{"id":13339,"date":"2020-09-22T15:59:37","date_gmt":"2020-09-22T15:59:37","guid":{"rendered":"https:\/\/hangar.com.pt\/online\/?p=13339"},"modified":"2021-12-07T21:28:45","modified_gmt":"2021-12-07T21:28:45","slug":"the-story-that-speaks-first-notes","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/online\/the-story-that-speaks-first-notes\/","title":{"rendered":"The history that speaks: first notes"},"content":{"rendered":"

[vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1591205395657{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column][vc_column_text css=”.vc_custom_1602490827075{padding-left: 25px !important;}”]<\/p>\n

The history that speaks: first notes<\/strong><\/h1>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content_no_spaces” css=”.vc_custom_1600951224043{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;background-image: url(https:\/\/hangar.com.pt\/online\/wp-content\/uploads\/2020\/09\/Pattaki01.jpg?id=13379) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}”][vc_column][vc_empty_space height=”1080px”][vc_column_text css=”.vc_custom_1600951309863{margin-bottom: 0px !important;padding-bottom: 0px !important;}”]\u00a9Still PATTAKI, Everlane Moraes<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Info<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205158832{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Curated by[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1601392385414{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Diane Lima[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1600963740453{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Artists[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1600796132119{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Ayrson Her\u00e1clito, Everlane Moraes, Kulumim-A\u00e7\u00fa, La\u00eds Machado[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1600963746517{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Location[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205238787{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]HANGAR ONLINE[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205246127{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Opening[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1600963671018{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]September 29th – 7pm[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205271348{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Dates[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1600963718734{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]September 29th – October 27th[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1591205299977{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Videos[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1601393343822{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”]Song of the Daughters of the Waters – Lais Machado – \u00a0September 29th – 7pm\u00a0<\/strong><\/p>\n

Mucambo-Trapi\u00e1 + Fartura + Rio-coral – Kulumim-A\u00e7u – October 6th – 7pm\u00a0<\/strong><\/p>\n

Ij\u00f3 Mim\u00f3 – Ayrson Her\u00e1clito<\/span> – October 13th – 7pm\u00a0<\/strong><\/p>\n

PATTAKI –\u00a0<\/b>Everlane Moraes <\/span> –\u00a0October 20<\/strong>th – 7pm\u00a0<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Synopsis<\/h3>\n

[\/vc_column_text][vc_separator color=”black”][vc_column_text]\u201cHow can we stitch together a history that constitutes itself in the time of lived and the told?\u201d, asked Queen Conga and one of the greatest thinkers in Brazil, Prof. Leda Maria Martins, when I met her in search of her oralituras<\/em> in the echo of the pages to write the first notes of this exhibition.<\/p>\n

In them, I articulate and share with you a thought that has blurred my days and that refers to a historical critique of the ways of making art history and, with that, the desire to write a history that speaks<\/em>.<\/p>\n

Since Western art history narratives are anchored in the principles of modern linguistics and its logocentric foundation, disciplining all of us, other-objects<\/em>, making us believe in their supposed universal partiality, I have questioned how to create ways of doing a history of a contemporary, racialized and dissident art that could take place in language and through language. According with Martins it would be inside this epiphany that the being becomes immanent, which makes me reveal that the exchange with the storytelling-artists present in this exhibition occurs in our mutual interest in performing a full-body narrative that escapes a self-referential and encyclopaedic repertoire.<\/p>\n

As a writer of a history that speaks, taking the pages the mouth, I believe that from its formal dispositions,<\/p>\n

1) We are speaking of a narrative that incorporates the lived experience and everything that we do not know, in the words themselves, images, rhythms and ways of telling. A history of artists and curators forged in a non-musealized<\/em> knowledge, where ancestral and spiritual myth-poetic narratives perform and are updated in the present, thus breaking the modern rational and temporal linearity;<\/p>\n

2) We see that those images that are performed under unwritten texts, based on oralituras<\/em>, are videographed <\/em>in an inter-linguistic and inter-semiotic translation: critical fabulations of memory that, by reading the enrolled, are now brought together as historiography, in a pact with the chorus of the visitor-users voices who, in this digital environment, hear us.<\/p>\n

3) Textualities of an afro- indigenous matrix that extrapolates the Portuguese language, constitute the artists who stage it and that, at the same time, are constituted by it.<\/p>\n

Rising abruptly from this text but with the promise of return and slowness, I leave us with the experiences enunciated by four Brazilian artists and their cyclical temporalities: Ayrton Her\u00e1clito, a referencial name in contemporary Brazilian art that presents us the work Ij\u00e9 Mim\u00f3 (2019), a sacred dance between Negriz\u00fa and Inaicyra Falc\u00e3o, who, being the daughter of Mestre Didi and heiress to an ancestral lineage of Candombl\u00e9 in Brazil, is an important reference when considering the research and artistic practice in the realm of the body, memory and ancestry; Everlane Moraes, visual artist and filmmaker who, in a mythic-poetic transit between Brazil and Cuba, Candombl\u00e9 and Santer\u00eda, presents the award-winning Pataki. Translating itself as myth and path of the orix\u00e1s, the fable that the Cuban artist Belkis Ay\u00f3n brings as reference, sews a mythological account of Iemanj\u00e1, \u201cthe mother whose children are like fish\u201d, and her power of communication and enchantment; with the works \u201cMucambo Trapi\u00e1\u201d, \u201cFartura\u201d and \u201cRio-coral\u201d, Kulumim-A\u00e7\u00fa, a playful-artist, writer and native mangrove storyteller, weaves his visual rituals in an animated trance that involves his practice with drawing, painting, graffiti and collage, tying them in soundscapes sculpted by oral performances in an encounter between the sacred, the divine and the griot playfulness; La\u00eds Machado, a transdisciplinary artist who, defining herself as Al\u00e0r\u00ednj\u00f3, the one who dances and sings while walking, presents her research on death from the perspective of water in \u201cSong of the daughter of the waters\u201d, a film part of the trilogy \u201cAbout the machinery of the end of the world\u201d \u2013 an essay and visual enchantment where death and life operate in the spiral of time.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row_content”][vc_column][vc_column_text]Diane Lima<\/strong> is an independent curator, writer and researcher. Master in Communication and Semiotics from PUC-SP, her work consists of experimenting with contemporary curatorial practices from a decolonial and anti-racist perspective.
\nConsidered one of the voices of black feminist thought in the Braziliam debate on contemporary art, she is currently part of the curatorial team of the 3rd edition of Frestas \u2013 SESC-SP Triennial of Arts \u2013 \u201cO rio \u00e9 uma serpernte\u201d (2020\/2021) and signs the curatorship of the digital exhibition \u201cOs dias antes da quebra\u201d at Piv\u00f4 Satellite programo f Piv\u00f4 Arte e Pesquisa. Among her main projects, the idealization in 2015 of the radical education program AfroTranscendence (Red Bull Station\/ Galp\u00e3o VideoBrasil) stands out; the curatorship between 2016 and 2017 of the Ita\u00fa Cultural Absent Dialogues program \u2013 which culminated with the homonymous exhibitions in the cities of S\u00e3o Paulo and Rio de Janeiro; and the curatorship in 2018 and 2019 of the Valongo International Image Festival (N\u00e3o me aguarde na retina \/ O melhor da viagem \u00e9 a demora), in Santos, S\u00e3o Paulo. In 2019, she was also co-curator of the Plus Afrot Residency at Villa Waldberta (Munich City Department of Culture) and of the group exhibition \u201cLost Body \u2013 displacement as choreography\u201d (Germany). Jury in several selection and award commissions, and as a writer and critic, she writes periodically for publications and catalogs. She co-organized the book \u201cTexts to read aloud\u201d (Brook \u00c9ditions) and integrated the curatorship of the book \u201c20 in 2020 – The artists of the next decade (Act.)\u201d.[\/vc_column_text][vc_separator color=”black”][vc_column_text]<\/p>\n

Scientific coordination and organized by M\u00f3nica de Miranda
\nThis project is part of the project \u00a0Post-Archive<\/a>:\u00a0Politics of Memory, Place and Identity, CITCOM-CEC-FLUL
\nThis project was produced with national funding from the FCT-Funda\u00e7\u00e3o para a Ci\u00eancia e a Tecnologia, I.P. under the project UIDB\/00509\/2020.<\/p>\n

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