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Aurélie D´Incau, quero presente instinto cebola, quero!
Thursday, March 3th, 2022

MAKING OF #7 Aurélie d´Incau (Luxemburgo)

quero presente instinto cebola, quero!

3 mar/ 7 pm
Cisterna FBAUL
We invited 7 students from the Faculty of Fine Arts and 7 people from outside the FBAUL, to participate in the making of # 7 – with Aurélie d’Incau. Together with Carlos C. Schnurres e Roberto Álvarez Gregores.
Presentation of Aurélie d’Incau’s performance
(Interval for a film description, a parallel question to Aurélie d’Incau’s disclosure text.)
“Solaris is a 1972 Soviet science fiction art film based on Stanisław Lem’s 1961 novel of the same name. The film was co-written and directed by Andrei Tarkovsky,[3][4] and stars Donatas Banionis and Natalya Bondarchuk. The electronic music score was performed by Eduard Artemyev and features a composition by J.S. Bach as its main theme.
The plot centers on a space station orbiting the fictional planet Solaris, where a scientific mission has stalled because the skeleton crew of three scientists have fallen into emotional crises. Psychologist Kris Kelvin (Banionis) travels to the station in order to evaluate the situation, only to encounter the same mysterious phenomena as the others. The film was Tarkovsky’s attempt to bring a new emotional depth to science fiction films; he viewed most western works in the genre as shallow due to their focus on technological invention.”
This is the description of Tarkovsky’s film Solaris on Wikipedia.
(End of the interval for the description of a film.)
The performance that the Ana Lama Gallery project will present next is by Aurélie d’Incau (Luxembourg) and will be filmed in the Cistern of the Faculty of Fine Arts.
Aurélie d’Incau studied political philosophy and fine arts, and has been researching pedagogy. Her proposals are a sum of these interests.
Aurélie d’Incau’s performances are centered on the concept of playfulness. Aurélie takes the idea of play to the limit, through the involvement of the audience. The audience interacts with her installation objects. Often, she opens the plastic narrative of her performances to the participants and allows them to take action and create changes.
Aurélie d’Incau’s words: “My work is a type of research about living in community (empathy), about what we share (identity) and how we maintain that community (ethics, rules). Consequently, throughout my work, I aim to integrate the very essence of art as a tool for creating awareness in everyday life.”
To accomplish this, she involves the public in the creation or destruction of his material pieces, he incorporates the public in storytelling, as characters or in the capacity of storytellers.
In his way of operating, the function of installations and the creation of places gain contours of ambiguity, create a kind of chambers or rooms of the mind where images become physical, thus organizing fiction, truth and memory.
(Another interval for a film description unrelated to this disclosure text).
(End of the interval with no description of film or author.)
He also creates several alter egos that he uses in performances and installations, but which at the same time take on a life of their own on Instagram, one of the characters is @carlos.c.schnurres.
On Instagram (for example), Carlos presents himself as a candidate in the municipality of Lisbon elections (the city where he is now allocated). And his motto is: Neither left, nor right, up!
Besides this image that suggests Carlos as a politician, there are many other images of Carlos, a kind of cloth mannequin that portrays his daily life in multiple landscapes.
Aurélie d’Incau seems to explore with these figures the dichotomy between animate and non-animate, real and virtual, natural and artificial.
Aurélie’s mannequin-sculpture, Carlos, makes it possible to observe what is apparently inanimate (without appearing so) on social media, exploring this distanced – human, caricatured – body. This body is then given to us as a metaphor, as a social experience.
The mannequin candidate for the municipality experiences in this way a dynamic of the material theater of politics, evoking the same means of self-promotion that politics resorts to. He interacts in the social networks with the complexity with which we currently self-construct identities – in a virtual way. It accompanies this fabrication in a culture of digital spaces, in a medium where the digital often represents more than real life.
On Saturday, Carlos C. Schnurres, will make an appearance in Aurélie’s performance. As a curiosity, and to get a sense of the impact of her work in new media, Aurélie d’Incau was invited by Elon Musk, in 2017, to deliver a performance while flying over the Moon in a spaceship, in what could have been, perhaps, the first Performative artwork made in Orbit.
We know she didn’t accept because she thought it would be overkill and a squandering of resources.
Ana Lama
Singapore, January 21, 2022