NUIT INTERIEUR

2019-03-05T21:58:00.001+00:00

NUIT INTERIEUR You can find me there.

20.01.2017

2017-01-20T10:45:00.000+00:00

Unturned, Jan.2017

Escolher o duplo, aquele ponto em que ora nos retiramos ora confrontamos, em que enviesamos o tempo de um cá para lá e ao contrário. Escolher o momento dúbio dessa dança invisível, é não escolher. Muito embora a dança se torne a mais visível e presente de todos os corpos, muito embora ela seja imóvel, muito embora ela encorpore a coisa que lhe traz visibilidade e que apaga a coisa, muito embora tudo isso, il faut, é preciso escolher.

23.12.2016

2016-12-23T16:42:00.000+00:00

waiting for the light Oct.2016

06.12.2016

2016-12-06T22:06:00.000+00:00

27.11.2016

2016-11-27T01:30:00.000+00:00

09.2013

Assim, esquecida da ingenuidade, seria ainda possível usar os olhos da criança.

20.11.2016

2016-11-20T23:36:00.002+00:00

o tempo circular, flea market, Nov. 2013

figures of relation

2016-04-19T21:41:00.000+01:00

the readymade, april 2016

like one of another, the mirror without end, eyes into eyes, mine into yours into mine again, the figure has arrived quite before it was staged in front of them.

the readymade, hoped to be found was found and became itself

now that it is, we breathe relieved.

02.04.2016

2016-04-02T15:35:00.000+01:00

Unduo, 2015

27.09.2015

2015-09-27T18:41:00.002+01:00

COMPOSTELA

«In order to know a homeland, a nation, it is not enough to know her soul… it is necessary also to know her countryside, her soil, her land.»

Emilia Pardo Bázan, in "Spanish Women Travelers at Home and Abroad, 1850-1920"

Tal com'as nubes 

Qu'impele o vento, 

Y agora asombran, y agora alegran

Os espaços inmensos d'o ceo,

Así as ideas

Loucas qu'eu teño

As imaxes de multiples formas 

D'estranas feituras, de cores incertos,

Agora asombran, 

Agora acraran,

  O fondo sin fondo d'o meu pensamento.

Vaguedas III, Follas Novas, Rosalía de Castro, 1880

«—Y tú, ¿qué hiciste, gallego? -preguntaron, irónicos, al ver que el soldadito escuchaba sin despegar los labios.
—¿Yo? -respondió él, levantando la cabeza-. Yo..., ¡morrín en todas las batallas!»

"Sin querer", Cuentos de la Tierra, Emilia Pardo Bázan

—Cantan os galos pra o día;

érguete, meu ben, e vaite.

¿Como me hei de ir si te quero?, Cantares Gallegos, Rosalía de Castro, 1863

15.08.2015

2015-08-15T17:28:00.001+01:00

Arabian nights

27.04.2015

2015-04-27T14:50:00.000+01:00

Lisboa, 2015

parcelas revoltas /

Não possuímos nada, localizamo-nos, fixamo-nos, melancolizamo-nos, mas tudo permanece revolto e nós, parcelas revoltas, que no seu entrelaçar continuam a apontar para o azul.

03.12.2014

2014-12-03T12:30:00.000+00:00

bending together (Unbody series)

11.11.2014

2014-11-11T14:52:00.000+00:00

Joanna, the ballerina, resting as we talk, 2014

Uma razão do cinema, outra da fotografia, é esta, que me mantém em diálogo com ambos.

«O gesto não é um elemento absolutamente não linguístico, mas algo que mantém com a linguagem uma relação mais íntima e, sobretudo, uma força que opera na própria língua, mais antiga e originária do que a expressão conceptual: gesto linguístico (Sprachegebärde)»

Giorgio Agamben, 'A potência do pensamento'

06.11.2014

2014-11-06T18:45:00.002+00:00

Face value, 2014

21.09.2014

2014-09-21T16:53:00.002+01:00

hunting butterflies, studies of gesture, 2014

«he practices a cult with the moths and butterflies that fly into his room at night. he speaks to them for hours. He calls them his little soul animals (seelentierchen) and tells them about his suffering...»

Philippe-Alain Michaud, 'Aby Warburg and the Image in Motion'

25.08.2014

2014-08-25T22:49:00.000+01:00

south, july 2014

Permanecer, na cartografia necessária.

03.08.2014

2014-08-03T15:31:00.000+01:00

intimate nudes, 2014

«Não é a lassitude que põe termo ao amor, ou antes, esta lassitude nasce da impaciência, da impaciência dos corpos que se sabem condenados e que gostariam de viver, que gostariam, no lapso de tempo que lhes cabe, de não deixar escapar nenhuma ocasião, de não deixar escapar nenhuma possibilidade, que gostariam de utilizar ao máximo este tempo de vida limitado, em declínio, medíocre, que é o seu, e que portanto não conseguem amar quem quer que seja, pois todos os outros lhes parecem limitados, em declínio, medíocres.»

Michel Houellebecq, 'A Possibilidade de uma Ilha'

19.07.2014

2014-07-18T22:13:00.000+01:00

Being at a distance

look up to the pathway.

This field of presence

is in the way

between the interval of trees,

between the trees.

Ernst and trees, BCN 2010

our pathway

Marga before haircut

25.06.2014

2014-06-25T20:17:00.000+01:00

«O esquema cromático é azul e branco» leio do livro que tens nas mãos, do qual me citas uma passagem enquanto metidos nas áleas mais verdes da cidade. Falas dos ouvintes, da língua, da escrita.

Les Calanques, Cassis, 2010

2014-03-03T15:42:00.000+00:00

03.03.2014

Feb.2014

2014-02-21T23:50:00.002+00:00

ballet class, Feb. 2014

Everyday, looking for the structure of gesture.

1 city and 1 slide film in my pocket

2014-02-05T02:38:00.000+00:00

with the collaboration of Stansted Airport's x-ray!

Fulham

This house had this singular handwritten wooden plaque by the door saying REFLEXOLOGY, so I rang the bell and met Mr. Reflexology who had just got rid off some stuff he didn't need anymore, plates, cups, etc., leaving them for those who want to pick them up, carefully positioned over the wall. He seemed a calm person. I asked him if I could take a portrait and he asked me what was it for, I told him I would just like to have his portrait and he agreed, pulled off his small comb from his pocket and adjusted himself. We said goodbye but didn't said our names.

Days after I was holding the camera in the street and noticed this woman walking and smiling towards me, so she asked me if I was doing some lomography. I had this beautiful heavy camera in my hands and told her I wasn't. So this is the portrait of the smiling Ati, Indonesian, who after the picture was leaving in a rush as I asked her name, she likes lomography but doesn't make it anymore.

Hyde Park

SLADE, UCL

City

Bela

And this is what was in my ears:

2014-01-28T01:00:00.000+00:00

Greek statue, British Museum, 20.Jan.14

self, workplace, 27.Jan.14

“Obsessed with being, and forgetful of the perspectivism of my experience, I henceforth treat it as an object and deduce it from a relationship between objects. I regard my body, which is my point of view upon the world, as one of the objects of that world. My recent awareness of my gaze as a means of knowledge I now repress, and treat my eyes as bits of matter. They then take their place in the same objective space in which I am trying to situate the external object and I believe that I am producing the perceived perspective by the projection of the objects on my retina. In the same way I treat my own perceptual history as a result of my relationships with the objective world; my present, which is my point of view on time, becomes one moment of time among all the others, my duration a reflection or abstract aspect of universal time, as my body is a mode of objective space.”

Maurice Merleau-Ponty, 'Phenomenology of Perception'

2014-01-14T02:47:00.001+00:00

Région Interdite

2014-01-04T01:12:00.000+00:00