THE CHAMBER OF INVENTIONS
Susana Gaudêncio
9 – 26 February 2011
“Drawing aims.
During this project, more than being worried about a formal or conceptual practice of drawing I want to primarily address its narrative nature and fictional will.
Thematically, it will be developed over a mapping of utopian ideas.
An Imagined space, in order to be an utopian one, needs to be a manifestation of a desire, but the inevitable consequence of projects with an utopian nature, is that they led to the destruction of a world to give rise to another. Its creative enthusiasm comes from the recognition that both our imagination and our perception are a human construction that always can be altered.
Starting from this premise and inspired by a palimpsest method I intend to create an analogy between a process for creating new utopias, with a drawing method by accumulation, overlapping and changing information.
"(...) Animation is not about "moving drawings", but about "drawing movement ", i.e. draw your own time, because to acquire motion to define a time will always be necessary." Norman Maclaren
In Stage 2 of the residence I will take in to consideration the formal and narrative nature of these drawings and will proceed to the construction of various devices inspired by the genesis of Film and Animation, in particular: the Diorama, the Panorama, the Prascinoscópio the Fenacistoscópio, the Zoetrope, etc.
I intend to make drawings move through their interaction with such mechanisms that derive from the Proto-Cinema, questioning the initial quote of Norman McLaren.”
Susana Gaudêncio
Paulo Mendes
Engines for a precarious revolution
A comment to the work of Susana Gaudêncio
A factory.
A white sheet on a modernist white room in a factory that manufactured weapons.
Black, black graphite, consecutively parallel lines that produce buildings, timeless buildings, construction of revolutions and utopias, utopian spaces.
Lumière returned to us the real, Méliès dazzled us with the fantasy - the fantasy that naively follows the real revolutions.
Illusory buildings, places the abstract concept of power - economic - political - the figures of representation. The architecture as an arena where conflicts are succeeding ...
The artworks are diagnostic of the present. The artists are asking questions but its not for them to provide answers. Sometimes we ask questions so as to provoke a certain response, keeping the free flow channels of discussion.
Often contemporary artists appropriatte the forms and formats of pre-established models to decode and produce other lines of reality and alternative narratives.
Artistic creation is historically linked to the desire for change and the changing of aesthetic and social paradigms . A continuous development mirrored by the modernism artistic avant-garde . Failed this process we can only interfere on a small scale, the collective experience and participation. Universal utopia for the local work.
(...)
An insurrection, we are not even able to see where it starts. Sixty years of peace, the suspension of historical turmoil, sixty years of a democratic anesthesia and management of the events, have weakened us in a certain perception of the real.
The impression of living a lie is still true.
When we speak of the Empire, we named the power devices that preventively, surgically, retain all the possibilities of a revolutionary situation. Thus, the Empire is not an enemy that confronts us. It's a rhythm that requires a way to update reality until exhaustion.
More than a world order it is the sad depletion, heavy and military.
Two centuries of mercantile capitalism and nihilism resulted in utter astonishment, in relation to itself, to others and to the worlds. The individual, this fiction, decomposes at the same speed that it becomes real.
Excerpt from the text submitted by Paulo Mendes / 2011
ENGINES FOR A PRECARIOUS REVOLUTION was the title for the performative presentation of Paulo Mendes performed by reading a text simultaneously accompanied by a video projection.
During this project, more than being worried about a formal or conceptual practice of drawing I want to primarily address its narrative nature and fictional will.
Thematically, it will be developed over a mapping of utopian ideas.
An Imagined space, in order to be an utopian one, needs to be a manifestation of a desire, but the inevitable consequence of projects with an utopian nature, is that they led to the destruction of a world to give rise to another. Its creative enthusiasm comes from the recognition that both our imagination and our perception are a human construction that always can be altered.
Starting from this premise and inspired by a palimpsest method I intend to create an analogy between a process for creating new utopias, with a drawing method by accumulation, overlapping and changing information.
"(...) Animation is not about "moving drawings", but about "drawing movement ", i.e. draw your own time, because to acquire motion to define a time will always be necessary." Norman Maclaren
In Stage 2 of the residence I will take in to consideration the formal and narrative nature of these drawings and will proceed to the construction of various devices inspired by the genesis of Film and Animation, in particular: the Diorama, the Panorama, the Prascinoscópio the Fenacistoscópio, the Zoetrope, etc.
I intend to make drawings move through their interaction with such mechanisms that derive from the Proto-Cinema, questioning the initial quote of Norman McLaren.”
Susana Gaudêncio
Paulo Mendes
Engines for a precarious revolution
A comment to the work of Susana Gaudêncio
A factory.
A white sheet on a modernist white room in a factory that manufactured weapons.
Black, black graphite, consecutively parallel lines that produce buildings, timeless buildings, construction of revolutions and utopias, utopian spaces.
Lumière returned to us the real, Méliès dazzled us with the fantasy - the fantasy that naively follows the real revolutions.
Illusory buildings, places the abstract concept of power - economic - political - the figures of representation. The architecture as an arena where conflicts are succeeding ...
The artworks are diagnostic of the present. The artists are asking questions but its not for them to provide answers. Sometimes we ask questions so as to provoke a certain response, keeping the free flow channels of discussion.
Often contemporary artists appropriatte the forms and formats of pre-established models to decode and produce other lines of reality and alternative narratives.
Artistic creation is historically linked to the desire for change and the changing of aesthetic and social paradigms . A continuous development mirrored by the modernism artistic avant-garde . Failed this process we can only interfere on a small scale, the collective experience and participation. Universal utopia for the local work.
(...)
An insurrection, we are not even able to see where it starts. Sixty years of peace, the suspension of historical turmoil, sixty years of a democratic anesthesia and management of the events, have weakened us in a certain perception of the real.
The impression of living a lie is still true.
When we speak of the Empire, we named the power devices that preventively, surgically, retain all the possibilities of a revolutionary situation. Thus, the Empire is not an enemy that confronts us. It's a rhythm that requires a way to update reality until exhaustion.
More than a world order it is the sad depletion, heavy and military.
Two centuries of mercantile capitalism and nihilism resulted in utter astonishment, in relation to itself, to others and to the worlds. The individual, this fiction, decomposes at the same speed that it becomes real.
Excerpt from the text submitted by Paulo Mendes / 2011
ENGINES FOR A PRECARIOUS REVOLUTION was the title for the performative presentation of Paulo Mendes performed by reading a text simultaneously accompanied by a video projection.
Residency - Weeks I and II
Residency - Week III
CHAMBER OF INVENTIONS - OPENING AND EXHIBITION, SUSANA GAUDÊNCIO
