{"id":9764,"date":"2009-02-03T11:40:35","date_gmt":"2009-02-03T14:40:35","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=9764&lang=pt-br"},"modified":"2009-03-16T19:14:41","modified_gmt":"2009-03-16T22:14:41","slug":"o-perfil-do-artista-e-as-novas-formas-de-comunicacao","status":"publish","type":"post","link":"https:\/\/idanca.net\/o-perfil-do-artista-e-as-novas-formas-de-comunicacao\/","title":{"rendered":"O perfil do artista e as novas formas de comunica\u00e7\u00e3o | The profile of the artist and the new comunication"},"content":{"rendered":"

“A revolu\u00e7\u00e3o verdadeiramente revolucion\u00e1ria realizar-se-\u00e1 n\u00e3o no mundo exterior, mas na alma e na carne dos seres humanos”<\/span><\/p>\n

A frase \u00e9 de Aldous Huxley, no pref\u00e1cio do livro Admir\u00e1vel Mundo Novo<\/em>. E esta \u00e9 a grande quest\u00e3o, e o grande engano, com que o tema das novas narrativas, para um mundo que se expande e se estilha\u00e7a em muitas direc\u00e7\u00f5es, tem de lidar.<\/span><\/p>\n

A revolu\u00e7\u00e3o \u00e9 interior, na alma e na carne, e \u00e9 pessoal, \u00edntima e do indiv\u00edduo.<\/span><\/p>\n

Esta afirma\u00e7\u00e3o tem implica\u00e7\u00f5es ao n\u00edvel do entendimento do perfil do artista hoje e das estrat\u00e9gias poss\u00edveis para comunicar a arte. Falemos ent\u00e3o de uma arte pessoal, de autorias individuais que expressam urg\u00eancias de algu\u00e9m que tem algo para dizer, e da comunica\u00e7\u00e3o participativa.<\/span><\/p>\n

1. O que significa isto?<\/span><\/p>\n

Estamos demasiado focados naquilo que nos \u00e9 exterior. Como se nesse exterior habitasse o potencial para a criatividade transformadora. Na verdade, o mist\u00e9rio da imagina\u00e7\u00e3o e da inven\u00e7\u00e3o transformadora existe j\u00e1, e desde sempre, num lugar que \u00e9 interior. Ou interior em cada um, ou interior numa rela\u00e7\u00e3o. No caso de uma rela\u00e7\u00e3o torna-se um espa\u00e7o “entre”. Em todos os casos \u00e9 potencialmente um lugar\/situa\u00e7\u00e3o de intimidade. Debaixo da pele – “na alma e na carne dos seres humanos”.<\/span><\/p>\n

2. Presente<\/span><\/p>\n

Desenhado em tra\u00e7os muito gerais, situo-me no presente.<\/span><\/p>\n

Estamos no momento p\u00f3s gesto libertador de tudo aquilo que era uma mera ornamenta\u00e7\u00e3o artificial, de liberta\u00e7\u00e3o da dan\u00e7a de tudo o que eram obriga\u00e7\u00f5es formais e conven\u00e7\u00f5es, para se reencontrar, no corpo e no pensamento, consigo pr\u00f3pria, com o ser que existe em plena dimens\u00e3o humana, reconduzindo esta arte com autonomia \u00e0 sua dimens\u00e3o po\u00e9tica e \u00e0 sua ess\u00eancia. Volta a ligar-se ao real, ao sens\u00edvel, e reactiva essa din\u00e2mica de comunica\u00e7\u00e3o. O que caracteriza este momento?<\/span><\/p>\n

Alguns tra\u00e7os gerais:<\/span><\/p>\n

1. Realismo Cr\u00edtico<\/span><\/p>\n

Surge ent\u00e3o, uma reaproxima\u00e7\u00e3o ao real, uma renovada implica\u00e7\u00e3o da arte com o contexto social, humano e pol\u00edtico onde se insere. H\u00e1 artistas – recordo-me de Meg Stuart ou Francisco Camacho, por exemplo – que falam de uma responsabilidade \u00e9tica da arte. A verdade \u00e9 que este reencontro da arte com a vida n\u00e3o \u00e9 uma rela\u00e7\u00e3o de mera descontextualiza\u00e7\u00e3o, como aconteceu no in\u00edcio, ou pesquisa formal, mas \u00e9 uma problematiza\u00e7\u00e3o do real por via da arte, uma implica\u00e7\u00e3o m\u00fatua. Ao ponto de, por vezes, a dist\u00e2ncia entre document\u00e1rio ou documenta\u00e7\u00e3o e fic\u00e7\u00e3o ser pouco identific\u00e1vel.<\/span><\/p>\n

H\u00e1 aparentemente uma simplifica\u00e7\u00e3o da linguagem e uma comunica\u00e7\u00e3o mais directa, que torna mais imediato o di\u00e1logo, entre artistas e p\u00fablico, aparentemente menos complexo e denso que a fragmenta\u00e7\u00e3o p\u00f3smodernista. O que, apesar dessa apar\u00eancia, est\u00e1 longe de significar que a ideia concretizada, o conte\u00fado que a forma veicula, seja menos complexa.<\/span><\/p>\n

“Postmodernist writing celebrates ambiguity and complexity while realism struggles for clarity and simplicity. Critical realism does not always achieve its goals in this regard (…)” but one thing they assure, is that if the ideas seem difficult to grasp, is because the ideas are, themselves \u00abwhat is complex rather than merely their mode of expression”, do livro “after postmodernism”.<\/span><\/p>\n

2. A continuidade como ruptura<\/span><\/p>\n

H\u00e1 uma revaloriza\u00e7\u00e3o do passado, do patrim\u00f3nio, da mem\u00f3ria. N\u00e3o no sentido de a repetir, ou repetir os seus c\u00f3digos, e certamente ultrapassando a anterior atitude de ruptura ou a decis\u00e3o de o ignorar. Isto tem v\u00e1rias implica\u00e7\u00f5es, desde logo na possibilidade do amadurecimento de conhecimentos. Cada artista parte de um patamar de integra\u00e7\u00e3o destas liberdades alcan\u00e7adas por gera\u00e7\u00f5es anteriores, desde logo dos formatos e dos c\u00f3digos. Cada artista integra, em si, ele pr\u00f3prio a colabora\u00e7\u00e3o, porque \u00e9 j\u00e1 um h\u00edbrido no conjunto de compet\u00eancias que domina e um n\u00f3mada entre culturas, geografias, saberes e linguagens art\u00edsticas. Significa que n\u00e3o verificamos j\u00e1 exactamente uma ruptura relativamente aos que o precederam, s\u00e3o esp\u00e9cie de irm\u00e3os mais novos que prosseguem o sentido da pesquisa, afirmando de forma mais enf\u00e1tica a personalidade art\u00edstica e uma renovada urg\u00eancia de algo que t\u00eam para expressar. H\u00e1 um reaparecimento de urg\u00eancias. Isto ao n\u00edvel individual, do artista, mas tamb\u00e9m num sentido mais colectivo, porque a hist\u00f3ria \u00e9 constantemente convocada, reavaliada, reconstru\u00edda, revisitada ou questionada. Por algum motivo, a bienal de Lyon se chama Retour en avant<\/em> (Return to the past)?<\/span><\/p>\n

3. Narrativas do movimento<\/span><\/p>\n

H\u00e1 uma revaloriza\u00e7\u00e3o da dimens\u00e3o po\u00e9tica\/conte\u00fado, mesmo em casos onde a vertente conceptual \u00e9 marcante e consequente. Diria mesmo que, em alguns casos, h\u00e1 uma recupera\u00e7\u00e3o da ideia de narrativa, do contar hist\u00f3rias, mesmo que n\u00e3o de forma linear ou literal. Isto traz impl\u00edcito o recuperar tamb\u00e9m de um desejo comunicante, por oposi\u00e7\u00e3o \u00e0 fase mais puramente experimental, fragment\u00e1ria e abstracta das \u00faltimas d\u00e9cadas do s\u00e9culo passado.<\/span><\/p>\n

4. A rela\u00e7\u00e3o com o outro<\/span><\/p>\n

Este \u00e9 um dos aspectos fundamentais, normalmente associado \u00e0s quest\u00f5es do interculturalismo, mas \u00e9 muito mais complexa do que isto. Entendo-a como sintom\u00e1tica desta reconex\u00e3o da arte com a realidade, que por vezes assume car\u00e1cter pol\u00edtico, \u00e9tico ou pelo menos de algum modo problematizante. Mas nesta quest\u00e3o da rela\u00e7\u00e3o com O outro n\u00e3o estamos a falar apenas desse di\u00e1logo intercultural, estamos a falar da quest\u00e3o mais b\u00e1sica e complexa, que \u00e9 a rela\u00e7\u00e3o entre indiv\u00edduos, a quest\u00e3o mesma da rela\u00e7\u00e3o, a quest\u00e3o do indiv\u00edduo consigo mesmo. \u00c9 uma problem\u00e1tica que est\u00e1 presente a diversos n\u00edveis: ao n\u00edvel multicultural mas tamb\u00e9m na ideia de que a comunica\u00e7\u00e3o se faz entre indiv\u00edduos e \u00e9 a soma de indiv\u00edduos que constroem a comunidade e o colectivo. E do mesmo modo que se torna importante repensar no\u00e7\u00f5es como proximidade e dist\u00e2ncia, centro e periferia – sobre as quais haveria muito a dizer – ou, por exemplo, conceitos como o de cria\u00e7\u00e3o, torna-se tamb\u00e9m importante interrogar a partir de que olhar nos debru\u00e7amos sobre o outro?<\/span><\/p>\n

– Quem \u00e9 o outro?<\/span><\/p>\n

– Aquele outro que supostamente est\u00e1 supostamente no que \u00e9 considerado supostamente a periferia deste suposto centralismo que \u00e9 a cultura ocidental?<\/span><\/p>\n

T\u00e3o preocupados que andamos na produ\u00e7\u00e3o e nas trocas de mercado, que nos apressamos em produzir o artificial. Desligamo-nos do corpo. Automatizamos o gesto. O ju\u00edzo produz-se, tamb\u00e9m ele produto, mecanicamente.<\/span><\/p>\n

5. A procura da inoc\u00eancia perdida<\/span><\/p>\n

As quest\u00f5es que levantei antes est\u00e3o relacionadas com a urg\u00eancia de algo que, se n\u00e3o verdadeiro, pelo menos honesto.<\/span><\/p>\n

Talvez a reconfigura\u00e7\u00e3o do corpo, reabilitando o conhecimento como poder, do outro e de si pr\u00f3prio, esteja em algo mais essencial e pr\u00f3ximo de uma pureza, honestidade, e inoc\u00eancia cujos vest\u00edgios restam em n\u00f3s como sombras e fantasmas. Cada vez mais invis\u00edveis e menos tang\u00edveis. Nesse Outro, um outro distante do dom\u00ednio das estrat\u00e9gias, pol\u00edticas e econ\u00f3mias da arte, talvez respire ainda essa inoc\u00eancia que precisamos recuperar. Enquanto n\u00f3s nos debatemos no conflito entre a tentativa de preservar a mem\u00f3ria e a atrac\u00e7\u00e3o pelo esquecimento. Porque a dan\u00e7a sendo tamb\u00e9m movimento que produz no pensamento n\u00e3o \u00e9 meramente intelectual, tamb\u00e9m \u00e9 sentimento e sensibilidade po\u00e9tica. \u00c9 sonho e utopia.<\/span><\/p>\n

6. Dupla exposi\u00e7\u00e3o.<\/span><\/p>\n

Depois da rejei\u00e7\u00e3o da representa\u00e7\u00e3o, no manifesto de Yvonne Rainer, na d\u00e9cada de 60, e da defesa da qualidade de uma presen\u00e7a em palco, esta – a qualidade da presen\u00e7a em palco – torna-se duplamente representa\u00e7\u00e3o e presen\u00e7a. Elas coexistem, alternam-se ou sobrep\u00f5em-se. N\u00e3o se fixam numa s\u00f3, s\u00e3o fluxos inst\u00e1veis.<\/span><\/p>\n

Outros elementos que identifico, mas que vou apenas enunciar, para n\u00e3o me prolongar:<\/span><\/p>\n

7. No\u00e7\u00e3o de arte implica uma ideia de constru\u00e7\u00e3o, mas agora de constru\u00e7\u00e3o de sentidos, em que n\u00e3o basta j\u00e1 apenas o tornar presente uma imagem, ou descontextualizar uma ac\u00e7\u00e3o ou objecto, cujos significados foram alterados com o tempo;<\/span><\/p>\n

8. A recupera\u00e7\u00e3o de uma ideia de arte artesanal, que recorre a materiais v\u00e1rios para executar, por vezes literal e manualmente, a constru\u00e7\u00e3o de um imagin\u00e1rio<\/span><\/p>\n

9. A ideia como o elemento fundamental do objecto, quer se concretize por via da exposi\u00e7\u00e3o do processo, em forma de confer\u00eancia ou mesmo de uma pe\u00e7a acabada<\/span><\/p>\n

10. O tempo do espect\u00e1culo como consci\u00eancia cr\u00edtica do tempo real, da\u00ed uma gest\u00e3o de ritmos distinta, em que os picos de intensidade e o intercalar de momentos de maior din\u00e2mica com maior contempla\u00e7\u00e3o tradicionais possam ser rejeitados, antes propondo um tempo que interrompe o tempo mental da vida actual<\/span><\/p>\n

11. Elogio da proximidade e da diferen\u00e7a;<\/span><\/p>\n

12. \u00c9 ainda de fragmenta\u00e7\u00e3o, desequil\u00edbrio, instabilidade e caos que ensaia o instautar de uma poss\u00edvel ordem, lugar de utopia e cr\u00edtica do real;<\/span><\/p>\n

13. De intimidade partilhada, resultante de uma disponibilidade e desejo de conhecimento do outro, n\u00e3o produto de uma rela\u00e7\u00e3o que se activa no imediatismo, porque essa \u00e9 a dimens\u00e3o do espectacular e do mercado do entretenimento, que n\u00e3o no espectador qualquer vest\u00edgio;<\/span><\/p>\n

14. Valoriza\u00e7\u00e3o das pequenas percep\u00e7\u00f5es, imagens nuas e invisibilidade, lugares de sombra e foras de campo;<\/span><\/p>\n

15. Proximidade, afectividade, desloca\u00e7\u00e3o do olhar e do entendimento;<\/span><\/p>\n

16. Da obsess\u00e3o pela colabora\u00e7\u00e3o passamos para a m\u00faltipla personalidade ou auto-colabora\u00e7\u00e3o (da verticalidade para a horizontalidade);<\/span><\/p>\n

17. Precisamente de proposta de interrup\u00e7\u00e3o da condi\u00e7\u00e3o de espectador, que \u00e9 a condi\u00e7\u00e3o humana actual;<\/span><\/p>\n

Quest\u00e3o que me parece importante colocar:<\/span><\/p>\n

N\u00e3o estar\u00e1 na altura de aceitar a ru\u00edna dos supostos par\u00e2metros reconhec\u00edveis da moldura contempor\u00e2nea europeia?<\/span><\/p>\n

Se sim, ent\u00e3o, como interrompemos os nossos pressupostos? Porque eles est\u00e3o viciados pelo jogo da mentira, do espectacular, da pura estrat\u00e9gia de mercado. Nada disso tem sustentabilidade ou \u00e9 transformador do mundo onde vivemos e esse \u00e9 o papel e o lugar da arte.<\/span><\/p>\n

A quest\u00e3o torna-se ainda mais relevante quando tantos falam de que os artistas se devem p\u00f4r em risco, errar, que se devem permitir vulnerabilizar, partilhar fragilidades e expor algo de interior, de delicado, pulsante… Com tanto faz-de-conta e mentira, precisamos de alguma honestidade.<\/span><\/p>\n

N\u00e3o \u00e9 apenas a obra que est\u00e1 aberta, como defende Umberto Eco, mas cada um de n\u00f3s \u00e9 uma possibilidade em aberto. E, melhor ainda, um ensaio em aberto.<\/span><\/p>\n

Os di\u00e1logos culturais devem ser constru\u00eddos na multiplicidade. Mas seria interessante podermos olhar o outro deslocando o nosso olhar do lugar de onde estamos para um lugar que esteja em aberto, um lugar que n\u00e3o existe, ou um lugar em permanente constru\u00e7\u00e3o. Nesse movimento do olhar, seria interessante habitar esse lugar que n\u00e3o existe mas guardando o lugar onde estamos e a dist\u00e2ncia\/proximidade entre os dois.<\/span><\/p>\n

Mas ent\u00e3o, como se inventa esse lugar para o olhar que n\u00e3o \u00e9 um n\u00e3o lugar de Marc Aug\u00e9 mas \u00e9 um lugar inexistente?<\/span><\/p>\n

Talvez possa ser apropriado um lugar “entre”, como nestas artes, um lugar entre indiv\u00edduos. Giorgio Agamben fala das poss\u00edveis formas de viajar, ou a arte de tornar vis\u00edvel o outro em n\u00f3s. Porque n\u00e3o partimos nessa viagem, com a mesma responsabilidade que esperamos que os pol\u00edticos fa\u00e7am no desempenho das suas fun\u00e7\u00f5es? Reclamamos que as pol\u00edticas se desenhem a a partir do terreno, informada pelos artistas. Seremos hip\u00f3critas? A verdade \u00e9 que n\u00e3o \u00e9 com esse olhar que tocamos, ou somos atravessados, por uma proposta art\u00edstica. Posicionamo-nos mais com um olhar carregado de referentes definidos, formatados, cristalizados. Mesmo que esse olhar convoque, no seu discurso, categorias que expressam um desejo de liberdade ou palavras e conceitos que sugerem romper com essas normas – como transdisciplinar, h\u00edbrido, indisciplinar, cria\u00e7\u00e3o, pe\u00e7a, performance… – mas, no fundo, s\u00e3o novas e mais artificiosas pris\u00f5es com que atamos o movimento do corpo e do pensamento.<\/span><\/p>\n

Aquilo que tornamos visivel em n\u00f3s, quando olhamos o outro, \u00e9 normalmente o reflexo ou resson\u00e2ncia de um eu. Portanto, o desafio seria destruir a cada novo olhar os referentes espec\u00edficos, ser criativo no inventar de referentes ef\u00e9meros, que signifiquem uma aproxima\u00e7\u00e3o a um outro, ou a m\u00faltiplos outros, num lugar “entre”.<\/span><\/p>\n

O colectivo faz-se da multiplica\u00e7\u00e3o de muitas espeficidades e muitos dois entrela\u00e7ados e em constante troca de parceiros ou c\u00famplices. S\u00e3o as redes. S\u00e3o pelo menos as redes que funcionam.<\/span><\/p>\n

Temos um modelo de sociedade em crise, sustentado por uma l\u00f3gica de mercado asfixiante. Por oposi\u00e7\u00e3o, esta dan\u00e7a, que \u00e9 movimento que \u00e9 corpo e pensamento, neste trabalho invis\u00edvel, de questionamento, de liberta\u00e7\u00e3o do gesto da sua l\u00f3gica funcional, de trabalho de experimenta\u00e7\u00e3o, tem o desejo de viajar para o desconhecido, e a\u00ed recuperar o sonho e superar a crise, porque a ac\u00e7\u00e3o constante do contempor\u00e2neo \u00e9 o corpo que se coloca em desequil\u00edbrio e que, por um instante, encontra um equil\u00edbrio prec\u00e1rio, que novamente se desequilibra. E nesse balan\u00e7o vai mudando de posi\u00e7\u00e3o porque, como escreveu o core\u00f3grafo Rui Horta um dia, dan\u00e7ar \u00e9 mudar de posi\u00e7\u00e3o.<\/span><\/p>\n

H\u00e1 muitas estruturas que conhe\u00e7o e falam de inventar algo em conjunto, na disponibilidade para se organizar em fun\u00e7\u00e3o de um artista ou de um projecto. S\u00e3o projectos que trabalham no “entre”, daquele “entre” que referia, mas tamb\u00e9m no “entre” defini\u00e7\u00f5es art\u00edsticas – teatro, dan\u00e7a, m\u00fasica, literatura, pensamento, artes pl\u00e1sticas.\u00a0 S\u00e3o perme\u00e1veis ao que existe de fora. Esse espa\u00e7o “entre” \u00e9 um lugar de privil\u00e9gio para estar, que \u00e9 um por natureza inter-relacional, e por isso mesmo o lugar onde a troca, a partilha, a descoberta, a esperan\u00e7a e o futuro podem acontecer.<\/span><\/p>\n

Exemplos e propostas concretas:<\/span><\/p>\n

– Skite\/Sweet & Tender<\/a> (a primeira foto \u00e9 de parte dos artistas do grupo e a segunda \u00e9 de um dos trabalhos realizados na edi\u00e7\u00e3o 2008, na cidade do Porto)<\/span><\/p>\n

\"\"<\/a>Este \u00e9 um projecto emblem\u00e1tico de muitas das quest\u00f5es que tracei e que identificam o perfil do artista. \u00c9 um agrupamento de 40 jovens artistas, n\u00e3o \u00e9 um colectivo nem uma estrutura nem companhia, mas o encontro das 40 individualidades que se juntam num momento comum para, nesse colectivo provis\u00f3rio, conseguirem maior poder individual para invidualmente realizarem os seus projectos individuais<\/span><\/p>\n

Durante um m\u00eas inteiro, criadores de diferentes disciplinas e de diferentes origens geogr\u00e1ficas partilham um mesmo espa\u00e7o, nesta segunda edi\u00e7\u00e3o vai ser no Porto, num\u00a0 encontro que tem por objectivo experimentar modos de troca art\u00edstica, cria\u00e7\u00e3o e produ\u00e7\u00e3o,\u00a0 numa din\u00e2mica constante de mostra e debate e feedback. \u00c9 um projecto jovem e de iniciativa individual que se viabiliza recuperando o conceito hist\u00f3rico que foi o SKITE, organizado no in\u00edcio da d\u00e9cada de 90 por Jean-Marc Adolphe, da Mouvement<\/a>, de encontro e troca informal e experimental de artistas, que estabelece um di\u00e1logo privilegiado com o local ou cidade onde decorre mas imediatamente se inscreve numa l\u00f3gica internacional. A ideia de pesquisa partilhada \u00e9 uma das estrat\u00e9gias utilizadas, uma mais criativa \u00e9 a ideia de convidar a adoptar um participante, estimaram que a participa\u00e7\u00e3o de cada artista fica em cerca de 2.500 euros e convidam quem quiser, pessoas, entidades p\u00fablicas ou privadas, a \u2018adoptar um artista’ pagando as despesas de participa\u00e7\u00e3o. Eles apresentam-se precisamente como “ferment of new aesthetics and new models of creation”<\/span><\/p>\n

– Acompanhamento e desacompanhamento art\u00edstico<\/span><\/p>\n

Na moda dos acompanhamentos art\u00edsticos, \u00e9 importante pensar nesse acompanhamento como ideia de ser c\u00famplice e que talvez possa ser gerador de maior criatividade quando permite ao artista a possibilidade de decidir estar desacompanhado, porque deve ter o direito de escolher esse desacompanhamento.<\/span><\/p>\n

Desse direito ao desacompanhamento, faz parte recuperar a no\u00e7\u00e3o de liberdade, como direito de qualquer indiv\u00edduo, que dela se deve apropriar.<\/span><\/p>\n

Seria importante explorar estrat\u00e9gias criativas no que diz respeito \u00e0 comunica\u00e7\u00e3o. Por exemplo, aplicar a no\u00e7\u00e3o de acompanhamento aos espectadores. Refiro o caso do Buda Arts Centre<\/a> que tem um programa de “companheiros”, em que o olhar que acompanha e se debru\u00e7a sobre a pesquisa art\u00edstica \u00e9 de um p\u00fablico n\u00e3o especializado mas que se disponibiliza para ser c\u00famplice. \u00c9 importante pensar que a incorpora\u00e7\u00e3o do conhecimento que falamos, que \u00e9 gerado por esta dan\u00e7a, pode passar tamb\u00e9m pelo corpo dos espectadores, numa l\u00f3gica da comunica\u00e7\u00e3o participante, seguindo a l\u00f3gica das tend\u00eancias da informa\u00e7\u00e3o actual e mesmo da arte que, muito frequentemente, faz do espectador um participante do acto art\u00edstico.<\/span><\/p>\n

– Temos ent\u00e3o a transmiss\u00e3o e a comunica\u00e7\u00e3o participada<\/span><\/p>\n

Talvez seja interessante lembrar que Plat\u00e3o acusava a escrita, supostamente ve\u00edculo de fixa\u00e7\u00e3o e documenta\u00e7\u00e3o da mem\u00f3ria, de ser forma de alimentar o esquecimento mais voraz e menos vivido.<\/span><\/p>\n

Estou a explorar um projecto de experimenta\u00e7\u00e3o de formas de transmiss\u00e3o e proximidade com os p\u00fablicos com a Laboral Escena<\/a>, de Gij\u00f3n, em que estamos a discutir transpor para a rela\u00e7\u00e3o com os p\u00fablicos o que as artes t\u00eam feito: apropriar de estrat\u00e9gias e procedimentos de outras linguagens. Significa, por exemplo (isto est\u00e1 em constru\u00e7\u00e3o): explorar a no\u00e7\u00e3o de visita guiada, mas ter um guia que \u00e9 algu\u00e9m que acompanha um grupo a um espect\u00e1culo e que depois discute com ele formas de ver; ou a ideia das grava\u00e7\u00f5es \u00e1udio, acess\u00edveis para quem esteja interessado em ouvir o artista falar da sua obra ou escutar algu\u00e9m a fazer uma poss\u00edvel interpreta\u00e7\u00e3o de uma obra etc.<\/span><\/p>\n

– Inscri\u00e7\u00e3o no espa\u00e7o p\u00fablico<\/span><\/p>\n

A import\u00e2ncia de colocar em rela\u00e7\u00e3o estratos distintos das din\u00e2micas sociais, criar projectos que p\u00f5em em rela\u00e7\u00e3o artistas e, por exemplo, empresas privadas. O desafio \u00e9 encontrar formas criativas que inscrevam a dan\u00e7a no espa\u00e7o p\u00fablico por vias alternativas \u00e0s tradicionais, que era o papel desempenhado pela comunica\u00e7\u00e3o social, que se tem demitido desta fun\u00e7\u00f5es.<\/span><\/p>\n

– Ideias pr\u00e1ticas:<\/span><\/p>\n

a. Mais do que a cartografia art\u00edstica, julgo que neste momento seria importante fazer um levantamento das boas pr\u00e1ticas, de formas de funcionar que sejam exemplares nas v\u00e1rias \u00e1reas da ac\u00e7\u00e3o art\u00edstica;<\/span><\/p>\n

b. \u00c9 fundamental construir rela\u00e7\u00e3o entre a comunidade art\u00edstica e as outras comunidades, pol\u00edticas, economia privada, a sociedade civil…<\/span><\/p>\n

c. Redefinir a linguagem e os conceitos utilizados, questionando os existentes, e apropriando para o discurso art\u00edstico, em qualquer dos seus n\u00edveis (de produ\u00e7\u00e3o, de comunica\u00e7\u00e3o, de teoriza\u00e7\u00e3o, de fundamenta\u00e7\u00e3o), express\u00f5es e termos importados da linguagem do cidad\u00e3o comum, trabalhando com ele, e da \u00e1rea da gest\u00e3o e da economia. \u00c9 a \u00fanica forma que vejo de construir um c\u00f3digo de comunica\u00e7\u00e3o comum que extravase o meio da arte.<\/span><\/p>\n

Claudia Galh\u00f3s \u00e9 jornalista e cr\u00edtica de dan\u00e7a portuguesa.<\/strong><\/span><\/p>\n

\u201cThe really revolutionary revolution is to be achieved, not in the external world, but in the souls and flesh of human beings\u201d<\/span><\/p>\n

The sentence was written by Aldous Huxley in the foreword of the book Brave New World<\/em>. And this is the most important issue, and the greatest mistake, with which the subject of new narratives has to deal with in a world that is expanding and shattering in so many directions.<\/span><\/p>\n

The revolution is internal, in the soul and in the flesh and it is personal, intimate and within the individual.<\/span><\/p>\n

This statement has implications regarding the understanding of the artist nowadays and of the possible strategies to communicate art. Thus, we should talk about a personal art, about individual authorships that express urgencies of someone who has something to say and about participative communication.<\/span><\/p>\n

1. What does this mean?<\/span><\/p>\n

We are excessively focused in what is external to us. As if the potential of transforming creativity inhabited this exterior. Actually, the mystery of imagination and transforming invention already exists, since ever, in a place that is interior, either interior in each one or interior within a relationship. In the case of a relationship it becomes a space \u201cin between\u201d. In all cases it is potentially a place\/situation of intimacy. Under the skin \u201cin the soul and flesh of human beings\u201d<\/span><\/p>\n

2. Present<\/span><\/p>\n

Drawn in very general traces, I am situated in the present.<\/span><\/p>\n

We are in a moment post gestures that liberated from everything that was mere artificial ornamentation, after liberation of dance from everything that were formal obligations and convention, to meet again, in the body and in thought, with itself, with the self that exists in absolute human dimension, reconducting with autonomy this art to its poetic dimension and its essence. It goes back to connect with reality, sensitivity and re-activates this communication dynamic. What characterizes this moment?<\/span><\/p>\n

Some general traces:<\/span><\/p>\n

1.\tCritical Realism<\/span><\/p>\n

Therefore, a re-approximation with reality emerges, a renewed implication of art with social, human and political context. There are artists \u2013 I recall Meg Stuart or Francisco Camacho, for instance \u2013 who talk about ethical responsibility of art. The truth is that this rekindling of art with life is not a mere decontextualizing relationship, as it happened in the beginning, or formal research, but rather a questioning of life through art, in mutual implication. So much so that sometimes the distance between documentary or documentation and fiction is not easily perceivable.<\/span><\/p>\n

Apparently, there is a simplification of language and a more direct communication that makes the dialogue between artist and audience more immediate, apparently less complex and dense that the postmodern fragmentation. Something that is, despite this appearance, far from meaning that the concrete idea, the content that style communicates, is less complex.<\/span><\/p>\n

\u201cPostmodernist writing celebrates ambiguity and complexity while realism struggles for clarity and simplicity. Critical realism does not always achieve its goals in this regard(\u2026)\u201d but one thing they assure, is that if the ideas seem difficult to grasp, is because the ideas are, themselves \u201cwhat is complex rather than merely their mode of expression\u201d, from the book \u201cafter postmodernism\u201d.<\/span><\/p>\n

2. Continuity as rupture<\/span><\/p>\n

H\u00e1 uma revaloriza\u00e7\u00e3o do passado, do patrim\u00f3nio, da mem\u00f3ria. N\u00e3o no sentido de a repetir, ou repetir os seus c\u00f3digos, e certamente ultrapassando a antrerior atitude de ruptura ou a decis\u00e3o de o ignorar. Isto tem v\u00e1rias implica\u00e7\u00f5es, desde logo na possibilidade do amadurecimento de conhecimentos. Cada artista parte de um patamar de integra\u00e7\u00e3o destas liberdades alcan\u00e7adas por gera\u00e7\u00f5es anteriores, desde logo dos formatos e dos c\u00f3digos. Cada artista integra, em si, ele pr\u00f3prio a colabora\u00e7\u00e3o, porque \u00e9 j\u00e1 um h\u00edbrido no conjunto de compet\u00eancias que domina e um n\u00f3mada entre culturas, geografias, saberes e linguagens art\u00edsticas. Significa que n\u00e3o verificamos j\u00e1 exactamente uma ruptura relativamente aos que o precederam, s\u00e3o esp\u00e9cie de irm\u00e3os mais novos que prosseguem o sentido da pesquisa, afirmando de forma mais enf\u00e1tica a personalidade art\u00edstica e uma renovada urg\u00eancia de algo que t\u00eam para expressar. H\u00e1 um reaparecimento de urg\u00eancias. Isto ao n\u00edvel individual, do artista, mas tamb\u00e9m num sentido mais colectivo, porque a hist\u00f3ria \u00e9 constantemente convocada, reavaliada, reconstru\u00edda, revisitada ou questionada. Por algum motivo, a bienal de Lyon se chama \u00abRetour en avant\u00bb (Return to the past)?<\/span><\/p>\n

The past, legacy and memory have been given new value. Not in the sense of repeating, or repeating its codes, and certainly going beyond the previous attitude of rupture or the decision to ignore. This has many implications, as in the possibility of maturing knowledge. Each artist starts off with the integration level of the freedoms achieved by previous generations, in style and codes. Each artist integrates, himself, the collaboration, because he is already a hybrid in the whole set of skills that he masters and a nomad between cultures, geographies, knowledge and artistic languages. This means that we still do not verify exactly rupture in relation to those who came before, they are kinds of younger brothers that continue the sense of the research, asserting emphatically the artistic personality and a renewed urgency of something they have to express. There is a reemergence of urgencies. That is in the individual level, that of the artist, but also in a more collective sense, for history is constantly called upon, reevaluated, reconstructed or questioned. For some reason, is the Lyon biannual called “Retour en avant<\/em>” (Return to the past)?<\/span><\/p>\n

3. Narratives of movement<\/span><\/p>\n

The poetic dimension\/content has been given new value, even in cases when the conceptual aspect is evident and consequent. I could even say that, in same cases the idea of narrative is reclaimed, of telling stories, even if not in a linear or literal way. This also implicitly brings the rescue of a desire for communication, as opposed to a more purely experimental, fragmented and abstract phase of the last decades of the last century.<\/span><\/p>\n

4. The relationship with the other<\/span><\/p>\n

This is one of the fundamental aspects, usually associated with the issue of interculturalism, but it is a lot more complex than that. I understand it as a symptom of the reconnection of art with reality that sometimes takes on a political, ethical character or at least a questioning one in some way. But, in the matter of the relationship with the other, we are not just talking about intercultural dialogue, we are talking about the most basic and complex issue, which is the relationship between individuals, the issue of the relationship itself, the issue of the individual with him\/herself. It is problem that is present in many levels: in the multicultural level but also in the idea that the communication that takes place between individuals it is the sum of individuals that builds the community and the collective. And in the same way it becomes important to rethink issues like proximity and distance, center and periphery \u2013 there is a lot to say about that \u2013 or, for example, concepts like creation, it also becomes important to ask from which perspective do we relate with the other?<\/span><\/p>\n

– Who is the other?<\/span><\/p>\n

– That other that supposedly is supposedly in what is supposedly considered the periphery of this supposed centralism that is western culture?<\/span><\/p>\n

We have been so worried about the production and the market trades, we hurry to produce the artificial. We unplug from the body. We automatize gestures. Reason, also a product, is produced mechanically.<\/span><\/p>\n

5. Searching for the lost innocence<\/span><\/p>\n

The issues I raised above are related with the urgency of something that is, if not true, at least honest.<\/span><\/p>\n

Maybe the reconfiguration of the body, rehabilitating knowledge as power, in the other and in oneself, lies in something more essential and closer to a purity, honesty and innocence with remains that rest in us like shadows and ghosts. Ever more invisible and less tangible. In this Other, an other distant from the domain of political and economical strategies of art, maybe this innocence we need to reclaim still breathes. While we struggle in the conflict between the attempt to preserve memory and the attraction of oblivion. Because the dance that is also movement that produces thought is not merely intellectual, but is also feeling and poetic sensibility. It is dream and utopia.<\/span><\/p>\n

6. Double exposure<\/span><\/p>\n

After the rejection of representation, in the manifest of Yvonne Rainer in the 60\u2019s, and the defense of the quality of a presence on stage, this \u2013 the quality of presence on stage \u2013 becomes both representation and presence. They co-exist, alternate or juxtapose. They do not fixate in only one, they are unstable flow.<\/span><\/p>\n

Other elements I recognize, but will only list so I do not extend myself:<\/span><\/p>\n

1.\tThe notion of art implicates an idea of construction, but now it is about the construction of meaning, in which it is not enough to make an image present or to decontextualize an action or object, which had its meaning altered with time.<\/span><\/p>\n


\n2.\tThe recuperation of an idea of handicraft art, that resorts to many materials to execute, sometimes literally and manually, the construction of a fictive world.
\n<\/span><\/p>\n

3.\tThe idea as a fundamental element of the object, either if it is fulfilled through the exposition of the process, in the shape of a conference or even a finished piece.
\n<\/span><\/p>\n

4.\tThe time of the show as critical conscience of real time, thus a distinct management of rhythm, in which the peaks of intensity and the combination of more dynamic moments and more traditional contemplation can be rejected, proposing instead a time that interrupts the mental time of real life.
\n<\/span><\/p>\n

5.\tPraise of proximity and difference
\n<\/span><\/p>\n

6.\tIt is still fragmentation, unbalance, instability and chaos that rehearse the establishment of a possible order, a place of utopia and criticism of reality.
\n<\/span><\/p>\n

7.\tOf shared intimacy, resulting from availability and desire to know the other, not a product of relationship activated in immediatism, because that is the dimension of spectacle and the entertainment market, which does not leave any mark in the spectator.
\n<\/span><\/p>\n

8.\tPraise of little perceptions, naked images and invisibility, places of shadows and out of the frame
\n<\/span><\/p>\n

9.\tProximity, affection, dislocation of perspective and understanding
\n<\/span><\/p>\n

10.\tFrom the obsession for collaboration we went over to multiple personality and self-collaboration (from verticality to horizontality)
\n<\/span><\/p>\n

11.\tPrecisely the proposal of interruption of the condition of spectator, which is the current human condition.<\/span><\/p>\n

Issue that seem important to raise:<\/span><\/p>\n

Wouldn\u00b4t it be about time to accept the ruin of the supposed recognizable parameters of the contemporary European frame?<\/span><\/p>\n

If so, then how do we interrupt our prejudices? For they have been contaminated by the game of lies, of spectacle, of pure market strategy. None of this has sustainability or transforms the world we live in and that is the role and the place of art.<\/span><\/p>\n

The issue becomes even more relevant when we talk about how artists should place themselves at risk, to make mistakes, that they should allow themselves to become vulnerable, share their weaknesses and expose something from the interior, delicate, pulsating\u2026 With so much make believe and lies, we need some honesty<\/span><\/p>\n

It is not just the work that is open, as Umberto Eco asserts, but each one of us is an open possibility. And, even better, an open rehearsal.<\/span><\/p>\n

Cultural dialogue must be constructed upon multiplicity. But it would be interesting if we could look at the other dislocating our perspective from where we are to a place that is open, a place that does not exist, or a place being permanently built. In this movement of the eye, it would be interesting to inhabit this place that does not exist but keeping the place where we are and the distance\/proximity between the two.<\/span><\/p>\n

But then, how to invent this place for the eye that is not a Marc Aug\u00e9 place but is an inexistent one?<\/span><\/p>\n

Maybe an \u201cin-between\u201d place would be appropriate, as in these arts, a place between individuals. Giorgio Agamben speaks of the possible ways to travel, or the art of making the other visible within ourselves. Why don\u00b4t we set off in this journey with the same responsibility we would expect from politicians in the fulfillment of their duties? We complain that policies are outlined upon the ground, informed by the artists. Would we be hypocrites? The truth is that it is not with those eyes that we touch, or are affected, by an artistic proposal. We take a stand with eyes filled with established, formatted, crystallized references. Even if this look summons, in its discourse, categories that express a desire for freedom or words and concepts that suggest breaking away from those norms \u2013 as transdisciplinary, hybrid, indisciplinary, creation, piece, performance \u2026 – but, deep down, they are new and artificial prisons we use to restrain the movement of the body and of thought.<\/span><\/p>\n

That which we make visible in ourselves, when we look at the other is usually the reflection or resonance of one self. Therefore, the challenge would be to destroy at each new look the specific references, to be creative in inventing ephemeral references that mean an approximation with the other, or multiple others, in \u201cbetween\u201d place.<\/span><\/p>\n

The collective is made up by many specificities and many interlaced pairs, constantly trading partners and accomplices. They are webs. They are at least the webs that work.<\/span><\/p>\n

We have a society model that is going through crisis, sustained by suffocating market logic. By opposition, dance, that is movement that is body and thought, in this invisible work of questioning, of liberating gestures from their functional logic, of experimentation, this dance wishes to travel into the unknown and to get the dream back and to overcome crisis, because the constant action of the contemporary is the body that places itself in unbalance and that finds, in an instant, a precarious balance that loses balance again. And in this balance keeps shifting position because, as choreographer Rui Horta wrote one day, dancing is shifting position.<\/span><\/p>\n

There are many structures I know that talk about inventing something in a concerted manner, in the availability of organizing upon an artist or a project. Projects that work in the \u201cbetween\u201d, that \u201cbetween\u201d I mentioned, but also the \u201cbetween\u201d artistic definitions \u2013 theater, dance, music, literature, thought, plastic arts. They are porous to what exists in the outside. This space \u201cbetween\u201d is a privileged place to be for its inter-relational nature, and for that reason it is a place where exchange, sharing, discovery, hope and the future might take place.<\/span><\/p>\n

Exemple and concrete proposals:<\/span><\/p>\n

– Skite\/Skite\/Sweet & Tender<\/a><\/span><\/p>\n

This project is symbolic of many of the issues I have traced and that identify the profile of the artist. It is a group of 40 young artists, it is neither a collective nor a structure nor a company, but rather it is the meeting of 40 individuals that come together in a common moment to, in this temporary collective, be able to achieve more individual power to individually accomplish their individual projects.<\/span><\/p>\n

During a whole month, creators from different disciplines and from different geographic origins share the same space, this edition is in Porto, in a meeting that aims to experiment forms of artistic exchange, creation and production, in a constant dynamic of presentation, debates and feedback. It is a young project and it came from individual initiatives that is made possible by bringing back the historical concept of SKITE, organized in the beginning of the 90\u2019s by Jean-Marc Adolphe from Mouvement<\/a> and that had meetings and informal and experimental artist exchanges, which established a privileged dialogue with the place or the city where it happens but it is immediately inscribed in an international logic. The idea of shared research is one of the strategies used, one of the creative idea is to invite someone to adopt an artist, they estimated that the participation of each artist would cost around 2.500 euro and they invite, people, institutions, public or private entities, whoever wants to \u201cadopt an artist\u201d by paying for the expenses of the participation. They present themselves precisely as \u201cferment of new aesthetics and new models of creation\u201d<\/span><\/p>\n

– \t Artistic consulting and disconsulting<\/span><\/p>\n

In the trend of artistic consulting, it is important to think about this counseling as an idea of being an accomplice who could be a generator of further creativity when allowing the artist the possibility of deciding not to be counseled, because he should have the right to choose.<\/span><\/p>\n

This right to not be counseled is part of recuperating a notion of freedom as a right of any individual, which all should claim.<\/span><\/p>\n

It would be important to explore creative strategies for communication. For example, apply the notion of counseling to the spectator. I refer to the case of Buda Arts Centre<\/a> which has a \u201cpartner\u201d program, in which the eye that follows and looks into artistic research is that of a non-specialized audience, that is available to be accomplice. It is important to think that the incorporation of knowledge we are speaking of, which is generated by this dance, can also go through the body of the spectator, in logic of participating communication, following the logic of the current information trends and even of art, which frequently makes the spectator an active participant of the artistic act.<\/span><\/p>\n

– Therefore, we have the transmission and participating communication<\/span><\/p>\n

Maybe it is interesting to remember that Plato used writing, supposedly a vehicle for fixation and documentation of memory, as a way to feed the most voracious and less experienced forgetfulness.<\/span><\/p>\n

I am exploring an experimentation project for forms of transmission and proximity with the audiences of Laboral Escena<\/a>, from Gij\u00f3n, in which we discuss transposing to the relationship with the audiences what the arts have done: take over strategies and procedures from other languages. It means, for example (that is always under construction): exploring the notion of guided visit, but having a guide is someone who accompanies a group to a show and afterwards discusses with it the ways of perceiving, or the idea of audio recording, available to whoever is interested in listening to the artist talking about his work or listening to someone making a possible interpretation of the work, etc\u2026<\/span><\/p>\n

– Placement in public space<\/span><\/p>\n

The importance of relating distinct layers of social dynamics, create projects that relate artists and, for example, private companies. The challenge is to find creative ways to place dance in public spaces in ways that are alternative to the traditional ones, which used to be the role of social communication, which have been quitting from these duties.<\/span><\/p>\n

– Practical ideas:<\/span><\/p>\n

a. More than the artistic cartography, I reckon in this moment it would be important to make a survey of good practices, of ways of working that are example in many areas of artistic action;<\/span><\/p>\n

b. It is essential to build a relationship between artistic community and other communities, political, private economy, civil society\u2026<\/span><\/p>\n

c. Redefine the language and used concepts, questioning the existing ones and taking over to artistic discourse, in any of its levels (production, communication, theorization, foundation), expressions and terms that are imported from the language of the common citizen, working with him, and from the area of management and economy. It is the only way see to build a communication code that goes beyond the art environment.
\n
\nClaudia Galhos is a Portuguese journalist and dance critic<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

De um lado, um novo artista. De outro, um p\u00fablico que tamb\u00e9m vem passando por transforma\u00e7\u00f5es. O idan\u00e7a publica o estudo de Claudia Galh\u00f3s sobre as mudan\u00e7as de perfil e sobre as novas formas de comunica\u00e7\u00e3o entre esses velhos personagens. Leia e deixe seu coment\u00e1rio.<\/span>
\n
\nOn one side, a new artist. On the other, an audience that is also going through transformations. Idan\u00e7a publishes a study by Claudia Galh\u00f3s about the changes in the profile and about the new forms of communication between these old characters. 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De outro, um p\u00fablico que tamb\u00e9m vem passando por transforma\u00e7\u00f5es. O idan\u00e7a publica o estudo de Claudia Galh\u00f3s sobre as mudan\u00e7as de perfil e sobre as novas formas de comunica\u00e7\u00e3o entre esses velhos personagens. Leia e deixe seu coment\u00e1rio. On one side, a new artist. On the other, an audience that is also going through transformations. Idan\u00e7a publishes a study by Claudia Galh\u00f3s about the changes in the profile and about the new forms of communication between these old characters. 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