{"id":811,"date":"2006-03-24T00:00:00","date_gmt":"2006-03-24T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2006\/03\/24\/vida-desnuda-3\/"},"modified":"2008-08-06T18:12:52","modified_gmt":"2008-08-06T21:12:52","slug":"vida-desnuda-3","status":"publish","type":"post","link":"https:\/\/idanca.net\/vida-desnuda-3\/","title":{"rendered":"Vida desnuda #3 | Naked Life #3"},"content":{"rendered":"

S\u00e3o Paulo, 8 de setembro de 2005. Est\u00e1vamos todos, uns 50 e poucos, espalhados pela sala, esperando por Coco Fusco [1] (1960), que estava atrasada, quando o ru\u00eddo forte de um apito nos assustou e chamou aten\u00e7\u00e3o: era a pr\u00f3pria, vestida de comandante militar, que tinha acabado de adentrar! Estava dado, pois, o in\u00edcio do trabalho concentrado em torno da realiza\u00e7\u00e3o da performance “Bare Life Study #1” (Estudo da Vida Despida n\u00famero1), proposta e coordenada pela artista e escritora nova-iorquina, com a produ\u00e7\u00e3o do 15\u00b0 Festival Internacional de Arte Eletr\u00f4nica Videobrasil [2].<\/span><\/p>\n

Durante as horas seguintes, Coco Fusco nos contou sobre suas motiva\u00e7\u00f5es, quest\u00f5es e problemas envolvidos na interven\u00e7\u00e3o urbano-art\u00edstica, marcada para o dia seguinte. A performance – considerada uma esp\u00e9cie de protesto\/alerta contra as torturas, abusos f\u00edsicos e modos de degrada\u00e7\u00e3o que sofrem os prisioneiros de guerra em cadeias militares americanas -, reproduziria em um ato coletivo, espetacular e p\u00fablico uma das inaceit\u00e1veis pr\u00e1ticas de humilha\u00e7\u00e3o\/submiss\u00e3o que se tem not\u00edcia, atrav\u00e9s de raros relatos. Executadas diante de c\u00e2meras ou n\u00e3o, essas “performances” dentro da pris\u00e3o representam a subservi\u00eancia do preso, constituindo-se como vers\u00f5es contempor\u00e2neas das cenas de repress\u00e3o, como explica Fusco, em depoimento [3] recente.<\/p>\n

O que poderia ser usado para, como ela diz, “provocar reflex\u00f5es n\u00e3o somente sobre as implica\u00e7\u00f5es desse \u2018estado de exce\u00e7\u00e3o\u2019 (um desequil\u00edbrio entre direito p\u00fablico e fato pol\u00edtico, com diz Giorgio Agamben<\/em>) como parte da vida pol\u00edtica contempor\u00e2nea”, serviu para revelar algumas quest\u00f5es acerca das rela\u00e7\u00f5es que envolvem performance, ativismo e formas de poder. Entre elas est\u00e3o as contradi\u00e7\u00f5es entre discurso e pr\u00e1tica, a postura de colonizado encarnada nos profissionais da produ\u00e7\u00e3o cultural brasileira e a necessidade de re-posicionamento \u00e9tico e profissional diante dessas circunst\u00e2ncias.<\/p>\n

9 de setembro de 2005. Vestidos com macac\u00f5es laranjas numerados (s\u00edmbolo da deten\u00e7\u00e3o), sapatos pretos sem cadar\u00e7o e nenhum tipo de adere\u00e7o, os agora menos de 50 volunt\u00e1rios, em sua maioria estudantes e profissionais das artes c\u00eanicas, se puseram em filas disciplinadamente. Sob um calor escaldante, na frente do Consulado dos Estados Unidos e diante de dezenas de c\u00e2meras de v\u00eddeo e de fotografia, os performers interromperam o tr\u00e2nsito da rua e, comandados por apitos e gritos da “militar” Coco Fusco, ajoelharam-se no meio da rua e simularam limpar o ch\u00e3o com escovas de dentes, durante 20 minutos.<\/p>\n

Em seguida, Fusco ordenou que os “prisioneiros” se levantassem e marchassem em filas, na dire\u00e7\u00e3o onde se encontrava o transporte que os levaria de volta. Dentro do \u00f4nibus, a interven\u00e7\u00e3o foi finalizada com a presen\u00e7a e as palavras de Fusco, al\u00e9m de palmas e gritos. Nesse momento, fazia muito calor mas o pedido de ligar o ar condicionado s\u00f3 seria atendido quando Coco Fusco terminasse a entrevista do lado de fora. O motivo do constrangimento era o barulho do equipamento, que atrapalhava a captura do \u00e1udio pelo microfone. Deslocado (ou n\u00e3o) dos princ\u00edpios contidos na performance, esse detalhe deixa clara a conex\u00e3o entre a interven\u00e7\u00e3o, a m\u00eddia e o culto \u00e0 presen\u00e7a da artista. Como ironizou uma das participantes, “apesar de ser um protesto a favor dos direitos humanos, o que importa mesmo \u00e9 o microfone da c\u00e2mera”.<\/p>\n

Aparentemente isolado, esse fato adquire outro significado no conjunto dos acontecimentos. Quando o \u00f4nibus retornou ao local que sediou a programa\u00e7\u00e3o do festival, a respons\u00e1vel pela produ\u00e7\u00e3o pediu a palavra e avisou que os volunt\u00e1rios\/performers ganhariam como “souvenir” o macac\u00e3o, justamente uma met\u00e1fora para submiss\u00e3o e falta de liberdade. (“nos deram espelhos\u2026”) T\u00e3o preocupante quanto a infeliz express\u00e3o utilizada pela produtora foi a rea\u00e7\u00e3o da maioria dos participantes: exaltados, pareciam receber um presente! O entusiasmo foi rapidamente contido para um novo an\u00fancio: a artista norte-americana estaria dispon\u00edvel para “assinar” os regalos. Prontamente uma fila foi organizada e deu-se in\u00edcio a sess\u00e3o de aut\u00f3grafos.<\/p>\n

Para a pergunta “onde termina o ativismo e come\u00e7a o fetichismo?”, Coco Fusco n\u00e3o tem resposta que valha, no entanto, caberia imaginar quando o sonho brasileiro de ser “backing vocal de arethas franklins” vai, enfim, desaparecer.<\/p>\n

Notas:<\/strong><\/p>\n

[1] http:\/\/www.thing.net\/%7Ecocofusco\/index.html
\n[2] http:\/\/www.sescsp.org.br\/sesc\/videobrasil\/15festival\/galeria\/galeria09.asp
\n[3] http:\/\/www.sescsp.org.br\/sesc\/videobrasil\/15festival\/galeria\/galeria09.aspS\u00e3o Paulo, September 8th 2005. All of us were there, 50 and a few, spread in the room, waiting for Coco Fusco (1960), who was late, when the strong noise of a whistle scared us and called for attention: that was the artist herself, dressed as military commander, who had just entered! It was therefore the beginning of the workshop concentrated around the making of “Bare Life Study # 1”, proposed and coordinated by this New York artist and writer, produced at 15\u00ba International festival of Electronic Art Videobrasil.<\/p>\n

During the following hours, Coco Fusco told us about her motivations, questions and problems involved in the urban-artistic intervention scheduled for the next day. The performance – considered a kind of protest\/alert against the physical tortures, abuses and ways of degradation that war prisoners suffer in American military cells -, would reproduce in a collective, spectacular and public act one of the unacceptable humiliation\/submission pratices we know about, through rare confessions. Executed in front of cameras or not, these “performances” inside prisons represent the prisoner\u2019s subservience, consisting as contemporary versions of repression scenes, as Fusco explains, in a recent commentary.<\/span><\/p>\n

What could be used for, as she says, “not only provoke reflections on the implications of this state of exception (an unbalance between public law and politician fact, as says Giorgio Agamben) as part of contemporary political life”, served to disclose some questions concerning relations between performance, activism and power models. Among them, contradictions between speech and practice, colonized positions embodied in professionals at Brazilian cultural production scene and the necessity of ethical and professional re-positioning facing these circumstances.<\/p>\n

September 9th 2005. Dressed with numbered orange overalls (a symbol of detention), shoes without ribbon and no accessories, the now less than 50 volunteers – mostly students and performing arts professionals, put themselves in lines with discipline. Under a terrible heat, in front of United States of America\u2019s Consulate and followed by dozens of photographers and video cameras, performers interrupted the traffic and, commanded by whistles and shouts of “military man” Coco Fusco, then knee down in the street and clean the ground with tooth brushes, during 20 minutes.<\/p>\n

After that, Fusco commanded the “prisoners” to raise and marche in lines, towards where was the transport that would take them back. Inside the bus, the intervention was finished with the presence and words of Fusco, followed by ovation and shouts. At this moment, it was very hot inside, but the order turn on the air conditioning would only be taken care of after Coco Fusco finished the talk outside. The reason given was the equipment\u2019s noise, that would confuse the audio capture. Dislocated (or not) of the principles contained in the performance, this detail makes clear the connection between intervention, media and the artist\u2019s presence cult. As one of the participants said in irony, “although it is a protest in favor of human rights, what matters most is the camera microphone”.<\/p>\n

Apparently isolated, this fact acquires another meaning in the set of events. When the bus returned to the place that hosted the programming of festival, the responsible for the production informed that volunteers\/performers would win the overalls as souvenir, precisely a metaphor for submission and lack of freedom (“they gave us mirrors…”) As preoccupying as the unhappy choice of words by the producer was the reaction of the majority of participants: exalted, looked like they received a gift! The enthusiasm was quickly contained by a new announcement: the North American artist would be available “to sign” the gifts. Instantly a line was organized and the autographs session began.<\/p>\n

To the question “where does activism finish and fetishism starts?”, Coco Fusco does not have a valid reply. However, it makes sense to imagine when will the Brazilian dream of becaming “backing vocal for arethas franklins”, at last, disappear.<\/p>\n

Notes:<\/strong><\/p>\n

[1] http:\/\/www.thing.net\/%7Ecocofusco\/index.html
\n[2] http:\/\/www.sescsp.org.br\/sesc\/videobrasil\/15festival\/galeria\/galeria09.asp
\n[3] http:\/\/www.sescsp.org.br\/sesc\/videobrasil\/15festival\/galeria\/galeria09.asp<\/p>\n","protected":false},"excerpt":{"rendered":"

A interven\u00e7\u00e3o urbana Bare Life #1<\/i> de Coco Fusco por Ma\u00edra Spanghero<\/span>The urban intervention Bare Life Study # 1<\/i> of Coco Fusco, by Ma\u00edra Spanghero<\/span><\/p>\n","protected":false},"author":62,"featured_media":0,"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":[49,28],"tags":[],"yoast_head":"\nVida desnuda #3 | Naked Life #3 -<\/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\/vida-desnuda-3\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Vida desnuda #3 | Naked Life #3 -\" \/>\n<meta property=\"og:description\" content=\"A interven\u00e7\u00e3o urbana Bare Life #1 de Coco Fusco por Ma\u00edra SpangheroThe urban intervention Bare Life Study # 1 of Coco Fusco, by Ma\u00edra Spanghero\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/vida-desnuda-3\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2006-03-24T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-08-06T21:12:52+00:00\" \/>\n<meta name=\"author\" content=\"Ma\u00edra Spanghero\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Ma\u00edra Spanghero\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/vida-desnuda-3\/\",\"url\":\"https:\/\/idanca.net\/vida-desnuda-3\/\",\"name\":\"Vida desnuda #3 | Naked Life #3 -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2006-03-24T00:00:00+00:00\",\"dateModified\":\"2008-08-06T21:12:52+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/vida-desnuda-3\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/vida-desnuda-3\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/vida-desnuda-3\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Vida desnuda #3 | Naked Life #3\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72\",\"name\":\"Ma\u00edra Spanghero\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g\",\"caption\":\"Ma\u00edra Spanghero\"},\"description\":\"\u00e9 escritora e pesquisadora. Doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica, professora da PUC\/SP e authora do livro \\\"A dan\u00e7a dos enc\u00e9falos acesos\\\" (Ita\u00fa Cultural, 2003) :::: Ma\u00edra Spanghero is writer and researcher. PHD in Communication and Semiotics, teacher of PUC\/SP and author of the book \\\"The dance of lighted encephals\\\" (Ita\u00fa Cultural, 2003).\",\"sameAs\":[\"http:\/\/\"],\"url\":\"https:\/\/idanca.net\/author\/mairaspanghero\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Vida desnuda #3 | Naked Life #3 -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/vida-desnuda-3\/","og_locale":"pt_BR","og_type":"article","og_title":"Vida desnuda #3 | Naked Life #3 -","og_description":"A interven\u00e7\u00e3o urbana Bare Life #1 de Coco Fusco por Ma\u00edra SpangheroThe urban intervention Bare Life Study # 1 of Coco Fusco, by Ma\u00edra Spanghero","og_url":"https:\/\/idanca.net\/vida-desnuda-3\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2006-03-24T00:00:00+00:00","article_modified_time":"2008-08-06T21:12:52+00:00","author":"Ma\u00edra Spanghero","twitter_misc":{"Escrito por":"Ma\u00edra Spanghero","Est. tempo de leitura":"7 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/vida-desnuda-3\/","url":"https:\/\/idanca.net\/vida-desnuda-3\/","name":"Vida desnuda #3 | Naked Life #3 -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2006-03-24T00:00:00+00:00","dateModified":"2008-08-06T21:12:52+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72"},"breadcrumb":{"@id":"https:\/\/idanca.net\/vida-desnuda-3\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/vida-desnuda-3\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/vida-desnuda-3\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Vida desnuda #3 | Naked Life #3"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/073a9a3b2e6b07ef697d05f661417a72","name":"Ma\u00edra Spanghero","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/b3c4365f1dda7c2f9e21e8788c5e894c?s=96&d=mm&r=g","caption":"Ma\u00edra Spanghero"},"description":"\u00e9 escritora e pesquisadora. Doutora em Comunica\u00e7\u00e3o e Semi\u00f3tica, professora da PUC\/SP e authora do livro \"A dan\u00e7a dos enc\u00e9falos acesos\" (Ita\u00fa Cultural, 2003) :::: Ma\u00edra Spanghero is writer and researcher. PHD in Communication and Semiotics, teacher of PUC\/SP and author of the book \"The dance of lighted encephals\" (Ita\u00fa Cultural, 2003).","sameAs":["http:\/\/"],"url":"https:\/\/idanca.net\/author\/mairaspanghero\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/811"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/62"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=811"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/811\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=811"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=811"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}