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

Article 06.06.2019

A certain song

Yuri Firmeza

— Marighela's ghost has come back, shame on being Brazilian.
— Do you prefer the ghosts of Artur da Costa e Silva and of Medici?
— The King’s thousandth goal would be better.
— Huh?
— Pelé, the thousandth goal in Maracanã! He drew a foul in the area, penalty. It hit the right corner and ...
— Left!
— His right, left of the keeper. Twenty-nine years, one thousand goals, Maraca crowded.
— He’s the King!
— If it's to remember 69, let's remember the Kings.
— Do you miss the monarchy?
— Santos against Vasco da Gama, unforgettable.
— But the judge stole it.
— Sérgio Moro, right?
— He was from the Northeast, you know.
— What?
— The judge, from Pernambuco. He signaled the penalty, but the King threw himself.
— Folks, Marighela was murdered by DOPS agents, blasts of machine-gun ...
— Aw, what the hell, let's talk about football, which is better.
— Okay, but you know that at the time of the murder, your King's team was playing?
— And who won?
— Santos and Corinthians, at Pacaembu.
— Was it a tie?
— The murder was announced through the loudspeakers in the stadium and the crowd shouted enthusiastically, commemorating a person's death.
— Not of a person, no! Of a killer. He was a Communist, Northeastern, a race that must be exterminated.

From that moment I could no longer wait for my destination stop. There was no other option but to listen – given the volume at which they spoke – to this group’s conversation. I got out before, there were three stops left, but it was impossible to stay in the same wagon. The fierce spirits of the strangers made me hesitate in any attempt at a dialogue.
Distraught for having descended into a region that I did not know and, above all, for having been silent in the face of this discussion, it took me a long time to locate myself.
Still a little aimless, I came across a small tavern, a «fado vadio», a woman singing:

«...abre as asas passarinho que eu quero voar …»
«... spread your wings little bird because I want to fly ...»

I immediately recognized the composition by Tuzé de Abreu and connected with two other women: Suely Rolnik sings Gal Costa.
Almost 10 years ago, a dossier on the thinking of Gilles Deleuze was published in a Brazilian magazine. This dossier contains a text by Suely Rolnik who, among other things, writes about a meeting between her and Gal Costa. Or, if you like, an encounter with a timbre in the invention of a body. It was the late 1970s and, exiled in Paris, Suely began to inhabit the French language, also as a protection strategy in the face of the trauma of the dictatorship in Brazil. The French language, as she claims, had become a «clandestine shelter», perhaps even a nest. The decision, which had never before been considered, to return to Brazil came about when singing such a song.

Much applauded, the fado singer is asked to go on.
Without hesitation, she continues:

«...fundarão o seu reinado
dos ossos de Brasília
das últimas paisagens
depois do fim do mundo...»

«... they will establish their reign
of the bones of Brasilia
of the last landscapes
after the end of the world ...»

It was Gal, no longer the Gal of India, but the lysergic Gal of 1969. Even with all the censorship, a number of unique records were released that year in Brazil. For me, one of the most visceral is this one. A world gushing through the pores of Gal. The psychedelic cover, the lyrics, the form and the force, the effects, the guitar. I think, without any romantic nostalgia for a time that I have not lived, about the urgency and radicality of many of the works, in music, in cinema, in the visual arts, in theater, in dance ... in life, that, nevertheless, resist.
«...depois do fim do mundo...» «... after the end of the world...» the fado singer emphasizes.
In 2019, Brazil in flames, with other weapons and strategies, many worlds to be invented, others extinguished. There is no definitive conquest.
After the end of a world.
Lost, I decide to take a taxi:

– Good afternoon, where to?

On the radio, Elza Soares sings:

«...Eu quero cantar até o fim
Me deixem cantar até o fim
Até o fim eu vou cantar
Eu vou cantar até o fim
Eu sou mulher do fim do mundo
Eu vou cantar, me deixem cantar até o fim...»

«I want to sing till the end.
Let me sing till the end.
Till the end I'm going to sing
I'll sing till the end
I'm a woman from the end of the world.
I'm going to sing, let me sing till the end ...»

It was, it began, it went

Happy People

Ernesto de Sousa