Português
Satélite #5
Setback/Leaky
The spirit is dreaming
Conmoción total en mis células (Choque total em minhas células)
Só recentemente nós, os “humanos modernos”, começamos a tomar consciência de que não somos o resultado de uma evolução isolada ou excepcional, mas a consequência de uma longa história de interações e relações fortuitas, constituídas por reações químicas orgânicas e inorgânicas. Assim, e embora para muites de nós seja difícil admitir completamente, somos criaturas vulneráveis e interdependentes, que temos escapes e limites confusos em relação ao mundo que nos rodeia.
Nossos corpos realmente nos pertencem? Eu tenho um corpo ou sou um corpo? Após dois anos de pandemia, nossa imbricação com o mundo dos vivos – compreendido em sentido amplo e não antropocêntrico – tornou-se evidente, revelando que nos faltam palavras e imagens que permitam representar a porosidade que nos constitui e nos atravessa como habitantes deste planeta.
Apostando no poder da arte para moldar dimensões que estão além das ferramentas para sentir/pensar, herdadas da modernidade, Conmoción total en mis células busca expandir nossa compreensão acerca das fronteiras entre os seres vivos – humanos e não humanos – e desafiar as dicotomias entre o pessoal e o social, a vida e a morte. O projeto é dividido em quatro partes, cada uma das quais colocando em diálogo dois ou três artistas em cujas obras os corpos são instáveis, mudam, se movimentam entre espécies, a saúde e a patologia, o interior e o exterior. Desta forma, sentindo, traduzindo e antecipando processos profundos de afetação entre o micro e o macro, suas propostas artísticas nos convocam a prestar atenção nessas outras possibilidades de ser que se abrem ao apagar certezas sobre o tipo de criaturas que somos como espécie. O resultado é uma exposição colaborativa que funciona como um organismo em constante crescimento, que incita tanto o atrito quanto a contaminação dos universos criativos des artistas convidades.
Curadoria Bisagra
Artistas:
Esteban Igartua + Genietta Varsi
Gianfranco Piazini + Diego Vizacarra
Sylvia Fernández + Rodrigo Andreoli
Rita Ponce de León + Yaxkin Melchy + Shinnosuke Niiro
Satélite #5
Satélite #5
The first part of Conmoción total en mi células proposes a dialogue between the “organic mass drawings” of the artist Esteban Igartua and the “breathing scores” of the artist Genietta Varsi. The working process was based on a dynamic of stimulus and response and back and forth. The result is a juxtaposition of image and sound that make the dichotomous categories complex – such as interior/exterior and macro/micro – that go through the bodies.
Esteban: Genietta’s breathing scores make me think of mouths and noses pulling and releasing air. Also, the idea of a body or mass that inflates and deflates, or a form of bud or flower that opens and closes at different speeds. There are longer and deeper breaths that make me think of softer and wider spaces of air, and other shorter and more repetitive that evoke small hollows or twinges. They also convey to me, in certain cases, a sense of movement, like a march towards something.
Genietta: My process was based on using Esteban’s drawings as scores. To perceive them as deep spaces that carry a temporality and that mark sequences, sounds and silences. The respiratory sequences that I proposed run through the spaces of his drawings, they enter, leave, turn around. I followed the rhythms they propose with my inhalation and exhalation. Her drawings vibrate, pulsate, breathe and rotate; they are materially static but have a living, organic movement. Each drawing beats like a microscopic mass and also like a mass the size of the planet. Each pore blows. Each pore explodes. Each pore unfolds outwards.
The second part of “Conmoción total en mis células” shows the work of Gianfranco Piazzini and Diego Vizcarra. They continue with the investigation of what is outside and inside the human body, what are its limits and how we manipulate those limits. The work of the two artists is composed of symbolic processes in which the body is gradually dissolved and the protagonist role falls on dynamics that remind us of it, or what is left of it. They also talk about their boundaries and how they react in the encounter between two bodies.
The sound with which this second exhibition opens is a set of recordings that Piazzini makes of his own body, with his stomach and his heartbeats, which, out of context and superimposed, serve as a landscape or abstract soundtrack for visiting the different pieces on display here.
Diego Vizcarra’s animations show us the wall of his house very close to the sea, which the breeze eats away, causing it to constantly lose layers of paint, like molts of skin. Behind these walls hides another skin, which is in turn a new frontier.
In their work together, they create an animation of a moth passing through the pages of a book, feeding on them, drawing or tracing a path through the emptiness.
Diego Vizcarra: The tension of a limit defines forms. Every limit defines forms? Forms that fight for their self-determination.
The fragility of everything determined: the wall peels off, the skin becomes irritated, wounded, bleeds and of course changes.
We know about constant change, we know about its natural law rigidity. But we fight stubbornly against it with our bodies.
Even if something is lost on the way forever, the resolutions of tension are the next forms.
Gianfranco Piazzini: The starting point was to define the antipodes of the body. On the one hand, to recognise a closed and erroneous entity; on the other, the affectation caused by its exposure to the outside, its condition of incomplete frontier, of surface and dwelling composed of totality and emptiness. Surfaces that make room for other bodies, simulations adapting and mutually relating to each other.
Every interaction is an exchange that leaves behind material memory in the rubble of an anatomy. Each clash leaves behind the trace of the other, a camera obscura that becomes a black box. And the other is the contained contour that sees the finger in the wound from the inside.
WE ADVISE YOU TO USE YOUR HEADPHONES
Gianfranco Piazzini Alcántara (Lima, Peru,1984) studied at the Art Faculty of the Pontificia Universidad Católica del Perú. He currently works with different media, mainly video, animation, drawing, and sound.
His work addresses the representation of emptiness, the blurring of boundaries, and the abstraction that remains when the limits of language, culture, and reason expand. He explores identity through the limits of the body, the transplantation of concepts, and the mutability of definitions, which are conditioned by time and memory.
Diego Vizcarra Soberón (Lima, Peru, 1981) is an animation filmmaker, he studied at the Film School in Lima, Peru, and at the Escuela de Trazos in Madrid, Spain. He departs from surrealism, psychedelia, and poetry to inquire, in a critical spirit, concerns, reflections, dreams, or visions that question our contemporary condition. The artist is interested in the status of the image or the relationship – both personal and social – with the natural environment.
His works have been shown at festivals in Peru, Cuba, Mexico, Puerto Rico, Brazil, Argentina, and Spain.
Participating artists of Pivô Satellite #5
Sylvia Fernández and Rodrigo Andreolli are in different, opposite time zones, but they think and feel time in a similar way. They throw themselves in time like a feather carried by the wind, like someone swimming in the sea at nightfall, like a drop of water that finds a place to dissolve. During this process they have shared moments of freedom and trust, creating a space for dialogic experimentation, responding to both air currents and messages sent telepathically. They experienced a prolonged pause, paying attention to the vibrations of the visible and the invisible. They coincided in deep listening, paying attention to the signs that defy the spatial and temporal boundaries that structure the urban and modern daily life. They explored how to dilute the edges of the human, invoking porous relationships that connect the most intimate with the most universal. About this mutual support, they tell us:
The mediation of our encounter takes place in the understanding of bodies as a set of existences that are organized in certain forms, to then metamorphose into others. Bodies as extensions of each other through the means. Exercising contemplation of incessant movement, which sets everything in motion between life and death all the time. Times that never intersect, they overlap. What unites us? What´s more, who joins? You and I, besides projections between light and shadow, contrasts and colours, who we are? We meet at the inexact and intangible point between day and night, and we touch each other through the first sun rays that melt the horizon in the morning, or through the last ones, as they trickle there at nightfall. Our attempt to propose sensations in images is lost in the sea of each other, but even there, in this very unique space so that becomes unknown in the darkness, we keep walking, trusting that between not knowing and perceiving, our hands touch and dance what cannot be said. We affect each other more than anything.
For this ‘conmoción total’, we started from telepathic encounter and meditation practices. We began without defining the exact destinations of the forms in production, we tried to experience an empathic connection in the distance, letting intuition and the surrounding environment bring us the reasons and images. Through sensorial expansion, we searched for the confluences of our gazes and our listening, we put our bodies and intentions in an open conversation that walks by different means, but in company. Contemplating each other’s process from an affective state, we started a dialogue between landscapes, shapes, colours and times, mixing paintings, video, writing and dance. Now we invite whoever looks, whoever arrives here, to enter this landscape that we are keeping together.
Sylvia Fernández (Lima, 1978) studied Fine Arts at the Escola Superior de Arte Corriente Alterna, she has participated in several group and solo exhibitions in Lima and abroad. Among these, the solo exhibition ‘Volvamos’ curated by Nicolás Gómez Echeverri (Galería del Paseo, 2021), ‘Negar el desierto’ (Museo de Arte Contemporáneo MAC Lima, 2020), ‘Vamos Desapareciendo’ (Salón ACME, 2020) and ‘Conversaciones con Carmen’, exhibition curated by Jorge Villacorta (ICPNA Miraflores, 2019). She has participated in different competitions, being a semi-finalist in the BP Portrait Award (London, 2017) and finalist in the Fundación Focus Abengoa (Spain, 2005), ‘Pasaporte para un Artista’ (Lima, 2004), among others. In addition, she has participated in art fairs such as Arco (Spain) and Cologne Art Fair (Germany).
Rodrigo Andreolli (Rayo Wasser) (1984, São Paulo) transits through the arts, exercising the body as an element of sensitive activation of the visible and invisible layers of public matter. He works in the elaboration of production structures for multidisciplinary art projects.
Associated with the company Teatro Oficina Uzyna Uzona (2006, São Paulo), he was a resident artist and producer of the Residency for dance LOTE (2011-2014, São Paulo) and structural artist of the research project Terreyro Coreográfico (2014-2017, São Paulo), he was also part of the Residency Helmet in Athens (2017), Master in Choreography and Performance at the Institute for Applied Theatre Studies (ATW), JLU, Gießen, Germany (2018-2022), Research Affiliate in the ACT, Arts, Culture and Technology Program at MIT – Massachusetts Institute of Technology (2020), and Danceweb Scholarship Program 2015 – Vienna Dance Festival Impulstanz.
Some of the most recent works are “Matter Mythologies” (2019, Athens, Greece), supported by Creative Europe Mobility Funds – IPortunus; “Zu Verschenken” (2021, Giessen/ Frankfurt, Germany); “Vibrations of the Ignoto” (2022, Rio de Janeiro, Brazil), performance and installation in mixed reality, part of the Museums Conference, commissioned by the Goethe-Institut Rio de Janeiro, in partnership with the National Museum and Rio Art Museum.
Participating artists of Pivô Satellite #5
Guided by the question: “What a meaningful life is?”, Rita Ponce de León – in collaboration with Shinnosuke Niiro and Yaxkin Melchy – have given life to the project “The dreamed spirit”.
The simple but profound question prompted Niiro and Melchy to embark on a journey through Japan in search of answers from the people they met along the way, collecting phrases and words that subsequently provoked reflections between them. Indeed, over the course of their journey, they collected more than 400 words and small phrases, which, when placed side by side, would be strengthened and generate sentences that could sketch out a possible answer.
A version of this project was recently on display at the Aichi Triennale in Nagoya, Japan. Consisted of 14 xylophones made from keys of different sizes and qualities of wood, engraved with the words “found” on the journey. In this way, the xylophones functioned as a poetry-generating device, with which the audience could interact by repositioning the keys so that they took on the meaning they wanted to give them. These phrases were then activated when played, revealing the mystery of what this message would sound like.
The version of “The spirit is dreaming” that we can see in Comnoción total en mis células in Pivô Satélite is a video made by the artist Rita Ponce de León based on a selection of those phrases, originally compiled, that focus on different sensations and/or bodily experiences, on the possibilities and limits of language to express them and on the role of poetry. The importance of this version lies in the possibility of bringing these phrases to the south to adopt a new language: Portuguese. This translation of meanings gives a new breath to the project, which will continue to be enriched by the needs and challenges that arise when approaching the question of what a meaningful life is like.
