ARCHIVE ONLY

This blog serves as an archive for texts and works from 2004 to 2010.
Documentation of recent works can be found at windferreira

My Business Card

Facing a new round of applications, I decided to upgrade my professional appearance in order to be able and surf on the rough waves of crisis and competition. If you feel like giving your own CV a kick to set off, just follow the reference in the bottom line and you will discover a whole new universe of self-presentation. Enjoy!

Business Card
Name: Wind
Target Group: Interested Colleagues
Region: Berlin / Paris / London Elsewhere
Business Division: Global Culture Sphere
Job Title: Self-Entrepreneur
In the business since: 2004

My role

I work for Global Creative Ressources (GCR) covering predominantly public clients on special situations and event-driven festival opportunities. My area of expertise is risk taking, art production, performances, texts and counter strategies.

When I came to Berlin, I was placed in a former DDR apartment with just one other translocal team member. Thanks to our efforts and lots of good workflow, we have built the desk into a #1 European Relative Value operation. We have relationships with over 100 colleagues in the art world. The revenues speak for themselves and our team in Berlin has grown temporarily from two to three persons. I personally manage some of the most valuable network relationships.

My background

Before completing my Master, I worked at Theatre festivals on their structured production desk. After having finished my Master program in Dramaturgy & Comparative Literature Studies at LMU Munich (LMU), I decided to gear my studies towards a career in the interdisciplinary field of art and culture, with the hope of changing my career, as nobody provided me with the opportunity to put into practice all that I had learned during my Master program.

The Master program was extremely useful to the extent that it gave me the opportunity to take some exotic courses and help me build up a network that unfortunately got lost in competition. Certainly, had it been for the master program and the limited recruitment opportunities, it would have been difficult for me to make the shift from what was essentially a career in dramaturgy to art and performance.

Day to day challenges

Finding viable creative ideas is the biggest challenge I face in my job. It requires a great deal of information, ingenuity, and insight. Tapping into research, and drawing upon multiple resources are the keys to success in my business. The writing of concepts and applications is the easy part. Getting the full project and seeing the big context is where the challenge lies. Managing time is the second biggest challenge.

Community & Work Environment

From senior artists to junior members of the community, every one is a competitive player. The network is extremely intelligent, creative, open minded and hierarchical. There is always a buzz on the biennials and openings, the energy is electrifying, the pressure is high, yet I can confidently say it is one of the few truly "fun" jobs I have had in my life.

Training Program

A four week theory training program, and several long-term artist-in-residency programs were an excellent refresher course in the various aspects of art, theory & politics. The off-site team-building activities for participants provided a great forum to make connections and build networks in improvised conditions. One of the most rewarding parts of the programs was the opportunity to get connected with the art & theory world in Amsterdam, Istanbul, Sydney, and Stockholm. This allowed me to build relationships with the various critical colleagues who make up the translocal art projects.

Language skills
English, German, French, Portuguese, Finnish, and other European Dialects.

Corporate Culture

To understand the art culture, I would suggest that you visit websites and face book communities where you will read that our identity is based on five core values: Work focus; Creativity; Innovation; Performance and Trust. When I first joined the art world I heard the buzzwords but they didn't mean much to me. But having worked here for almost seven years now, I can really see how true they are. Almost all my colleagues live by these values and not by a stable income. I am surrounded by a group of unassuming, yet highly motivated players, driven by a hunger for success. The entire network is focused on achieving market dominance while being convinced that they are maintaining integrity at all times. I have found that self-management fosters and encourages entrepreneurship at all levels of the organization. Come out with an intelligent idea, even if it is not very likely that you will be given the resources for implementation.

Application & Interview Processes

My first-round applications for potential projects were directed to London, Tel Aviv, Helsinki, Aomori and other places hosting art-in-residency programs. The negative reactions were fairly informal, but we did not discuss anything, neither my career aspirations nor prior work experience. I decided to continue applying, however, as the art world in general demonstrates to me how committed everybody is to his or her own career. I found that my temporary employers were not traditional or elitist. To the contrary, the team I met at museums and festivals was down-to-earth and focused on building a formidable franchise. The quality and professionalism of the translocal art world really was a major deciding factor for joining it. I am curious about what the future will bring.

Bettina Wind

This text is dedicated to my translocal colleagues struggling with applications and concepts at the moment; I also want to thank Mr. Kanak, whose generous gesture to publish his job description on the website of Deutsche Bank helped me to give my professional appearance a completely new tune.

Hey lady, you, lady

Hey lady, you, lady, don’t just walk away, cause I have this need to tell you why I’m all alone today.

By that time you have already entered the castle with a mysterious woman dressed in white who walks in her sleep up the stairs and stares out of the window while telling you a story, her story. From the first listening it seems a line of memories, carrying her back to Georgia and California and anywhere she could run. But as soon as she speaks of the preacher man she made love with in the sun, you realize that there is something entirely different going on. The woman tries to calm you down with clichés about Greek yachts and nights in Monte Carlo, and the music does its part to make her voice and the whole scenario even more kitschy, but still it happens again: the woman confesses to you that she has seen some things that a woman ain’t supposed to see (in a cover version sung by a Korean female duo one of the singers fakes disapprobation at that part). She has seen something you ain’t supposed to see. Something she wants to tell you about because she can see so much of you living in her eyes. You have entered her fantasy by listening to her too long. Be careful with what it will do to you.

Charlene D’Angelo married twice. As a consequence, her name changed to Duncan and then to Oliver. Charlene Duncan tried to land a hit in the US in 1976 called “I’ve never been to me”. One line about “unborn children” was misunderstood as a feminist pro-abortion statement, which did not really help to make the song popular at that time. Some other singers tried after her to turn it into a success, such as Nancy Wilson and Randy Crawford, but it was Charlene Oliver, by then living in the UK, who made the song become a “one-hit wonder” in 1982. “I’ve never been to me” made it into the charts and Charlene into TV-shows. After that she continued her work in a sweets shop in Ilford, where she is supposed to work still now, if she has not retired yet.

So far, so sweet.

Or, as Charlene would put it: I took the sweet life, I never knew I'd be bitter from the sweet.

Be careful, this is another trap she prepares for you, because now comes a line that is usually cut out - for obvious reasons as you will see - of the Japanese cover version “Love is All” sung at marriage ceremonies. Here it goes:
I've spent my life exploring the subtle whoring that costs too much to be free.

We’re not listening to Charlene anymore (in fact, the original version was written for a male voice, as the front singer of the group “The Temptation”, who performed their version of the song in 1982, proves on You Tube).
We’re now listening to Priscilla, future queen of the desert, moving her lips accordingly to Charlene’s words, trying to defend her show against the drunken dangerous men molesting her on stage.

We’re not in the big castle anymore, following a little private guided tour: we’re on stage, exposed to the audience’s clutches and touches, trying to make it through the night without losing the line. Trying to move between spaces along this line, which is really a line of D and not of C, always and already in the middle – but of what?

We lost the point here, the origin, though the story I am telling you already raised some doubts about a point of origin: was it a crazy idea of a crazy composer? A male voice supposed to address a female audience? A Korean pop star raising an eyebrow in fake disapproval about her partner’s confession? Was it Priscilla’s fantasy that took hold of Charlene, drawing her deeply into exploring the subtle whoring, or was it Charlene in her sweets shop, who tries assure you that the sweet will make you bitter (but why selling sweets then)?

Forget about the truth. Forget about memory. Start fantasizing with me. Don’t believe my lies that you are the true woman holding that little baby. Try to misunderstand me when I sing of the man you fought with this morning. Do it like Valentina Hassan and think of the man you fucked with this morning and the one you will make love with tonight.

Follow me into the desert of a becoming, it starts just behind the castle.

Please lady.
Please. Lady.

Don’t just walk away. Listen to me again.

http://www.youtube.com/watch?v=ZrIqsFSjqso&feature=related

Familiar Stories (and other strange discoveries)

Blank - 2

I don’t know where this photo was taken, but it is part of the story I will tell tonight. The main character is a young woman who is not interested in politics at all.

3

When her father asked her to pose in front of the monument together with her mother, she leaned against the fence in an elegant yet provocative manner and put on a questioning smile. Her mother, a non-smoked cigarette in her right hand, grasped the fence as if it could save her from falling or walking away. There is a kind of routine in the way both put their shoes and sandals on display. While we are still looking at their feet, a woman crosses the street in the back. She’s not part of the story, so we might forget about her quickly, when we move on to the next picture

4

which shows a typical day on the beach. She was about to dive into the water when being caught by the camera. A young boy is pointing at her from the distance. Her nephew. She’s missing to make the family arrangement complete.

(Extract from script for "Familiar Stories")

slideshow performance in london in march

Family photos draw a line between centre and margin. In the centre: an almost united family (only the photographer is missing). In the margin: some blurred landscape with a passer-by. Now let’s cross the line and see what happens…

Work Game

Work game deals with work conditions in the field of contemporary art, and the ambivalent position of artists as entrepreneurs of their own life. A set of questions is used to develop an associative field of connections and contradictions in response to desires, self-technologies, and (precarious) work settings. Tokens and visual structures help to transpose isolated thoughts into multilayered temporary maps. Results enter the game’s account as well as a “work game diary”. Basic idea of the game is to generate an intuitive, intimate knowledge about dynamics and desires in the work process; to visualize structures of thought that cannot be expressed in a linear way, but nevertheless play an important role for our way of dealing with the work conditions we set up or respond to.

an unfinished publication - by windferreira

My Business Card

Facing a new round of applications, I decided to upgrade my professional appearance in order to be able and surf on the rough waves of crisis and competition. If you feel like giving your own CV a kick to set off, just follow the reference in the bottom line and you will discover a whole new universe of self-presentation. Enjoy!

Business Card
Name: Wind
Target Group: Interested Colleagues
Region: Berlin / Elsewhere
Business Division: Global Culture Sphere
Job Title: Self-Entrepreneur
In the business since: 2004

My role

I work for Global Creative Ressources (GCR) covering predominantly public clients on special situations and event-driven festival opportunities. My area of expertise is risk taking, art production, performances, texts and counter strategies.

When I came to Berlin, I was placed in a former DDR apartment with just one other translocal team member. Thanks to our efforts and lots of good workflow, we have built the desk into a #1 European Relative Value operation. We have relationships with over 100 colleagues in the art world. The revenues speak for themselves and our team in Berlin has grown temporarily from two to three people. I personally manage some of the most valuable network relationships.

My background

Before completing my Master, I worked at Theatre festivals on their structured production desk. After having finished my Master program in Dramaturgy & Comparative Literature Studies at LMU Munich (LMU), I decided to gear my studies towards a career in the interdisciplinary field of art and culture, with the hope of changing my career, as nobody provided me with the opportunity to put into practice all that I had learned during my Master program.

The Master program was extremely useful to the extent that it gave me the opportunity to take some exotic courses and help me build up a network that unfortunately got lost in competition. Certainly, had it been for the master program and the limited recruitment opportunities, it would have been difficult for me to make the shift from what was essentially a career in dramaturgy to art and performance.

Day to day challenges

Finding viable creative ideas is the biggest challenge I face in my job. It requires a great deal of information, ingenuity, and insight. Tapping into research, and drawing upon multiple resources are the keys to success in my business. The writing of concepts and applications is the easy part. Getting the full project and seeing the big context is where the challenge lies. Managing time is the second biggest challenge.

Community & Work Environment

From senior artists to junior members of the community, every one is a competitive player. The network is extremely intelligent, creative, open minded and hierarchical. There is always a buzz on the biennials and openings, the energy is electrifying, the pressure is high, yet I can confidently say it is one of the few truly "fun" jobs I have had in my life.
Training Program

A four week theory training program in Eindhoven in 2007 was an excellent refresher course in the various aspects of art, theory & politics. The off-site team-building activities for participants provided a great forum to make connections and build networks in precarious conditions. One of the most rewarding parts of the program was the opportunity to understand the various stars within the art & theory world in Amsterdam, London and Istanbul. This allowed me to build relationships with the various critical colleagues who make up the translocal art projects.

Language skills
English, German, French, Portuguese, Finnish, and other European Dialects.

Corporate Culture

To understand the art culture, I would suggest that you visit websites and face book communities where you will read that our identity is based on five core values: Work focus; Creativity; Innovation; Performance and Trust. When I first joined the art world I heard the buzzwords but they didn't mean much to me. But having worked here for almost five years now, I can really see how true they are. Almost all my colleagues live by these values and not by a stable income. I am surrounded by a group of unassuming, yet highly motivated players, driven by a hunger for success. The entire network is focused on achieving market dominance while being convinced that they are maintaining integrity at all times. I have found that self-management fosters and encourages entrepreneurship at all levels of the organization. Come out with an intelligent idea, even if it is not very likely that you will be given the resources for implementation.

Application & Interview Processes

My first-round applications for potential projects were directed to London, Tel Aviv, Helsinki, Aomori and other places hosting art-in-residency programs. The negative reactions were fairly informal, but we did not discuss anything, neither my career aspirations nor prior work experience. I decided to continue applying, however, as the art world in general demonstrates to me how committed everybody is to his or her own career. I found that my temporary employers were not traditional or elitist. To the contrary, the team I met at museums and festivals was down-to-earth and focused on building a formidable franchise. The quality and professionalism of the translocal art world really was a major deciding factor for joining it. I am curious about what the future will bring.

Berlin, 15.6.09, Bettina Wind

This text is dedicated to my translocal colleagues struggling with applications and concepts at the moment; I also want to thank Mr. Kanak, whose generous gesture to publish his job description on the website of Deutsche Bank helped me to give my professional appearance a completely new tune.

THE BALCONY SACRIFICE

Last week I was witness to the so-called “Balcony Sacrifice”. I had heard of such occasions, yet it still took me by surprise. There were signs of it some months ago: an old man on his third floor balcony climbed onto a fruit box with a round set hammer in hand, in order to check if his neighbour’s balcony would serve for the next sacrifice. I was privy to this on my way to the studio in a backstreet of Wedding – a rather ordinary district of Berlin, where fake castles serve as courtyards, security men greet you when on your way shopping, coffee is served in electrical supply stores, older brothers beat up their younger brothers in the street, rush hour is at one (both over and underground), and a young Muslim in a wheelchair waits for passers-by to carry him upstairs. Like any other district in Berlin, Wedding is currently being “discovered” by artists. But as there are no picturesque canals and only a few run-down houses waiting to be renovated, the stimulation of an artistic avant-garde might not be the watertight solution to cheering up the atmosphere and boosting property prices…at least, as far as I was concerned. I had just been through a very strange month.

It had been a strange month and nothing indicated its end she thought / except her tiny pocket calendar and some houses / set on fire by an early summer or an all too late crowd of activists / let’s get out of it she thought / and rode her bicycle up north / following the former path of surveillance / that had crossed a dead-land territory once / a run-down supermarket / an African flea market (about to close) / some Soviets’ graves next to allotment gardens / the abandoned railway tracks ready for suburban Sunday promenades / that would lead her to the edge of town

My studio faces a short street, cut in half by the large factory building: a liminal space par excellence. I rarely see people in the opposite building, part of which is probably empty anyway. Its shabby grey-white surface serves as a screen for my imaginary projections.

It had been a strange month in total she thought / while remembering the stark tyranny of an everyday sun / that dried out soil and daydreams / and a “try harder” ethos / so she left for a left bookshop / consumed academic thoughts from bookshelves / over-heard the latest rumour about gallery assistants threaten post-doc students / in the quest for grant-based income // as the crisis will attack // and there won’t be any escaping into books she thought / so she bought one and she went on to the playground / children inside / vendors outside talking on their ear-plug-cell-phones / an old lady with her solid plastic picker that reaches out beneath the parked cars / picking up trash professionally sad

Wedding once had a strong identity, or at least a strong colour. Namely RED. It was in this district that workers had tried to demonstrate on May 1, 1929. 19 of them got shot by the police, in the so-called “Blood May of Wedding”. Over forty years later, the West-German Social Democrats moved their party’s headquarters here in order to show their affinity with the workers class. Today, Wedding is a workers’ district, where not only has work vanished (50% of industry closed down in Berlin after the Wall); even the district’s name disappeared when swept up by the central city district’s administrative machine. Its inhabitants did not go away though, they just started performing life outside beyond below without work and district distinction.

There we are John thought D. Jarman / made her wonder how far that we would reach / but her newly bought book told her to connect it all / the fenced playground and the vendor and the lady and the bookshop / and the social vulnerability / and the pseudo-open collaboration with a big subjectification machine / making work and non-work merge / in sweet self-exaggeration / exploitation / re-invention of a flexible biography / a nostalgic lack of continuity / and protection / and desire and submission / institutional co-option of her (oh) so dynamic work force / a power field disguised as game field / an experiment as commodity / while she’s dreaming of something else

If solidarity can only be organized in relation to systems of paid work, then my work in Wedding relates to a system without solidarity. I feel a certain distance, every time I walk out of the metro station. The pavement is broad enough to give way without forced encounters (sometimes objects are dropped from above, sometimes voices are snatched from interiors). Still, I register too many impressions during the five-minute walk and by the time I arrive at the studio I have already been elsewhere’s, losing some thoughts on the way. People here let you come too close; their traces and silences and gestures and angry conversations at the public telephone booth speak too clearly a language that enters my imagination and lingers there, unwilling to drop off and give way to what I brought with me from an early morning thought. I get contaminated with dull lives that make me dream of taking all these moods with me and simply escaping.

There she was on a hill top / right before her the last piece of territory / like a leisure park in a nutshell / like a national park without extension / but with an exploded view that would send out / shock waves of freedom // out there // children were chasing dogs in electric bobby cars / old couples were dancing to nostalgic melodies of forgotten bands / dogs, ducks, horses galloping across fields and fences / and some wannabe punks waiting for the last bus to take them back to their sullen sad skyscrapers / while the filled air of swamps and rotten tree trunks smelled like Finland / so she took a last breath of its infinity / and the local train back home

When I started copying this text to a postcard, I realized that on the balcony in front of my studio, a man was fixing a golden helmet to his head, while an old lady stared cautiously out of the apartment, wondering what will happen to the neighbour’s balcony. While we watched in silence, the man took out a rather large weapon and started attacking the ceiling in methodical pokes.



(Balcony Sacrifice: Yearly ritual performed without public announcement in a district of Berlin, believed to ward off misfortune in the future. Description: A balcony is partly destroyed by a performer carrying a halberd while wearing a golden helmet > reference to Saint Florian, whom believers address in their prayer as follows: “Saint Florian Dearest / From Fire and Damage protect my Home / Let others’ Homes drown in Extinguisher’s Foam.” The (usually dead-beat) balcony symbolizes an insecure future and inherent risks when stepping out the safety of home and tradition; its sacrifice is a substitution for the real sacrifices that might await those who take a step beyond and expose themselves to unknown forces that, through the ritual, are then wrought upon a lifeless object. Note: Popular sources relate the use of a balcony to Karl Liebknecht’s declaration of the Republic from the Berlin Castle’s balcony in 1918, as well as to his violent death shortly afterwards.)

Critics say that the “Balcony Sacrifice” is just a way to establish societal order, keeping transgressions temporary, under control. The real aim is to neutralize the potential of resistance against forces – neo liberal ones, they add - that threaten not only balconies, but the base of work and life as a whole.

Still, I enjoyed the ritual’s destructive beauty. Aesthetics are what artists aim at, in the end.

GALLERY DISCUSSION BERLIN

Pamphlet intervention on May 1st 2009 by Alexandra Ferreira and Bettina Wind

strange forms of life - slideshow

strange forms of life - extract

(...)
At about the same time another man runs for his life. His bare feet almost do not touch the icy ground as he tries to move faster than the huge ship behind him that is breaking the ice he had crossed just a moment before into big white islands. He is running towards us but he cannot come closer. We are out of reach.

(slide)

To be more precise, we are sitting in a dark room that is illuminated by one source of light pointing at a blank canvas. There are no other sources of light although we know that out there in this district of the city, lights are directed onto streets and shops and billboards and museums, but this is of no interest for us at the moment, as we are forming our own district by means of a source of light and some folded lines. In our district there are borderlines forming landscapes of extension and intension, enclosing points, expanding and limiting zones between us and our neighbours. Just like in the following image:

(slide)

Every fold produces a double-fold of interior and exterior, a folded landscape that blurs the boundaries of inside and outside vision. Does it matter if these images correspond with a materialized outside? Or do they rather describe an inside, an introspective, a projected ground upon which each single imagination draws its own district?

(blank)

In the inner district of imagination linger images that might have been taken in the outside, at a specific time of the year, in a specific light; still, if we look at them now, the outside is out of reach – we might as well take them as images of a dream about strange forms of life.

Slideshow in Berlin, April 2

PASS THIS ON

THIS TEXT OFFERS A PACT. Not the kind of pact that is made in the opera “Der Freischütz” (The Marksman) and that leads inevitably to death and destruction. More a kind of pact that keeps the audience watching the opera till the end, with the feeling that there is no escape from the cruel German legend, but that there is pleasure in assisting to it.

THIS IS A PACT ABOUT PLEASURE. What else could it be? There is no money or fame involved. Even a proofreader is missing to edit these words, written during a rainy evening in a Berlin apartment. There is just Word’s auto-correction program and I. And a strange voice in my head, telling me to

PASS THIS ON


MEMORIES OF A STORYTELLER

I don’t know if I passed on this link to you already:

http://www.youtube.com/watch?v=_VLnLs_-Ez4

Don’t worry; it is not a virus, though it might become contagious. Let me explain to you: When I watched this video colleagues had passed on to me some time ago I felt a certain danger, a growing tension between the singer and the audience. I have been to Finland a couple of times and have experienced community centres in countryside that offer cultural divertissement at isolated places. I have seen a drag queen performing in a back street of Tampere, and I also got into trouble in another back street, when walking along with an Argentinean colleague who was wearing his hair long and black. The video’s constellation did not seem to predict a lucky ending at all. Even when the first man starts to dance, it looks more like a kind of provocation. “Is he willing? Will he play?” asks the singer, and then suddenly the scene takes off to another place, to an old fairy tale that goes like this: Two brothers follow the spell of a strange woman, and lead the whole village to her place in the forest, where young and old lose their caution when listening to the woman’s seductive songs. They follow her invitation and start to dance; they lose themselves in their movements and in their dreams. They become somebody else. The only one, who does not enter the dance, but watches from the margin, is the brothers’ sister, who gave her voice to the woman in exchange for the promise of fame and fortune for her family. Silently, unable to speak, for her tongue belongs to somebody else now, with her eyes wide open, she keeps watching.

MEMORIES OF A SORCERER

It is the fascination of a multiplicity inside us that draws us to the edge of a forest to witness the pack (of wolves, of witches, of witnesses of a ritual) and its shepherd, its leader or singer or sorcerer. Unnatural participation, as Deleuze and Guattari call it, a propagation by epidemic, by contagion. There is always someone on the edge inviting you to make and alliance, to enter a pact. Someone defined by the liminal position of being inside and outside the pack, of slipping into it (slipping into a tune, a costume, a voice, a gender) or standing outside as the exceptional individual, the “Outsider”. It is a dynamic position, a movement marking the borderline of the pack, into which the human passes or inn which his or her becoming takes place, by contagion (Deleuze&Guattari, A Thousand Plateaus, 1730). In this sense, the singer does not only invite the brother to play or to dance, but also to bring along the human group he has a second alliance with, the audience watching the two dance, as the singer watched the two brothers dance before (Oh, what a dance), and along with it the next human group, the fascinated Self, the You Tube audience watching a dance that comes as a surprise; that involves a group most unlikely to spend time together in a community centre up north. What are they doing there? How did they come together, if not secretly and always on the fringe?

You can say that we are just watching a summer hit of Club music, produced by Karin and Olof Dreijer aka The Knife, who appear in the video as the dancing men and the young woman in the last shot. That Rickard Engfors who performs the playback version of the song “Pass this on”, simply marks the making of his/her drag performance by putting on the music and taking the fake microphone. A drag show, a fake song, a music video.

I say we are watching a becoming, and by watching it, we get invited to a pact, we might even get infected by an affinity to politics that are neither those of the family nor of religion nor of the State.

This video might be contagious.

PASS IT ON

40 Jahre Mousonturm // Eine Retrospektive

The exhibition proposed different ways of telling (hi)stories of the interdisciplinary centre for performance and arts Mousonturm: moments of past and potential future were "stored" in boxes, ready to be explored by the visitors. The exhibition opened on February 5th 2009 and changed every week till the final intervention by Oliver Augst and Stefan Beck on February 28th who performed "Sprecheinsatz: Alle Künstler" at the last evening.

40 Jahre Mousonturm // Eine Retrospektive

Exhibition with Alexandra Ferreira, in collaboration with Pedro Lagoa, for Künstlerhaus Mousonturm in Frankfurt am Main

drawing a line

Slideshow in Oporto, November 8

DES HOMMES QU'ON APPELLE SAUVAGE

"Did the mask belong to Jean in the same way it belonged to the dancers in their village who received the sprits when turning around to the rhythmic sounds?

(SLIDE)

Jean used it during the day when he was close to the others, it was as if he needed their presence become another, to enter the ritual of his totem, his spirit. But which kind of spirit was it that Jean received when he put on his black mask that would cover half of his face while his lips were pressed onto each other in eager suspension?"
(Extract of Slideshow for Oporto, November 7)

Invitation to a Slideshow in Oporto