Research Catalogue

Desenvolvimento de investigação artística em teleperformance entre os anos de 1999 e 2001, quando não existia uma taxinomia adequada. As teleperformances do Perforum Desterro partiram da pesquisa da linguagem intermídia da telecomunicação síncrona. As teleperformances foram a prática artística e, paralelamente, subsidiaram o levantamento teórico sobre telepresença realizado como parte de meu doutoramento no Programa de Pós-graduação de Comunicação e Semiótica da PUCSP (COS). O Perforum nasceu em São Paulo das ideias de Artur Matuck acerca dos “Colaboratórios de Mídia e Performance” a serem criados em diferentes cidades. No segundo semestre de 1998 cursei a disciplina Escrituras Eletrônicas, ministrada por Artur Matuck na pós-graduação da Escola de Comunicação e Artes da Universidade de São Paulo, ECA/USP. Entre minhas idas a São Paulo, passei a fazer parte do grupo de pesquisa da disciplina, antes mesmo de ingressar oficialmente como doutoranda em um Programa de Pós Graduação. Parte dos integrantes atuaram no início do projeto Perforum. Paula Perissinoto e Ricardo Barreto, fundadores no ano de 2000 do Festival Internacional de Linguagem Eletrônica, FILE, Tereza Labarrère, Otávio Donasci, o artista criador das videocriaturas, Edson Luiz de Oliveira, Cesar Barros, Suzana Moraes. Outros, como Daniel Seda, aderiram ao grupo mais tarde. O Perforum no ano de 1999 se bifurcou em Perforum Desterro, coordenado por Yara Guasque pela Universidade do Estado de Santa Catarina, UDESC, e Perforum São Paulo coordenado por Artur Matuck pela USP. Os dois grupos desenvolviam colaborativamente scripts como proposição de interação e performance a distância.

Art activism is powerful. Also known as activist art, protest art, visual activism, artivism and creative activism, it changes lives, situations and is and has been a powerful weapon across a whole spectrum of struggles for justice. Teresa Sanz & Beatriz Rodriguez-Labajos(2021) relay that art activism has the unique ability to bring cohesion and diverse peoples together and it can, as Zeynep Tufekci notes, change the participants (2017). As Steve Duncombe & Steve Lambert (2021) posit, traditional protesting such as marches or squats are no longer as important as they once were. As a result of my own lived experience in activist activities, I very much agree with Andrew Boyd & Dave Oswald Mitchell (2012) that the reason people use art activism is that it works, by enriching and improving protest. In the past, when I lived in a metropolis and was not a parent, I used to be an activist. Now I no longer have immediate access to international headquarters at which to protest and I have to be concerned with being arrested, I am hindered from protesting. This project is an attempt to increase inclusion and widen access to art activism. By devising methods which include at least one of the following: that do not require on-site participation, that can take place outside the public gaze, that reduce the risk of arrest, that open up protest sites that are not “big targets”, that include remote locations, that involve irregular timing, my thesis aims to increase inclusion and widen access to art activism to those who are underserved by more mainstream methods of conducting art activism. Textiles have unique properties that enable them to engage in subterfuge and speak loudly through care and thought(Bryan-Wilson, 2017). They have strong connotations of domesticity, the body and comfort that can be subverted within art activism to reference lack of this domestic warmth and protection(O’Neill, 2022). Being a slow form of art-making, they show care and thought, attention in the making, so that the messaging is reinforced through this intentionality in slow making.

I grew up in a family full of hunters. I used to go on hunting hunts and was generally pretty in touch with the death of animals. So I'm interested in everything surrounding this topic. At the same time, we are in an era where we share and photograph everything. I question why hunters take pictures with their kill. I also want to point out that these often distasteful photos, they share on Facebook, and or websites where they pat each other on the back. I'm exploring the connection between the camera and the gun.

Thesis of the Royal Academy of Art, The Hague, 2023. BA Photography. The research paper Echoes of a Journey Through Eco is a record of several-yet-one-and-the-same journey(s). I departed guided by the two questions: What can I learn from the forest? How can I learn from the forest? The first part of the journey I started as a humble, aimless observer in Haagse Bos, where I would sit and let my surroundings dictate what I would write. The symbolic, yet totally non-existent line between culture and nature became subject of my research. I did not even know the history of the forest, or anything about trees from a more universally agreed upon perspective (science). I had to alter my approach to the research. Slowly the humble observer discovered a part of him inquisitively searching for questions and answers. I was approaching the field of ecology. Some months into my journey I carved the fateful words “bark bark” in the bark of a tree. I questioned myself as an artist making a mark on nature. I started writing a text to underpin a few things I think an artist should think about when their practice takes place in and with nature involved. Some very critical, almost cynical part of me took stead of the humble observer. It seems I needed to vent some things. The final paper holds fragments from all parts of the journey, from the humble observer to the cynical critic. As a journey it has barely begun, and as a text it is full of superficial reflections, very subjective opinions, and shortcomings. But, as the seed this text sprung from was planted only 6 months ago, it should be expected that it is still only a sapling about yay tall (20-30cm were I a Scots pine). If there is one thing I learned from trees, it’s patience.

Home page of the Journal of Sonic Studies

This is an invitation to generate your own article about playfulness and its power to reconceive failure in artistic research, through a simple game of chance and knowledge. This text contextualises the game within the experiences of the authors, researchers at Orpheus Instituut, who have been engaged in creating explorative spaces for new types of collaboration, using the principles of playfulness. Through a combination of artistic and theoretical work and practical experience with iterative case studies in which game mechanics are tested, refined, and tested again, the authors are engaged in a process of discovery within a “magic circle”. Open-ended experimentation and collaboration are central areas of focus. Failure is re-conceived as a learning process and its catastrophic effects are integrated into the make-believe space of the game, while the insights and experiences drawn from these failures are retained once we step out of the magic circle.