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luís soares

Blog do escritor Luís Soares

"I'm just a weird guy."

Shane Carruth, realizador (e outras coisas) de Primer e Upstream Color deu uma entrevista interessante à Little White Lies. Eu diria que se calhar há algum ego a mais ali, o que seria de esperar, mas vale a pena ler toda. No fundo acaba por ser um manifesto artístico para o século XXI que é hoje extensível a quase todos os domínios da criação. Uma citação abaixo.

We wake up in a cave, all of us. We don't know how big it is; we don't know anything about it. We don't even know it's a cave. And so people start digging in different directions; some dig left, some dig right. And then they die. They get 12-feet down in their cave tunnel and they die. And then the next generation comes along and maybe they start digging down that same tunnel, maybe they dig further. Or maybe they dig in a different direction; maybe they dig up, maybe they dig down. Eventually we start tunnelling out this cavern that defines everything about us, not necessarily what we know but what we question. That's the way I think of narrative storytelling. If all we're doing is existing in the same space, we're not adding to the definition of where we are. You've got to find a wall and start digging, and if that means you find a tunnel you're not comfortable with that's great; if that means you find a new direction nobody's tried before that's great; if that means you turn down a channel and turn left and start tunnelling that way that's fine too.

A propósito da capacidade que temos ou não para financiar as nossa ambições criativas, só mais duas notas.

Fui um dos que contribuiu para que o Marina Abramovic Institute fosse um sucesso no Kickstarter mas compreendo este rant do Keith Hennessy. É verdade que a Marina é já uma espécie de estrela (à sua escala, não confundamos as coisas) mas também é verdade que é um exemplo do que é possível e o objetivo do seu projeto é mais criar oportunidades para outros do que alimentar ego, parece-me a mim.

O Filipe Melo, músico, escritor, cineasta e all-round-renaissance-man está a tentar o crowdfunding para o terceiro volume de "As Fantásticas Aventuras de Dog Mendonça e Pizzaboy" e a coisa nem me parece estar a correr mal. Vão lá contribuir.

Qualquer oportunidade é boa...

...para mais um post sobre Marina Abramovic. Hoje o motivo é simples, vi o documentário de Giada Colagrande sobre "The Life And Death of Marina Abramovic", a peça de Bob Wilson que vi em Madrid este ano, um dos momentos altos do meu ano, diga-se.

No fim da sessão, a realizadora e o seu marido, Willem Dafoe, falaram um pouco com Paulo Branco e o público. O documentário é bom, embora lhe falte um pouco mais de intenção. Talvez haja demasiado fascínio no meio daquilo tudo. Mas é compreensível. Mais uma peça no puzzle Marina Abramovic, depois de ter visto "The Artist is Present" em setembro, no Queer.

 

Marina Abramovic. An Artist’s Life Manifesto.

An artist’s conduct in his life

An artist should not lie to himself or others
An artist should not steal ideas from other artists
An artist should not compromise for themselves or in regards to the art market
An artist should not kill other human beings
An artist should not make themselves into an idol
An artist should not make themselves into an idol
An artist should not make themselves into an idol

 

An artist’s relation to his love life

An artist should avoid falling in love with another artist
An artist should avoid falling in love with another artist
An artist should avoid falling in love with another artist

 

An artist’s relation to the erotic

An artist should develop an erotic point of view on the world
An artist should be erotic
An artist should be erotic
An artist should be erotic


An artist’s relation to suffering

An artist should suffer
From the suffering comes the best work
Suffering brings transformation
Through the suffering an artist transcends their spirit
Through the suffering an artist transcends their spirit
Through the suffering an artist transcends their spirit

 

An artist’s relation to depression
An artist should not be depressed
Depression is a disease and should be cured
Depression is not productive for an artist
Depression is not productive for an artist
Depression is not productive for an artist

 

An artist’s relation to suicide

Suicide is a crime against life
An artist should not commit suicide
An artist should not commit suicide
An artist should not commit suicide

 

An artist’s relation to inspiration

An artist should look deep inside themselves for inspiration
The deeper they look inside themselves, the more universal they become
The artist is universe
The artist is universe
The artist is universe

 

An artist’s relation to self-control

The artist should not have self-control about his life
The artist should have total self-control about his work
The artist should not have self-control about his life
The artist should have total self-control about his work

 

An artist’s relation with transparency

The artist should give and receive at the same time
Transparency means receptive
Transparency means to give
Transparency means to receive
Transparency means receptive
Transparency means to give
Transparency means to receive
Transparency means receptive
Transparency means to give
Transparency means to receive

 

An artist’s relation to symbols

An artist creates his own symbols
Symbols are an artist’s language
The language must then be translated
Sometimes it is difficult to find the key
Sometimes it is difficult to find the key
Sometimes it is difficult to find the key

 

An artist’s relation to silence

An artist has to understand silence
An artist has to create a space for silence to enter his work
Silence is like an island in the middle of a turbulent ocean
Silence is like an island in the middle of a turbulent ocean
Silence is like an island in the middle of a turbulent ocean

 

An artist’s relation to solitude

An artist must make time for the long periods of solitude
Solitude is extremely important
Away from home
Away from the studio
Away from family
Away from friends
An artist should stay for long periods of time at waterfalls
An artist should stay for long periods of time at exploding volcanoes
An artist should stay for long periods of time looking at the fast running rivers
An artist should stay for long periods of time looking at the horizon where the ocean and sky meet
An artist should stay for long periods of time looking at the stars in the night sky

 

An artist’s conduct in relation to work

An artist should avoid going to the studio every day
An artist should not treat his work schedule as a bank employee does
An artist should explore life and work only when an idea comes to him in a dream or during the day as a vision that arises as a surprise
An artist should not repeat himself
An artist should not overproduce
An artist should avoid his own art pollution
An artist should avoid his own art pollution
An artist should avoid his own art pollution


An artist’s possessions

Buddhist monks advise that it is best to have nine possessions in their life:
   1 robe for the summer
   1 robe for the winter
   1 pair of shoes
   1 begging bowl for food
   1 mosquito net
   1 prayer book
   1 umbrella
   1 mat to sleep on
   1 pair of glasses if needed
An artist should decide for himself the minimum personal possessions they should have
An artist should have more and more of less and less
An artist should have more and more of less and less
An artist should have more and more of less and less


A list of an artist’s friends

An artist should have friends that lift their spirits
An artist should have friends that lift their spirits
An artist should have friends that lift their spirits

 

A list of an artist’s enemies

Enemies are very important
The Dalai Lama has said that it is easy to have compassion with friends but much more difficult to have compassion with enemies
An artist has to learn to forgive
An artist has to learn to forgive
An artist has to learn to forgive

 

Different death scenarios

An artist has to be aware of his own mortality
For an artist, it is not only important how he lives his life but also how he dies
An artist should look at the symbols of his work for the signs of different death scenarios
An artist should die consciously without fear
An artist should die consciously without fear
An artist should die consciously without fear

 

Different funeral scenarios

An artist should give instructions before the funeral so that everything is done the way he wants it
The funeral is the artist’s last art piece before leaving
The funeral is the artist’s last art piece before leaving
The funeral is the artist’s last art piece before leaving

Não resisto.

Tenho pena que Antony Hegarty tenha gravado apenas "Cut The World" do magnífico The Life And Death of Marina Abramović, mas se havia uma canção a gravar, era esta, sem qualquer margem para dúvida. É o momento alto. Marina faz 66 anos um dia depois de eu fazer 40. É um ano mais velha que o meu pai. Em palco, sentada, ao lado de Antony, segura impávida um copo de água, enquanto Antony, bruxa gigante de preto, a desafia, assumindo a sua voz.

Na altura mal consegui escrever sobre o que tinha visto, na verdade. Sentado sozinho na minha cadeira do Teatro Real de Madrid, assisti ao desfilar da vida da artista sérvia, na sua alucinação, da família ao amor, à despedida na Grande Muralha da China, a sua interrogação permanente sobre o próprio corpo, mesmo no extermo da violência física e psicológico. Ainda hoje, com tal idade, capaz de biografar a sua vida e morte - basta dizer que o espetáculo abre com três caixões em palco, por entre os quais farejam três grandes cães pretos.

Nunca sem humor, nunca sem ironia, sem capacidade de comover saltando da profundidade absoluta ao distanciamento do olhar.The Artist is Present. E aquele narrador, Willem Defoe impecável. O narrador a quem é cortada a garganta no videoclip agora lançado. Ah que ideia brilhante, cortar a garganta ao narrador! E o olhar impassível de Marina cá fora, observando a assassina que chorou, literalmente, olhos nos olhos.

Isso já foi noutro post. Neste fica o momento ao vivo de novo e a letra, curta, simples, para ler vezes sem conta.

 

 

for so long i've obeyed that feminine decree
i've always contained your desire to hurt me

 

but when will i turn and cut the world?

when will i turn and cut the world?

 

my eyes are coral, absorbing your dreams
my skin is a surface to push to extremes

my heart is a record of dangerous scenes

 

but when will i turn and cut the world?

when will i turn and cut the world?

when will i turn and cut the world?

when will i turn and cut the world?

when will i turn and cut the world?

when will i turn and cut the world?