THE BARBER SHOP

2011-09-16T17:16:00.048+01:00

presents:

Monday, 9th of January 21h30

« La zooanthropolitique, plutôt que la bio-politique, voilà notre horizon problématique. »

La Bête et le souverain, p.100, Jaques Derrida, Editions Galilée ( 2008).

2011-04-25T20:20:00.007+01:00

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About

The Barber Shop

The Barber Shop gives carte blanche to curators and independent programmers to propose an ephemeral project.
The Barber Shop aims the creation of debate between artistic praxis and research upon multiple contexts, proposing a renewed set of discussion themes, through the participation of agents from diverse countries and backgrounds. Casual encounters provoking a reflexive dialogue and the establishment of a local community of shared interests are main concerns of this project.

The Barber Shop is a project by Margarida Mendes, and in 2011 has artists Mariana Silva and Pedro Neves Marques as curatorial fellows.

Address: R. Rosa Araújo 5, Lisboa (Metro: Avenida)

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Currently in Residence:

Maria Minerva a.k.a. Maria Juur

from Estonia is recording her new album

to be released by Not Not Fun in spring 2012.

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2009-10-23T15:36:00.048+01:00

A r c h i v e
(season two - 2011)

#16

André Sousa

Friso-Freezing (liberta, congelar, friso)

Freezing-frieze (frees, freeze, frieze) 16 & 17 December

André Sousa nasceu no Porto em 1980, cidade onde vive e trabalha. Estudou Artes Plásticas na Faculdade de Belas Artes da Universidade do Porto (1998/2003) e desde então apresenta o seu trabalho regularmente. As suas últimas exposições individuais foram "Fabel/ Fábula /Fable" na Kunstlerhaus Bethanien (Berlin, 2009) e " -_- (sem título)" na Galeria Quadrado Azul (Porto, 2010). Em colaboração com outros artistas, fundou e desenvolveu os projectos PêSSEGOpráSEMANA, Mad Woman in the Attic, Wasser-Bassin ou Uma Certa Falta de Coerência. Foi bolseiro residente da Fundação Calouste Gulbenkian na Spike Island (Bristol, 2007) e na Kuntlerhaus Bethanien (Berlim 2009). Publicou com Tobias Hering o livro "Fabel/Fábula/Fable".

http://andre-sousa.blogspot.com

http://andre-sousa-studio.blogspot.com/

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Archive

#15 (Fundraising event)

Ainda estão disponíveis as últimas cópias das mixtapes dos artistas
André Guedes, João Onofre, Diogo Evangelista, João Pedro Vale, e !Von Calhau! produzidas especialmente para a Barber Shop!
Estas edições estão disponíveis num número limitado de 7 exemplares,
podendo ser adquiridas pelo valor de 10 euros.

Aceitam-se reservas!

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Archive

# 14

http://www.acircular.com/

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Archive

#11

quinta-feira 2 Junho 22h

Mónica Carballas apresentará uma sessão de filmes partindo da sua investigação sobre produção audiovisual Brasileira durante o período da ditadura na segunda metade do século XX. Baseando a sua pesquisa na produção Super8 e experiências pioneiras em video entre meados dos anos sessenta e meados dos anos oitenta, Mónica Carballas fará uma breve reflexão sobre as experiências criativas partilhadas e o impacto da prática experimental perante a intensificação do regime político vigente na altura. A apresentação fará também referência a uma performance que aconteceu em frente ao Museu de Arte Moderna do Rio de Janeiro em 1968, entitulada Apocalipopótese.

Programa de Filmes (sessão única) :

Geraldo Anhaia Mello
A situação, 1978, 9 min.

Regina Silveira
A arte de desenhar, 1980, 2 min. 23 seg.
Morfas, 1981, 7 min.

Letícia Parente
Marca registrada, 1975, 10 min. 30 seg.
Preparação I, 1975, 3 min. 30 seg.
Preparação II, 1976, 7 min. 40 seg.

Paulo Bruscky
Arte/ Pare, 1973, 2 min. 30 seg.
POESIA VIVA, 1977, 7 min.

-

Mónica Carballas foi coordenadora de exposições no Museo Nacional Centro de Arte Reina Sofía em Madrid entre 2000 e 2007. Recebeu uma bolsa da Fundación Marcelino Botín em 2007 pelo seu trabalho sobre Arte Experimental Brasileira. Entre as exposições comissariadas recentemente destacam-se Experimental Rio: Beyond Art, Poetry and Action, 2010 na Fundación Botín em Santander; Labyrinth of Visibility: Experimental Audiovisual works during Dictatorships na Trienal de Artes Visuales in Santiago de Chile, 2009; e Activar una historia, incluída no programa da Bienal de Valencia, 2007. Colaborou com a revista Artes & Leiloes entre 2007-2008, e é coordenadora do projecto editorial Pisueña Press, em Espanha, que pública a série de livros: White Wine Press (escritos de artista) e Conversaciones en la cabaña (conversas entre críticos e artistas).

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Archive
#10

Agência é uma entidade abstracta, simultaneamente estrutura e impulso que gera actividade, identificada como intermediária na gestão de negócios pessoais. Mas aqui, o que nos deveria interessar é a própria definição daquilo que é negócio alheio: serão a precariedade, a subsistência, das finanças aos rendimentos, como a própria representação artística, parte dos negócios que não nos concernem como autores e produtores? Ou é esta a componente do negócio da qual nos alheamos voluntariamente, por não a considerar trabalho ou tópico propriamente dito? Deixemos então cair nas nossas mãos, nas suas variadas qualificações e inqualificações, estes negócios alheios, possibilitando a discussão colectiva das vantagens e opções individuais de trabalho para lá do trabalho autoral.

Se a crítica institucional pressupunha a instituição como campo de acção e poder, é possível que esta tenha de se reestruturar e dirigir à vida em si mesma de modo a responder à biopolítica que define o capitalismo actual. Isto porque se por um lado esta dissolução de esferas de competência é tradição do modernismo artístico, por outro lado é para as condições de vida dos artistas que um mercado flexível olha hoje como modelo empreendedor e neo-liberal.

Assim, pedimos emprestado ao falecido pintor Ângelo de Sousa, o título que atribuiu aos desenhos feitos de gestos simples, gramáticas para linguagens entre corpos, capazes de serem feitos por qualquer um, no seu imaginário de equivalência e acessibilidade. Com Ângelo de Sousa, pressupomos então que uma tal passagem da arte às condições e opções de vida podem somente dar-se por um princípio de empatia e agenciamento.

Em quatro sessões abordar-se-ão questões sobre a noção de trabalho em Arte Contemporânea. Estas sessões percorrerão uma reflexão sociológica da área em Portugal (Luísa Especial), a análise teórica e filosófica do trabalho precário no capitalismo actual (José Neves/ Miguel Castro Caldas), alguns exemplos de associativismo e activismo laboral (Scottish Artists Union), bem como de quando a arte e direitos de autor se imiscuem na área do Direito (Daniel McClean). Em paralelo serão disponibilizados conteúdos online, que amplificam a área de reflexão do programa, tais como como uma entrevista com os Temporary Services e o seu jornal Art Work, contribuições da Agency de Kobe Matthys, bem como os resultados do inquérito a trabalhadores em Arte Contemporânea circulado online em Portugal em Abril de 2011.

Agência: algumas formas ao alcance de todas as mãos é um projecto concebido por The Barber Shop com Mariana Silva e Pedro Neves Marques.

sobre as sessões:

Luísa Especial:

Em conversa com Luísa Especial, serão abordados alguns dos resultados do inquérito a trabalhadores no campo da Arte Contemporânea em Portugal, circulado on-line em Abril de 2011.

José Neves e Miguel Castro Caldas

Sessão co-organizada por Unipop:

Conhecemos bem os efeitos dos processos de mercadorização em curso. Tendem a submeter as mais diversas actividades humanas ao princípio mercantil. Faz-se o que se vende. Nos últimos anos a cultura em geral e a arte em específico têm sido áreas particularmente influenciadas por este princípio. A situação tem gerado inúmeros debates em torno do estatuto do artista e da própria obra de arte, bem como acerca das relações da arte e da cultura com o Estado e com o Mercado.

Ao mesmo tempo, embora, porventura, com menor repercussão a nível dos debates públicos, as actividades mais convencionais de produção de mercadorias - desde logo, as actividades industriais - têm igualmente passado por transformações importantes, redefinindo o estatuto do produtor e do próprio produto. Há quem fale de cidades que se tornam criativas, apoiando-se em processos de gentrificação, e quem refira a emergência de um novo proletariado, um proletariado imaterial, para quem a precariedade é a ordem dos dias e das noites que correm, e o tempo de trabalho e o tempo de vida se tornam indissociáveis: tudo o que se faz é e não é trabalho. É da intersecção destes dois processos - mercadorização da vida, "criativização" do trabalho - que surge o título deste debate: a arte do trabalho.

Peter McCaughey:

Como membro executivo da Scottish Artists Union, a contribuição do artista e professor Peter McCaughey focar-se-á em questões práticas sobre diversas abordagens que poderão guiar os artistas em tempos de acrescida precariedade.

Daniel McClean:

Dada a sua prática enquanto advogado e curador, Daniel Maclean examinará dois pontos a partir dos quais a Lei interpreta a Arte. Primeiro, a classificação e definição de obras de arte; segundo, a articulação e defesa dos direitos dos artistas. Algumas consequências destas interpretações para a arte e para os artistas serão debatidas, bem como o uso por artistas da Lei em Arte e o que este processo propõe em relação à Lei.

+ http://www.thisisthebarbershop-agencia.com/

(biografias)

Luísa Especial é doutoranda em Sociologia, no ISCTE. Tem desenvolvido diversos trabalhos na área da curadoria de exposições e escrita de textos sobre arte.

José Neves é professor no Departamento de História da FCSH-UNL e é investigador do Instituto de História Contemporânea da mesma faculdade.

Miguel Castro Caldas escreve para teatro, faz traduções, dá aulas. Co-traduziu o «O Governo das Desigualdades», de Maurizio Lazzarato.

+info Unipop http://u-ni-pop.blogspot.com/

Peter McCaughey é membro executivo da Scottish Artists Union. Em paralelo à sua prática artística, faz investigação e lecciona no departamento de Escultura e Environmental Art da Glasgow School of Art. Tem contribuido frequentemente para comissões, colaborando com arquitectos, urbanistas, engenheiros e designers em think tanks sobre arte pública. Recentemente, contribuiu para o livro Cultural Hijack sobre direitos de artista e preparou uma campanha da Scottish Artists Union que visa desafiar os partidos políticos perante as políticas culturais e artísticas vigentes.

Daniel McClean é curador, escritor e consultor em questões legais ligadas à arte. É advogado na Finers Stephens Innocent, pertencendo à equipa de defesa de Julian Assange. Tem trabalhado com vários artistas em questões de direitos de autor e condições legais, incluindo mais recentemente o projecto dos Superflex Free Sol Lewitt no Van Abbenmuseum, Eindhoven. É o editor do livro The Trials of Art (2008). É formado em Filosofia, Política e Economia pela Universidade de Oxford e em Lei e Propriedade Intelectual pela Universidade de Londres.

Temporary Services é constituído por Brett Bloom, Salem Collo-Julin and Marc Fischer. Tendo começado na cidade de Chicago, está no activo deste 1998, produzindo exposições, eventos e publicações com foco em direitos de artista e questões relacionadas, nos EUA e internacionalmente, incluindo o jornal Art Work: A National Conversation About Art, Labor and Economics (2009).

Agency foi fundada pelo artista Kobe Matthys em 1992 e é baseada em Bruxelas. Tem participado em várias exposições e eventos, incluindo Animism (Extra City - Kunsthal Antwerpen/ Museum of Contemporary Art, Antuérpia), Un-Scene (Wiels, Bruxelas) ou When Things Cast no Shadows: 5th Berlin Biennial (Berlim).

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(English)

Agência is an abstract entity, simultaneously structure and activity generating drive, identified as intermediary in the management of personal businesses. Yet, what should be of interest here is the definition of business itself: is the precariousness, the subsistence, of finances and income, as well as artistic representation itself, part of the businesses which fall outside of our competencies as authors and producers? Or is this the component of business from which we alienate ourselves voluntarily, for not considering it work or topic of discussion in itself? Let us then allow these businesses to fall on our hands, on their varied qualification and unqualification, in order to push forward collective discussion on the advantages and individual labor choices beyond authorial work.

If institutional critique presupposed the Institution as a field of action and power, it should perhaps now be restructured and address life itself in order to answer to the biopolitical turn defining late capitalism. If, on the one hand, this dissolution between spheres of competency is a tradition of artistic modernism, on the other, it is to the life conditions of artists that flexible markets are now looking to as a model for entrepreneurship and neo-liberalism.

Thus, we lend from the late painter Ângelo de Sousa the title he gave to his drawings made up of simple gestures, grammars for languages between bodies, capable of enactment by anyone, in their imaginary of equivalence and accessibility. With Ângelo de Sousa, we presuppose then that such passage from art to life choices and conditions can only take place under the principle of empathy and agency.

In four sessions, the notion of labor in Contemporary Art will be inquired. These will range from sociological reflection on the Portuguese artistic field (Luísa Especial); the theoretical and philosophical analysis of precarious labor under late capitalism (José Neves/ Miguel Castro Caldas); examples of association and labor activism (Scottish Artists Union); as well as when art and copyright interfere with Law (Daniel McClean). In parallel, online contents will be made available, amplifying thus the scope of the program, including a Q&A with Temporary Services, while making their Art Work newspaper available; contributions by Kobe Matthys' Agency, as well as the results from the inquiry to workers in the field of Contemporary Art, circulated online in Portugal in April 2011.

Agência: algumas formas ao alcance de todas as mãos is a project by The Barber Shop with Mariana Silva and Pedro Neves Marques.

about the talks:

Luísa Especial

In conversation with Luísa Especial, the results of the inquiry on workers in the field of Portuguese Contemporary Art, circulated on-line in April 2011, will be presented and discussed. From these, a conversation will be had focusing on the sociology of the field of visual arts, labor conditions, rights, income and representation.

José Neves e Miguel Castro Caldas

Session co-organised by Unipop:

We all know the effects of the commodification processes at hand. These tend to subjugate the various field of human activity to the principle of the commodity. Only what is sellable is made. In the last years, culture at large, but particularly art, have been substantially influenced by this principle. This tendency has generated several debates on the figure of the artist and the artwork itself, as well as the relation between art, culture, the State and the Market.

Simultaneously, even if with less public discussion, the more conventional production processes of goods - the first of which those industrial - are equally passing through important changes, redefining the figure of the producer and the product along with it. There is talk of cities becoming creative centers, sustained by gentrification processes, as well as discussion on the urgency of a new proletariat, an immaterial proletariat, for which precariousness is of the order of current days and nights, and to whom the time of labor and life have become indistinguishable: everything one does is and is not labor. It is the intersection between these two processes - the commodification of life, the "creativeness" of labor - that the title for this talk addresses: the art of labor.

Peter McCaughey

Artist, Lecturer and Executive member of the Scottish Artists Union will explore some thoughts and approaches on how artists might have a good life and even thrive in difficult times.

Daniel Mclean

From the perspective of his practice as an art lawyer and curator Daniel McClean will examine two key sites in which the Law interprets Art. First, the classification and definition of artworks; second, the articulation and protection of artists' rights. Some consequences for art and artists of this Legal interpretation will be considered, as well as the translation of Law into Art by artists and what insight into Law (as well as Art) this process of translation might provide.

+ http://www.thisisthebarbershop-agencia.com/

(biographies)

José Neves teaches at the History Department of FCSH-UNL e is a researcher at the Instituto de História Contemporânea of the same university.

Miguel Castro Caldas writes for theatre, is a translator, teaches. He co-translated to portuguese Maurizio Lazzarato's book "Le Governement des Inégalités".

Peter McCaughey "I feel like a three-headed beast. Part maker, part regenerator, part educator. Over the last fifteen years, my time and creative energies have been divided between these related areas that together constitute a practise as an artist. The first head is independent, self-directed maker. In this capacity I have exhibited locally, nationally and internationally, often working with ideas of site and time specificity. My work crosses many mediums and a wide variety of contexts often exploring in-between states when things are slipping between having been, being and becoming. The second head is creative collaborator who negotiates ideas in relation to public realm employing a wide variety of approaches. In this capacity I have taken on major commissions as part of teams of architects, developers, engineers and designers. Masterplanning townscapes, contributing to think tanks at grass roots and local government level and making temporary and permanent art in public space. This work recently involves lobbying for and creating opportunities for other artists. The third area is as a teacher and researcher. In this capacity I have taught in Fine Art Schools in the UK, Portugal and Scandinavia with a permanent connection to Glasgow School of Art in the Sculpture and Environmental Art department. I am currently completing a chapter on the book Cultural Hijack that addresses the artists right to intervene in the world they live in and a shorter piece of writing on the seminal Artists Placement Group. This month I am helping organise a political Hustings for Scottish Artists Union that will challenge the politicians of all the major parties to address their policies on Artists, Art and Culture."

Daniel McClean is an independent curator, writer, and art-legal adviser. He is a lawyer for Finers Stephens Innocent which works in defense of Julian Assange. Has worked with several artists dealing with copyright issues and legal conditions, including more recently Superflex's project Free Sol Lewitt at the Van Abbemuseum, Eindhoven. He is the editor of the book The Trials of Art (2008). McClean holds a B.A. in Philosophy, Politics and Economics from the University of Oxford and an LLM in IP Law from the University of London.

Unipop http://u-ni-pop.blogspot.com/

Temporary Services is Brett Bloom, Salem Collo-Julin and Marc Fischer. Having began in the city of Chicago, it has been in active since 1998, producing exhibitions, events and publications mostly on artist rights and related issues in the USA and worldwide, including the 2009 newspaper Art Work: A National Conversation About Art, Labor and Economics.

Agency was founded by artist Kobe Matthys in 1992 and is based in Brussels. It has been shown in several venues, e.g. Animism (Extra City - Kunsthal Antwerpen/ Museum of Contemporary Art, Antwerp), Un-Scene (Wiels, Brussels) or When Things Cast no Shadows: 5th Berlin Biennial (Berlin).

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Archive
#9

A project of
Caterina Riva (FormContent)

with contributions by
Andrea Büttner, Alex Cecchetti, Etienne Chambaud, Pedro Cid Proenca, Marcelline Delbecq, Marcella Faustini and Chris Fitzpatrick, Isobel Harbison, Margherita Moscardini, Catalina Niculescu, Maria Taniguchi, Nicki Wynnichuck

February 18th, 2011, 22h
Performative readings at 22h30

"Developed in conversation with Margarida Mendes, Pedro Neves Marques and Mariana Silva, when invited to imagine an event for the Barber Shop, the project Jump Cut: Dialectic Dreams has become a collaboration with artists, curators and designers dislocated in different corners of the globe. Each of them was asked to contribute to the project with a personal selection of contents and references, often in the format of instructions, that will all be presented at the Barber Shop on the evening of February 18th.

The curator and organizers will lend our voices and accents to read and enact those contributions, most of which are text-based, others sound pieces or videos. The participating artists, curators and designers have shared texts they wrote or worked with, or have offered portion of ideas they are tackling and that will offer to us an oblique profile of their interests and practices.

The evening will be a rhythmic flow of words and ideas and presented like a script that is rehearsed for the first time, so with a good degree of improvisation." Caterina Riva

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Season II had the kind support of

Fundação Calouste Gulbenkian

A r c h i v e
(Season One 2009-10)

2009-10-17T01:46:00.004+01:00

CONCRETE RADIO is a collaborative project between Karen Di Franco and Sophie Mellor that describes the relationship between producer and originator, by exploring the liminal space of transmitting and receiving. Broadcasting within a highly localised area, Concrete Radio transmits a programme of found fragments, historical recordings and audio performances.

More: http://tradeunionartconcreteradio.blogspot.com/

Radio transmission program:

> Samples of audio data collected by the Huygens Atmospheric Structure Instrument (HASI), which includes an acoustic sensor, during Huygens' descent, 14 January 2005. From the European Space Agency (ESA).

> Aleister Crowley reads from the Gnostic Mass

> Radar echos from Titan's surface: This recording was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometres of its descent onto Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.

> Soundtrack by Throbbing Gristle to Shadow of the Sun by Derek Jarman. Recorded live in Chicago.

> An extract of Opus 17a for double bass performed by Robert Black Produced in association with the exbition "Kulturgeschichte 1880-1983,1980-83" at Dia Center for the Arts, March 28, 1996-June 29,1997. First performed at the opening of Hanne Darboven's exhibition at Dia on Wednesday, May 1, 1996.

> The weather in space

> Francis E. Dec, Esquire, of 29 Maple Ave, Hempstead, New York, sent a series of letters and rants to the radio station WZUU in Milwaukee in the mid eighties. This recording was made by the newscaster/talk show host ‘Doc’ who kept this and subsquent material mailed to the station. These and other recordings of Francis Dec’s material have been used by William S. Burroughs, as well as Genesis P. Orridge. Orridge used Doc's voicetrack in the track St. Francis E. on the Psychic TV: Ultrahouse, the L.A. Connection CD, crediting Doc as "Kitten Sparkles."

> Soundtrack to Innovation of my Demon Brother by Mick Jagger (Moog synthesizer). A concentrated Magickal collage founded on the confrontation of opposites in which Lucifer, the Bringer of Light, is called forth.

> Speeding Through Titan’s Haze: This recording is a laboratory reconstruction of the sounds heard by Huygens' microphones. Audio data collected by the Huygens Atmospheric Structure Instrument (HASI), which includes an acoustic sensor, during Huygens' descent, 14 January 2005. From the European Space Agency (ESA).

> Plan 9/Robert Barry - audio recording of a conversation between Creed Wall and Robert Barry - during an attempt to send telepathic directions of the location of the work Krypton at the Beverley Hills Hotel (made by Barry in 1969) to Joe Stone. (2005)

> The weather in space

> Preslav Literary School: John The Exarch – sound work constructed from over 100 ‘found’ cassettes.

> L Ron Hubbard talks about Aleister Crowley

> Friedrich Jurgenson sings his own composition Ist das Leben Traum oder Wirklichkeit. More well known for his recordings of Electronic Voice Phenomena, the paranormal appearance of of strange voices on magnetic recording tape, Jurgenson was also an opera singer.

KAREN Di FRANCO is an archivist based in London, UK. Co-Director of Plan 9 since 2007 her practice is divided between explorations of artistic economy with projects such as the Summer of Dissent, Concrete Radio and Trade Union, initiated with Sophie Mellor as a strategy to combine their artistic practice with their roles as directors of Plan 9, and a studio based practice that explores narrative and archival research.

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2009-10-16T17:36:00.006+01:00

Archive
#7

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2009-10-15T01:56:00.003+01:00

Archive
#6

The Barber Shop and Novo Museo Tropical
present

A gran saudade colletiva with works by
Alexandre da Cunha, Patrizio Di Massimo, Dominique Gonzalez-Foerster, Pablo Helguera, Runo Lagomarsino, Mauricio Lupini, Donald Urquhart, Jean-Michel Wicker, Carla Zaccagnini, a journal by Elein Fleiss, poems by Walter Gam, soundtrack by Arto Lindsay, and documents from the Flavio de Carvalho and Helio Oiticica Archives.

With special thanks to Luiz Augusto Teixeira de Freitas and Adriano Pedrosa.

March 4, 2010
22h

In memory of Claude Lévi-Strauss (1908-2009)

More pictures HERE

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outros apoios a este projecto :

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2009-10-14T16:24:00.006+01:00

Archive
#5

Esferas de Influência:

Ontologia Antropofágica, Periférica, Maravilhosa!

Em 1928 o papagaio narrador atravessa o Atlântico após a transformação de Macunaíma em constelação: direcção Lisboa. Um tradição de espera, sem dúvida.

Em 1970, com Godard por trás da câmara de filmar, Glauber Rocha aponta dois caminhos: o mesmo ou 'um cinema perigoso, divino, maravilhoso!' A personagem escolhe um terceiro, pelo mato, sob os arbustos ao canto do plano.

Contra José Gil, (re)colonizemo-nos.

Apresentação e conversa por Pedro Neves Marques em torno de: revisitação antropofágica; detoùrnement antropofágico (ou como a arte ganha sempre); ontologia antropofágica. Pedagogia. Estética. Geopolitização (uma vez periferia sempre periferia, ou centro é onde os meus pés pisam).

Sábado 13 de Fevereiro 18h

Photos by Susana Pomba (a.k.a. Miss Dove)

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2009-10-13T02:45:00.006+01:00

Archive
#4

"The captain heard a hoarse hissing and he could see how the white wave transformed into a long enormous eel. With his last effort the sailor got up at the eels back and found that he could breathe. He rode on the great eel through three deep oceans for three long nights

(...)

Suddenly the door was opened hasty and the two men turned around. A silhouette appeared in the pale backlight. A man glanced hasty around the room before he entered the saloon. He was wearing an old sailors jacket, sun bleached and of an un-modern fashion. A jacket just like the old shipper used to wear. He nodded politely as to greet them and sat down in the chair far back into the room. The barber studied him in the mirror and kept looking at the worn out jacket. A most peculiar atmosphere arose in the saloon, after a while the barber spoke and asked the stranger if he knew anything of the shipwreck of Cassiopeia. The stranger didn’t answer at first, he harked, raised his gaze somewhat but kept on staring into the mirror. His hand fumbled over the pocket and he got up a bottle of rum and an old half-smoked cigar."

'If you can tell a bigger tale my friend, I´m afraid you´ll have to tell a lie'

by Ferocitas Lions

sound, drawing, installation and shadowplay

January 16th and 17th . 6-8pm

Curated by Karolin Tampere

This event had the kind support of Office for Contemporary Art Norway

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2009-10-12T02:52:00.004+01:00

Archive
#3

“Existe uma expressão para descrever o que então aconteceu; infelizmente trata-se de um termo intelectual, mas que resume o ocorrido –foi uma experiência existencial. Todas as distinções sociais insignificantes foram varridas, assim como a mentira, o pedantismo e a charlatanice. Todos, de uma ponta à outra do país, na cidade ou no campo, estavam na corda bamba, à espera dos acontecimentos, e era inútil fazer de conta que nada se passava, embora alguns, de forma patética, se empenhassem em manter as aparências. O que não iria ser possível. Os velhos dogmas tinham falhado; era fundamental apagar o quadro e começar de novo.” Tony Simpson, introdução de ‘The Sugarbag Years—An Oral History Of The 1930’s Depression in New Zealand’

“Estamos de visita a Airotiv. No entanto, Airotiv é um nome inventado para um lugar que existe na Nova Zelândia nos antípodas de Vitoria no País Basco em Espanha. O antípoda exacto encontra-se na realidade localizado no Sul do Oceano Pacífico, a cerca de 500 km da costa de Canterbury. Escolhemos a cidade de Christchurch, na costa de Canterbury, pois é geograficamente a cidade mais próxima nessa relação antípodal com Vitoria. As coisas de Airotiv, que podemos agora observar, não exprimem necessariamente a diferença desse lugar; pelo contrário, representam uma série de coincidências, repetições, eventos que reconhecemos. Estes elementos são documentos de coisas que aconteceram no início dos anos 1930, e que de novo acontecem, agora. De facto, Airotiv é onde nos encontramos nós neste preciso momento, em Vitoria.” André Guedes (texto para a brochura do Centro Cultural Montehermoso)

A publicação "The Airotiv Papers" foi editada pela Braço de Ferro em Maio de 2009 no âmbito de "Airotiv", uma exposição de André Guedes no Centro Cultural Montehermoso em Vitoria, Espanha, com a colaboração de The Physics Room, Christchurch (NZ).

É constituída por um caderno de fotografias de arquivo e pela reedição de quatro textos, todos originários da Nova Zelândia: ‘The Sugarbag Years’ (1974) de Tony Simpson, ‘The Heyday of the One-Act Play, 1930-1945’ (1984) de John Thomson, ‘Rabbits’ (1932) de Violet Targuse e ‘Port Supermarket Checks Out’ (2008) de Ian Steward.

Por ocasião da apresentação da publicação no The Barber’s Shop haverá uma conversa com o artista e será lida a peça de teatro em um acto 'Rabbits' (1932) de V. Targuse, por Luz Câmara, Álvaro Correia, Maria Duarte e Lucas Hawkey.

(photos by Susana Pomba, a.k.a. Miss Dove)

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2009-10-11T15:40:00.004+01:00

Archive
#2

Academy Expanded and Expanding Exhibiting
a presentation of Displayer Magazine
by Doreen Mende

5 December . 17h

"The requirement to exhibit the final product is something we can view in the framework of the capitalist system, along the lines that an employer who has made an investment now needs to see a result. These relationships are reproduced in the collaboration among artists, curators, and directors who have invested in a work in an institutional framework. The exhibiting institution, being the last link in the chain of this market transaction, needs a visible, tangible result: a product." (Milica Tomic, Politics of Memory, Displayer 03).

While an academy is an environment which does not request a 'finished' product, the space of exhibition depends on something to be shown to a public. The lecture will be based on the project Displayer, which is a publication series of the programme Exhibition Design and Curatorial Practice at the University of Arts and Design / ZKM Karlsruhe. Displayer is a magazine of original sound. The editorial team are the students of the seminars of the University's programme.

The points of departure for the most recent issue, Displayer 03 (2009) are the demands, the challenges, and the potentialities as well as the impossibilities of exhibiting space itself. Space is the fabric in which events occur, and events, in turn activate space culturally, socially, politically and geographically. Hence, the exhibition of space is strongly connected to performative acts in addition to questions about the requirements of constructions in space.

In which way can a publication be understood as an space for exhibiting? Under which demands as well as urgencies does a publication expand the conditions of an academy? And for Displayer 03: What are the means of recording space in order to perform it at different times, in different places and different institutional settings?

Contributions Displayer 03 by Eva Kraus, Tilo Schulz, Martin Beck, Charles Jencks, Pablo Bronstein, Katrin Mayer, Stefan Römer, Walter Benjamin, Alfred Barr, Ines Katenhusen, Milica Tomic, Omer Fast, Sina Najafi, Hans Hollein, Joseph Dabernig, Achim Lengerer, Paul Gangloff, Dominique Gonzalez- Foerster, Ines Weizman, Moritz Küng, Kersten Geers, Giorgio Grassi, Guillaume Paoli, Heiner Mühlmann, Stephan Trüby, Wilfried Kuehn.

Filipa César realized Displayer 03 as a filmed book which is part of the lecture.

Displayer Magazine is published by the programme Exhibition Design and Curatorial Practice at Hochschule für Gestaltung / ZKM Karlsruhe.

http://www.displayer-hfg.de

This event had the kind support of the Goethe-Institut Lissabon.

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2009-10-10T15:40:00.008+01:00

Archive
#1:

The Man Who Wasn’t There, conceived by THE OFFICE, takes the characteristics of a barber shop as a starting point for both its narration and format. A barber shop is a half public / half private place, where the relation between a barber and his client can become confident and even intimate, and, to some extent, paradigmatically represents a masculine (and assumedly partly homoerotic) world par excellence.

The project The Man Who Wasn’t There doubles this intimate dialogue between men: As an all female organization, THE OFFICE takes the chance of organizing a project at THE BARBER SHOP to dive into the space’s past and create our own fantasy of this world women are no part of, presenting a selection of films and videos, which all deal with men’s reflections on male role models, stereotypes or on the positions men are assigned to by and in society.

(photos by Susana Pomba, a.k.a. Miss Dove)

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Thank you:

António Bolota

João Biscaia

Sr. Fernando

all the guest designers

and neighbours