{"id":10790,"date":"2009-05-29T16:20:07","date_gmt":"2009-05-29T19:20:07","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=10790"},"modified":"2009-05-29T19:52:43","modified_gmt":"2009-05-29T22:52:43","slug":"a-grande-corrida","status":"publish","type":"post","link":"https:\/\/idanca.net\/a-grande-corrida\/","title":{"rendered":"A grande corrida | The big race"},"content":{"rendered":"

Este texto foi publicado originalmente na revista Obscena<\/a>.<\/span><\/em><\/p>\n

Que solu\u00e7\u00e3o existir\u00e1 para as artes performativas, se falamos constantemente em crise? E, numa altura, em que as fronteiras entre realidade e fic\u00e7\u00e3o enchem os teatros de todo o mundo, ter-se-\u00e1 algu\u00e9m lembrado de como a pornografia h\u00e1 muito que reinventou o corpo? Reflectamos sobre isso, como numa dolente tarde de domingo.<\/span><\/p>\n

Domingo pela tarde. Na televis\u00e3o n\u00e3o h\u00e1 nada de interessante. \u00c9 demasiado cedo para encontrar revela\u00e7\u00f5es no ecr\u00e3? \u00c9 demasiado cedo tamb\u00e9m para nos abandonarmos ao consumo de porno e drogas. Quem sabe \u00e9 um bom momento para se fazer perguntas inc\u00f3modas. Coisas como “O que vai acontecer \u00e0s artes performativas? Que futuro t\u00eam?”, ressoam na cabe\u00e7a. “Que raio de maneira pat\u00e9tica de passar o fim de semana” repreendemo-nos de imediato ao percebermos que estamos a fazer tamanhas perguntas. Mas na realidade, n\u00e3o h\u00e1 nada melhor que fazer, et pour cause<\/em>…<\/span><\/p>\n

Apenas quando observamos superficialmente os mecanismos que modelam a produ\u00e7\u00e3o art\u00edstica nos damos conta de como, na realidade, tudo est\u00e1 ligado. Nas sociedades p\u00f3s-industriais europeias invent\u00e1mos uma perversa gaveta \u00e0 qual cham\u00e1mos “cultura” na qual colocamos todo o objecto amea\u00e7ador. Sentimo-nos orgulhosos dessa gaveta, porque sentimos que \u00e9 uma das principais coisas que nos diferenciam “dos outros”: sem ruborizarmos continuamos a acreditar sermos o paradigma – o paradigma da “civiliza\u00e7\u00e3o”.<\/span><\/p>\n

Assim, os nossos Estados investem (uma quantidade irris\u00f3ria dos seus recursos) neste artefacto, e n\u00f3s abandonamos felizes a uma tranquilidade autocomplacente: somos melhores, “n\u00f3s” temos um “Minist\u00e9rio da Cultura”. N\u00e3o nos damos conta de que isso a que chamamos “cultura” \u00e9 um artefacto destruidor que elimina qualquer capacidade pol\u00edtica nas pr\u00e1ticas art\u00edsticas. A estrat\u00e9gia \u00e9 muito simples: trata-se de criar barreiras, recipientes, capazes de se auto-imporem e isolarem qualquer inten\u00e7\u00e3o de alterar a ordem burguesa capitalista. J\u00e1 o vimos mil vezes: por muito mal que possam ser recebidos (e mesmo resultar) os trabalhos de Rodrigo Garc\u00eda, J\u00e9r\u00f4me Bel, Vera Mantero, Franko B, Romeo Castellucci, para citar alguns ao acaso, aparecem ou dentro de um teatro, ou dentro de um festival, ou dentro de um plano de pol\u00edticas culturais, etc.<\/span><\/p>\n

Todas estes disfarces conseguem retirar, com uma efic\u00e1cia ins\u00f3lita, a capacidade pol\u00edtica de qualquer proposta art\u00edstica por muito “inc\u00f3moda” que seja. Tudo acaba por reafirmar o status quo<\/em> capitalista porque, uma vez dentro da “cultura”, desaparece a possibilidade de intervir no mundo. \u00c9 certo que, por vezes, o sistema falha e, de repente, h\u00e1 fugas que perfuram estas capas protectoras e isoladoras da “cultura”. Mas n\u00e3o nos enganemos: tratam-se de puros acidentes que, uma vez identificados, s\u00e3o imediatamente submetidos a um processo de desactiva\u00e7\u00e3o.<\/span><\/p>\n

O panorama n\u00e3o \u00e9 muito estimulante: mas quem sabe talvez exista uma sa\u00edda nessa potentia gaudendi<\/em> que, recentemente, Beatriz Preciado recuperou da filosofia de Spinoza. De acordo com o que a brilhante fil\u00f3sofa e activista prop\u00f5e “a for\u00e7a org\u00e1smica \u00e9 a soma das potencialidades de excita\u00e7\u00e3o inerente a cada mol\u00e9cula viva. A for\u00e7a org\u00e1smica n\u00e3o procura a sua resolu\u00e7\u00e3o autom\u00e1tica. Mas sim aspira a prolongar-se no tempo e no espa\u00e7o, a tudo e a todos, em todo o momento e em todo o lugar. \u00c9 a for\u00e7a que transforma o mundo em placer-con. A for\u00e7a org\u00e1smica re\u00fane ao mesmo tempo todas as for\u00e7as som\u00e1ticas e ps\u00edquicas, p\u00f5e em jogo todos os recursos bioqu\u00edmicos e todas as estruturas da alma”[1].<\/span><\/p>\n

“O que caracteriza a potentia gaudendi<\/em> n\u00e3o \u00e9 s\u00f3 o seu car\u00e1cter n\u00e3o permanente e altamente male\u00e1vel, mas sobretudo a sua impossibilidade para ser possu\u00edda ou conservada. A potentia gaudendi<\/em> como fundamento energ\u00e9tico do farmacopornismo<\/em>, n\u00e3o se deixa reduzir ao objecto nem pode transformar-se em propriedade privada”[2] (As resson\u00e2ncias desta ultima defini\u00e7\u00e3o propostas de Peggy Phelan no seu famoso The Ontology of Performance <\/em>(1995) s\u00e3o t\u00e3o surpreendentes como excitantes!). Assim, se o problema \u00e9 verificarmos que, atrav\u00e9s do artefacto da “cultura”, se subtraem \u00e0s pr\u00e1ticas art\u00edsticas a sua capacidade de “fazer” e, por sistema, redundam em entretenimento obrigat\u00f3rio, quem sabe n\u00e3o teremos chegado ao cora\u00e7\u00e3o do problema? Mas como recuperar a “for\u00e7a org\u00e1smica” das artes? Como libertar as pr\u00e1ticas art\u00edsticas das alienantes garras da “cultura”?<\/span><\/p>\n

A resposta est\u00e1 na pornografia. E mais estar\u00e1 se formos capazes de nos libertar de certas limita\u00e7\u00f5es puritanas instaladas nas “partes” mais invis\u00edveis da nossa consci\u00eancia. Se o fiz\u00e9ssemos ter\u00edamos a real no\u00e7\u00e3o do quanto as pr\u00e1ticas art\u00edsticas actuais tem a aprender\u00a0 com a pornografia. Pode-se inclusivamente pensar que s\u00f3 aquelas propostas art\u00edsticas que se aproximam da pornografia (intencionada ou acidentalmente) s\u00e3o as que conseguem, com efeito, escapar da desactiva\u00e7\u00e3o amortalhada que a “cultura” imp\u00f5e. Quem sabe se o porno n\u00e3o \u00e9 a \u00faltima oportunidade que a arte tem para reinventar as gabardinas de isolamento que a afastam do mundo, e de recuperar a sua capacidade pol\u00edtica e de ac\u00e7\u00e3o? E aqui h\u00e1 que fazer um esfor\u00e7o de incluir o porno em toda a sua amplitude. A pornografia n\u00e3o deveria confundir-se com a exibi\u00e7\u00e3o de imagens de conte\u00fado sexual evidente e cru.<\/span><\/p>\n

Como prop\u00f5e Andr\u00e9s Barba e Javier Montes, o objecto pornogr\u00e1fico \u00e9 aquele objecto com o qual estabelecemos um compromisso de excita\u00e7\u00e3o<\/em>[3]. Portanto a experi\u00eancia pornogr\u00e1fica pode suceder com qualquer objecto (n\u00e3o s\u00f3 com imagens que reproduzem ac\u00e7\u00f5es sexuais), bastando para tal que estejamos dispostos a abandonarmo-nos \u00e0 excita\u00e7\u00e3o. Basta que desejemos que o objecto actue sobre a capacidade de prazer inerente ao nosso corpo. Nesse sentido, a arte, tal como a pornografia, deveria ser capaz de nos fazer ejacular de cada vez, todo o tempo. Dever\u00edamos assumir que ir ver um espect\u00e1culo implica sempre que vamos ser penetrados, uma e outra vez. E que isso n\u00e3o s\u00f3 vai activar intensos processos de prazer, como ainda vai dissolver os limites que nos separam da obra. O que a pornografia faz \u00e9 levar a representa\u00e7\u00e3o ao corpo de quem consome essa representa\u00e7\u00e3o. A excita\u00e7\u00e3o provocada pela pornografia \u00e9 um exemplo perfeito de como os limites entre o sujeito e o objecto – o eu e o tu – o espectador e a obra; o espectador e o autor, etc., podem chegar a converter-se em algo nebuloso. Do que se trata finalmente, \u00e9 de saber escapar a esses envolvimentos isolantes da “cultura” que n\u00e3o fazem outra coisa sen\u00e3o materializar os medos burgueses em rela\u00e7\u00e3o \u00e0s pr\u00e1ticas art\u00edsticas, criando espa\u00e7os “seguros” (museus, teatros, galerias, feiras, festivais, etc.) que num alarmismo pat\u00e9tico de paternalismo, afastam as obras dos nossos corpos. E \u00e9 cada vez \u00e9 mais evidente que o corpo \u00e9 a sa\u00edda, \u00e9 o lugar da revolu\u00e7\u00e3o.<\/span><\/p>\n

Mas n\u00e3o nos confundamos: n\u00e3o me refiro aqui ao “corpo” como problema abstracto, como tema de discuss\u00e3o erudita. Estou a falar do corpo pr\u00f3prio, das carnes em que cada um vive a nossa dor, dos org\u00e3os em que se sucedem os epis\u00f3dios de prazer privado e particular. Esse \u00e9 o cen\u00e1rio no qual as pr\u00e1ticas art\u00edsticas recuperar\u00e3o (Deus queira) a sua potentia gaudendi<\/em>, sua for\u00e7a org\u00e1smica, a sua capacidade de transformar o mundo e produzir conhecimento. Se realmente nos resta alguma esperan\u00e7a de que as artes cheguem a ser algo vivo, ent\u00e3o a “cultura” deve, primeiro, desaparecer e, segundo devemos libertar todas essas pr\u00e1ticas art\u00edsticas que se metem dentro dessa gaveta isoladora e deixar que transformem e subvertam as nossas pr\u00e1ticas quotidianas. E a\u00ed os espectadores ter\u00e3o uma responsabilidade porque h\u00e1 coisas que podemos fazer. Comecemos a consumir os produtos da “cultura” da mesma forma que consumimos a pornografia. Partamos para\u00a0 os teatros dispostos a nos vir-mos.<\/span><\/p>\n

Exijamos que as obras nos provoquem convuls\u00f5es de prazer. Exijamos que cada obra deixe uma marca em nossas peles e passe a fazer parte do nosso corpo, da nossa mem\u00f3ria e da nossa biografia. Aproveitemos todos esses novos dispositivos de representa\u00e7\u00e3o que exploram formas de fazer desaparecer as barreiras que nos separam do mundo. Entrem e registrem-se no Xtube (www.xtube.com). Deixem-se levar, admirem-se pela quantidade de pessoas que est\u00e3o dispostas a p\u00f4r em jogo suas pr\u00f3prias carnes convencidas de que est\u00e3o a ver o mundo de verdade, de que est\u00e3o a participar numa gloriosa corrida. Aprendamos, de uma vez por todas, tudo o que o porno nos tem para ensinar.<\/span><\/p>\n

Tradu\u00e7\u00e3o do espanhol: Virg\u00ednia Mata<\/span><\/p>\n

[1] Preciado, Beatriz, 2008, Testo Yonqui<\/em>, Espasa, Madrid.<\/span><\/p>\n

[2] ibidem<\/span><\/p>\n

[3] Barba, A. E Montes, J. 2007, La ceremonia del porno<\/em>, Anagrama, Barcelona<\/span><\/p>\n

Jaime Conde-Salazar \u00e9 espanhol, licenciado em Hist\u00f3ria da Arte (Universidade Complutense de Madrid) e tem um master em Performance Studies (Universidade de Nova Iorque, 2002). Colaborou enquanto cr\u00edtico de dan\u00e7a em v\u00e1rias revistas de dan\u00e7a como \u201cPor La danza\u201d (Madrid), \u201cSuzyQ\u201d (Madrid), \u201cBallet\/Tanz\u201d (Berlim), \u201cMouvement\u201d (Paris), \u201cHystrio\u201d (Roma) e \u201cObscena\u201d (Lisboa). Faz parte do conselho editorial da revista \u201cCairon. Revista de Ciencias para la Danza\u201d. <\/strong><\/span><\/p>\n

This article was originally published at Obscena<\/a> magazine.<\/span><\/em><\/p>\n

What solution would there be for the performing arts, if we are constantly talking about crisis? And, at a point when the borders between reality and fiction fill out theaters throughout the world, has anyone remembered how pornography has long ago reinvented the body? Let us reflect upon that, like in a lazy Sunday afternoon.<\/span><\/p>\n

Sunday afternoon. There is nothing interesting on TV. Is it too early to find revelations on the screen? It is also too early to abandon ourselves in porn and drugs. Who knows if it is not a good time to ask uncomfortable questions. Things like “What is going to happen to the performing arts? What future do they have?” keep ringing in my head. “What a pathetic way to spend the weekend”, we immediately reprimand ourselves when we realize we are making such questions. But actually there is nothing better to do, that\u00b4s why…<\/span><\/p>\n

Only when we superficially observe the mechanisms that shape artistic production do we realize how everything is connected. In post-industrial European societies, we invented a perverse drawer we call “culture”, in which we place every threatening object. We feel proud of this drawer, because we feel it is one the main things that separate us from “the others”: without blushing we continue to believe ourselves to be the paradigm – the paradigm of “civilization”.<\/span><\/p>\n

Thus, our states invest (a derisory amount of their resources) in this artifact and we happily abandon ourselves to a self-complacent tranquility: we are better, “we” have a “Culture Ministry”. We do not realize that which we call “culture” is a destructive artifact that eliminates any political capacity in artistic practices. The strategy is very simple: it is about creating borders, containers, able to impose themselves and isolate any intention to change the bourgeois capitalist order. We have seen it a thousand times: however ill-received (and even resulting) the works of Rodrigo Garcia, J\u00e9r\u00f4me Bel, Vera Mantero, Franko B, Romeo Castellucci, to name a few randomly, perform either within a theater, a festival or a cultural policy plan, etc.<\/span><\/p>\n

All these disguises are able to remove with unusual efficiency the political capacity of any artistic proposal however “uncomfortable” they may be. Everything ends up reinforcing the capitalist status quo <\/em>because once it is all inside “culture”, any possibility of intervening in the world disappear. For sure, the system fails sometimes and suddenly there are escapes that break through these covers protecting and isolating “culture”. But let\u00b4s not be fooled: these are sheer accidents, once identified, they are subjected to deactivation process.<\/span><\/p>\n

The panorama is not very stimulating: but maybe there is a way out from the potentia gaudendi<\/em> Beatriz Preciado recently rescued from Spinoza’s philosophy. According to what the brilliant philosopher and activist proposes “the orgasmic force is the sum of the excitation potentialities inherent to each living molecule. The orgasmic force does not seek its automatic resolution. It rather aspires to prolong itself in time and space, to everything and everyone, in every moment and every place. It is the force that transforms the world into pleasure. The orgasmic force unites at the same time every somatic and psychic force, putting every biochemical and every structure of the soul at stake”[1].<\/span><\/p>\n

“What distinguishes potentia gaudendi <\/em>is not its non-permanent and highly flexible quality, but above all the impossibility of being possessed or preserved. Potentia guadendi <\/em>as energetic foundation of farmacopornism<\/em>, it does not allow itself to be reduced to an object neither can it be transformed into private property” [2] (The resonance of this last definition, proposed by Peggy Phelan in her famous The Ontology of Performance <\/em>(1995) is both surprising and exciting!). Thus, if the problem is verifying that through the artifact of “culture”, the capacity for “doing” is subtracted from artistic practices, who knows if we haven\u00b4t reached the heart of the problem? But how to recover the “orgasmic force” of the arts? How to liberate artistic practices from the alienating clutches of “culture”?<\/span><\/p>\n

The answer is in pornography. And it will be even more, if we are able to liberate ourselves from certain puritan limitations installed in the most invisible “parts” of our consciousness. If we could do that, then we would have a real notion of how much the current artistic practices have to learn from pornography. It is even possible to think that only the artistic proposal that approach pornography (intentionally or accidentally) are the ones that are able to effectively escape from the shrouded deactivation imposed by “culture”. Who knows if porn isn\u00b4t the last opportunity art has to reinvent the raincoats of isolation that push it apart from the world and to regain its capacity for politics and action? And there must be an effort to include porn in all its extent. Pornography should not be confused with the exhibition of images of evident and raw sexual content. As Andr\u00e9s Barba and Javier Montes propose, the pornographic object is the object which we establish an excitation commitment <\/em>[3] with. Therefore the pornographic experience can take place with any object (not only images that reproduce sexual acts), as long as we are willing to abandon ourselves in excitation, as long as we desire the object to act upon our body’s capacity for pleasure. Thus, art, just like pornography, should be able to make us ejaculate each time, every time. We should admit that going out to watch a show implicates being penetrated, every time. And this is not only going to activate intense pleasure processes, but it will also dissolve the limits that separate us from the piece. What pornography does is to take representation to the body of those who use this representation. The excitation provoked by pornography is a perfect example of how the limits between the subject and the object – the I and the you – the spectator and the piece; the spectator and the author, etc, may convert into something hazy. Finally, it is about knowing how to escape the isolating envelopment of “culture” that does nothing but materialize the bourgeois fears regarding artistic practices, creating “safe” spaces (museums, theaters, galleries, fairs, festivals, etc.) which push the pieces away from our bodies, in a pathetic paternalist alarmism. And it is more and more clear that the body is the answer, the place for revolution.<\/span><\/p>\n

But let\u00b4s not be confused: I do not refer to the “body” as an abstract problem, as a theme for highbrow debates. I am talking about the body itself, the flesh in which each of us live our pains, the organs in which episodes of private pleasure take place. This is the setting in which artistic practices will recover its potentia gaudendi<\/em>, its orgasmic force, its capacity to chance the world and produce knowledge. If there is any hope that the arts become alive, then, first, “culture” should dissappear, second, we should liberate all artistic practices that are placed inside the isolating drawer and allow them to transform and subvert our daily practices. Then, the spectators will have a responsibility, because there are things that we can do. Let\u00b4s begin to use the products of “culture” the same way we use pornography. Let\u00b4s go to the theater willing to cum. Let\u00b4s demand the pieces to provoke convulsions of pleasure in us. Let\u00b4s demand that each piece leave a mark in our skin and become part of our body, our memory and our biography. Let\u00b4s enjoy all these new representation devices that explore ways to make the barriers that separate us from the world. Access and register at Xtube. Let yourslef go, be amused by the amount of people willing to display their own flesh, convinced to see the real world, in which they are participating in a glorious race. Let\u00b4s learn, once and for all, everything porn has to teach us.<\/span><\/p>\n

[1] Preciado, Beatriz, 2008, Testo Yonqui<\/em>, Espasa, Madrid.<\/span><\/p>\n

[2] ibidem<\/span><\/p>\n

[3] Barba, A. E Montes, J. 2007, La ceremonia del porno<\/em>, Anagrama, Barcelona<\/span><\/p>\n

Jaime Conde-Salazar is Spanish, has an Art History degree (Universidade Complutense de Madrid) and master in Performance Studies (New York University, 2002). He has collaborated as dance critic with\u00a0 \u201cPor La danza\u201d (Madrid), \u201cSuzyQ\u201d (Madrid), \u201cBallet\/Tanz\u201d (Berlim), \u201cMouvement\u201d (Paris), \u201cHystrio\u201d (Roma) e \u201cObscena\u201d (Lisboa). He is part of the editorial council of \u201cCairon. Revista de Ciencias para la Danza\u201d.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O cr\u00edtico de dan\u00e7a Jaime Conde-Salazar toca em um tema pol\u00eamico neste seu texto: a pornografia na arte. S\u00f3 as obras que flertam com o pornogr\u00e1fico conseguem se destacar? Leia e esquente a discuss\u00e3o!<\/span>
\nDance critic Jaime Conde-Salazar tackles a contrversial subject in this text: pornography and art. Are art pieces that flirt with pornography the only ones able to stand out? Read and heat up the debate!<\/span><\/p>\n","protected":false},"author":1491,"featured_media":10795,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[121,3264],"yoast_head":"\nA grande corrida | The big race -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/a-grande-corrida\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A grande corrida | The big race -\" \/>\n<meta property=\"og:description\" content=\"O cr\u00edtico de dan\u00e7a Jaime Conde-Salazar toca em um tema pol\u00eamico neste seu texto: a pornografia na arte. S\u00f3 as obras que flertam com o pornogr\u00e1fico conseguem se destacar? Leia e esquente a discuss\u00e3o! Dance critic Jaime Conde-Salazar tackles a contrversial subject in this text: pornography and art. Are art pieces that flirt with pornography the only ones able to stand out? 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