Making of #9 Margarida Pratas (Portugal)

The Origin of the End of the World

08/ September / 2022
/ Estufa Fria

The Origin of the End of the World, is a performance which evokes Gustave Courbet’s work, where Margarida Pratas is the woman as a sculptural body, an object of desire that crystallizes itself in a deserted place, in which it only appears to be looked at.

This performance’s intention is to corrupt the gaze of the observer, making it furtive, even if involuntarily, beginning in an environment that easily becomes oneiric, permeable to fantasies and myths – taking off/putting on masks -, in an atmospheric green environmental, appears as an uncomfortable presence. In Estufa Fria, immersed in a botanical garden, Margarida Pratas exudes an aura that declares silences and imposes penances.

Making of #10 Lorena Izquierdo Aparicio (Spain)

A Árvore Depois de Correr

25/ September / 2022
/ Estufa fria / 17h00

The performance A Árvore Depois de Correr, at Estufa Fria, will explore how to articulate a paradox, both sonically and visually.

How do we create an extended experience of space: the trees, the plants, the birds, how do they become the experience of the action? Can we move beyond the boundaries between objects, body, sound and their intervals? The piece explores the possibility of situating the audience and the performance in an unusual relationship with the context while being present in the here and now, to create a dissident position in perception and thus making room for new and stimulating places in our imaginations.

Making of #11 Nuno Silas (Moçambique) in collaboration with SinWah Lai (China)

Monumento Zea

22/ october / 2022
/ Largo Quartel Cabeço de Bola / 19h00

Monumento Zea is an exploratory performative piece that invents rituals and manifestations, overlapping stories of identities and power, transformation that deals with intangible issues and the concrete world, intersecting with personal narratives and representations. Zea, like a kind of grass domesticated by indigenous peoples in Mesoamerica in prehistoric times, is akin to a shared ideology that has been distributed and applied worldwide today among human beings. In the piece, the artists demonstrate multiple layers of atmospheres, sounds, and experimental video montages, intersecting with found objects and archival material in an attempt to retrieve involuntary memories and violence. Ritualistic customs, flows, recitations, invisible tracks, and shamanic conditions are recreated in the form of an echo or a sculpture. The artists propose a reflection on the world we live in, where the future and present are in dialogue with internal and external perceptions.

Making of #12 Kaarel Kutas (EstOnia)

I Was Here

12/ november / 2022
/ Cosmos

I Was Here will be a sculptural performance built in interaction with the public, exploring the result of the marks and traces left in the very fresh materials. It mirrors actions taken upon public works, where people often scratch the fresh concrete of construction sites.

Lisbon is an old and important city, with many points of interest, the performance focuses on the observation of these gestures that occur in the city and on some of its touristic elements. In this sense, the moment of petrification and hardening of gestures and behaviors is also important, as a reference to the way we often shut ourselves or play in a corner with our actions or habits.

Making of #13 Colectivo Bu (Portugal)

Fuga em preâmbulos

25/ february / 2023
/ Mercado de arroios

Colectivo Bu, a duo of artists who are writers and performers. Fuga em Preâmbulos will be a circular performance, exploring the intensity of beginnings, a trance in suggestive reoccurrences. The experimentation will itself be the action, a sum of actions that will accumulate, overlap and create a reality of its own. An action, turns into a reality built by prologues. A performance always postponed, suggested, suspended.

Making of #14 Maren Strack (Germany)

Spare Tire

18/ march / 2023
(To be confirmed)

The artist uses her manual skills as a seamstress and engineer to create wonderfully idiosyncratic sets for her performances, where she then combines sculpture with dance. The materials define the contours of the choreography, or sometimes their deconstruction. In Spare Tire, the artist explores the movements conditioned by the material: she rolls tires letting them slide, trembling on the floor, and lifts them like weights and allows them to fall, trembling onto the ground.