{"id":11648,"date":"2009-07-23T12:45:48","date_gmt":"2009-07-23T15:45:48","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=11648"},"modified":"2009-07-23T18:28:41","modified_gmt":"2009-07-23T21:28:41","slug":"diario-de-bordo4-prisma-mexico","status":"publish","type":"post","link":"https:\/\/idanca.net\/diario-de-bordo4-prisma-mexico\/","title":{"rendered":"Di\u00e1rio de bordo.4 – Prisma Mexico | Logbook.4 – Prisma Mexico"},"content":{"rendered":"

Em 2008, tive o prazer de conhecer (o trabalho e pessoalmente) a artista cubana Tania Bruguera<\/a>.<\/span><\/p>\n

Eu estava em Paris fazendo uma resid\u00eancia art\u00edstica no Centre International des R\u00e9collets<\/a> <\/span> e Tania estava no mesmo centro, mas trabalhando junto ao espa\u00e7o de cria\u00e7\u00e3o <\/span>CENTQUATRE<\/a>, onde desenvolvia o projeto Party of Migrant People<\/em><\/strong><\/a> associado \u00e0 comunidade local.<\/span><\/p>\n

Tania \u00e9 uma artista interessada na rela\u00e7\u00e3o entre arte, pol\u00edtica e vida, com trabalhos altamente politizados, onde o corpo \u00e9 abordado inserido em seu contexto social, econ\u00f4mico e pol\u00edtico. Tania nomeia estes princ\u00edpios como “Arte da Conduta”<\/a>.<\/span><\/p>\n

Ela trabalha interdisciplinariamente, mas elege a performance, o v\u00eddeo, o desenho\u00a0 e a instala\u00e7\u00e3o como seus principais intrumentos expressivos.<\/span><\/p>\n

Na \u00faltima Bienal de Havana (2009), Tania apresentou uma\u00a0 performance (veja o v\u00eddeo abaixo) que consistia em criar uma situa\u00e7\u00e3o (um cen\u00e1rio com um p\u00f3dio, microfones, dois \u00a0“guardas da revolu\u00e7\u00e3o” que davam a voz e depois determinavam o fim do discurso, uma pomba branca colocada no ombro de quem falava, \u00a0e bastante p\u00fablico estrangeiro) para que alguns cubanos pudessem expressar sua opini\u00e3o livremente.<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=Awg6S1VVIgo[\/youtube]<\/div>\n

A primeira pessoa que fez uso do microfone foi Yoani S\u00e1nchez, muito conhecida fora de Cuba por seu blog Generaci\u00f3n Y<\/a>. \u00c9 importante ressaltar aqui que ter um blog \u00e9 algo ins\u00f3lito na ilha, j\u00e1 que o acesso \u00e0 internet \u00e9 praticamente imposs\u00edvel aos cubanos. Yoani S\u00e1nchez clama \u00e0 cria\u00e7\u00e3o, difus\u00e3o e conversa atrav\u00e9s do blog como uma possibilidade da “internet como uma pra\u00e7a p\u00fablica de discuss\u00e3o”.<\/span><\/p>\n

Nesta performance (filmada e disponibilizada na internet no mesmo dia) as pessoas se alternavam em opini\u00f5es, um microfone, dois guardas, uma pomba e, mais importante, A POSSIBILIDADE DE TER VOZ, encontrando espa\u00e7o, tempo, aten\u00e7\u00e3o e liberdade para falar de seus anseios e, sobretudo, das limita\u00e7\u00f5es que lhes s\u00e3o impostas por viver na ilha.<\/span><\/p>\n

Destaco aqui a fala de uma pessoa: “Que um dia a liberdade de express\u00e3o em Cuba n\u00e3o seja uma performance!”<\/span><\/p>\n

Assim que encontrei esse trabalho na internet (abril de 2009), a proposta de Tania foi de encontro ao trabalho novo que eu estava (ainda estou) desenvolvendo.<\/span><\/p>\n

O trabalho chama-se EU PROMETO, ISTO \u00c9 POL\u00cdTICO<\/em><\/strong><\/a>, e, quando comecei ele, em 2008, estava nessa resid\u00eancia art\u00edstica em Paris, que falei l\u00e1 no in\u00edcio do texto.<\/span><\/p>\n

L\u00e1 em Paris trabalhei sozinha,\u00a0 e depois fui para Portugal trabalhar com Mia Haugland Habib<\/a> nessa minha pesquisa.<\/span><\/p>\n

Trabalhei, separadamente, com Mia e com outros artistas do Sweet and Tender Collaborations<\/a>. Trabalh\u00e1vamos sobre quadrados no ch\u00e3o, espa\u00e7os individuais\/coletivos, ceder o espa\u00e7o para cada um ocupar com suas quest\u00f5es atuais… Isto abordando aqui a ideia de maneira bem resumida!<\/span><\/p>\n

Bem, trabalhei esta primeira ideia de maneira bem espec\u00edfica com Mia, devo dizer totalmente coreografada, mas, com os outros artistas que quiseram entrar em minha pesquisa, trabalhei de maneira bem mais aberta, numa esp\u00e9cie de “coreografia do contexto, do quadrado”, deixando o recheio ou, melhor, o assunto de cada quadrado nas m\u00e3os de seu ocupante.\u00a0 Um pouco MST<\/a>: dar terra (quadrado) pra quem quer ocupar (falar), e que ocupe sua terra como melhor lhe prover.<\/span><\/p>\n

(Ok, t\u00f4 dando uma grande volta, espero chegar em algum lugar…)<\/span><\/p>\n

Ent\u00e3o, em abril de 2009, quando vi este trabalho da Tania, encostei mais em muitas quest\u00f5es com as quais me identifico, e entendi mais o que eu mesma vinha investigando.<\/span><\/p>\n

EU PROMETO, ISTO \u00c9 POL\u00cdTICO<\/em><\/strong> segue seu rumo e muitas coisas j\u00e1 mudaram, foram abandonadas, outras permaneceram, mas a quest\u00e3o de dar voz<\/strong> e de criar territ\u00f3rio para ser ocupado<\/strong> permanece para mim obsessivamente.<\/span><\/p>\n

Pra escrever esse meu \u00faltimo di\u00e1rio de bordo, voltei a essas quest\u00f5es, pois a viagem acabou e volto a meus ensaios di\u00e1rios do EU PROMETO<\/em><\/strong>, e tamb\u00e9m me deparei muito com esses pontos no M\u00e9xico e trouxe-os para tudo que venho escrevendo aqui. Al\u00e9m disso, fiquei com o open microphone <\/strong>que falei (no texto da semana passada<\/a>) na cabe\u00e7a!<\/span><\/p>\n

Ent\u00e3o, minha ideia pra este \u00faltimo di\u00e1rio de bordo era fazer um open microphone<\/em> textual: abrir este espa\u00e7o do idan\u00e7a<\/strong> e meu texto pra quem quisesse falar.<\/span><\/p>\n

Para isso escrevi\/convidei muitas pessoas que conheci (ou ja conhecia) no M\u00e9xico, pessoas locais e estrangeiras, das mais variadas proced\u00eancias e trabalhos e opini\u00f5es. Escrevi a elas come\u00e7ando a proposta com uma pergunta:<\/span><\/p>\n

“Como foi estar no M\u00e9xico, no Prisma Forum, para voc\u00ea?”<\/span><\/p>\n

Pedi que respondessem essa quest\u00e3o como quisessem, de maneira bem curta se desejassem, com palavras ou com fotos ou com ideias ou com “o que tivessem em m\u00e3os”.<\/span><\/p>\n

N\u00e3o deu certo.<\/span><\/p>\n

Pouqu\u00edssimas pessoas me responderam de fato, outras escreveram dizendo que estavam de f\u00e9rias ou que estavam de sa\u00edda para seus pa\u00edses e me escrever\u00edam em algumas semanas (mas “n\u00e3o posso esperar” pois meus textos s\u00e3o semanais e esse \u00e9 o \u00faltimo…), outras simplesmente n\u00e3o responderam meu email.<\/span><\/p>\n

Enfim, n\u00e3o aconteceu como eu esperava. Este texto n\u00e3o aconteceu como eu esperava.<\/span><\/p>\n

\"Paredes<\/a>

Paredes de Oaxaca \/ Foto: Micheline Torres<\/p><\/div><\/span><\/p>\n

Isso me acontece toda hora no processo criativo: a gente trabalha numa coisa e ela “nao funciona” ou “n\u00e3o d\u00e1 em nada” ou demora meses at\u00e9 a gente entender o que ela \u00e9 ou onde ela vai mas, e tamb\u00e9m , as coisas nos surpreendem em seus “objetivos, fun\u00e7\u00f5es, usos e significados”.<\/span><\/p>\n

Quando isso acontece \u00e9 pedra precisosa e lembro da frase do Manuel de Barros: “repetir, repetir, at\u00e9 ficar diferente”.<\/span><\/p>\n

E lembro tamb\u00e9m de um livro que volta e meia estou nele.<\/span><\/p>\n

Chama-se Das coisas nascem coisas<\/em>, do artista pl\u00e1stico italiano Bruno Munari.<\/span><\/p>\n

O livro \u00e9, a princ\u00edpio, dedicado a designers e trata de metodologia de projetos, desdobramento de ideias, sistemas de constru\u00e7\u00e3o, tendo sempre em vista a solu\u00e7\u00e3o de problemas sobre distinguir o “objeto certo” do “objeto errado” para determinado fim.<\/span><\/p>\n

Parece espec\u00edfico demais, muito l\u00f3gico e bem fechado, mas, sempre que volto neste livro, \u00e9 sobre renovar o olhar sobre um mesmo objeto e manusear outros desdobramentos para o mesmo, num processo cont\u00ednuo de investiga\u00e7\u00e3o e descoberta.<\/span><\/p>\n

(Para mim parece com estar trabalhando na sala de ensaio)<\/span><\/p>\n

O autor utiliza assim 378 p\u00e1ginas para dizer o que se poderia entender como \u00f3bvio:<\/span><\/p>\n

As coisas nascem de outras coisas. Mas isso \u00e9 l\u00f3gico! Por\u00e9m, n\u00e3o \u00e9, e o autor \u00a0explica isto atrav\u00e9s de diversas \u00e1reas do conhecimento e de muitas atua\u00e7\u00f5es profissionais.<\/span><\/p>\n

E que cada um fa\u00e7a suas correla\u00e7\u00f5es e analogias, \u00e9 obvio!<\/span><\/p>\n

Para mim parece com estar trabalhando na sala de ensaio.<\/span><\/p>\n

Mas por que eu falei desse livro e falei do Manuel de Barros?<\/span><\/p>\n

Sim, pra dizer do que n\u00e3o d\u00e1 certo como a gente quer, mas que “d\u00e1 em muitas outras coisas”…<\/span><\/p>\n

Foi assim com esse meu \u00faltimo di\u00e1rio de bordo.<\/span><\/p>\n

Foi assim com muitos encontros no M\u00e9xico, onde t\u00ednhamos problemas de tempo, poucas pessoas, falta de espa\u00e7o… E, por conta disso, invent\u00e1vamos outros encontros.<\/span><\/p>\n

\u00c9 assim quando a gente est\u00e1 num processo criativo, sozinha ou acompanhada numa sala de ensaio, mexendo nas m\u00e3os coisas que n\u00e3o se sabe pra qu\u00ea, por onde ou porqu\u00ea. Ou, que se acha que sabe, mas que nos surpreendem em alguma curva do caminho e ent\u00e3o outras coisas nascem dessas coisas.<\/strong><\/span><\/p>\n

\"Foto:<\/a>

Foto: Micheline Torres<\/p><\/div><\/span><\/p>\n

Pronto, esse texto (e todo o di\u00e1rio de bordo) vieram assim: cheios de cruzamentos de tempo e espa\u00e7o e refer\u00eancias e influ\u00eancias, relativamente ca\u00f3tico, como num processo de cria\u00e7\u00e3o.<\/span><\/p>\n

Algumas idas e vindas, ideias que d\u00e3o em “lugar nenhum”, ideias que d\u00e3o em lugares que n\u00e3o sabemos o que ou como s\u00e3o, mas de onde se deve continuar caminhando e, certamente, se deve continuar caminhando!<\/span><\/p>\n

Trouxe tudo isso comigo e foi assim que fui e voltei do M\u00e9xico do fim de junho ao fim de julho de 2009, com um monte de coisas nos textos e na bagagem , que (espero) v\u00e3o dar em outras coisas.<\/span><\/p>\n

(Estou no aeroporto do Panam\u00e1 e consegui uma conex\u00e3o de internet aqui. Acho um \u00f3timo lugar e momento pra fechar esse di\u00e1rio-viagem. Tem muitas pessoas dos mais diversos lugares passando por mim, aqui e agora, algumas sim, com m\u00e1scaras, e j\u00e1 chamam o meu v\u00f4o para o Rio de Janeiro. Foi uma \u00f3tima viagem).<\/span><\/p>\n

(Pensei tamb\u00e9m neste \u00faltimo di\u00e1rio em postar muitas fotos de v\u00e1rios momentos da viagem e s\u00f3 as fotos, sem texto algum. Pensei em cada um que me escrevesse, escrevesse em sua pr\u00f3pria l\u00edngua. Pensei em fazer um v\u00eddeo. Pensei em fazer um longo relato de um \u00fanico paragrafo, falando do que \u00e9 andar uma tarde inteira pelo centro da Cidade do M\u00e9xico, numa mistura de incoer\u00eancia, multiplicidade, contradi\u00e7\u00e3o e riqueza. Pensei em pedir aos leitores do idan\u00e7a<\/strong> para que me apontassem caminhos que lhes interessasem e eu escreveria a partir disso… Todos esse meus pensamentos e inten\u00e7\u00f5es, juntos e misturados, deram nesta “coisa” que \u00e9 este texto. Parece que ainda tenho muito a escrever, mas, daqui, espero que cada um que pegue o que quiser e fa\u00e7a suas pr\u00f3prias “coisas”).<\/span><\/p>\n

Sim, reafirmo: Das Coisas nascem Coisas. <\/strong><\/span><\/p>\n

Preciso pegar o avi\u00e3o.<\/span><\/p>\n

P.S. As imagens que acompanham o texto (fora as duas do trabalho da Tania Bruguera) s\u00e3o de uma s\u00e9rie de fotos que fa\u00e7o em todas as viagens. Elas se chamam “As paredes das ruas” e me interessam porque gosto de observar o que\u00a0 e como as pessoas falam, pelas ruas e muros das cidades.<\/span><\/p>\n

Leia tamb\u00e9m: Di\u00e1rio de bordo – Prisma Mexico<\/a>.<\/span><\/p>\n

Di\u00e1rio de bordo.2 – Prisma Mexico<\/a><\/span><\/p>\n

In 2008 I had the pleasure of getting to know (the work and personally) Cuban artist Tania Bruguera<\/a>.
\nI was in Paris for an artistic residency at Centre International des R\u00e9collets<\/a> and Tania was at the same center, but she was working with the creation space CENTQUATRE<\/a>, where she was developing the project Party of Migrant People<\/em><\/strong><\/a> in association with the local community.
\nTania is an artist interested in the relationship between art, politics and life, with highly political works, in which the body is approached as inserted in its social, economical and political context. Tania calls these principles “Arte da Conduta”<\/a> (\u201cBehavior Art\u201d). She works in an interdisciplinary way, but she elects performance, video, drawing and installation as her main expressive instruments. <\/span><\/p>\n

In the last Bienal de La Habana (2009), Tania presented a performance (watch the video below) that consisted in creating a situation (a scenery with a podium, microphones, two \u201crevolution guards\u201d who would allow the speech and later determined its end, a white dove placed on the shoulders of the one who was speaking, and a big foreign audience) so that some Cubans could freely express their opinion. <\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=Awg6S1VVIgo[\/youtube]<\/div>\n

The first person to use the microphone was Yoani S\u00e1nchez, who is very well known outside of Cuba for her blog Generaci\u00f3n Y<\/a>. It\u00b4s important to stress here that having a blog is something very unusual in the island, since access to the internet is virtually impossible for Cubans. Yoani S\u00e1nchez claims the creation, propagation and debate through the blog is a possibility for the internet to be \u201ca public square for debate\u201d. <\/span><\/p>\n

In this performance (recorded in video and posted on the internet in the same day) people would take turns in opinions, a microphone, two guards, a dove and, most importantly, THE POSSIBILITY TO HAVE A VOICE, finding space, time, attention and freedom to speak about their longings and, above all, of the limitations imposed to them for living in the island. <\/span><\/p>\n

I highlight here a person\u2019s line: \u201cOne day freedom of speech in Cuba won\u00b4t be a performance!\u201d <\/span><\/p>\n

As soon as I found this work on the internet (April 2009), Tania\u2019s proposal coincided with the new work I was (and still am) developing. <\/span><\/p>\n

The work is called EU PROMETO, ISTO \u00c9 POL\u00cdTICO<\/em><\/strong><\/a> and when I started it in 2008 I was in this artistic residency in Paris, I mentioned in the beginning of the text.<\/span><\/p>\n

In Paris, I worked alone and, later, I went to Portugal to work Mia Haugland Habib<\/a> in my research. <\/span><\/p>\n

I worked, separately, with Mia and other artists of Sweet and Tender Collaborations<\/a>. We worked over squares on the ground, individual\/collective space, making room for each to occupy with their current issues\u2026 and that is because I writing about the idea in a very summarized way!<\/span><\/p>\n

Well, I worked in this first idea in very specific way with Mia, in a totally choreographed way, I must say, but with the other artists who wanted to get in my research, I worked in a much more open way, in a kind of \u201cchoreography of context, of the square\u201d, leaving the filling, I mean, the best, the subject of each square in the hands of its occupant. A little like MST<\/a> (the Brazilian association of landless workers): give land (square) for those who wish to occupy it (speak), and who would occupy the land as it suits them best. <\/span><\/p>\n

(Ok, I\u00b4m taking a big detour, I hope I get somewhere…)<\/span><\/p>\n

So, in April 2009, when I saw Tania\u2019s work, I touched more on many issued which I identify with, and I understand more about what I have been investigating myself. <\/span><\/p>\n

I PROMISE, IT\u00b4S POLITICAL <\/em><\/strong> follows its path and many things already changed, some were abandoned, others remained, but the issue of giving voice<\/strong> and creating a territory to be occupied<\/strong> remains for me, obsessively.<\/span><\/p>\n

To write my last logbook, I returned to these issues, because the journey is over and I return to my daily rehearsals of I PROMISE and I was also faced with these issues in Mexico and I brought them to everything I\u00b4m writing here. Beside, I kept in mind the open microphone<\/strong> I mentioned (in last week\u2019s text<\/a>)!<\/span><\/p>\n

So, my idea for this last logbook was to make a text open microphone: open this space at idan\u00e7a<\/strong> and my text to whoever wanted to speak. <\/span><\/p>\n

I wrote\/invited many people I met (or that I already knew) in Mexico, locals and foreigners, from the most different backgrounds and works and opinions. I wrote them starting the proposal with the question:
\n\u201cHow was it like being in Mexico, at Prisma Forum, for you?\u201d
\nI asked them to answer this question as they wished, very shortly if they wished, with words or with pictures or ideas or with \u201cwhatever they had at hand\u201d. <\/span><\/p>\n

It didn\u00b4t work. This text didn’t happen as I had expected.
\n<\/span><\/p>\n

Very few people actually answered, others wrote they were on vacations or they were going back home and would write me in a couple of weeks (but \u201cI can\u00b4t wait\u201d because my texts are published weekly and this is the last one\u2026), others simply didn\u00b4t answer my e-mail at all. <\/span><\/p>\n

Ultimately, this text didn\u00b4t happen as I had expected. <\/span><\/p>\n

\"Paredes<\/a>

Paredes de Oaxaca \/ Foto: Micheline Torres<\/p><\/div><\/span><\/p>\n

This happens to me all the time during the creative process: we work on something and it \u201cdoesn\u00b4t work\u201d or \u201cnothing comes out of it\u201d or it takes months until we understand what it is or where it\u00b4s going but, and also, things surprise us in its \u201cgoals, functions, uses and meanings\u201d.
\nWhen this happens it\u00b4s a gem and I remember Manuel de Barros\u2019 sentence: \u201crepeat, repeat, until it becomes different\u201d.<\/span><\/p>\n

And I also remember a book I keep going back to.
\nIt\u00b4s called Da Cosa Nasce Cosa<\/em> (\u201cThings are born out things\u201d), by Italian artist Bruno Munari.
\nThe book is, at first, intended for designers and taps on project methodology, idea development, construction systems, always aiming for solutions of problems about distinguishing the \u201cright object\u201d from \u201cwrong object\u201d for a given end. <\/span><\/p>\n

It seems too specific, too logical and very restricted, but every time I get back to this book, it\u00b4s about renewing the way to look at the same object and handling different developments for the same one, in a continuous process of investigation and discovery.<\/span><\/p>\n

(For me, it\u00b4s like working in the rehearsal room.)<\/span><\/p>\n

Thus, the author uses 378 pages to say something that could be understood as being obvious:
\nThings are born out of things. But that\u00b4s logical! However, it\u00b4s not, and the author explains that through many areas of knowledge and many professional actions.
\nAnd it\u00b4s up to each one to make their own correlations and analogies, of course!<\/span><\/p>\n

For me, it\u00b4s like working in the rehearsal room.<\/span><\/p>\n

But why did I mention this book and talked about Manuel de Barros?
\nYes, to talk about what doesn\u00b4t work the way we want, but \u201cresults in many other things\u201d\u2026<\/span><\/p>\n

It was like that with this last log book.
\nIt was like that with many meetings in Mexico, where we had problems with time, not enough people, lack of space\u2026 and, because of that, we came up with other meetings.
\nIt\u00b4s like that when we start a creative process, alone or with other people, in a rehearsal room, handling things we don\u00b4t know exactly what for, where or why. Or, things we think we know, but that surprises us in some turn along the way and then other things are born out of these things<\/strong>.<\/span><\/p>\n

\"Foto:<\/a>

Foto: Micheline Torres<\/p><\/div><\/span><\/p>\n

There, this text (and the entire logbook) came out like this: full of time and space and reference and influence crossings, relatively chaotic, like in a creative process.
\nSome back and forth, ideas that lead \u201cnowhere\u201d, ideas that lead somewhere we don\u00b4t know and we don\u00b4t know what they are like, but from where we should keep walking and, certainly, one must keep walking!<\/span><\/p>\n

I brought all of that with me and that\u00b4s how I came back from Mexico, from the end of June until the end of July 2009, with a lot of things in the texts and in my luggage, things that (I hope) will lead to other things. <\/span><\/p>\n

(I\u00b4m at the airport in Panam\u00e1 and I was able to get an internet connection here. I think it\u00b4s a great place and time to close this logbook. There are many people from the most different places passing by me, here and now, some are indeed masked, and they already announced my flight to Rio. It was a great trip.)<\/span><\/p>\n

(I also thought that in this last logbook I would post many pictures from different moments of the trip and just pictures, no text. I thought about making a video. I thought about writing a long report in just one paragraph, talking about what it\u00b4s like walking a whole afternoon through the streets of Mexico City, in a mix of incoherence, multiplicity, contradiction and richness. I thought about asking idan\u00e7a readers to point to ways they would be interested in and I would write based on that\u2026 All of my thoughts and intentions, together and mixed, resulted in this \u201cthing\u201d, this text. It seems I still have a lot to write about, but, out of this I hope each one will get what they want and make their own \u201cthings\u201d.)<\/span><\/p>\n

Yes, I agree: things are born out of things<\/strong>.
\nI must catch my plane.<\/span><\/p>\n

P.S. The images in this text (except the ones of Tania Bruguera\u2019s work) are part of a series of photos I take in all my trips. They are called \u201cThe walls of the streets\u201d and they interest me because I like to observe how people talk and what they talk about, in the streets and walls of cities.<\/span><\/p>\n

Read also: Logbook – Prisma Mexico<\/a><\/span><\/p>\n

Di\u00e1rio de bordo.2 – Prisma M\u00e9xico<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

No \u00faltimo relato de sua viagem ao M\u00e9xico, Micheline Torres trabalha a ideia de ‘final inesperado’ de um processo criativo. Saiba como foram os \u00faltimos dias da viagem da artista! E comente! <\/p>\n","protected":false},"author":1606,"featured_media":11653,"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":[46,28],"tags":[682,978,3300,3343],"yoast_head":"\nDi\u00e1rio de bordo.4 - Prisma Mexico | Logbook.4 - Prisma Mexico -<\/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\/diario-de-bordo4-prisma-mexico\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Di\u00e1rio de bordo.4 - Prisma Mexico | Logbook.4 - Prisma Mexico -\" \/>\n<meta property=\"og:description\" content=\"No \u00faltimo relato de sua viagem ao M\u00e9xico, Micheline Torres trabalha a ideia de 'final inesperado' de um processo criativo. 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