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 18.01.2016

(fragment of a play)

Ângelo Ferreira de Sousa

(fragment of a play)

Characters:
A and B (indifferent, their voices almost declaimed), a choir of Absents (some dressed with orange pajamas – almost red – others with cups of coffee in their hands)

An Italian styled theater.
The stage is empty, almost without light, it’s visible some piled furniture in second plan.
A and B enter, they observe vaguely the furniture and then turn to the audience, but crossing it as if they were watching a projected movie beyond, or perhaps a giant stereogram.

A: It’s the images I told you about, of the city of… after the bombardments. They became common in the media (make a pause, as pondering) for a while. They are destroyed cities, forensic architectures.

B: They are keen to me, similar to the ones of all wars.

A: They are odd...

B: (interrupting) they are familiar guts, because they have been here all the time.

(pause)

A: I say that they are from… because I have faith in what I am told. It’s where I want to get. They can be from… as any other place. The information we get is always filtered.

B: They were found in the Internet and manipulated in Photoshop. It’s weirdly easy to change this kind of images without making them untrue. They are not faces.

A: They could be amazing parkour tracks.

B: Or of a fiction movie.

A: Ideal for fictions, physical exercises and street cats.

B: Do you put your faith on that? (laughs, then silence)

(the Absents enter)

Sings the choir of Absents: In the Gulag was the same thing! Nothing changed, we only ended to exist. And that’s it. Our blood is fluid and our images were pixelated. Our face is a smudge in your PC. Towards your victims, you became iconoclasts. (pause) Only the barbarians represent us?

(leaving)

A: I don’t get used to this warm breeze.

B: I’m tired of trying to see the images beyond the images… (stretches the arm towards the public, with the indicator finger pointing, as Columbus statue at Barcelona; then sits in the stage’s edge and keeps that way, with the legs moving back and forth). They are facts, now.

(dark)

Visual Essay + Author in residence

Exergue: False