{"id":13400,"date":"2009-12-10T13:37:10","date_gmt":"2009-12-10T16:37:10","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=13400"},"modified":"2010-02-05T15:40:23","modified_gmt":"2010-02-05T18:40:23","slug":"tudo-o-que-voce-sempre-quis-saber-sobre-legenda-diet","status":"publish","type":"post","link":"https:\/\/idanca.net\/tudo-o-que-voce-sempre-quis-saber-sobre-legenda-diet\/","title":{"rendered":"7×7 – Tudo o que voc\u00ea sempre quis saber | 7×7 – Everything you always wanted to know"},"content":{"rendered":"

\u00c9 com prazer que apresento a s\u00e9rie 7X7,<\/strong> onde convido jovens artistas a escreverem suas vis\u00f5es sobre os trabalhos de outros artistas – neste caso os programados na segunda edi\u00e7\u00e3o do <\/em>Festival Contempor\u00e2neo de Dan\u00e7a, realizado em novembro, em S\u00e3o Paulo. O intuito \u00e9 o de criar uma a\u00e7\u00e3o sin\u00e9rgica instigando a an\u00e1lise cr\u00edtica e sens\u00edvel sobre a arte da dan\u00e7a por novos artistas que crescem dentro dela.<\/em> Sheila Ribeiro.<\/em><\/span><\/p>\n

sobre legenda Diet <\/span><\/em>de sheila ribeiro\/dona orpheline<\/strong><\/span><\/p>\n

Nossas palavras comp\u00f5em nossa identidade social tanto quanto nossa apar\u00eancia e nosso comportamento (\u2026)<\/span><\/p>\n

(PINKER, 2008, p. 425)<\/span><\/p>\n

recorte de um contexto. <\/strong><\/span><\/p>\n

legenda Diet<\/em><\/strong> foi criado em 2000 e atrav\u00e9s dos anos a obra tem atravessado uma s\u00e9rie de reestrutura\u00e7\u00f5es. Nas primeiras vers\u00f5es, a interpreta\u00e7\u00e3o do trabalho era de Sheila Ribeiro\/dona orpheline<\/a> e do canadense Ben\u00f4it Lachambre – core\u00f3grafo, dan\u00e7arino e int\u00e9rprete – que fundou em 1996 uma companhia em Montreal, a Par b.l.eux<\/a>.<\/span><\/p>\n

As \u00faltimas apresenta\u00e7\u00f5es do legenda Diet<\/em><\/strong> aconteceram em S\u00e3o Paulo, Santos e Xangai. O p\u00fablico paulistano p\u00f4de assistir a Sheila Ribeiro no Festival Contempor\u00e2neo de Dan\u00e7a, na Galeria Olido. No entanto, nesta \u2018vers\u00e3o recente\u2019 da obra, foi convocada a presen\u00e7a de um outro int\u00e9rprete, Elielson Pacheco, membro do N\u00facleo do Dirceu<\/a>, importante grupo de dan\u00e7a sediado em Teresina, no Piau\u00ed. Curiosamente, a maior parte dos ensaios de Sheila e Elielson foram realizados pela internet. Juntos eles formam o duplo: a garota outdoor.<\/span><\/p>\n

Neste uso da internet como ferramenta de cria\u00e7\u00e3o, talvez exista impl\u00edcita uma s\u00e9rie de questionamentos promovidos pelos deslocamentos (virtuais e\/ou reais) acerca da diferen\u00e7a, dist\u00e2ncia, territorializa\u00e7\u00e3o etc. \u00c9 interessante observar que alguns desses aspectos, que parecem ser utilizados apenas como treinamento, come\u00e7am a povoar o pr\u00f3prio palco. Sheila Ribeiro, ao viver neste tr\u00e2nsito entre Brasil, Canad\u00e1, China etc, nos oferece um dado que n\u00e3o pode ser meramente descolado da leitura da sua obra. Se retomarmos a cita\u00e7\u00e3o do linguista Steve Pinker (acima), poderemos supor\/concluir que as palavras de Sheila – uma artista que cria\/fala\/pensa\/escreve em mais de uma l\u00edngua – provavelmente comp\u00f5em a sua dan\u00e7a. E desta maneira, Sheila nos apresenta formas inventivas de existir dentro do terreno inst\u00e1vel<\/em> da arte.<\/span><\/p>\n

o show<\/strong>.<\/span><\/p>\n

legenda Diet<\/em><\/strong> exp\u00f5e uma s\u00e9rie de falas que nossos corpos est\u00e3o habituados a digerir no cotidiano. Pensamentos condensados na sua m\u00e1xima s\u00edntese, sem gorduras. Discursos que s\u00e3o acionados para ordenar, condicionar e regular nossa conduta social, deflagrando uma s\u00e9rie de frases que s\u00e3o utilizadas para encobrir inten\u00e7\u00f5es de poder de uns em rela\u00e7\u00e3o a outros.<\/span><\/p>\n

EU QUERIA <\/strong>TER<\/strong> UM \u2026 PARA METER NA SUA \u2026<\/strong><\/span><\/p>\n

\u2026 a partir de pequenas constru\u00e7\u00f5es lingu\u00edsticas, Sheila Ribeiro parece jorrar uma s\u00e9rie de h\u00e1bitos da comunica\u00e7\u00e3o urbana\/humana. Apresentando um conjunto de \u2018falas prontas\u2019 que difundimos pelos ambientes da cultura, para nos promover no emprego, na m\u00eddia, na arte, na nossa rodinha de amigos ou na mesa de jantar. Tais frases, projetadas sob o corpo dos dois \u00ednterpretes, formam a garota-outdoor, segundo des\u00edgnio da pr\u00f3pria autora. Possivelmente, porque todo corpo parece ser um pouco outdoor-de-si<\/em> e do ambiente em que vive. Isso se corpo for entendido como um suporte (m\u00eddia) evolutivo, composto por um agregado – de pensamentos, emo\u00e7\u00f5es, sensa\u00e7\u00f5es, experi\u00eancias – que est\u00e1 em negocia\u00e7\u00e3o constante com as informa\u00e7\u00f5es dos lugares que o atravessam.<\/span><\/p>\n

\u2026 ser\u00e1 que, atrav\u00e9s do nosso outdoor pessoal, reproduzimos \u2018h\u00e1bitos\u2019 – de fala ou, at\u00e9 mesmo, h\u00e1bitos de comportamento – de terceiros, apenas seguindo a in\u00e9rcia de um fluxo que n\u00e3o nos pertence?<\/span><\/p>\n

N\u00e3o tente fingir que desconhece essas frases ou que nunca as proferiu, porque Elielson Pacheco ir\u00e1 jogar, literalmente, a legenda na sua cara. Quem n\u00e3o concorde que se manifeste. Deixe sua arrog\u00e2ncia de lado e retruque. Ou aponte o dedo de volta. Ou encontre seu lugar de fala ou, simplesmente, deixe a sala, ou…<\/span><\/p>\n

N\u00c3O CONTE SEU PROJETO PRA NINGU\u00c9M. D\u00c1 AZAR. <\/strong><\/span><\/p>\n

desenho do espa\u00e7o.<\/strong><\/span><\/p>\n

O espectador n\u00e3o conseguir\u00e1 acompanhar tudo que acontece durante a performance. A sua forma ca\u00f3tica se apoia numa sobreposi\u00e7\u00e3o de imagens, na simultaneidade das a\u00e7\u00f5es, na impossibilidade de se observar o todo, na parcialidade do ponto de vista do espectador. Talvez, uma tentativa de proporcionar ao p\u00fablico o mesmo tipo de experi\u00eancia que temos quando caminhamos pela cidade\/metr\u00f3pole. Um excesso de sinais que, supostamente, serviriam para nos orientar. Palavras que indicam onde e como devemos prosseguir. No entanto, neste trabalho, tais palavras parecem promover, em nossa percep\u00e7\u00e3o, um intrigante estado de desorienta\u00e7\u00e3o.<\/span><\/p>\n

Os equipamentos (de v\u00eddeo, os aparelhos e as caixas de som, as luzes, o projetor de slides) s\u00e3o posicionados, de tal forma, pela sala, que toda ela se torna cena. Desta forma, o espectador est\u00e1 sub\/imerso no show, agregado a ele. \u00c9 particularmente curioso observar o p\u00fablico se orientando pelo espa\u00e7o. O seu deslocamento pelo ambiente \u00e9 um ind\u00edcio de que diante do ca\u00f3tico existe uma tend\u00eancia do corpo em se organizar. O espectador sempre busca seu lugar de p\u00fablico, o seu ponto de refer\u00eancia dentro de qualquer espet\u00e1culo convencional. Por outro lado, o caminhar destes int\u00e9rpretes, o desenho deles pelo espa\u00e7o e a disposi\u00e7\u00e3o dos objetos s\u00e3o elementos que parecem esgar\u00e7ar esta l\u00f3gica confort\u00e1vel, perfurando o p\u00fablico e a cena.<\/span><\/p>\n

design sonoro.<\/strong><\/span><\/p>\n

O ambiente sonoro \u00e9 um aspecto importante de se salientar, pois parece contribuir para a constru\u00e7\u00e3o deste local on\u00edrico, compondo ainda mais esta cidade p\u00f3s punk, transsexual, est\u00e9ril, esterilizada e nua sob uma mesa cir\u00fargica. Um show que conta com a participa\u00e7\u00e3o de Sandra Coutinho, integrante da banda Mercen\u00e1rias, a primeira banda punk feminina no Brasil, de 1981. De Elvis Presley aos ru\u00eddos do baixo e seus pedais eletr\u00f4nicos. O som estabelece uma fric\u00e7\u00e3o entre momentos de pausas, calmarias e tens\u00f5es. Refor\u00e7ando a hip\u00f3tese de que este show deseja promover a sensa\u00e7\u00e3o de se caminhar atrav\u00e9s de um espa\u00e7o urbano (ora intempestivo, ora acolhedor, ora l\u00fadico, ora agressivo, ora…).\u00a0 Na divulga\u00e7\u00e3o deste projeto sonoro, Sheila nos oferece um exemplo de como o seu trabalho tamb\u00e9m se apropria do c\u00f3digo publicit\u00e1rio para, habilmente, apresentar numa de suas legendas de que a m\u00fasica fora produzida por ningu\u00e9m mais ningu\u00e9m menos que Edgard Scandurra. Entretanto, o som que ouvimos aparece como uma fus\u00e3o autoral entre o projeto de Scandurra e a execu\u00e7\u00e3o, ao vivo, de Sandra Coutinho.<\/span><\/p>\n

des\u00edgnio.<\/strong><\/span><\/p>\n

Esta dan\u00e7a \u00e9 high tech<\/strong>; mas provavelmente n\u00e3o porque utiliza projetor, moviemaker, dvd, projetor de slides e outros aparatos que s\u00e3o caros a qualquer pesquisa que envolva arte e tecnologia como uma \u2018estrat\u00e9gia de moda\u2019 para capta\u00e7\u00e3o de recursos financeiros. Possivelmente esta dan\u00e7a \u00e9 antes high tech porque desenvolveu uma outra tecnologia de corpo: a tarefa de pressionar a caneta esferogr\u00e1fica em papel sulfite para escrever \u201cI am high tech\u201d em portug\u00eas, chin\u00eas, \u00e1rabe, ingl\u00eas\u2026<\/span><\/p>\n

Infelizmente, n\u00e3o podemos afirmar que escrever seja uma tecnologia acess\u00edvel a todo e qualquer corpo. Afinal, o analfabetismo ainda impede muitos de terem acesso a esse tipo de tecnologia, aparentemente simples, que \u00e9 escrever\/ler. No entanto, este trabalho de dan\u00e7a nos lembra ainda, de alguma forma, que somos analfabetos de outra ordem. Talvez analfabetos culturais, imersos em quest\u00f5es dispersivas e ambivalentes, \u00e0 procura de um pertencimento entre o global e\/ou local. Incapazes, ainda, de se relacionar com o outro<\/strong> e sua complexidade de c\u00f3digos\/textos\/l\u00ednguas.<\/span><\/p>\n

Talvez seja importante lembrar aqui que somos tamb\u00e9m carentes de leitores e leituras de\/sobre dan\u00e7a, porque poucos tem acesso \u00e0 reflex\u00e3o (sens\u00edvel) proporcionada por esta tecnologia do corpo. Uma arte e um pensamento que deveriam ser acess\u00edveis tanto quanto um plano de sa\u00fade, uma escola, uma moradia, um museu, um teatro\u2026<\/span><\/p>\n

A elabora\u00e7\u00e3o da placa \u201cI am high tech\u201d pode ser vista tamb\u00e9m como uma met\u00e1fora ir\u00f4nica e \u00e1cida ao desejo desenfreado, tanto do artista quanto desta sociedade do consumo, em querer estar sempre na moda\/vitrine. No instante em que Sheila Ribeiro apresenta a placa \u201cEu sou high tech\u201d ao lado de Elielson, n\u00e3o resta mais nada a n\u00e3o ser amassar este papel, apagar o seu vest\u00edgio hist\u00f3rico e depois produzir uma nova placa, no intuito de se fazer high tech novamente, para assim, retornar \u00e0 moda\/vitrine. N\u00e3o sabemos ao certo quando come\u00e7a a moda, se durante o desenho no papel, se no desfile da passarela, se nas vitrines do shopping. Mas acontece que, no exato segundo em que algu\u00e9m se diz estar na moda, automaticamente no instante seguinte, ela deixa de estar e passamos a aguardar o pr\u00f3ximo.<\/span><\/p>\n

Oh! This is so contemporary (Tino Sehgal)<\/strong><\/span><\/p>\n

A FUS\u00c3O M\u00c1XIMA DA T\u00c9CNICA NUM S\u00d3 CORPO<\/strong><\/span><\/p>\n

Sheila Ribeiro\/dona orpheline oferece uma oportunidade de repensar os discursos de ordem, j\u00e1 gastos, acerca do que \u00e9 ser contempor\u00e2neo e\/ou high tech, para que a gente se (es)force a estudar um pouco mais, a fim de propor outras leituras de mundo, cada vez mais coerentes com aquilo que a gente idealiza para um futuropresente (de um presentepassado). Para, ao menos, tentar nos afastar desta tentativa c\u00edclica de sempre nos associar como sendo da alta tecnologia, quando na realidade nos faltam sempre alimentos mais b\u00e1sicos. E parar de inventar\/fingir novos espet\u00e1culos de sucesso, quando de fato essa sociedade n\u00e3o parece comportar mais novos hits.<\/span><\/p>\n

Bruno Freire \u00e9 artista do sexo masculino, de 26 anos, paulistano, filho de mineira, neto de alagoana, formando em Artes pela PUC-SP em 2009, onde realiza inicia\u00e7\u00e3o cient\u00edfica e ensaios acerca de est\u00e9ticas diasp\u00f3ricas na Am\u00e9rica Latina. Integrante do GRiD, grupo de reflex\u00e3o do CCSP.<\/strong><\/span><\/p>\n

Abaixo, assista a um v\u00eddeo de uma vers\u00e3o anterior de legenda Diet<\/strong><\/em>, com Ben\u00f4it Lachambre:<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=DXXpUCTERDg[\/youtube]<\/span><\/p>\n

Este texto baseia-se (in)diretamente nas seguintes refer\u00eancias:<\/span><\/p>\n

AGAMBEN, Giorgio (2009) O que \u00e9 contempor\u00e2neo e outros ensaios<\/em>. Ed Argos.<\/span><\/p>\n

HALL, Stuart (2006) Da di\u00e1spora: Identidades e Media\u00e7\u00f5es Culturais<\/em>. Ed. UFMG (p. 10 – 70).<\/span><\/p>\n

PINKER, Steve (2008) Do que \u00e9 feito o pensamento<\/em>. Ed. Cia das Letras.<\/span><\/p>\n

www.myspace.com\/sandracoutinho<\/span><\/p>\n

www.myspace.com\/asmercenarias<\/a><\/span><\/p>\n

www.myspace.com\/edgardscandurra<\/span><\/p>\n

Leia tamb\u00e9m: 7×7 – Dan\u00e7ando para al\u00e9m da porta<\/a><\/span><\/p>\n

7×7 – A bandeira que n\u00e3o \u00e9 branca<\/a><\/span><\/p>\n

7×7 – Armazenamento de energia para quem…<\/a><\/p>\n

It is my pleasure to present the series 7X7<\/strong>, in which I invite young artists to write their reflections about the work of other artists \u2013 in this case, those programmed at the second edition of Festival Contempor\u00e2neo de Dan\u00e7a, held in November in S\u00e3o Paulo. The idea is to create a synergetic action instigating sensitive a critical analysis of the art of dance by young artists that are growing within it. Sheila Ribeiro<\/em><\/span><\/p>\n

about sheila ribeiro\/dona orpheline’s diet subtitles<\/em><\/span><\/p>\n

Our words make up our social identity as much as our appearance and our behavior do. (\u2026)<\/span><\/p>\n

(PINKER, 2008, p. 425)<\/span><\/p>\n

fragment of a context.<\/strong><\/span><\/p>\n

diet subtitles<\/em><\/strong> was created in 2000 and throughout the years the piece has been through a number of re-constructions. In the first versions, the piece and interpreted by Sheila Ribeiro\/dona orpheline<\/a> and Ben\u00f4it Lachambre, Canadian dancer, choreographer and performer from Canada Benoit, who founded the companyPar b.l.eux<\/a> in Montreal in 1996. <\/span><\/p>\n

The latest presentations of diet subtitles<\/strong><\/em> took place in S\u00e3o Paulo, Santos and Shanghai. The audience in S\u00e3o Paulo was able to watch Sheila Ribeiro at Festival Contempor\u00e2neo de Dan\u00e7a, at Galeria Olido. However, another performer was summoned for this \u2018recent version\u2019 of the piece, Elielson Pacheco, member of N\u00facleo do Dirceu<\/a>, an important dance group from Teresina. Curiously, most of the rehearsals were held over the internet. Together they form a duo: billboard girl.<\/span><\/p>\n

In this use of the internet as creation tool, maybe there is a number questions brought by the displacements (virtual and\/or real) regarding difference, distance, territorialization, etc. It is interesting to observe that some of these aspects, which seem to be used only as training, start to take the stage itself. By living in transit between Brazil, Canada, China, etc, Sheila Ribeiro offers information that cannot be detached from the interpretation of her work. If we get back to Steve Pinker\u2019s quote (above) we can suppose\/conclude that Sheila\u2019s words \u2013 considering she is an artist who creates\/speaks\/thinks\/writes in more than one language \u2013 probably make up her dance. Thus, Sheila presents inventive ways of existing within art\u2019s unstable<\/em> ground.<\/span><\/p>\n

the show.<\/strong><\/span><\/p>\n

diet subtitles<\/strong><\/em> exposes a number of speeches our bodies are used to digesting daily. Thoughts condensed in their utmost synthesis, without any excess. Speeches that are triggered to order, condition and regulate our social conduct, triggering a series of phrases that are used to cover someone\u2019s power intentions towards the others.<\/span><\/p>\n

I WISH I HAD A … TO STICK IN YOUR \u2026<\/strong><\/span><\/p>\n

\u2026 starting with small linguistic constructs, Sheila Ribeiro seems to ejaculate a series of urban\/human communication habits. Presenting a series of ready-made speeches we spread around culture environments, to promote ourselves at work, in the media, in art, among our friends or at the dinner table. Such phrases are projected on the bodies of the two performer and compose the billborad girl, according to the artist\u2019s own designation. Possibly because the whole body seems to be something of an billboard-of-itself and the environment in which it lives. In case the body is understood as an evolutionary (media) support composed by an aggregate \u2013 of thoughts, emotions, sensations, experiences \u2013 that is in constant negotiation with information from the places that go through it.<\/span><\/p>\n

… do we merely reproduce someone else\u2019s \u2018habits\u2019 \u2013 speech or even behavior ones \u2013 through our own personal billboards, just following a flux inertia that doesn\u00b4t belong to us?<\/span><\/p>\n

Don\u00b4t pretend you don\u00b4t know these lines or that you didn\u00b4t say them, because Elielson Pacheco will literally throw them back at you. Those who don\u00b4t agree should speak up. Put your arrogance aside and talk back. Or point your finger back. Or find your place of speech or simply leave the room, or…<\/span><\/p>\n

DON\u2019T TELL ANYONE ABOUT YOUR PROJECT. IT\u00b4S BAD LUCK.<\/strong><\/span><\/p>\n

drawing in space.<\/strong><\/span><\/p>\n

The spectator will not be able to keep up with everything that happens during the performance. Its chaotic structure is based on a juxtaposition of images, on the simultaneity of actions, on the impossibility of observing the whole thing, on the partiality of the spectator\u2019s point of view. Maybe, an attempt to provide the audience with the same kind of experience we have whilst walking through the city\/metropolis, an excess of signals that supposedly serve to guide us, words that indicate where and how we should proceed. However, in this piece such words seem to promote an intriguing state of disorientation in our perception.<\/span><\/p>\n

The devices (video, sound systems and the speakers, the lights, the slide projector) are placed in the room in such a way that all of it becomes the stage. Thus, the spectator is immersed in the show, aggregated to it. It is particularly curious to observe the audience finding its way around the space. Its displacement through the surroundings is an indication that there is a tendency of the body to organize itself when faced with chaos. The spectator is always seeking its place as audience, its reference point within any conventional show. On the other hand, the performer\u2019s walk, their drawings in space and the arrangement of the objects are elements that seem to stretch out this comfortable logic, piercing through the audience and the scene.<\/span><\/p>\n

sound design.<\/strong><\/span><\/p>\n

The sound ambience is an important aspect to highlight because it seems to contribute to the construction of this dream-like place, composing even more this post-punk, transsexual, sterile, sterilized and naked under an operating table. A show that has the participation of Sandra Coutinho, member of the band Mercen\u00e1rias, the first Brazilian female punk band. From Elvis Presley to the noise of the bass and electric pedals. The sound establishes a friction between moments of pause, calmness and tension. Reinforcing the hypothesis that this show wishes to bring the feeling of walking through an urban space (sometimes stormy, sometimes welcoming, sometimes playful, sometimes aggressive, sometimes\u2026). By using this sound project, Sheila offers us an example of how her work appropriates the advertisement language to skillfully display in one of her subtitles that the music was produced by none other that Edgar Scandurra. However, the sound we hear seems more like an author\u2019s fusion between Scandurra\u2019s project and the live performance by Sandra Coutinho.<\/span><\/p>\n

designation.<\/strong><\/span><\/p>\n

This dance is high tech, but probably not because it uses projectors, moviemakers, dvd, slide projector and other devices dear to any research involving art and technology as an \u2018fashionable strategy\u2019 to raise funds. Likely this dance is high tech because it rather developed another technology for the body: the task of pressing a ballpoint pen on white paper to write I am high tech in Portuguese, Chinese, Arabic, English\u2026<\/span><\/p>\n

Unfortunately we can\u00b4t say writing is technology available to each and every body. After all, illiteracy still prevents many from having access to this kind of apparently simple technology that is writing\/reading. However, this dance work still reminds us that we are all illiterate of another order. Maybe we are cultural illiterates, immersed in distracting and ambivalent issues, seeking to belong between local and\/or global levels. Still incapable of relating with others<\/strong> and their complexity of codes\/texts\/languages.<\/span><\/p>\n

Maybe it\u00b4s important to remember that we are still short on readers and reading material about dance, because few have access to the (sensitive) reflection brought by this technology of the body. An art and a thought that should be as available as a health plan, a school, a house, a museum, a theater\u2026<\/span><\/p>\n

The elaboration of the \u2018I am high tech\u2019 sign can also be seen as an ironic and acid metaphor for rampant desire, both from the artists and from this consumer\u2019s society, to always be fashionable\/at the showcase. At the moment when Sheila Ribeiro displays the \u2018I am high tech\u2019 sign besides Elielson there is nothing left to do but to crumple the paper, throw away its historical remains and later produce a new sign in order to return to fashion\/showcase. We don\u00b4t know exactly when fashion starts, if it\u00b4s during the drawing on the paper, if it\u00b4s in the catwalk, if it\u00b4s in the mall\u2019s windows. But so it happens that exactly the second someone declares to be fashionable, automatically they cease to be and we start waiting for the next one.<\/span><\/p>\n

Oh! This is so contemporary (Tino Sehgal)<\/strong><\/span><\/p>\n

THE UTMOST FUSION OF TECHNIQUE IN ONLY ONE BODY<\/strong><\/span><\/p>\n

Sheila Ribeiro\/dona orpheline offers an opportunity to re-think the already washed-out slogans about what it means be contemporary and\/or high tech so that we make an effort to study a little more, to propose other interpretation of the world, more and more coherent with what we idealize as futurepresent (or presentpast). To at least try to keep away from this cyclical attempt to associate with high technology when we are always lacking the most basic foods. And to stop inventing\/pretending new successful shows when in fact this society can\u00b4t handle any more hits.<\/span><\/p>\n

Bruno Freire is a twenty six year old male artist from S\u00e3o Paulo, the son of a woman from Minas Gerais, grandson of a woman from Alagoas. He is graduating in art from PUC-SP in 2009, where he researches and writes essays about diaspora aesthetics in Latin America. Member of GRiD, CCSP\u2019s reflection group.<\/strong><\/span><\/p>\n

Watch\u00a0 an excerpt of an earlier version of legenda Diet<\/em><\/strong>, with Ben\u00f4it Lachambre:<\/span><\/p>\n

[youtube]http:\/\/www.youtube.com\/watch?v=DXXpUCTERDg[\/youtube]<\/span><\/p>\n

This essay is (in)directly based in the following references:<\/span><\/p>\n

AGAMBEN, Giorgio (2009) O que \u00e9 contempor\u00e2neo e outros ensaios. Ed Argos.<\/span><\/p>\n

HALL, Stuart (2006) Da di\u00e1spora: Identidades e Media\u00e7\u00f5es Culturais. Ed. UFMG (p. 10 – 70).<\/span><\/p>\n

PINKER, Steve (2008) Do que \u00e9 feito o pensamento. Ed. Cia das Letras.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

O idan\u00e7a publica a partir desta semana a s\u00e9rie 7×7, em que Sheila Ribeiro convida sete jovens artistas a escrever sobre o trabalho de outros sete artistas. Conhe\u00e7a as opini\u00f5es de quem est\u00e1 dentro do processo.<\/span>
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