:06.960 I think performance has a special role 00:58:06.960 --> 00:58:10.480 in the work that we develop. 00:58:10.560 --> 00:58:14.800 I think it's the context, I think is the very nature of performance 00:58:14.800 --> 00:58:18.650 that allows us to use it 00:58:21.200 --> 00:58:23.800 Performance is a language that's very important 00:58:23.800 --> 00:58:25.600 to us. 00:58:26.800 --> 00:58:30.240 We, as a theatre group, 00:58:30.320 --> 00:58:36.920 we were always very linked to the performance. 00:58:37.000 --> 00:58:43.360 Our works were always rooted in performance. 00:58:43.440 --> 00:58:45.080 You know, it might be on the beach, 00:58:45.080 --> 00:58:48.520 it might be some archive work. 00:58:48.600 --> 00:58:51.880 It was a type of theatre that was always was born 00:58:51.960 --> 00:58:54.960 from the territory. 00:58:55.200 --> 00:58:56.880 And I'm going to wrap up. 00:58:56.880 --> 00:58:59.720 Sorry, there are lots of questions. I still want to make room for Fernando. 00:59:04.320 --> 00:59:08.280 I'd like to touch upon the idea of the end of the world. 00:59:08.360 --> 00:59:10.680 There is an important thinker in Brazil. 00:59:10.680 --> 00:59:13.680 __________? 00:59:13.720 --> 00:59:17.040 He has said that the world has ended many times. 00:59:17.160 --> 00:59:21.440 Many worlds have. 00:59:21.520 --> 00:59:24.240 So, when we go over there, 00:59:24.240 --> 00:59:27.240 what we see is that this is not the end of "the" world. 00:59:27.360 --> 00:59:31.560 It's the end of "a" world. 00:59:31.640 --> 00:59:36.960 It's something that will lead us to a new experience. 00:59:37.040 --> 00:59:38.720 It's part of a cycle. 00:59:38.720 --> 00:59:43.720 It's not the apocalypse that will be the end of all of us. 00:59:43.800 --> 00:59:46.200 We are going to have to keep dealing with the 00:59:46.200 --> 00:59:50.080 consequences of our actions, of our explorations, 00:59:50.160 --> 00:59:54.200 our way of interacting. 00:59:54.280 --> 00:59:58.640 So, it might be more complex than simply an end, 00:59:58.720 --> 01:00:01.080 something that would simply put 01:00:01.080 --> 01:00:04.600 an end to our problems. 01:00:04.680 --> 01:00:07.170 There is no end. 01:00:14.440 --> 01:00:18.480 And the worlds have been ending for a very long time. 01:00:18.480 --> 01:00:22.400 I think Atafona talks about that 01:00:22.480 --> 01:00:26.680 and in many ways it extrapolates, it connects 01:00:26.680 --> 01:00:30.785 to many other experiences of ending, 01:00:30.785 --> 01:00:33.280 many that we have lived, are living now. 01:00:33.280 --> 01:00:35.760 And we'll continue to live. 01:00:35.760 --> 01:00:41.120 I think it has an existential pedagogy. 01:00:41.200 --> 01:00:44.480 It's sad and happy at the same time. 01:00:44.560 --> 01:00:46.440 It brings a sadness and a 01:00:46.440 --> 01:00:50.100 melancholy in its nature. 01:00:54.520 --> 01:00:56.880 I think it's a very rich experience 01:00:56.880 --> 01:01:00.840 to live in that territory, something very valuable. 01:01:00.920 --> 01:01:03.080 That's it for me. 01:01:07.680 --> 01:01:09.880 I'm going to try to add something to what 01:01:09.880 --> 01:01:12.180 Julia said. 01:01:17.280 --> 01:01:22.020 I'm going to start with Sergio's points. 01:01:25.440 --> 01:01:26.760 It seems to me 01:01:26.760 --> 01:01:31.920 that when we work with an art and we try to engage or 01:01:31.920 --> 01:01:36.480 we try to be environmentally responsible, 01:01:36.480 --> 01:01:41.280 we don't really have an answer, 01:01:41.360 --> 01:01:43.200 but there is something we know, 01:01:43.200 --> 01:01:46.200 we are going to need to build alliances. 01:01:46.200 --> 01:01:49.080 We're going to have to compromise. 01:01:49.080 --> 01:01:53.800 We're going to have to get involved with the territories. 01:01:53.880 --> 01:01:59.030 We're going to have to spend time there. 01:02:03.120 --> 01:02:04.840 There are some points that we know 01:02:04.840 --> 01:02:09.120 are just vital so that the work will make sense in a way 01:02:09.120 --> 01:02:13.760 so that they will have some sort of impact for the people that live there. 01:02:17.640 --> 01:02:19.040 We lived there, 01:02:19.040 --> 01:02:22.040 but we chose to live there. 01:02:22.110 --> 01:02:23.880 However, there are people that live there because 01:02:23.880 --> 01:02:29.240 they have nowhere else to go. 01:02:29.240 --> 01:02:33.000 We know that our presence there is different. 01:02:33.000 --> 01:02:37.720 We're always going to be foreigners there in one way or another. 01:02:37.800 --> 01:02:42.320 So, how can our work become relevant to them? 01:02:42.400 --> 01:02:45.060 We don't know. 01:02:46.880 --> 01:02:48.120 But we understand that 01:02:48.120 --> 01:02:52.000 there is art that doesn't care about that. 01:02:52.080 --> 01:02:55.480 There is art that is for producing 01:02:55.560 --> 01:03:01.140 the exploitation processes, 01:03:04.640 --> 01:03:06.480 but we are there 01:03:06.480 --> 01:03:10.880 and it is our job to sometimes point the finger and say, "hey, 01:03:10.960 --> 01:03:15.120 what you're doing here is this", like you're not being any better? 01:03:15.120 --> 01:03:15.640 Excuse me, 01:03:15.640 --> 01:03:19.320 there is no sound from them. 01:03:19.400 --> 01:03:22.130 It's back. 01:03:26.680 --> 01:03:31.120 Fernando's sound has stopped. 01:03:31.200 --> 01:03:36.940 There is this similar place called 01:03:37.320 --> 01:03:40.040 _____ that.... I'm sorry. 01:03:40.040 --> 01:03:43.380 Unfortunately, I can't hear Fernando's audio. 01:03:48.960 --> 01:03:52.360 So, we need to be aware. 01:04:03.240 --> 01:04:07.560 Art can have many different ways, 01:04:07.640 --> 01:04:10.710 many different ways to interact. 01:04:35.800 --> 01:04:36.760 I'm sorry. 01:04:36.760 --> 01:04:38.800 I don't know what's happening. I'm going to. 01:04:40.560 --> 01:04:43.000 Yeah, It's better now. 01:04:50.000 --> 01:04:55.360 So, where should I go back to? 01:04:56.160 --> 01:04:58.950 Carry on from where you were. 01:05:02.440 --> 01:05:05.960 It seems to me that there is nuance that we can 01:05:05.960 --> 01:05:09.400 we can notice. 01:05:09.960 --> 01:05:12.480 There is artwork. 01:05:12.480 --> 01:05:15.310 Fernando's sound is frozen again. 01:06:14.760 --> 01:06:15.480 Well, I mean, 01:06:15.480 --> 01:06:19.600 I think we had 01:06:19.680 --> 01:06:24.120 at least a good summary of the response. 01:06:25.320 --> 01:06:30.440 The connection was erosionated. 01:06:33.360 --> 01:06:34.920 I mean, maybe it's the moment 01:06:34.920 --> 01:06:37.920 to close this space and we can 01:06:37.920 --> 01:06:41.560 or should wait a little bit? 01:06:41.640 --> 01:06:42.200 Yeah, let's wait. 01:06:42.200 --> 01:06:43.640 We can wait then. 01:06:43.640 --> 01:06:44.880 Yeah, let's wait then. 01:06:44.880 --> 01:06:46.840 At least until they are back. 01:06:46.840 --> 01:06:49.240 I will send a message 01:06:49.240 --> 01:06:51.640 to their phone. 01:07:08.960 --> 01:07:10.680 He is saying that both of them 01:07:10.680 --> 01:07:13.680 lost their connection. 01:07:13.800 --> 01:07:15.320 Let me see what he's saying. 01:07:15.320 --> 01:07:17.514 He's typing. 01:07:19.400 --> 01:07:21.640 He would try again 01:07:21.640 --> 01:07:23.800 via cell phone. 01:07:31.800 --> 01:07:33.720 You know, when we are working hemispherically, 01:07:34.520 --> 01:07:37.440 This is always a thing, you know, 01:07:37.440 --> 01:07:40.640 the connection, always, 01:07:40.720 --> 01:07:43.720 the timezone. 01:07:43.920 --> 01:07:47.560 So, we need to have a little, like a 01:07:47.640 --> 01:07:51.680 counter acts like, like performative 01:07:51.760 --> 01:07:55.640 moments for kind of the intermissions when people leave. 01:07:55.640 --> 01:07:58.640 I think, I would like to nominate Denise 01:07:58.680 --> 01:08:05.200 who creates incredible short puppet shows to have something ready 01:08:05.280 --> 01:08:07.000 for future sessions. 01:08:07.000 --> 01:08:09.760 So, that the puppet theatre can take over 01:08:12.480 --> 01:08:15.480 as we're waiting for the connection to come back. 01:08:15.520 --> 01:08:17.880 It could be a way for us to organically deal 01:08:17.880 --> 01:08:21.400 with the discomfort. 01:08:22.040 --> 01:08:28.000 Oh, see. 01:08:28.080 --> 01:08:30.160 That's exactly. 01:08:31.080 --> 01:08:33.760 I also nominate Jess. 01:08:33.760 --> 01:08:41.670 Jess, can also provide... 01:08:46.320 --> 01:08:47.880 Here's Julia. 01:08:47.880 --> 01:08:50.520 Julia's back. 01:08:52.120 --> 01:08:54.350 She's back. 01:09:00.000 --> 01:09:01.920 Sorry. 01:09:01.920 --> 01:09:04.120 Let me see if Fernando 01:09:04.120 --> 01:09:05.600 gets back. 01:09:05.600 --> 01:09:08.920 If no, he will come here. 01:09:08.960 --> 01:09:12.160 One moment. 01:09:12.600 --> 01:09:14.880 Looks like he is 01:09:20.800 --> 01:09:23.510 Fernando? 01:09:46.600 --> 01:09:47.880 Can you hear me? 01:09:58.680 --> 01:10:01.360 But how erosion effect that- 01:10:01.360 --> 01:10:02.520 It's the end of the world. 01:10:02.520 --> 01:10:06.160 The beginning of the world. 01:10:07.974 --> 01:10:11.560 We were talking a little bit about the relationship 01:10:15.760 --> 01:10:20.120 -it has dimensions that 01:10:20.120 --> 01:10:24.440 aren't always related to 01:10:24.440 --> 01:10:28.320 an activist 01:10:28.400 --> 01:10:31.960 commitment, 01:10:34.440 --> 01:10:37.440 The _______ shows that commitment. 01:10:37.600 --> 01:10:41.240 We have other work. 01:10:41.320 --> 01:10:43.850 Some work that are more territorial 01:10:43.860 --> 01:10:47.040 such as a moving museum. 01:10:49.800 --> 01:10:52.960 The idea is to create a direct dialogue 01:10:52.960 --> 01:10:56.160 with the community 01:10:57.080 --> 01:11:00.960 We want to bring our works to to the community, 01:11:01.040 --> 01:11:04.040 to the fisherfolk community. 01:11:04.080 --> 01:11:05.640 But we need to be watchful. 01:11:05.640 --> 01:11:10.200 We need to be always thinking about this. 01:11:10.280 --> 01:11:12.840 It doesn't matter whether I work 01:11:12.840 --> 01:11:16.200 with painting. 01:11:16.280 --> 01:11:21.280 Is there any way that I can make this work echo 01:11:21.360 --> 01:11:23.720 with this place? 01:11:37.360 --> 01:11:40.920 So, this answering Sergio's question. 01:11:46.160 --> 01:11:50.560 Now talking about Laura's point, I talked about the idea 01:11:50.560 --> 01:11:55.040 of creating a language that's connected to erosion. 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 01:12:05.480 --> 01:12:07.950 the artist is some sort of genius 01:12:07.950 --> 01:12:12.000 that is creating something so special 01:12:12.000 --> 01:12:15.000 and so different. 01:12:15.080 --> 01:12:16.560 There's a 01:12:16.560 --> 01:12:20.640 that ego plays a big role. 01:12:20.880 --> 01:12:25.160 But what we understand now is that the work 01:12:25.160 --> 01:12:29.040 is to work with, is to create a partnership. 01:12:32.240 --> 01:12:35.760 Of course, we are still authors 01:12:35.760 --> 01:12:39.880 in some sort of way, but we share 01:12:42.200 --> 01:12:45.500 the authorship with the territory. 01:12:50.680 --> 01:12:53.360 We know that this work isn't simply 01:12:53.360 --> 01:12:56.360 the product of an artistic genius. 01:12:57.240 --> 01:13:01.120 We are listening to what the erosion is producing, 01:13:01.120 --> 01:13:04.400 to what those lands are telling us. 01:13:04.480 --> 01:13:08.440 We are working with some sort of interpreter. 01:13:08.520 --> 01:13:11.280 I think the idea of translation 01:13:11.280 --> 01:13:14.680 in arts is also something that's really interesting. 01:13:23.720 --> 01:13:27.240 You can also understand art from this perspective. 01:13:27.240 --> 01:13:31.000 Something that's beyond what's human. 01:13:32.846 --> 01:13:37.920 Art doesn't belong only to the human perspective. 01:13:38.000 --> 01:13:43.120 We could think about art in this way, and this type of art 01:13:43.120 --> 01:13:49.960 that we are working with, has something that actually exists in this 01:13:50.080 --> 01:13:54.520 in this meeting point, that it exists 01:13:54.600 --> 01:13:59.040 within these environmental processes. 01:13:59.120 --> 01:14:01.560 That exists within the senses. 01:14:04.520 --> 01:14:08.520 I don't know that there is a way to create this language 01:14:08.600 --> 01:14:13.720 aside from this relationship. 01:14:13.800 --> 01:14:16.480 But I think once created, 01:14:16.480 --> 01:14:19.760 yes, that language can expand. 01:14:19.840 --> 01:14:23.440 Yes, we are working locally, but we understand that these are global 01:14:23.440 --> 01:14:24.120 topics. 01:14:24.120 --> 01:14:29.240 They are particular to Atafona. 01:14:29.240 --> 01:14:34.200 Atafona is reflecting questions that exist in other places. 01:14:41.400 --> 01:14:44.840 I think that is reflected in the works. 01:14:48.800 --> 01:14:50.920 I may be missing something. 01:14:52.640 --> 01:14:54.520 But in general terms, I think that's that. 01:14:54.520 --> 01:14:56.560 That's what I had to share with you. 01:14:56.560 --> 01:14:59.700 These are my thoughts. 01:15:18.390 --> 01:15:20.040 Now what do we do? 01:15:23.050 --> 01:15:26.930 Turn your camera on and clap. 01:15:29.280 --> 01:15:32.920 I don't know is there anyone here 01:15:32.920 --> 01:15:37.200 that would like to say something? Because it's just myself, Laura and Shauna. 01:15:37.280 --> 01:15:40.800 But maybe there is someone else here that would like to make a comment. 01:15:49.800 --> 01:15:53.550 But I'd like to open the space. 01:16:02.760 --> 01:16:07.480 Everybody is too shy to say anything. 01:16:07.560 --> 01:16:09.560 It's fine. 01:16:09.560 --> 01:16:10.960 No problem. 01:16:10.960 --> 01:16:13.960 Yeah, I think we have to wrap up, 01:16:13.960 --> 01:16:15.640 Otherwise, we 01:16:15.640 --> 01:16:17.240 we would need a back up for Firmo 01:16:17.240 --> 01:16:19.560 who has been doing an amazing job. 01:16:22.600 --> 01:16:23.640 Thank you, Firmo. 01:16:36.360 --> 01:16:36.960 Great job. 01:16:36.960 --> 01:16:39.840 Always. 01:16:49.120 --> 01:16:50.560 Thank you, thank you, everyone. 01:16:50.560 --> 01:16:52.920 Thank you for this opportunity. 01:16:52.920 --> 01:16:55.640 It's so important to us. 01:16:55.640 --> 01:16:57.240 It's so important to be part of this. 01:16:57.240 --> 01:16:58.440 I don't think I 01:16:58.440 --> 01:17:01.280 I thanked everyone from The Coop. 01:17:05.040 --> 01:17:07.630 We are truly very greatful, 01:17:07.630 --> 01:17:10.640 for this opportunity to share this with you. 01:17:10.720 --> 01:17:14.200 And I hope we can continue this dialogue. 01:17:16.160 --> 01:17:18.240 It's such important work. 01:17:18.240 --> 01:17:21.960 That's it, we're very happy about it. 01:17:26.240 --> 01:17:30.920 I am going to take the mic now to 01:17:31.000 --> 01:17:35.680 to thank in the name of this Hemispheric Encounters, that is this large network of people. 01:17:35.760 --> 01:17:40.360 Fernando is our post-doc member. 01:17:40.440 --> 01:17:43.360 He just finished his project 01:17:43.360 --> 01:17:46.080 And I'd like to thank him. 01:17:46.080 --> 01:17:51.240 He gave us the opportunity to meet the CasaDuna work. 01:17:52.960 --> 01:17:55.520 I'd like to thank for this partnership 01:17:55.520 --> 01:17:59.280 and I hope that we can keep working. 01:18:02.320 --> 01:18:04.520 That's it. 01:18:11.080 --> 01:18:12.840 Thanks you all. 01:18:15.600 --> 01:18:16.840 Thank you, everyone. Thank you.