segunda-feira, novembro 30, 2009

Afinal não eram só os soviéticos…

… a direita conservadora também recorre à propaganda e à imagem manipulada. Deus nos valha.

The Daily Show With Jon Stewart Mon - Thurs 11p / 10c
Sean Hannity Uses Glenn Beck's Protest Footage

Não sei que me deu hoje…

…mas tenho saudades.  Obrigado Zé Mario, é mesmo isto.

Saudades do não vivido

Obrigado Renato.

Loving you after reading Fernando Pessoa

I am swimming. I am finishing my 7th pool, 15 to go. I reach the end of the pool and lift my head completely out of the water. I can smell your perfume. It is the first time I can scent it since the last time I was with you. Besides you I have already identified it in a Korean young lady walking in the garden, probably going to school, or to an important meeting of minor importance for her future life. She was wearing a short miniskirt. Great legs. Another time I detected your perfume downtown, I was rushing to catch the bus, the sidewalk was bursting out with so many people, in a way that I had to push my way into it as if crossing a thick wall made of gelatin. In the middle of all those dressed bodies, of all those mixed scents, I detected your perfume. That one I remember telling you about in a text message saying that if I were blind I would hug the body emanating your artificial odor. You never replied to that text message, but I had another one prepared just for you saying that I would kiss you, remove your clothes and learn about your real smell, the one that you cannot detect elsewhere, except in your naked body. Not on the street, not on the crowded sidewalk, I would do it elsewhere. The location is important. Everything matters when it comes to you. I never sent you that message. I finish all the pools horrified with your smell in the water, in the bands separating the swim tracks, in the glass window, in the water fountain, in the shower, in the sauna, in the shower again and outside, where everything is located. Now I am better, I still feel your smell from time to time as I am sited here in my lonely spot in this public garden filled with naked trees. Now I ask myself if you ever wore a perfume, if I made it up. You looked both surprised and impressed when I told you that such perfume was not proper for you, that you had to get another. It can take a lifetime to choose the right perfume. I told you that. You smiled. Probably you never had a perfume; probably I invented its tones and forms that specify you as adored, beautiful as no one else in my eyes. Probably you smiled thinking how stupid I was. Probably you never existed; probably I invented you, beautiful as no one else in my eyes. I know I am saying gibberish, it is not true, I know you are real. I know that too well. Today I was behind the window facing the sun and the sunny garden. You were walking in a hurry; perhaps you were late to an important meeting with minor importance to your future. I don’t know. I don’t exist in the words you direct towards me, even if you say them looking me in the eyes, I am not there. I was writing behind the window, in a hurry, accelerating my thoughts in a frenetic rhythm of a productive assembly line, but all stopped when I spotted you walking. I stopped. My body froze with the sun. Only my gaze moved, following you avidly until your disappearance into a corner. I don’t know how long it took you to disappear from my sight, but I know it was bigger than the years I have to live, bigger than any idea I may come across during my existence.
But, what is the importance of any of that? All. Very important, the rest doesn’t matter and I am building my life on things that don’t matter. Obviously you are not there in my life, nor under it.

quinta-feira, novembro 26, 2009

Foi ele que começou

quarta-feira, novembro 25, 2009

terça-feira, novembro 24, 2009


Há um certo prazer quando alguém usa a palavra amigo com um certo à vontade que se vai traduzindo numa força maior. Gosto destes pequenos acontecimentos mais que a grande apoteose do sucesso e guardo-os como pequenas relíquias que se sentam entre a percepção da irrelevância relativa e a grandiosidade espantada com a indiferença. Sabe bem ouvir tão pouco e simples como se a biblioteca de Borges coubesse na palma da mão e se partilhase como quem sopra beijinhos para o ar. E é só, muito obrigado.

Jan Saudek

Depois de Egon Schiele encontrei outro artista que joga com as minhas pulsões sexuais: Jan Saudek.  Uma parede fetiche, coloração manual das fotografias e um deslumbramento pela vida fazem deste fotógrafo checo uma das minhas referências na arte erótica. Percebo a fascinação com o Processo de Kafka, conterrâneo de uma Praga multicolor.  Sorrio perante este desassombro:  “I attempt suicide. I've never been thorough. This goes wrong too. It's the first time that my laziness has helped me.”.

Jan tem agora uma galeria em Praga, numa das ruas mais movimentadas (Celetna, 9), partindo do monumento a John Huss e embrenhando-se nos intestinos chiques da cidade.

Marie No. 142, 1972

Pavla Poses for The First and Last Time, 1978

I Would Like to Carry You in My Arms, 1983

Walkman, 1985

The Chains of Love No. 2, 1987

Victory on The Sea, 1993

Portrait of an Innocent Girl, 1997

The Dancer, 1997

Hamlet, Prince of Denmark, 2003

Cow - Balerina, 2004


De luto contra a violência doméstica.

segunda-feira, novembro 23, 2009

Loving you after reading Octavio Paz

What matters is that she has warm lips and a poem in each lip every time she talks, every time she looks at me, every time she moves. Sometimes the poems are about the dreams of being alive, sometimes about the rare neutral nature of existence, sometimes about the risk of walking the world, sometimes about the multiple personas that a single being can incorporate and other times about the fear of being alive and how shattered the self seems when undertaking simple tasks as a martyr in a no man’s land. I feel more whenever I listen to her, whenever I read her notes randomly left in my apartment, whenever I just look at her with a stupid smile. I feel she doesn’t understand how can someone love her.

domingo, novembro 22, 2009

Efeito do Domingo Solarento ou a Vontade de Paz

Tenho poucas certezas mas garanto-vos, se andássemos toda a vida com esta música nos ouvidos seríamos mais nos outros. Foda-se. Só me apetece sair de casa e beijar quem encontrar pela frente.

sábado, novembro 21, 2009

Arte e Ciência – Excerto de Carlos M. Fernandes

(...) podemos conjecturar (e talvez sentir, se envolvidos em tais actividades) que os processos e impulsos criativos têm a mesma natureza, na arte e na ciência. Quando Jack London escreveu (...) Há um êxtase que assinala o auge da vida e, para além do qual a vida não pode subir. (...) Este êxtase, este esquecimento da vida, sobrevém no artista, arrebatado a si próprio num relâmpago de fogo; sobrevém no soldado, enlouquecido pela guerra que num campo perdido se recusa a render-se, e sobreveio para Buck, à cabeça da matilha, fazendo ressoar o velho grito do lobo, lutando por um alimento vivo e que fugia velozmente diante dele à luz da lua (...)* podia ter recorrido à figura do cientista, pois embora menos romantizada pela literatura ou cinema, a imagem do "cientista louco" é também uma ilustração do esquecimento da vida. No entanto, para aqueles que escutam acriticamente o discurso de alguns intelectuais, pode parecer que a arte e a ciência dependem de processos mentais muito diferentes, e por isso terão necessariamente de estar de costas voltadas. Não é verdade, mas o facto é que, embora muitas vezes os objectos artísticos contemporâneos utilizem os resultados dos mais recentes desenvolvimentos científicos e tecnológicos, a postura é, em geral, de cisma.

Carlos M. Fernandes, in Consiliência (Inside [Arte e Ciência])

*Jack London, The Call of the Wild, (New York: Macmillan, 1903). Versão portuguesa: O Apelo da Floresta, (Lisboa: Relógio d´Água, 2009).

Roubado descaradamente daqui.

Da homeopatia

Charlatanismo ou como a homeopatia se revelou ineficaz em ensaios clínicos.

De modos que é isto

sexta-feira, novembro 20, 2009

Loving you after reading Neruda

Many times I don’t make a single clue of what is going on in her mind and I don’t care because I love not knowing, I love learning, I love being wrong many times, I love living in real time with reality, not knowing what to expect, that fascinates me. Not because I see a challenge in unraveling a mystery, but because I get a huge kick out of being so close to the most beautiful mystery I have ever met. No matter what she tells me about her, no matter how long I spend with her, there will always be a mystery within her that urges me to use her words in my mouth and kiss her body with cold pearls, hot chocolate and the smell of the freezing ocean.

quarta-feira, novembro 18, 2009

terça-feira, novembro 17, 2009

From fearing and loving God to being Human

Christianity is erroneously viewed as a family of religious movements where human rights, freedom and tolerance for difference are promoted. Unquestionably, when compared to cultures dominated by other religious movements, the ones that historically embraced Christianity are nowadays the most liberal and more socially modern and civilized. However, the liberal character of the Western World is not a consequence of its religious scenery, but instead of the crescent importance given to the human self when compared to God. One should not forget the atrocities practiced by the Inquisition during the Middle and early Modern Ages. Safe a few exceptions, before the Renaissance period, human representation was culturally forbidden or morally discouraged. Only the production of divine and semi-divine characters was allowed. Italian 15th century humanism initiated the separation between Man and God, where the human self started to be defined. Portraiture started when Man began to look at him self and its equals in order to question its existence beyond God. Painting and imagery played a pivotal role in that observation and in the definition of the human being, together with literature and philosophy. Before the time of Velasquez, Saints and biblical figures were portrayed according to rules very similar to the ones used initially in portraiture. Clothing, objects, artifacts, ornaments, hair or beard styles, the presence of certain animals and features in the evolving landscape were used in the representation of holy scenes and characters in the Catholic world in order to transmit a message to a globally illiterate audience. In Figure 1, a famous scene of the life of Christ is presented, where a Native American is portrayed (the first time in European soil) as one of the Wise Men. The divine is here used to portray the newly discovered Native American, who is elevated among the common men to the status of a holy entity. This concept changed through time. The definition of all that is subjected to the observation of Man is in constant mutation. However, due to the strictness of religion, the defining patterns of the human self is much more susceptible to alteration than the concepts of divine figures. Consequent to this condition of humanity, the rate of change in the forms of doing portraiture is also high.

Figure 1 Adoration of the Magi by the artist Vasco Fernandes (Grão Vasco), 1500-1506 located in the Grão Vasco Museum in Viseu Portugal. The peculiarity of this painting is the way Balthazar is portrayed, not presented as usually as an African, but as a Tupinambá Native American. The painting was finished few years after the discovery of America. Fernandes never visited the Americas and there is no registry of any Native American brought in any Portuguese ship to Europe during the time the painting was performed. Therefore it is possible that Fernandes portrayed the Native American inspired in sketches and written / verbal reports.

Many aspects of portraits have been altered, abolished, reinvented, created and extinguished relatively to the definition of the self since the early periods of portraiture. Those changes can be addressed and analyzed in the point of view of scientific progress, social changes and technological achievements. However, in the context of changes within human societies that altered portraiture, how is the perception of the self altered after being represented and how does it affect the next portrait to be produced?
Modernism is commonly characterized as the artistic movement that enhanced the scattering of the self. As a consequence of overdissecting the human visual image, portraiture was asked to be assumedly more than the direct visual representation of the self, where philosophical, political and literary symbols started to play a major role. A self-portrait is presented in Figure 2, where Claude Cahun portraits her self in 1933 as block of granite with arms. The peace inspires a conceptual interpretation. In modernism, the absence of one clear message in a portrait started to be the rule. In fact, nowadays portraits and art pieces in general present as many messages and symbolisms as the ones that can be identified.
A special focus is given here to portraiture in the Western Culture, but the dynamic character of cultural identity is endogenous to all human societies. Before globalization and the actual period of acceleration of History, cultures evolved slowly in their own niches with minimum interactions with the surrounding environment. The postmodern era embraces the intimate interaction of cultures, not only of the present, but also of the past, and the dynamic transformation of concepts when submitted to different cultural readings. The generation of a subjective symbolism resultant from contemplating Cahun’s self-portrait (Figure 2) is dependent on the cultural background of the viewer. Communicative references present in portraiture may take certain cultures to a mood of ecstasies and have no meaning to different cultures. More than before, when performing portraiture, some artists may not only consider the sitter and its own artistic identity, but may understand the identity and cultural references of audience. Passed is the time when an artist like Picasso never felt forced to explain any of his work to an audience. Today is more and more common to expect a special session from some artists where the used symbols and meanings of a work being presented are explained.

Figure 2 Self-portrait by the French artist Claude Cahun, 1933 located in Galerie 1900/2000 in Paris France. Vintage silver print, 10,8 x 8 cm.

segunda-feira, novembro 16, 2009


Parece agora que, enquanto Cavaco chamava de escutas à sua inabilidade em usar o anti-virus ou o anti-spyware no seu PC, quem estava mesmo a ser escutado era o, na altura, acusado de espionagem.

sexta-feira, novembro 13, 2009

Representation and Portrait

Self-portraiture has been gaining in the last and present centuries a crescent attention from the artistic and academic communities due to the strong role it plays, outside the field of fine arts and through popular celebrity and iconic cultures, in influencing and defining the concept of the self in modern societies. In self-representation, the self is used to communicate a message apart from the realm of characteristics and traits that define the persona, being different from self –portraiture. However, how dissociated is in reality self-portraiture from self-representation? The use of the nude body for example is a powerful tool in the businesses of marketing, publicity and fashion, being commonly present and symbolized in several identity aspects of industrialized countries. The social concept of a perfect nude body has generated social health tragedies as bulimia, anorexia and other psychological states of illness. Unhappiness is generated from the impossibility of being portrayed as an ideal figure. However, as psychoanalytic theory suggests, the one’s frustration with her/his exterior image results from a scattering and loss of identity of the self. As a reaction to this reality, a major focus has been given to the nakedness of the self in both self-representation and self-portraiture, where the excesses of a globalization driven by social ghosts of an ideal image of the naked body and frenetic consumerism are addressed. As in 20th century feminism, in the artistic context and condition of social activism in a postmodern world, where the artist plays a role that defines her/his self, it is impossible to dissociate self-representation from self-portraiture, the artist’s persona from the artist work and legacy.
Above image by Nikki S Lee

quinta-feira, novembro 12, 2009

Mais Lorca - o poeta sem máscaras

The Tamarit Divan
Qasida II of the Weeping, 1934

I have closed my balcony,
for I do not want to hear the weeping.
But out here, beyond gray walls,
nothing is heard but the weeping.

There are very few angels who sing.
There are very few dogs who bark.
A thousand violins fit in the palm of my hand.

But the weeping is an enormous dog,
the weeping is an enormous angel,
the weeping is an enormous violin,
tears have muzzled the wind,
and nothing is heard but the weeping.

Translated from:

He cerrado mi balcón
porque no quiero oír el llanto,
pero por detrás de los grises muros
no se oye otra cosa que el llanto.

Hay muy pocos ángeles que canten,
hay muy pocos perros que ladren,
mil violines caben en la palma de mi mano.

Pero el llanto es un perro inmenso,
el llanto es un ángel inmenso,
el llanto es un violín inmenso,
las lágrimas amordazan al viento,
y no se oye otra cosa que el llanto.

Nuno Volta!!

Já sinto a tua falta.

quarta-feira, novembro 11, 2009

Da ZDB para o facebook e do facebook para o lutas livres

Nite Jewel - Lover @ ZDB from Galeria Zé dos Bois on Vimeo.

Nite Jewel num terraço que me apetece tanto com uma noite quente de Lisboa no Bairro Alto.

terça-feira, novembro 10, 2009

The Walking Pyramid - for Lady King

The walking pyramid sleeps outside, together with the trees, the inanimate forms of inorganic matter and the motorized vehicles. The walking pyramid stands on the sidewalk, on the grass, on the mud, wherever chance allowed it to rest. At night, if you are lucky to see it, you will know it is a walking pyramid for two reasons: i) nothing else sleeps at night, just the walking pyramid with a deep and relaxing snore that resembles sleeping in a room during fool moon in the house at the beach, the Atlantic beach; ii) it is a pyramid.
The last time I saw the walking pyramid was early in the morning, still sleeping outside, covered with sheets and blankets. The night had been cold. People like the walking pyramid and treat it well. The pyramid is shy, but it is warm, clumsy and gentle when is woken moving through the wilderness of cities. Nothing tends to be like that nowadays. All is turning cold, precise and rigid: buy, consume, dispose. Own, wear, tear.
Before that, I saw the walking pyramid walking on a green field and being hugged, yelled at, tapped and pushed by humans. The walking pyramid looked like a shrine of prayer, the stonendge of that moment. Later that evening the pyramid stopped close to a streetlight and I stayed nearby reflecting on its existence.
The means of communication of the walking pyramid are foreign to mankind, but they can be learned, all I need is observation and intelligence. The image of the pyramid attracts my gaze like fire and the ocean to which I can stare for hours as if I was looking at them for the first time. Once I imagined a green field densely populated with walking pyramids interacting with each other and I imagined myself dying of starvation or thirst, you can live longer without eating than without drinking, just because I couldn’t figure out how the pyramids communicated between each other, how their society was organized and I wouldn’t leave the place, I wouldn’t do anything else. Standing there next to the streetlight, I looked at the walking pyramid in an evening promising to turn into a cold night bathed in light by the lover’s full moon, and thought about a fight between the pianos composed by Luigi Nono. Pianos communicate to humans in a careful language, but between each other pianos don’t make sense unless your ear and eyes are well trained to understand their language. I spent years listening to Luigi Nono until I understood the language of Pianos.
Seeing the pyramid was different. Pianos are the most powerful among instruments, but pyramids are the most powerful among monuments, the artifacts that appeal to the inner core of human feelings, the irrational attraction for something bigger than us. It will take me longer to understand the language of pyramids. The pyramid told me something that I will never forget, but it is a secret, not material for gossip, like that gossip about a human residing inside the pyramid, nonsense…
I am looking forward on seeing the pyramid visiting relatives: near the Lincoln memorial, the Eifel tower, the pyramids in Egypt and the ones in South America, close to la "Fontana di Trevi" saying “Marcello” in its own special way.
I will see it around.

segunda-feira, novembro 09, 2009

Ana Brandão

Hoje vi uma mulher tão parecida com a Ana Brandão que nem resisti em lhe informar sobre a sua sorte. Escrevi Ana Brandão num papel e disse-lhe: "Please, google this name, see the pictures and if possible try to listen to her music, she is amazing!
Ela lá ficou com o papel.
Parecia gostar de gatos.

domingo, novembro 08, 2009


O mistério, o proíbido e o oculto são características que atraem a atenção das pessoas a certos temas da arte, dos Média e da sociedade. A casa nocturna com luz vermelha no seu interior a ver-se entre as cortinas é o local que aguça mais a curiosidade sobre o que se passa por trás das cortinas do que o café com a montra de vidro, onde os clientes sentados à mesa, a confraternizar em estilo de tertúlia, se exibem sem vergonha a qualquer transeunte, acabando por passar despercebidos, mesmo perante os voyeurs mais atentos. O conceito de Tabu encontra-se bem definido, como por exemplo nesta página.
Cavaco Silva relançou a palavra Tabu na sociedade Portuguesa, desvirtuando o seu significado e destruindo o seu carácter nos assuntos por ele apontados como tal. Isto parece paradoxal e desconexo, mas posso dizer por outras palavras que Cavaco Silva, ao expor temas como sendo Tabu, abre portas nas paredes que antes separavam esses temas do cidadão comum, coloca um segurança e uma cortina espessa em cada porta e acende uma luz vermelha no cerne da questão. A diferença entre o assunto Tabu e o não Tabu encontra-se no nível de abertura de debate entre os membros da sociedade que o gera. O Tabu não se discute, mas encontra-se exposto como uma foto de mulher nua num cartaz numa auto-estrada suburbana em hora de ponta. O Tabu não se discute no café, no metro ou no quiosque, mas toda a gente o conhece e desenvolve uma opinião sobre ele. O Tabu é uma ferida exposta a todos sobre a qual ninguém fala.
Nos EUA, as questões raciais, religiosas, sexuais e políticas são Tabu, mas são lapidares nas escolhas de vida do comum cidadão Americano. Na China e no PCP, o Tibete, os Direitos Humanos, a Democracia e a Desigualdade Social são assuntos Tabu. Em Portugal, a Corrupção, os Esquemas de Cunhas e as Oligarquias Sociais são assuntos Tabu. Sobre os assuntos Tabu toda a gente tem uma opinião que cresce torta e assimétrica, que se desenvolve e solidifica como o granito, pesado e duro de partir. São opiniões que não vêem a luz do dia, que ganham bicho, muita humidade e emanam um cheiro bafiento. Opiniões que caminham livres nas artérias da sociedade sem que ninguém as questione ou ponha em causa. A ausência de abertura de debate relativamente ao que é caracterizado de Tabu aumenta a irracionalidade das sociedades em muitas das suas escolhas e pode gerar estados de Loucura Social, onde práticas de intolerância e violência podem acontecer com impunidade e injustiça.
Quebrar os Tabus é essencial para uma sociedade alcançar um estatuto de maior igualdade, justiça e tolerância. Muitos artistas da actualidade exprimem-se quebrando Tabus. Sem qualquer ordem de cronologia ou nacionalidade, Dan Goldman, John Ernest Joseph Bellocq, George Platt Lynes, Jeff Koons, Sally Mann, Maurizio Cattelan e Ron Mueck são alguns dos mais badalados artistas que muito têm abalado a sociedade a quebrar Tabus.
Muita coragem é necessária para afrontar seriamente os Tabus. No entanto, reconheço que hoje em dia se criem falsos Tabus no mundo da arte como resultado da inércia provocada por estes movimentos. Por exemplo, neste blog já se escreveu sobre a recente obra do artista Chen Wenling relativamente a Madoff, o bode expiatório da crise financeira. Chen Wenling teria tomate de boi se fizesse uma obra sobre o seu País Natal, onde os estádios olímpicos foram construídos com mão de obra infantil escrava, onde existe ausência de Democracia e um enorme nível de desigualdade social.
Atacar os Tabus dos outros é fácil.
Apontar os defeitos dos outros é fácil.
Difícil é olharmo-nos ao espelho e fazer o retrato dos nossos horrores e fantasmas.
A verdadeira sociedade moderna é aquela que não tem qualquer medo, muito menos o medo de se olhar ao espelho tal qual como é porque somente assim pode resolver os seus defeitos e avançar para um Estado de maior progresso social.
Não é com maquilhagens de modernidade que o mundo se moderniza.

sábado, novembro 07, 2009

Uma frase para o fim de semana

El grito de su canto pone un acento circunflejo sobre el corazón de los que le han oído.

Diálogo del Amargo; Poema del cante jondo
por Federico Garcia Lorca

sexta-feira, novembro 06, 2009

A ler depois do Saramago

Li dois capítulos deste livro e adorei o modo como diversos factores que originaram o pós-modernismo e mesmo o próprio pós-modernismo são expostos, debatidos, confrontados e postos em causa no contexto do acto da auto-representação humana. Depois de acabar o Caim vou chafurdar neste livro da minha já mui amada Gen Doy.

Aqui também se gosta de música simplesmente

quarta-feira, novembro 04, 2009

Grandes Frases

Everything has happened in us because we are ourselves, always ourselves, and never one minute the same
Diderot, Réfutation d'Helvétius

terça-feira, novembro 03, 2009

Aqui gosta-se de Godard e do Amor

Na realidade sinto falta de ambos. A ver se alugo um filme dele um destes dias.