Line of research: Art, Subject, City
Lattes: http://lattes.cnpq.br/8779558447742599
email: lcv02.uerj@gmail.com
Research Project
MACHINE-PERFORMANCE
If we accept that social performance of urban intervention is a summation of fluxes fed by desireful machines of an ambiguous character, active and reactive, we may understand that only the crossing by other fluxes leads to an interruption in their somnolent practices, which can be problematized by any accident, inclusively an artistic one. The gesture which comes from there pushes us, makes us stutter, and we do not say that this occurs only with the possible public from the streets, but also with the very performers, since the practices of the bodies of performance are not, do not want to be, and cannot be howsoever neither pedagogic, nor artistic, nor even political. They are, after all, elements which act so that the others are depersonalized, become larvae, and let themselves be penetrated by all multiplicities of new fluxes resulting from this collective experience. What we intend with artistic performance of intervention in the public space is to avoid the redundancy of the series, and this with actions which remit to other types of series, contaminated by an outside that is non-narcissan and non-narcissistic, non-negotiable and non-corruptible. And it is here that the experience intends to be the most radical we can propose at this moment: that is, that performance itself be a certain type of war machine. A machine which allows us to unveil its machine aspect and its functioning in the desireful construction, in other words, its “intensities, fluxes, processes, partial objects, all things which do not want to mean anything” (Deleuze; Guattari). Perhaps the question which appears here is: How to know whether this machine-performance works? The path indicates as an answer for us its own machine flux, the responsibility/irresponsibility of this artistic practice and reflections that constitute its genesis and the ones which arise from it. With the accomplishment of the machine-performance, we will also resume the discussion on documentation of the artistic making and its distribution, through fulfillment of a documental poetics which allows to foment debate on contemporary audiovisual practices and theories.