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

Sound Essay 16.08.2021

The Strange Noise of Vigilante Groups

Folclore Impressionista

If we can find a kind of common trunk in the work of Folclore Impressionista, it is the idea of fading, in the sense of «eeriness» characterised by Mark Fisher. In a sense, we can say that Folclore Impressionista has always been working on the same theme (a meta-theme), but from different perspectives.

The fading of memory, in Campos Espectrais I, resorting to operative strategies of psychogeography, looking for portals to a remote past more linked to childhood and then confabulate about that same past reminiscent of an already vanished rurality, where it was still possible to find vestiges of a pagan mythology, despite the corsets of the Catholic Church and the Portuguese political regime in those days; the fading of that same landscape, Campos Espectrais II, in the sense given to it by Brian Eno in «On Land», when he realizes that there is never a clear distinction between the background, where everything really happened (freedom space, fantasy , adventure, magic, etc.), and the foreground plane; the fading of the fascination for the «new» in A New Sensation, undoubtedly one of the structuring elements of the idea of the future and the way of thinking of the generations that grew up in the post-war period, but clearly in decline since the transition to post-modernity, as a consequence of the strategic greyness of neo-liberal policies. It is therefore a kind of «eeriness of the weird»

Regression

Volunteer Dinosaur

We Have Never Been Modern

Joshua Phillips