Onde o horizonte se move | Where the horizon moves | BARCELONA

Onde o horizonte se move | Where the Horizon Moves is a site-specific project where the horizon is treated as a field of shared fiction. Through the selection of a landscape and a place from where the audience can observe it, the project generates its gradual transformation through figures that appear and disappear on the horizon. This piece features neighbours from the Poble-sec district as volunteers and invites the public to witness a process of deceleration: from a vantage point, a plateau, an avenue, a landscape unfolds, a city is revealed. Here, the spectators, as if they were the guardians of the past, travel the horizon to decipher these figures blotted out by the sun, which become people, stories, worlds.

Gustavo Ciríaco is a Brazilian artist based in Rio de Janeiro. He has a strong international presence and has presented his works in Europe, Latin America and the Middle East, and more recently in the Far East. His work combines various artistic disciplines, showing an interest in other knowledge, other fields, other voices; often through people, looking for other ways to cope with everyday life, adding potential, tools and knowledge about how to deal with time and space. He has used choreography, theatre, video, storytelling and urban actions in conversational works where the encounter is the inspiration for fictions and shared situations.

Where the Horizon Moves was included in the official programme of Guimarães – European Capital of Culture 2012 (Sweet & Tender Collaborations, organized by Maus Hábitos) and by the Rio Occupation London artistic mission at the London Cultural Olympiads in 2012. The project was in residence at the Cidade das Artes, programmed at the Panorama Festival (Rio, 2013) and toured with the SESC Arts Circuit, visiting nine cities within the state of São Paulo.

Conception and artistic direction Gustavo Ciríaco

Direction assistant Priscila Maia

Performers Ana Trincão, Gustavo Ciríaco, Priscila Maia, Tiago Barbosa

Production direction Míriam Martin Ferrer

Management Jesse James – Anda&Fala

Local performers Laura Gutiérrez Vázquez, Francisco Gutiérrez Vázquez, Julia Mar, Karla Colman Castro, Cirila Targhetta, Mònica Guillemat Rocamora, Alice Pernes, Edu Tabueña, Katerina Archontaki, Pau Rodríguez Espinal, Ewa Staniewicz, Meritxell Romanos Bayés, Miguel Murillo Rodríguez, Linda Uhr, Yaiza Ramos, Alejandro Flores Márquez, Montserrat Casals Ros, Jaume Viñas

Brasil, Dos cares
Mercat de Flors, Barcelona
March 13th, 14th and 15th

| Sala de Maravilhas |

Concebida como uma exposição, Sala de Maravilhas, reúne um conjunto de artistas da cena todos envolvidos na construção de um lugar, de um inventário, de um presente passado futuro em um mesmo recinto.



Sala de Maravilhas se lança assim à aventura de expor uma coleção de experiências de um grupo de artistas e sua ativação em tempo real no espaço compartilhado com os visitantes de uma galeria. Uma coleção de suas trajetórias artísticas, dos seus dias, de sua inserção em uma história da arte da cena, dos seus imaginários e dos de uma época. Uma coleção de homens e mulheres, de mundanos, de brincantes, de sincretistas, de tropicálias revividas. Uma coleção de sublimes.




Este projeto foi contemplado pelo FADA 2012 (Fundo de Apoio à Dança da Cidade do Rio de Janeiro) e integrou o programa International Creator in Residence, promovido pela Tokyo Wonder Site em uma colaboração multimídia com 9 artistas japoneses. (Tóquio, 2012). Sala de Maravilhas | Rio é acolhido pelo Largo das Artes no quadro e em continuidade do seu projeto Ações Contemporâneas.

Sala de Maravilhas | Rio de Janeiro

Concepção e Direção Artística 

Gustavo Ciríaco

Artistas

António Pedro Lopes, Dyonne Boy, Gustavo Ciríaco, Ignacio Aldunate, Lucía Russo, Lucas Bueno, Milena Codeço e Marcela Levi

Artistas colaboradores

Domenico Lancelotti (música)

Marta Bernardes (poesia)

Pedro Rivera (arquitetura)

Elenco de apoio

Leo Nabuco e Isabel Martins

Cenografia e expografia

Pedro Rivera

Figurino

Paula Stroher

Design e montagem de luz

Tábatta Martins | T2 produção técnica

Assistência de iluminação e montagem

Thierry Brito | T2 produção técnica

Direção de Produção e Administração

Marta Vieira

Assistente de produção

Chayanna Ferreira

Fotografia

Paula Kossatz

Assessoria de imprensa

Flávia Tenório | LEAD Comunicação

Cenotécnico

Eric Dini Nielsen

Engenheiro de som

Luciano Siqueira

Apoio

Largo das Artes | Casa da Glória | T2 Produção Técnica | Spetaculu

Realização

Projéteis – Cooperativa Carioca de empreendedores culturais

Patrocínio

Prefeitura do Rio de Janeiro | Secretaria Municipal de Cultura do Rio de Janeiro

Agradecimentos especiais

Abigail Levine, Brenda Coelho, Consuelo Bassanesi & Miguel Sayad (Largo das Artes), Diana de Rose, Eveline Hecker, Fernando Cocchiarale, José Da Costa, Laura Lima & Márcio Botner (Gentil Carioca), Marta Bernardes, Muri Costa, Sula Kossatz, ao staff e diretoria da Tokyo Wonder Site.

The Love of Alcibiades - at Centro de Artes de Coimbra

The Love of Alcibiades, 2012
16 mm, 4:3, color, magnetic sound, 8'13''(excerpt)


The Love of Alcibiades presents a monologue read at the top of Floresta da Tijuca, in Rio de Janeiro. The monologue is an adaptation of Plato´s Alcibiades made in collaboration with Gustavo Ciríaco. The monologue deals with the question of emancipation in the context of youth, the moment of transition from childhood to adult life. The result is a monologue read by an actor where voice over and direct voice overlap. This is a dialectical play with one voice, in which consciousness and action cycle.

"The objective of the practice of the self is to free the self, by making it to coincide with a nature which has never had the opportunity to manifest itself in it." (Michel Foucault,The hermeneutics of the subject, p. 531)

With Gustavo Ciríaco.

Director: Eduardo Guerra.

Camera: Eduardo Guerra

Crew: Pedro Neves Marques, Mariana Silva, Sr. João.

Editing: Eduardo Guerra.

Cast: Gustavo Ciríaco.

Recording: Rio de Janeiro: Rob Filmes.

Lab: Rio de Janeiro: Link digital, Labocine. Lisboa: Light Film, Tobis. Berlin: Andec.

Thanks to: Gustavo Ciríaco, Helmut Batista, Valdinar Fernandes, Pedro Neves Marques, Mariana Silva, Sr. João, Renata Lucas, Daniel Steegman Mangrané, Rosangela Renó, Luisa Seixas, Ilda Soares, Ana Paula Aguiar, Albano da Silva Pereira and Natxo Checa.

With the kind support of Fundação Calouste Gulbenkian, ZDB gallery and The Visual Arts Center (Coimbra). With the collaboration of Residência Capacete Entretenimentos, Labocine, Light Fillm, Fuji e Deus ex-machina.

For an extract of the video, 

click here.

Where the horizon moves - London is an open-air project exploring landscape as a space where stories come alive.  It rescues the often lost, yet everyday movement, of coming towards a place. Through subtle shifts and changes in the landscape, the audience field of vision is expanded to notice figures that emerge and disappear on the horizon. 

Conception and direction: Gustavo Ciríaco

General production: Andrew Mitchelson

Production assistance: Becca Fuller

Helping assistance: Heather Brandenburg

London soundtrack: Hutch Demouilpied

UK based collaborators:

Irina Sukhikh (performer)

Owen Parry (performer)

Anais Lalange (performer)

Camila Fiori (performer)

Louise Mothersole (singer and performer)

Stewart Mackenzie (performer)

Dean & Petal (performers)

Becca Fuller (assistant producer and performer)

Tiphaine Tailleux (performer)

Hutch Demouilpied (sound designer)

Becca Fuller (assistant producer and performer)

Rio Occupation collaborators:

João Sanchez – visual artist

Dina Salem Levy – set design consultant

Pedro Rivera – architect

Andrea Capella - photography director and light designer

London skyline mural, painted by João Sanchez.

This piece was part of the Festival Finale in association with v22 Summer Club at the Biscuit Factory on 1-3 August as part of Rio Occupation London, promoted by SEC-Secretaria de Cultura do Estado do Rio de Janeiro in partnership with Battersea Arts Center & People's Palace, hosted by 2012 London Festival - Cultural Olympiad. Rio Occupation London was sponsored by Petrobras.

A room of wonder

A room of wonder is a performative installation project that departs from the literal but torn meaning behind the word biography: a life that writes and collects. It interests me the multiple ways that a man writes his history and how he belongs to a wider community, the biography codes through which one is seen, read, historicized. Writing as related to tracing, to registering, to framing; biography as related to accumulation, collection of moments, images, and sensations.

Recently I came across the wonder rooms and the cabinets of curiosities. These collections of singular objects common during the Renaissance were collections of universes, whose categorical frontiers were yet to be defined. They were pre-museums of individual claim and a model for a microcosm or theater of the world, a memory gallery. They were particular inventories, highly meticulous of what one felt as out of the common thread, as land marking, singular, bizarre. A sort of tridimensional diary of what had produced wonder in that person.

A room of wonder proposes the adventure of creating the collection of wonders of a group of artists and its insertion in real time in an exhibition room for common share.  A collection of their artistic trajectories, of their days, of their belonging to different histories of the art, of the scene, of their imaginaries and of their time. A collection of men and women, dancers, actors, sculptors, video artists, performers, ordinary people, working collaboratively across fields, helping each other sharing tools and knowledge for the creation of one room of wonders.

On our present days, the museums have become the guardians of mankind’s common history, where the categorizations have gained the force of the absolutes, however, the desire of making one’s own inventory of the world, one’s own collection of wonders, hasn’t abandoned us. Visible in the endless quantities of blogs and in the proliferation of virtual social networks, more than ever, the force of the inventory still continues enchanting individuals in their Simultaneously, these individuals search for witnesses of their present and throw themselves, yet in a stumbling and provisory way, into the challenge of creating another possible future through the rewriting of their own past. 

The project will be part of the program International Creator in Residency at Tokyo Wonder Site, from September to November 2012, in the creation of a collection in collaboration with Japanese artists coming from different fields. From January 2013, the project starts a new collection in Rio de Janeiro with Brazilian performing artists, funded by FADA.

Tokyo Wonder Site : http://www.tokyo-ws.org/english/aoyama/index.html

........

Where the horizon moves

Where the horizon moves

Where the horizon moves 

a project by Gustavo Ciríaco

A landscape gathers men and women, city and nature, history and phantasmagoria, imaginaries and horizons. It possesses at the same time something unnamable, sublime and something rather ordinary, fleeting at its apprehension, though generator of endless narratives, biographies and fables.

In the old far western movies, there was often this moment, when a figure or figures emerged from nowhere, from far away. A reading moment of the landscape, where distant elements got revealed as they approached us little by little, finally becoming Indians, the Seventh Cavalry Regiment or wild bisons. Evanescent figures blurred by the distance and by light which materialized as soon as our eyes were capable discerning the details, presences and realness. Nowadays, this dimension has been lost. No one arrives from afar.

How does something enter our field of vision? How does it get processed and become the matter of dreams, stories, lives? Which transformations any kind of information goes through when seen afar? How forms, colors, textures contribute in this ever changing panorama around us? What does the gradual appearance of something promote/provoke in our perception, the way it happens and its successive interpretations?

Influenced by what we manage to see, how far our vision reaches what comes before our very eyes, the landscape frames the world we see, the world we navigate through. Thinking landscape as a shared fiction, Where the horizon moves charms the audience to experience the horizon as a playful panorama where contemplation and imagination go hand in hand with fable making and daily life sublime.

Through subtle and visible transformations in the landscape Where the horizon moves rescues the poetic, yet ordinary aspect in the basic movement of coming towards a place. Here the spectators, as the watchmen of yesterday, struggle to define what they see in the horizon, these fleeting figures under the sun who become mankind, stories or history.

The project is part of the official program led by Maus Hábitos & Guimarães European Cultural Capital (June 2012) and part of the Rio Occupation London & London Cultural Olympiads 2012, with presentations at v22 | Biscuit Factory (London, Uk).

Eles vão ver. They shall see.

Eles vão ver.

Ava Gardner, por ocasião de uma filmagem nas selvas de Bornéu comentou com um técnico: Aqui é tão claro e ali tão escuro que parece que sou meio cega, meio águia. Vejo dois mundos que quase se tocam, como óleo escuro na água. (...) Somos seres estranhos. Sombras animadas. Levamos conosco o escuro do dia, a possibilidade da noite, do sonho.

Naquilo que é visível, há sempre algo mais visível e algo que, embora oculto, parece se revelar aos poucos, tal como líquido que escorre pelo chão e desenha, à medida que avança, os caminhos da nossa atenção. Nesse movimento o que acontece e é percebido depende da força de presente que um detalhe pode provocar. Um deslize, um transborde de sentido, de estado, de localização.

Demarcar deslocamentos, cruzamentos, agrupamentos, isolamentos para deixar arrebentar a costura dos sentidos. No carnaval das operações, a terra gira ao contrário e o chão na sua instabilidade vira céu sem pé nem fundo. O ali cria um aqui, e o eles inevitavelmente vira-se para nós, sorrindo em espelho brilhante e convidando a desvendar a construção do que é traçado.

Eles vão ver se situa em fronteiras, entre o que permanece e o que passa: a presença. Entre a ficção apresentada e o real construído: a cena. Entre a escuridão que apaga e a claridade que revela: um teatro.

They shall see

Ava Gardner, in a film set in the jungles of Borneo, commented with a technician: Here the light is so bright and over there it‘s so dark that I feel half blind, half an eagle. I see two worlds that barely touch each other, like dark oil in the water (...) We are strange beings. Animated shadows. We carry along with us the darkness of the day, the possibility of the night, of the dream.

In what we see, there’s always something more visible and something, though hidden, that seems to reveal itself little by little. Think of  a liquid that runs on the floor and draws, as it advances, the paths of our attention. In this movement, what happens and what is perceived depends on the force of present that a detail can provoke. A slide, an overflow of sense, state and place.

Setting dislocations, crossings, groupings, isolations to burst the seam of the senses. In the carnival of operations, the earth turns upside down and the ground in its unstability becomes a sky with no bottom or end. There becomes here, and the they unavoidably turns to us, smiling on a shining mirror and offering an invitation to unveil the construction of the traces.

They shall see is set in borders, between what remains and what passes: the presence. Between presented fiction and constructed reality: the scene. Between an erasing darkness and a revealing clarity: a theater.

.............................................they shall see

| conception & direction Gustavo Ciríaco | co-direction Lucía Russo | creation António Pedro Lopes, Dyonne Boy, Francini Barros, Gustavo Ciríaco, Ignacio Aldunate, Lucia Russo, Milena Codeço, Francini Barros | artistic assistency and collaboration António Pedro Lopes | sound track Rodrigo Marçal | lightning design Andrea Capella  light counsultancy  and execution Tabata Martins| set design Mayra Alves (initial period) e Luiza Paes (final period) | production and  administration Marta Vieira | intern Lucas Bueno

Partnership and support Casa da Glória | Fomenta Produções | Escola Angel Vianna | Centro de Artes da Maré | UniverCidade | Uni-Rio | UFRJ

They shall see has been funded by Programa Rumos Itaú Cultural Dança 2009/10 and Klauss Vianna 2009 Dance Awards, promoted by Funarte (National Foundation for the Arts).

Première Panorama Festival / November 2010

Production in Europe: Marine Budin - marine@elclimamola.com

Production in Brazil : Marta Vieira - martakaya@gmail.com

Drifting

derivar
1. Andar devagar, sem objetivo ou casualmente 

2. Mover-se involutariamente para uma certa situação ou condição 

3. Divagar ou distrair-se para outro sujeito. 

4. Movimento lento de um lugar para outro.

Drifting (em deriva) é uma proposta de colaboração entre os artistas Gustavo Ciríaco (Brasil) & António Pedro Lopes (Portugal). Este projeto contextual leva os artistas a diferentes cidades para mapear os afetos que correm nessas cidades através de diferentes tipos de encontro. Seguindo uma lógica episódica, cada cidade é um novo capítulo neste exercício viajante que cria pontes entre pessoas e lugares.

Drifting inspira-se no livro Cidades Invisiveis de Italo Calvino, no qual uma história particular descreve uma vila onde se vê linhas de diferentes cores conectando os seus habitantes, exibindo, cada uma delas, os afetos que correm através daquela pequena comunidade. Um laço de amor em cor vermelha forte aparece indo de uma janela a outra no fim da rua, de um amante para o outro. Amizades, laços de família, relações de trabalho, assim como de ódio, distância, platonismo, empatia, repulsa ou medo se tornam visíveis através dessas linhas que cruzam a cidade. Elas dão forma a uma invisível rede de afetos, a histórias e vidas compartilhadas, através dos espaços físicos que essas pessoas habitam na cidade.

Com essa cidade imaginária de Calvino em mente, começamos a pensar como seria explorar essa situação numa cidade contemporânea. Como colocar o contexto no centro para gerar deslocamentos da experiência de uma cidade para o texto, da sua percepção para a imagem, da sua realidade para a ficção, e finalmente da sua documentação para a criação de uma performance? Como conseguir conversar com a cidade para desvendá-la e a ver sob sua fachada?

Nós somos artistas que trabalham em performance, especificamente em dança e coreografia, mas nos aproximamos de nossos trabalhos de modo transversal e multidisciplinar. Vindo do Brasil e de Portugal, nós compartilhamos o interesse em comum de nos engajarmos em processos criativos cujos resultados sejam livres de uma agenda  prévia. Nós carregamos o desejo de partir de uma premissa conceitual de colaboração que coloca o contexto em seu centro para  gerar deslocamentos da experiência para o texto, da percepção para a imagem, da realidade pra a ficção e da documentação para a arte.

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drift  (dr'ft)

1. Walk slowly, aimlessly or casually

2. Move involuntarily into a certain situation or condition

3. Digress or stray to another subject

4. Slow movement from one place to another

In Italo Calvino’s Invisible Cities, one story describes one village where one sees lines of different colours connecting the inhabitants, displaying, each of them, the affections that stream through that small community. One love tie in full red color is described to go from one’s window to another far down the street, from one lover to another. This way, friendships, family and working ties, as well as love and hatred, or just acquaintances were made visible through these lines across the village. They shaped an invisible network of affections, shared stories and lives across the physical spaces they inhabit, in a city.

Having in mind Calvino’s imaginary village, we started wondering how it will be like to follow these ties in a real contemporary city. We started questioning: what conceptual collaborative premise can place the context in the center to ignite dislocations from experience to text, from perception to image, from reality to fiction and from documentation to the creation of a performance? How to use principles of dance and choreography to approach the work with transversality and use the creative process to dare the risks of the unknown and meeting the other? How can we converse with the city to unveil it and see what is under its facade? What method shall we apply to direct the creative process?

We decided to start by choosing someone in a given neighborhood, a man or a woman; a first encounter, the basis and beginning for a series of meetings that will follow from it. Each person will indicate us someone else. The next person to be contacted, a friend, a relative, an acquaintance, a co-worker, or in a more extreme case, a total stranger.

In these encounters we move experiencing the space of the trivial, by entering the daily life of the local inhabitants and crossing their stories with our stories in the different places of the city. We include and accept the digressions that  follow the specific conditions of the search of these meetings. In any case, each encounter suggests its own documentation and even the procedures to follow with meeting the next person. We will apply drifting as a movement strategy to evolve through the different stages of the process. We start by an encounter and from there constantly digress to another subject seeking to enlarge the spectrum of study and the knowledge related to the modes of living in the hosting city. The act of drifting as a strategy will inform its future creative transformation both in the overall composition of the project and the workshop with the participants of the community.

We find that this project fosters a collection of stories, movements, experiences, pictures, films, affects and archives. Therefore, Drifting as a project not only stands for meeting the “casual” other of a given city, but also, in its potential reach opens space for artistic collaborations with local artists in the treatment of the different supports. Accumulation and divergence form a repertory of experience that challenge the experimentation of different modes of visibility. Drifting is a moving process inside houses and outside in the city, a project of meeting the other of all sorts judgement-free, a straight collaboration with local citizens and artists.

António Pedro Lopes and Gustavo Ciríaco.

Drifting was a project hosted in progress by Casa França-Brasil, in May 2010 and in residency at Bamboo Curtain Studio, Zhuwei, Taipei in July 2010. In 2011, it was in residency at Clube COMO and part of Semanas de Dança, at Centro Cultural São Paulo, in the city of São Paulo. In 2012, the project has been hosted at Galeria Zé dos Bois, Lisboa, Pt (January) and as a workshop at Maus Hábitos, Porto/Pt (February).