no. 23 Editorial
Moodboard

ISSN · 2183-5527

Visual Essay + Author in residence

7 Portraits

7 Portraits

João Fonte Santa

VHS, 29' By João Fonte Santa, assisted by António Caramelo The video Sete Retratos was created for the exhibition Mundo de Aventuras, curated by José Alberto Ferreira, and features 7 video portraits, …

7 Portraits

B, Y, R

Visual Essay

B, Y, R

Henrique Biatto

Água Viva

Visual Essay

Água Viva

Lander Patrick, Gonçalo Marques, José Soares

Through the longest path

Visual Essay

Through the longest path

Margarida Rodrigues (MAR)

Working with mountains is easy

Article

Working with mountains is easy

Isadora Alves

Process Of Unframability

Sound Essay

Process Of Unframability

Frantz Loriot

Drowned, in the shame of light

Visual Essay

Drowned, in the shame of light

Isabela Abate & João Castro

Workbook on the adaptation of the play The Man Outside (1947)

Visual Essay

Workbook on the adaptation of the play The Man Outside (1947)

Pedro Paiva

Sightings

Visual Essay

Sightings

Francisco Novais

HALF A STEP FROM HOME

Visual Essay

HALF A STEP FROM HOME

António Olaio

Misfits

Visual Essay

Misfits

Fabrizio Matos

Out Of Here

Sound Essay

Out Of Here

Quatroconnection (Carla Santana)

Weiße Rose

Visual Essay + Author in residence

Weiße Rose

João Fonte Santa

it was just drained, drained

Sound Essay

it was just drained, drained

André Hencleeday

Lavagem

Visual Essay

Lavagem

João Jacinto

XXX

Visual Essay + Author in residence

XXX

João Fonte Santa

The hand with no specialty

Visual Essay

The hand with no specialty

Carolina Lino

Wrong Wrong n.23

Misfits

Visual Essay 06.07.2020

13.06.2020 No. 35

Karolyn Morovati

Lothar Michael à propos Karolyn Morovati’s Stampiglien

[…] The dialetics of the more respectively less opens and unfolds itself in the presentation, thus in the designation – or say signification of an unoccupied ground; devoid of any determination, as if this were possible, such a serene inexistence; somehow something enters there as a sign, which marks a difference. This placement makes a distinction and likewise an appellation. It distinguishes a marked realm from an unmarked and identifies a naming. Here this first sign is a rubber stamp, i.e. a chunk of rubber, ostensibly again a formerly unmarked or quasi unmarked state of a space, or in this case a corpus; but as just implied, it is quite impossible to find a genuine blank, yet one has somehow to begin; so this quasi pristine chunk of rubber, which is actually already pre-marked by its very body shape, be it pre-fabricated by its production or re-shaped by the artist or whomsoever afore, and which subsequently has been additionally character-like carved and molded by the artist and to which some type of ink made of dye or pigment is applied, and thus adding another distinction and indication, another mark as it were, by color and texture; and this ink-coated rubber stamp is then pressed onto paper such that a colored image is transferred to that paper’s surface leaving there a first distinction and indication on this formerly (quasi-) blank, giving it a more.
And then some… by iteration, when the same stamp again is pressed onto the paper placing after or next to the previous image another one. A repetition, a re-naming, i.e. another distinction, but although the same stamp, the same ink is used and assuming the stamp is even placed directly after or next respectively below the previous image, this re-naming which strictly logically normally wouldn’t change the value of the first distinction, doesn’t lead here back again into the former same state. It adds. And soon the ground is overrun with signs, and teems, and intricate patterns appear.
[…]
And we as beholders, or contemplators, since we look upon traces of a bygone visual activity, internalizing it by letting our eyes wander over this assemblage, this congeries of signs and we find ourselves in a re-vision, a re-take of distinctions and indications, of placements, positings which for our wits form an area rug and therein a weaving sujet en procès^[1], an interplay of simplicity and routh, adumbrating the existence of the fourth person singular^[2], and any analysis of any Laws of Form^[3] becomes minor in an instating drift. […]

Footnotes

^ Cf. Julia Kristeva, Le sujet en procès. In: id., Polylogue, Seuil, Paris 1977, pp. 55-106.
^ Lawrence Ferlinghetti, cit. by Gilles Deleuze, Logique du sens, Éditions du Minuit, Paris 1969, p.125.
^ Cf. for some inspirations of the above introductory words: George Spencer-Brown, Laws of Form. Allen & Unwin, London 1969.

Litoral Oeste, 9

Susana Ramalho Marques