This ongoing research is based on the act of deconstructing monuments upside-down, inside-out, physically or symbolically, in drawings, actions, installations and not-yet realized projects. This research focuses upon investigating the stories of the oppressive sculptures erected all over the world and reinvisioning them - with their own rubble.
What can be made from the fragments of our scattered and unbalanced memory? How can we honor our “unknown” stories?
Part of this research includes a residency in Portugal (during the artist’s first visit to the country), dealing with the both oddness and familiarity of the colonial culture. When encountered with the vast presence of pillory monuments, celebrated in books, landscapea, museums, giftshops, and cultural heritage institutions, she faced a ghost of the ‘distant’ past (in her home country Brazil, these pillory monuments are symbols of violence against enslaved bodies).
What do we choose to celebrate? What stories and violence still stand in monuments imposed upon us and by whom we are surrounded? What can be done for us to inhabit a less oppressive landscape?
The video, There is Distance Between Intention and Gesture, was performed on the final day of the residency in one of Alentejo castle ruins. Borrowing its name from the music that accompanies it (Tropical Fado by the Brazilian songwriter Chico Buarque and the Portuguese poet Ruy Guerra) the improvized video documents the artist’s first attempt in dealing with the symbolic rubble of and unconfortable presence of these monuments.
- video performance, click here