{"id":3475,"date":"2006-12-15T12:27:05","date_gmt":"2006-12-15T15:27:05","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/12\/15\/vaca-brava-so-da-leite-se-quiser\/"},"modified":"2008-08-06T16:48:15","modified_gmt":"2008-08-06T19:48:15","slug":"vaca-brava-so-da-leite-se-quiser","status":"publish","type":"post","link":"https:\/\/idanca.net\/vaca-brava-so-da-leite-se-quiser\/","title":{"rendered":"Vaca brava s\u00f3 d\u00e1 leite se quiser | An angry cow will only give milk if she wants to"},"content":{"rendered":"

Partilhar o quintal para chegar no jardim. Encontrar uma din\u00e2mica onde a co-exist\u00eancia de diversas singularidades seja poss\u00edvel. Deixar-se penetrar pelo outro, compreender sua engrenagem de cria\u00e7\u00e3o. Compartilhar o processo de construir solos. Frases como essas nos ajudam a pensar sobre os principais desafios vividos pelos participantes do Transobjeto Coletivo<\/em>, projeto de resid\u00eancia desenvolvido em Uberl\u00e2ndia (MG), durante dois meses, sob a coordena\u00e7\u00e3o do artista Wagner Schwartz<\/strong>, que culminou em uma mostra, entre os dias 22 e 29 de outubro de 2006. P\u00fablica e gratuita, a Mostra Transobjeto Coletivo<\/em> exibiu 10 \u201cobjetos coreogeogr\u00e1ficos\u201d e quatro obras convidadas, todas desenroladas a partir da id\u00e9ia de um \u201cterceiro endere\u00e7o\u201d, proposta por Schwartz.<\/p>\n

Segundo ele, o terceiro endere\u00e7o \u00e9 \u201ca nossa casa pratic\u00e1vel, um territ\u00f3rio coletivo habit\u00e1vel\u201d, aquele que permite o surgimento de um pensamento glocal<\/em>, utilizando o termo do ge\u00f3grafo Milton Santos, um dos autores mais estudados pelo grupo. Referindo-se \u00e0 globaliza\u00e7\u00e3o, o artista chama a aten\u00e7\u00e3o para o fato de que \u201cdiante de um cotidiano com uma variedade e velocidade de informa\u00e7\u00f5es circulando, nossa casa tem muito mais c\u00f4modos do que antes, o que possibilita uma rede de trocas afetivas\u201d. Endere\u00e7o de localiza\u00e7\u00e3o m\u00f3vel e fronteiras perme\u00e1veis, est\u00e1 mais para um dispositivo de mem\u00f3rias entrela\u00e7adas do que para uma posi\u00e7\u00e3o geogr\u00e1fica espec\u00edfica.<\/p>\n

Condi\u00e7\u00e3o fundamental para a viabiliza\u00e7\u00e3o do projeto foi patroc\u00ednio da Petrobr\u00e1s e a realiza\u00e7\u00e3o da Funarte atrav\u00e9s do fomento \u00e0s atividades de produ\u00e7\u00e3o de dan\u00e7a advindo do Pr\u00eamio Klauss Vianna, que investiu 13 milh\u00f5es em 69 projetos de todo o pa\u00eds e vai destinar mais 15 milh\u00f5es (divididos com o teatro) para propostas suplentes. Transobjeto Coletivo<\/em> recebeu 30 mil reais de verba para sua execu\u00e7\u00e3o, que envolveu o pagamento de todos os participantes em suas mais diversas fun\u00e7\u00f5es, a montagem de dez obras, a mostra final com mais quatro convidados, o material de divulga\u00e7\u00e3o e o registro em DVD.<\/p>\n

A exist\u00eancia do incentivo foi fator determinante e Schwartz avalia da seguinte forma: \u201ca id\u00e9ia do projeto foi de pratic\u00e1-lo com um m\u00ednimo de gastos para que se pudesse identificar tamb\u00e9m nessa escolha, a est\u00e9tica do trabalho. Glauber Rocha, na d\u00e9cada de 70, prop\u00f4s a est\u00e9tica da pobreza, durante o movimento Cinema Novo. Na \u00e9poca, ele considerou criticamente as possibilidades financeiras existentes e transformou o que se entendia por cinema, sem ocultar as pr\u00e1ticas sociais que se apresentavam em seu entorno. No caso do Transobjeto Coletivo<\/em> decidimos eliminar consideravelmente os adornos e destinar o dinheiro para pagamento das pessoas. O objetivo disso era dar uma id\u00e9ia na cena da situa\u00e7\u00e3o recorrente no Brasil de car\u00eancia de verba para qualquer \u00e1rea\u201d.<\/p>\n

A noite de abertura da Mostra contou com a exibi\u00e7\u00e3o do v\u00eddeo-objeto “Relevante (homenagem \u00e0 obra mole)”, criado por Danilo Dilettoso (v\u00eddeo) e Thiago Costa (performer), e a presen\u00e7a de Schwartz, como anfitri\u00e3o e leitor do inusitado e encantador livro-objeto “Os eventos s\u00e3o quase sempre os mesmos\u201d, da poeta Lourdinha Barbosa. Houve tamb\u00e9m a distribui\u00e7\u00e3o do texto da misteriosa escritora Tert\u00falia Gong chamado \u201cObjeto Pornogeogr\u00e1fico de Tert\u00falia Gong\u201d, que pode ser solicitado gratuitamente atrav\u00e9s do email tertuliagong@hotmail.com<\/a>.<\/p>\n

Endere\u00e7os coreogeogr\u00e1ficos<\/strong><\/p>\n

Processos de cria\u00e7\u00e3o ocorrem mediante rela\u00e7\u00f5es, as mais diversas. Uma cartografia poss\u00edvel desses la\u00e7os no contexto do Transobjeto Coletivo<\/em> envolveria compreender a din\u00e2mica de vivenciar um processo grupal para a constru\u00e7\u00e3o de obras individuais a partir da proposta do terceiro endere\u00e7o. Os objetos coreogr\u00e1ficos ou coreogeogr\u00e1ficos, como passaram a se chamar ap\u00f3s o processo de resid\u00eancia, correspondem a uma esp\u00e9cie de \u201cmet\u00e1fora para assegurar a autonomia e a singularidade, s\u00f3 que transformada pela rela\u00e7\u00e3o com todos os outros\u201d, como explica Schwartz. Cada obra, uma s\u00edntese, um riscado no tra\u00e7ado do mapa. Pontos de conex\u00f5es.<\/p>\n

Para C\u00e1ssia Nunes, autora da performance \u201cLong Play ou para peles normais\u201d, o principal motivo que a levou a participar do Coletivo foi a \u201cvontade de criar uma rede de rela\u00e7\u00f5es que tivesse como objetivo a troca de id\u00e9ias sobre nossas id\u00e9ias\u201d. Essa motiva\u00e7\u00e3o inicial, compartilhada por todos, levou \u00e0 \u00e1rdua tarefa da escuta. Disponibilidade para pensar na id\u00e9ia do vizinho e se relacionar com sua alteridade, sabe quem experimenta, n\u00e3o \u00e9 coisa f\u00e1cil. Schwartz relata que \u201ccom o decorrer do tempo os confrontos foram, aos poucos, deixando de ser mon\u00f3logos etnocentristas para criar um territ\u00f3rio comum e f\u00e9rtil\u201d. Ao fim de dois meses vivendo em conjunto, pelo menos uma voz \u00e9 un\u00edssona: todos se percebem uns nos trabalhos dos outros e sem crises de autoria. Isso nos leva a imaginar no tipo de atitude individual que pode ou n\u00e3o potencializar um coletivo para favorecer o seu exerc\u00edcio. O exerc\u00edcio de ser coletivo.<\/p>\n

De fato, o territ\u00f3rio de terceiros endere\u00e7os da Rua Tupaciguara, 471 comporta diversidade, comporta negocia\u00e7\u00e3o, inven\u00e7\u00e3o, colabora\u00e7\u00e3o, conflito e toler\u00e2ncia. Al\u00e9m disso, a n\u00e3o-homogeneiza\u00e7\u00e3o de entendimentos, formatos e assuntos foi dos resultados mais significativos provenientes desse treino. Como um tra\u00e7o emergente mereceria uma investiga\u00e7\u00e3o mais cuidadosa.<\/p>\n

O despretencioso objeto coreogeogr\u00e1fico de Nunes, por exemplo, \u00e9 composto por creme hidratante, pele, agulha e vinil para tratar do corpo e suas marcas nas superf\u00edcies. O rapto e a abdu\u00e7\u00e3o que a performance que a criadora Aline Miranda pode provocar nas pessoas \u00e9 um banho de al\u00edvio. \u201cUm pouco do poss\u00edvel, sen\u00e3o sufoco\u201d \u00e9 literalmente um banho, mas ultrapassa o ato em si para ser resgate e respiro.<\/p>\n

J\u00e1 a v\u00eddeo-instala\u00e7\u00e3o da psic\u00f3loga e atriz Fernanda Nocam, \u201cEnsaio para estrelato: de Cop\u00e9rnico enlouquecido \u00e0 Ad\u00e9lia desmembrada\u201d, pode causar vertigem. Questiona o esquecimento que sentimos do corpo quando fazemos uso da internet e nos tornamos seres virtuais, nossa quarta ferida narc\u00edsica, segundo a artista. Utilizando o programa Google Earth para viajar pelo mundo, Nocam projeta subjetividades num espa\u00e7o-tempo de outro planeta.<\/p>\n

Outra quest\u00e3o que podemos sugerir diz respeito a nomea\u00e7\u00e3o das pr\u00e1ticas art\u00edsticas, fruto das miscigena\u00e7\u00f5es de \u00e1reas em curso. Confundidas com a id\u00e9ia do terceiro endere\u00e7o, por si s\u00f3 um lugar de tr\u00e2nsito e misturas, h\u00e1 obras como por exemplo o saboroso \u201cMONO (that time mix)\u201d, do ator Fernando Prado, que apontam mais diretamente para essa discuss\u00e3o, embora todos estivessem embu\u00eddos desse pensamento. No trabalho, o texto do dramaturgo Samuel Beckett fica \u201clado a lado\u201d com o \u00e1udio do v\u00eddeo \u201cTapa na Pantera\u201d, veiculado no You Tube. O que cria vida s\u00e3o texturas sonoras, textuais, visuais e motoras tran\u00e7adas numa a\u00e7\u00e3o. Em cena, Prado n\u00e3o parece um ator, tampouco um performer propriamente dito, nem um DJ convencional, embora rastros dessas pr\u00e1ticas sejam vis\u00edveis com maior ou menor intensidade. Seriam sinais de novas singularidades art\u00edsticas e subjetivas?<\/p>\n

\u00c9 o caso tamb\u00e9m do solo de Juliana Penna nomeado por ela de a\u00e7\u00e3o c\u00eanica, numa tentativa de dar conta desse novo registro. \u201cO que Deus me deu\u201d materializa pontes, demarcando extens\u00f5es para produzir um mosaico sonoro m\u00f3vel. Sim, Juliana, \u201ccantar em coro sozinha\u201d \u00e9 poss\u00edvel!<\/p>\n

Enquanto \u201cRei Nu\u201d, de Nat\u00e1lia Oliveira \u00e9 uma brincadeira teatral, liter\u00e1ria e pl\u00e1stica, que se manifesta em tocante delicadeza e beleza, a instala\u00e7\u00e3o \u201cNatureza Morta\u201d, da bailarina Caroliny Pereira, \u00e9 de uma delicadeza estranha. Tiramos os sapatos para pisar numa sala escura com um foco de luz no centro. Um abajur ilumina uma caixinha de j\u00f3ias. Num canto a artista balan\u00e7a os p\u00e9s descal\u00e7os no ar. A estranheza surge quando nos aproximamos para olhar o que h\u00e1 dentro da caixinha e descobrimos que o texto do release \u201cuma caixa antiga abriga sete anos de calos do p\u00e9, tornando-se um processo de transcria\u00e7\u00e3o das simb\u00f3lica das perdas\u201d \u00e9 de uma espelhamento estonteante.<\/p>\n

Uni\u00e3o de \u00fanicos<\/strong><\/p>\n

Outro trabalho estimulante s\u00e3o as fotos e a v\u00eddeo-instala\u00e7\u00e3o \u201cTransma\u00e7\u00e3\u201d, frutos h\u00edbridos do artista visual Castor, que simbolizam o processo de jun\u00e7\u00f5es a que todos passaram e, especialmente, aquele que viveu. Ajuntamentos como pr\u00e1xis de arte-vida. Na exibi\u00e7\u00e3o, com a invers\u00e3o de pontos de vista o expectador vira um gato pregui\u00e7oso, deitado, \u201cem contraponto com o movimento do v\u00eddeo\u201d, conforme explica o criador. Mais um que integrou a Mostra foi o v\u00eddeo \u201cOverland\u201d, do tamb\u00e9m artista visual e pintor Lucas Laender. Pr\u00f3prio de algu\u00e9m que est\u00e1 a procura de seus limites, ele testa possibilidades, inverte e inventa comportamentos e sensa\u00e7\u00f5es. As situa\u00e7\u00f5es perform\u00e1ticas em sess\u00f5es de supermercados, ruas e espa\u00e7os internos foram editadas e aparentam rastros do teatro, da performance e da composi\u00e7\u00e3o (pintura). Perturbando e perturbado pelo mundo real, Laender projeta uma terra al\u00e9m, quase invis\u00edvel, que possa tornar a exist\u00eancia mais divertida e sens\u00edvel, menos prov\u00e1vel e, principalmente, melhor habit\u00e1vel.<\/p>\n

Entre as performances apresentadas, a Mostra contou ainda com \u201c300 dpi\u201d, da criadora-int\u00e9rprete Aninha Reis, projeto em andamento que coloca o corpo no scanner junto com outros objetos de modo a produzir imagens-mapas e arquivos de sua instantaneidade e, \u201cMargareth Papa\u201d, que a bailarina argentina Juliana Piquero criou durante sua estadia em Uberl\u00e2ndia. A performance pode ser tomada como met\u00e1fora para todo o processo vivido por esses artistas, visto que Piquero elaborou uma cena em que compartilha com a plat\u00e9ia todos os desafios que viveu para fazer um solo, refereciando o cantor Morrissey e sua rela\u00e7\u00e3o com a banda The Smiths.<\/p>\n

Inaugural em sua regi\u00e3o, Transobjeto Coletivo<\/em> \u00e9 dessas iniciativas que merecem aten\u00e7\u00e3o pela esp\u00e9cie de efeito multiplicador que desperta em suas cercanias. O projeto alcan\u00e7ou seus objetivos ao proporcionar espa\u00e7o e ambiente para deixar as discuss\u00f5es sobre arte contempor\u00e2nea mais presentes. Problematizando a solid\u00e3o, as dificuldades em estar junto, os obst\u00e1culos para manter uma profiss\u00e3o art\u00edstica em nosso pa\u00eds e as inquieta\u00e7\u00f5es inerentes ao pr\u00f3prio fazer art\u00edstico, a empreitada tamb\u00e9m deu conta de produzir obras, contribuindo assim com a profissionaliza\u00e7\u00e3o e a continuidade de pesquisas, afora a forma\u00e7\u00e3o e a amplia\u00e7\u00e3o de p\u00fablico.<\/p>\n

Transobjeto Coletivo<\/em> era uma casa-corpo muito engra\u00e7ada. Tinha teto e tinha entrada. Portas de vai-e-vem entre c\u00f4modos e janelas que recortavam o quintal e o jardim. Mais que um habitat, milagrou abrigo. Vila-universal, pouso para simpatizantes, acolhimento para rec\u00e9m-chegados. Agora, depois de receber h\u00f3spedes e visitas, vizinhan\u00e7as s\u00e3o bem-vindas. Tarda a hora, \u00e9 tempo de pegar o aeroporto.<\/p>\n

Foto: Castor<\/strong><\/p>\n

<\/span>Share the backyard in order to get to the garden. Find a dynamic where the coexistence of diverse singularities is possible. To allow oneself to be penetrated by the other, understand his creation machinery. Share the solo construction process. Sentences such as these help us to think about the main challenges experienced by the Transobjeto Coletivo<\/em> participants, a residency project developed in Uberl\u00e2ndia (MG), for two months, coordinated by the artist Wagner Schwartz<\/strong>, which ended with an exhibition between the 22nd and 29th of October of 2006. Open to the public and for free, the Transobjeto Coletivo<\/em> exhibition showed 10 \u201cchoreographic objects\u201d and four invited works, all developed from an idea of a \u201cthird address\u201d, proposed by Schwartz.<\/p>\n

According to him the third address is our practical house, a habitable collective territory\u201d, one that allows a glocal<\/em> thought to sprout, to use the geographer Milton Santos\u2019 term, one of the authors most studied by the group. Referring to globalization, the artist calls attention to the fact that \u201cbefore a daily existence with a variety and speed of circulating information, our house has many more rooms than before, which makes a net of affective exchanges possible\u201d. A mobile localization address and permeable borders, it\u2019s more of a knotted memories device than a specific geographic position.<\/p>\n

The basic condition for the viability of the project was the Petrobr\u00e1s sponsorship and the support of Funarte by the promotion of dance production activities from the Klauss Vianna Prize, that invested 13 million in 69 projects from all over the country and will appoint another 15 million (divided with theater) for substitute proposals. Transobjeto Coletivo<\/em> received R$ 30.000,00 for its execution; this involved the payment of all participants in their diverse functions, the staging of ten works, the final exhibition with more four guests, the advertising material and the DVD recording.<\/p>\n

The existence of the incentive was a determinant factor and Schwartz evaluates it in following manner: \u201cthe idea of the project was to put it in practice with a minimum of expenses so that one could also identify by this choice, the work aesthetics. Glauber Rocha, in the seventies, proposed the aesthetics of poverty, during the Cinema Novo (New Cinema) movement. At the time he criticized the existing financial possibilities and transformed what he understood as cinema, without hiding the social practices that were presented around him. In the case of Transobjeto Coletivo<\/em> we decided to considerably eliminate the adornments and to destine money to pay people. The goal was to give to an idea about the recurrent situation in Brazil of a lack of money for any given area\u201d.<\/p>\n

The opening night of the exhibition included the showing of the video-object \u201cRelevante (homenagem \u00e0 obra mole)\u201d(Relevant (homage to the soft work)), created by Danilo Dilettoso (video) and Thiago Costa (performer), and the presence of Schwartz, as host and reader of the unusual and charming book-object \u201cOs eventos s\u00e3o quase sempre os mesmos\u201d (Events are almost always the same), by the poet Lourdinha Barbosa. There was also the distribution of the text by the mysterious writer Tert\u00falia Gong called \u201cObjeto Pornogeogr\u00e1fico de Tert\u00falia Gong\u201d, that can be requested for free through the email: tertuliagong@hotmail.com<\/a><\/p>\n

Choreogeographic addresses<\/strong><\/p>\n

Processes of creation occur by means of relationships, the most diverse ones. A possible cartography of these links in the context of the Transobjeto Coletivo<\/em> would involve understanding the dynamics of living through a group process for construction of individual works from the proposal of the third address. The choreographic objects or choreogeographics, as they were called after the residence process, correspond to a kind of \u201cmetaphor to assure the autonomy and singularity, only transformed by its relation with all the others\u201d, as Schwartz explains. Each work, a synthesis, a line drawn on the map. Connection points.<\/p>\n

For C\u00e1ssia Nunes, author of the performance \u201cLong Play ou para peles normais\u201d (Long play or for normal skin), the main reason that made her participate in the Coletivo was \u201cthe will to create a net of relations that had as an objective the exchange of ideas about our ideas\u201d. This initial motivation, shared by all, led us to the hard task of listening. Availability to think about your neighbor\u2019s idea and relate to his otherness, as those who try know, is no easy thing. Schwartz says that \u201cwith the passing of time the confrontations slowly left off being ethnocentric monologues to create a common and fertile territory\u201d. By the end of two months of living together, at least one voice is unisonous: all perceive themselves in the works of others and without authorship crises. This leaves us to imagine a type of individual attitude that can or not reinforce the collective in favor of its exercise. The exercise of being collective.<\/p>\n

In fact, the territory of third addresses on Rua Tupaciguara, 471 holds diversity, holds negotiation, invention, collaboration, conflict and tolerance. Moreover, the non-homogenization of agreements, formats and subjects was of the most significant results proceeding from these trainings. As an emergent trace it would deserve a more careful investigation.<\/p>\n

The unpretentious choreogeographic object by Nunes, for example, is composed of moisturizing cream, skin, needle and vinyl to deal with the body and its surface marks. The abduction and kidnapping that the performance that the creator Aline Miranda can provoke in people is a bath of relief. \u201cUm pouco do poss\u00edvel, sen\u00e3o sufoco\u201d (a little of the possible or I\u2019ll suffocate) is literally a bath, but exceeds the act in itself to be a rescue and breath.<\/p>\n

Now the video-installation of the psychologist and actress Fernanda Nocam, \u201cEnsaio para estrelato: de Cop\u00e9rnico enlouquecido \u00e0 Ad\u00e9lia desmembrada\u201d (rehearsal for stardom: from a mad Copernicus to a dismembered Ad\u00e9lia), can cause vertigo. She questions the forgetfulness of the body that we feel when we use of the internet and become virtual beings, our fourth narcissistic wound, according to artist. Using the Google Earth program to travel the world, Nocam projects subjectivities in a space-time of another planet.<\/p>\n

Another issue we can suggest is the naming of the artistic practices, fruit of the miscegenation of areas in course. Confused by the idea of the third address, itself a place of transit and mixtures, there are works, as for example the flavorful \u201cMONO (that time mix)\u201d, by the actor Fernando Prado, that point more directly in respect to this discussion, even though every one was imbibed with this thought. In this work, Samuel Beckett\u2019s text is next to the audio of the video \u201cTapa na Pantera\u201d, propagated in the You Tube. What creates life are sonorous, textual, visual and motor textures plaited into one action. On stage, Prado doesn\u2019t seem like an actor, nor a performer, nor a conventional DJ, although traces of these practices are visible in a greater or lesser intensity. Could they be signals of new and subjective artistic singularities?<\/p>\n

It is also the case of Juliana Penna\u2019s solo named scenic action by her, in an attempt to manage this new register. \u201cO que Deus me deu\u201d (What God gave me) materializes bridges, demarcates extensions to produce a m\u00f3bile sonorous mosaic. Yes, Juliana, to \u201csing alone in chorus\u201d is possible!<\/p>\n

While \u201cRei Nu\u201d (Naked King), by Nat\u00e1lia Oliveira is like a theatrical, literary and arty trick, that manifests itself in moving delicacy and beauty, the installation \u201cNatureza Morta\u201d (still life), by the dancer Caroliny Pereira, is of a strange delicacy. We take off our shoes to step into a dark room with a focus of light in the center. One lamp lights a small jewelry case. In one corner the artist swings her bare feet in the air. The strangeness appears when we approach to look at what is inside of the case and discover that the press release text \u201c an old box holds seven years\u2019 worth of feet calluses, becoming a process of trans-creation of the symbolic of losses\u201d it is of a breathtaking mirroring .<\/p>\n

Union of uniques<\/strong><\/p>\n

Another stimulating work is the photo and video installation \u201cTransma\u00e7\u00e3\u201d, hybrid fruit by the visual artist Castor, that symbolize the process of additions that all went through and especially the one he lived through. Groupings as praxis of art-life. In the exhibition, with inverted points of view the spectator turns into a lazy cat, lying down, \u201cas a counterpoint to the movement of the video\u201d, as the creator explains. Another that took part in the exhibition was the video \u201cOverland\u201d, by the visual artist and painter Lucas Laender. Pertaining to someone that is searching for his own limits, he tests possibilities, inverts and invents behaviors and sensations. The performing situations in supermarkets sessions, streets and internal spaces were edited and made to look like drama pieces, of the performance and composition (painting). Disturbing and disturbed by the real world, Laender projects a land beyond, almost invisible, that can turn our existence more amusing and sensitive, less probable and, mainly, more liveable.<\/p>\n

Among the performances presented, the exhibition also had \u201c300 dpi\u201d, by the creator-performer Aninha Reis, a project in progress that places the body on the scanner together with other objects in order to produce image-maps and archives of its instantaneity and, \u201cMargareth Papa\u201d, that the Argentine dancer Juliana Piquero created during her stay in Uberl\u00e2ndia. The performance can be taken as a metaphor for all the process lived by these artists, since, Piquero elaborated a scene where she shares with the public all the challenges she went through to make a solo, referring to the singer Morrissey and his relation to the band, The Smiths.<\/p>\n

Inaugural in its region, Transobjeto Coletivo<\/em> is one of these initiatives that deserve attention for the kind of multiplying effect that it awakes in its surroundings. The project reached its objectives, providing space and environment for discussions on contemporary art. Questioning solitude, difficulties in being together, obstacles in keeping to an artistic profession in our country and the inherent inquiry in the artistic creation, the job also produced works, thus contributing to the professionalization and continuity of research, as well as the formation and growth of the public.<\/p>\n

Transobjeto Coletivo<\/em> was a very funny body-house. There was a ceiling and an entrance. Swing doors between rooms and windows that opened on to yards and gardens. More than a living place, it became a shelter. Universal-villa, a landing space for sympathizers, a welcome to new arrivals. Now, after having received guests and visitors, neighbours are welcome. It\u2019s late, it\u2019s time to get to the airport.<\/p>\n

Photo: Castor<\/strong><\/p>\n

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