(this page was last updated in April 2020)
Belém, Brazil, 1975.
Lives and works in Belém, Brazil.
Represented by Kamara Kó Gallery.
PIPA 2016 nominee.
Danielle Fonseca’s poetics are composed of elements from literature, poetry, philosophy, music, and the landscape. The artist was awarded the Grand Prize of the University of the Amazon Salon of Small Formats (Belém, Brazil, 2011) and the Acquisition Award of the Salon Arte Pará (Belém, Brazil, 2001 and 2003). Fonseca also won the Research and Experimentation in Visual Arts scholarship from the Foundation Ipiranga (Belém, Brazil, 2007). In 2012, the artist exhibited the medium-length film “A vaga” at Midrash Cultural Centre (Rio de Janeiro, Brazil).
Fonseca has participated in festivals, exhibitions, and salons in Brazil, Scotland, Spain, Lithuania, Finland and Portugal. Highlights include: “Triangular: arte deste século”, at Casa Niemeyer, Brasília, Brazil (2020); VAIVÉM”, Centro Cultural Banco do Brasil – São Paulo/SP, Brasília/DF, Rio de Janeiro/RJ and Belo Horizonte/MG, Brazil, 2019/2020; Salão Anapolino de Arte – Anápolis, Brazil, 2019; “Nossos passos fazem jorrar a sede”, II Exhibition Programme of Cultural Centre São Paulo (Brazil, 2015); “Pororoca: A Amazônia no MAR”, Museum of Art of Rio de Janeiro (Brazil, 2014); “Deslize”, Museum of Art of Rio Janeiro (Brazil, 2013); “Amazônia – lugar da experiência”, Museum of the Federal University of Pará (Belém, Brazil, 2012, 2013); “Outra natureza”, Cultural Space BASA (Belém, Brazil, 2013); “Cromomuseu”, Museum of Art of Rio Grande do Sul (Porto Alegre, Brazil, 2012); “O triunfo do contemporâneo”, Santander Cultural (Porto Alegre, Brazil, 2012); “Corpo incógnito – água viva”, Gallery Amarelonegro Contemporary Art (Rio de Janeiro, Brazil, 2012); “Coletivo/Individual” Kamara Kó Gallery, Art Gallery of Cultural Centre Brazil United States (Belém, Brazil, 2012); “Sobre ilhas e pontes”, Gallery Cândido Portinari (Rio de Janeiro, Brazil, 2010); “FOTORIO 2009″, Oi Futuro Space (Rio de Janeiro, Brazil, 2009); 12th Salon of Bahia (Salvador, Brazil, 2005); and “Faxinal das artes”, Museum of Contemporary Art of Paraná (Curitiba, Brazil, 2002). She is the editor of the contemporary art and culture magazine Não-Lugar.
“Para que poetas em tempos de terrorismo”, 2017. Duration: 10’01”
“A Vaga”, 2009. Duration: 34’52”
“Nossos Passos Fazem Jorrar a Sede”, 2009. Duration: 02’55”
“O Tao Caminho”, 2005. Duration: 07’32”
“The Body Performative the ARTIST-SURFER in the WATERS OF THE AMAZON” by Keyla Sobral Tikka and Orlando Franco Maneschy
ABSTRACT: This article discusses the surf theme, art and philosophy que Has Been a constant in the work of the Proposed For artist Danielle Fonseca. Video from The Wave (2010) until the planks carved wood pine, Sucupira and original Acapu of Southern and Northern Brazil, Which she calls “extracorporeal” (2012/2013), reflecting on this junction so peculiar That It makes about SURF + ART + PHILOSOPHY, from the region it inhabits, Which is surrounded by water of the Amazon.
Key Words: Surf, Art, Philosophy, Amazon.
The visual artist paraense Danielle Fonseca (1975), is of Belém do Pará, the city where he was born and where his work has been conducted in close relationship with many of their environment, including the island of Mosqueiro, where they developed several their artistic projects. Its route starts in 1995, and since then has been awarded significant awards, including Grand Prix UNAMA Hall Small Formats (PA 2011) and Acquisition Award Hall Art Pará (2001 and 2003), highlighting three important grants for the development of projects such as the Art Research and Experimentation Fellowship of the Institute of Arts of Pará (IAP) (2005 and 2010) and Visual Arts in Research Fellowship Foundation Ipiranga (PA, 2007), with which carried out the projects Marahú Path – Construction of a poetic and real itinerary to Max Martins cabin , the waves: a meeting of slip between art and surfing, and Into the Lighthouse: the word destiny is to become water, respectively. His work has been circulating in national exhibitions, such as Amazon – Experience of Place, Museum of UFPA (Bethlehem, 2012.2013); Another Nature, Cultural BASA (PA, 2013); Cromomuseu, Museum of Rio Grande do Sul Art (MARGS, 2012); The Triumph of Contemporary Cultural Santander (Porto Alegre, 2012); incognito body – living water, Amarelonegro Contemporary Art Gallery (RJ, 2012); On islands and bridges, Cândido Portinari Gallery (RJ, 2010); FotoRio 2009 Space Hi Future (RJ, 2009); 12 Hall of Bahia (2005) and Faxinal Arts, Museum of Contemporary Art – MAC (PR 2002); and is increasingly standing out on the national scene.
The artist brings a discussion to the place of art from a place where surfing is a support for an aesthetic-poetic work through performances, photographs, paintings, videos and through the muddy waters of the Amazon, with an icon element counter-culture which is surfing.
Launching this river sea Amazon is like getting a picture, watch and see that the density is another. Making art and surfing in the Amazon is to paint with your fingers, it feels rough to the screen.
According to the philosopher Daniel Lins, who wrote a text especially for the individual artist’s first Tense eyes, suddenly the air seems to be saltier, held in Kamara-Ko gallery in 2013:
In marriage with no writing waves coming from the ocean lonely areas, with their giant tubes and translucent cathedrals, it is the becoming-Indian, under the sign of strength and charm,
incantation and spells that cross as a Pororoca. Crasher. Gigantism maddened waves in troubled waters. The meeting without symbiosis: Rio-Mar! Surfing with vibration. Sensation. Tato (LINS, 2013)
Image 1. Artist-Surfer Photo (2013). Source: Danielle Fonseca acquis.
Danielle Fonseca is dedicated to surfing since 1989 and the surf reaches the state of Pará probably in the 70s when a group of young people brings a board of Rio de Janeiro after a holiday season, but due to distance from the sea to practice this sport in region is considered amateur, however, with use of adversity, as the practice of surfing in various Pororoca (the river meets the sea, generating tidal waves) that occur in the region, the practice of surfing will be established within local conditions region.
Surfing integrates the artistic do the same when, in 2009, after reading the text Deleuze: the surfer of immanence, the philosopher Daniel Lins, decides think surfing, art and philosophy together – in an artistic and net scene.
Surfing should be part of our lifestyle, of course. One of the things that fascinates me in surfing is the fact that they are three “bodies” in motion, surfer, surfboard and wave. And at the same time a perfect balance between these forces. View Gerry Lopez surfing is as good as going to an art museum, the force
Contemplative is the same. (FONSECA, 2013)
The project Waves: A meeting of slip between art and surfing, which was awarded a Research Fellowship, Experimentation and Creation of Pará Arts Institute in 2010, had as its final object the average film A VACANCY (2010), where the artist proposes a reflection on the surfing relationship with art and philosophy. In this medium appears a series of interviews with artists, philosophers and surfers who were captured in images between Rio de Janeiro and Belém. It also received videos of guests who were in Indonesia, as the poet Felipe Stefani, the Monja Isshin Porto Alegre and the surfer, philosopher and editor of the magazine Surf Session French, Gibus de Soultrait. There, in the film, the artist launches question to artists, surfers and philosophers about what that inhabit the “fold” of the wave, what is this idleness and this freedom. Fonseca there poses questions delicately, about the discovery of this “liquid Dancer”, this performer is the surfer who is she. Are reflections on the surfer’s wisdom, as stated by the philosopher Charles Feitosa, one of the film interviewed, “which competence is this surfer own: the surfer knows wave running.” She goes further, asking us “What is this idleness that bother you?”. Driven by all this discussion, Fonseca is presenting its particular writing, and surfing and literature, which are elements that make up the existence of the artist. There we see their particular application, their thinking, their way of operating in the world. As the artist on this proposition between art and surfing:
In fact I believe to be looking for a way where you can present surfing as an artistic uniqueness of expression in such a way that it is close to the art or artistic thought. Surfing is to create movement. Art is creation. (FONSECA, 2010)
Picture 2. Movie Frame THE WAVE (2010). Source: Danielle Fonseca Acquis
2. A PORTRAIT OF THE ARTIST AS SURFER
also highlight the series of photographs A portrait of the artist as a surfer, made during a bodysurfing action on the island of Mosqueiro (PA) with a surfboard (handplane) carved by the artist, made of pine. The title of this work is an allusion to the Book of Irish writer James Joyce: A Portrait of the Artist as a Young Man (1916), this debut novel of acclaimed writer served as a comparison with that relate to an autobiographical search artist with two things intrinsically go together in the artist herself, the maturation of the character in the book, Stephen Dedalus, is even seeking Danielle Fonseca: the artistic and intellectual, and add body. What drifted to a photographic result.
Ali also realize that for surfers a base is the board, an object that provides the slip, the friction between the body and the Wave. Fonseca is also performer in this work, when preparing the ritual is part of the scenario
floating is part of it, shooting taking the tube. It is hosted by bending the wave, a real immersion in the baroque waters of the Amazon. The delicate body / slim / dancer slides, which illuminates under the thin trickle of water, and saute the water poems eyes. Fonseca inhabits the wave with his body-motion surrender to the event, the becoming-artist.
Figure 3. The series A portrait of the artist as a surfer. Danielle Fonseca, 2012.
Figure 4. From the series A portrait of the artist as a surfer. Danielle Fonseca, 2012.
3. CONSTRUCTION OF EXTRACORPOS
With sculptured hands, Danielle Fonseca thinks of surfboards as an extension of the body, as extracorpo, a term used by the philosopher Daniel Lins in Deleuze text: Surfer Immanence. The proposal of the artist was to design and build wooden planks, like the story “The third bank of the river” the writer Guimarães Rosa, she tells us about the extracorpos: “the idea was like the character in the story of Rosa was to build a vessel special”.
The Extracorpo series (2012-2013) are planks carved wooden pine, original Sucupira and Acapu the South and North of Brazil, where it builds special boards, “built in one body of wood, made a canoe fund, which is almost a surfboard without borders. Plank is a place to fit just a rower or a surfer, “says Fonseca. The idea of the planks emerged projects painted in watercolors, and, from the paintings are running boards that brings as a reference not only the ancestors surfers, but mainly the one of the “fathers” of Conceptual Art, the Italian artist Piero Manzoni.
The artist also brings issues raised by Pierre Lévy in his book What is virtual ?. Lévy is a súrfico body, but not on only one idea of healthy bodies and athletic magazines of extreme sports, but a body that exceeds limits, conquer new media and intensifies sensations, but also reveals:
Between air and water, between earth and sky, between the base and the apex, the surfer or the one that throws it is never fully present. Abandoning the floor and their points of support, he climbs flows, slides interfaces, it is only for lines of flight if vectorizes, deterritorializes. (Lévy, 1999, p. 32)
5. The image Extracorpo series. Danielle Fonseca, 2012/2013.
Picture 6. The Extracorpo series. Danielle Fonseca, 2012/2013.
Picture 7. The Extracorpo series. Danielle Fonseca, 2012/2013.
“You have to learn to stay submerged for some time, there are sunny days over the board, there are others where everything is crate cow broth. We have to stay underwater for some time. One must learn to persist, not to give up. “This Alberto Pucheu poem excerpt is present in the medium-length film A VACANCY (2010) of Fonseca and is a fine metaphor for further work, is the artist, philosopher, or surfer, to one that allows densify issues, incorporate thoughts, feel the space in which inhabits. According to Lins (2008, p.57):
[…] Surfing, machine manufacture dreams, is greatly a fabulous game between man and the wave, a production, an invention of useless, perfect definition of art. The surfer, who plays god with aquatic gods, unbounded power of a seismic ontology, is one who says yes to life.
Body and movement. Surfing is movement. The súrfico body is dance. Fonseca is a researcher of surfing, is a dancer, ballerina to glide over the waves exploring such delicate movements. Fonseca blend life and art is the artist who is a surfer, which is the net dancer. By the way, what’s more spectacular, than live in a non-place not so much the land, not so much the sky just floating on a wooden base, a magical basis?
If João Guimarães Rosa had known any surfer would say are beings who perform the invention to remain in ooze spaces, half and half, always on the board, as if it were not jump ever (FONSECA, 2013 p.36)
Metaphorize surfing in art is the research that the artist is doing, but do not intend to turn the sport into art, just see through the lines similarities between the two, the fluidity, the creation, non-professional, vacancies – one in the literal sense of the word wave and another towards the poetic – the idleness or waiting windows, finally both are concerned by philosophy. Run by a way of thinking.
The artist, this acqua-woman, through his work throws us challenges, intensifies feelings, arouses desires, that delivery of the artist, this deep, inner diving. Enchants us, and certainly in salting his eyes.
LINS, Daniel; GIL, José; Nietzche / Deleuze: game and music. Rio de Janeiro: University Forensic, 2008
FONSECA, Danielle. The Board is a pedestal for the body. Magazine Gotaz. n. 2. p.36. 2013.
Lévy, Pierre. What is Virtual ?. São Paulo: publisher 34, 1999.
LINS, Daniel. Tense eyes, suddenly the air seems to be saltier. Fortaleza, 2013. 4 f. (Typed text)
FONSECA, Danielle. Porto Alegre: Journal Surfari. Interview courtesy Lucas Zuch. [08/04/2013]. Available in http://www.surfari.com.br/surfari-entrevista-danielle-fonseca/
FONSECA, Danielle. The Waves: A meeting of slip between art and surfing. Pará, 2010. 15 f. Project (Research Fellowship, Development and Experimentation) – Institute of Arts Pará, Pará 2010..
http://www.youtube.com/watch?v=9GXXNpuvoOY – A VACANCY (2010)
Keyla Tikka Sobral is a visual artist and Bachelor of Social Communication. He is a Masters student in the Programme of Graduate Studies in the Arts Institute of Sciences of the Art of the Federal University of Pará. He publishes the electronic magazine of art and contemporary culture Non-place and collaborates on the Blog New Medias. As an artist, he has participated in art shows in the country and abroad. He was assistant curator of the Amazon Project: Place of experience, as well as the co-publisher of Experience of Place – Artistic Process of the North (2013).
23 Meeting of ANPAP – “Artistic Ecosystems”
15 the September 19, 2014 – Belo Horizonte – MG
Orlando Franco Maneschy is an artist, critic and independent curator. He has a PhD in Communication and Semiotics from the Pontifical Catholic University of São Paulo. He is the curator of the Collection Amazoniana Art of the Federal University of Pará. He participates in projects at home and abroad, such as: Project Para Art, Brazil, from 2008 to 2010; Amazon art, 2010; Chaos and Effect, 2011 (curator); Wild Nature, Germany, 2009; Equatorial, Mexico City, 2009 Between Distress Damp Green, 2012, (artist), etc.
“Tense eyes: suddenly the air seems to be saltier” by Daniel Lins – Text on the art exhibition
Central axis of the photographic work: the presence of the human trace on the landscape proves one narrative that moves, however, by gypsy alphabet thresholds, shattering grammar or making it intercessor. Ridding it because of its “careful” task, imposter, misleading. It is through that Danielle images pass. Intermezzo. As a letter in the mail. Word and water! A-to- mailbox is much more than a natural object that would reveal his “story” written with singing / scars, and we speak of the process that produced it. Here the object is not the result of an intention, but a vibration.
These images express in a unique way, as the mere presence of a human artifact can change a landscape. The match-box, archipelago of differences in equality, houses territorialized / deterritorialised of a planet, seemingly frozen in time, however, in deep nomadic movement.
A-to-mailbox welcomes both the tears of hearts in love, or banishment of abandoned, as bills to pay … marked Meetings. Mismatches. The future in the present. A mourning. Illness. A happy event. An endless collection of hearts whose differences embody the current strength / virtual box. It is “stop” it runs like a wild colt, driven by blocks sensitive image, the way the dancers dance / theater Butoh. “It stopped the nomadic further runs.” (Deleuze)
A-to-mailbox travels the country of the bodies on the spot, under the sign of an East-Ethics impercibilidade housing a look at the other, the pantheistic look Espinosa. The look of Indian! A look that echoes a cry that breaks elements of a populated loneliness by listening to the capture. Multiple. Astonished. Indian look: atheist as a surfboard nourished by furious liquid diluted in a sea of fire thousand folds, and surfer lightness.
In marriage with no writing waves coming from the ocean lonely areas, with their giant tubes and translucent cathedrals, it is the becoming-Indian, under the sign of strength and charm, incantation and spells that cross as a Pororoca … Bang. Gigantism maddened waves in troubled waters. The meeting without symbiosis: River / Sea! Surf with vibration. Sensation. Tato.
No wonder, in the manner of some Amerindian peoples, whose look the new search, which likes not, or not yet felt the surfer, most, tolerate so only a limited, unfinished perfection that requires flourish elsewhere. So after a week of ideal conditions for surfing, boredom sets in among the crowd, and many entojam perfection, transfixed by the ephemeral images.
When I look at the photo / carved the board feel the fragility of Danielle Fonseca as a force, the ephemeral like a dream, like life. Instead of thinking, however, the rivers that are ocean images that emerge tattooed in the bend of a body, twisted surfer, wizened, in the fetal position. Inside or outside the tube of a wave that breaks. The image becomes bending an immaterial beauty, almost lethal, when confronted with the feeling of immanent destruction. The surfer is unceremoniously kicked out for a universe of light, dazzling as blindness that sees
with his hands, and cries to the navel; or, as the madness undoped. The sane madness of poets. The abstemious crazy images.
There is an explicit analogy to the Renaissance, born again, part of the Hawaiian word: He’e nalu, “slip with the waves.” He’e means “flow like a liquid” while nalu refers to the emergence of a wave or a viscous liquid that covers and protects the newborn, besides all psychoanalytic interpretation.
Danielle Fonseca loves surfing. She loves surfing. Daniel Lins loves surfing. He loves surfing. It is for her this tribute, direct output of-box correspondence; of my personal mythology, awakened by the sound image of the board …
The stage involves an action state in the world, and then a process, not necessarily inserted into the story that puts in scene-of-mailbox. The box is a thousand times pierced by silent stares, fears or enthusiasm surges and often, confessions and secrets in the movement to deposit the envelope in the solitude of the box itself: the inhuman in the human. Nature here photographed, exposed by the artist, announces the solitude of a wounded planet: a-box-mail.
Here is the strength of this image, in which Danielle seems to say: do not try to understand what is “represented”. There is nothing to understand. Feel. Feel. Feel. More! More! More! Until syncope … to the abundant waters, abundant, opulent. Even the hot enjoyment contemplated by desire. The silence of the eye.
How to set the creative process, or the sense of an ongoing, unfinished art? Photography is a kind of anguish: the construction of speeches fleeing to what the word can mean. Shooting is to have the possibility to cut (by clicking or shoot) a piece of the world that engender, we welcome, and we believe there is around us, though briefly, as temporary passion. Rather, in this context, recourse to botany. Ephemeral, it is said flower Busting and disappears within a day; or plant with very short life cycle can occur several times a year: appear in disappear.
Present throughout the inventive process, the unfinished home to the Renaissance, the desired blow, the inconcluído continue its rhizomatic movements and escape to biopower and the police of the arts. In this sense, lingers in imagery preparation of an active artist praise unfinished, as lines of leakage barriers to point to the end, even as all end-mind … Photographing the reality is photographing the full nothing; which can contribute to instigate author / observer to reinvent themselves every click, every look: photos on the photo. Universes in other intercepted.
This force resonates in a special way in the here-exposed images. In and photography, the image line of flight becomes a technical mediation, a longing revelation: immaterial / material. It is not a manufactured image, but enraptured. A melodic memory, dancer. The phrase free, light and loose a grandmother, a grandfather, a lover. Lover; lovers. A child’s dream. The picture emerges from a materialization almost immaterial light whose gesture is only the trigger, apart from any virtuosity.
Speak before a nameless reminiscence; a longing without melancholy or chord. Curiosity-child. Bustling, party girl, hussy, fearful, not to make art, to romp!
Danielle Pesky. She is mischievous.
In the face of the photo case as no surprise to face it is not produced by the pan, landscape, or the composition beyond the framework to randomize which there is supposed to be shown, but the framework and blurring precisely the invisible: the inside / outside of the frame. The inside or outside the frame. Something powerful runs through the pictures of Danielle: the invisible frame. It is noticeable that it is “a part of sensitive” without ensuring the emotion played by technique.
But the emotion driven by instant programmed representative, is not a valley of tears? A figurative? No. The artist walks through other territories, for an emotion / other full of memories, sated of “involuntary memory” (Proust) metamorphosed in the sensitive, the party of the signs, the smell, the smell, in a becoming-animal, the opposite in fact emotion as media / hysterical imposition.
A picture is worth solely by the secondary look that builds the frame, and gives the intention unintended result of raising gesture. In this case, it is confronting the density of a face “decontextualized” and that leads to an aesthetic that continues its execution, his experiment in diversification between the two and the extent of space.
The photo is an exemplary medium in the melodic sense. It is a musical uniqueness. It is a sound record swings between bass and treble, open, however, the work of the vibrating eye of the photographer, in the insular sign of the eye that has the claw of a dispossession, barricade against temptation binary, or dualism of lazy.
Danielle photographing intimate way. It’s like talk to your images. With each one in particular. The “dialogue” seems to happen, often under the murmur of water and music, where the veiled sonority of his art. In this case, we would not be talking about a photo as melodic image, photography singing, and around which cadenciam movements and intonations and steps of a water-becoming ballet’s own image?
Taken by the Greeks call thaumazein: wonder, marvel, primary axiom of philosophical attitude towards the world, Danielle wonder, wonder if. The aesthetics of wonder present in his film ‘The Wave’ dominates virtually his artistic production. That is the wisdom of the Greeks: cultivate the art of thaumazein! Because? Because the verb wonder is the (dis) order of surprise, the event, openness to new, something to come. Looking up, be surprised by the nature – difference and repetition – photographing it. Simply.
Looking up is an opening for the new meetings; grown to the nature, beyond a unique pseudo- nostalgic.
It can be seen in the images how the photographer is an artist admiring the world, feeling continually surprised by its stunning capture, and the first result of his gesture. Like a kiss. A blow on the clay. In the land. One click. One shot.
The gesture arises because, as a coupling mediated by joy, marriage. Waves, vibrations, sensations whose “results” demand to be reinvented. This call, this footprint has the overwhelming power of memories, the losses experienced as a springboard for a bigger jump. Where – perhaps – the vitality of its imagistic / artistic production, in various fields, “chance and necessity”?
Create or suffocate. To invent. Manumit. The landscape does not seem to be just a new photographic object, but the extent of soft radicalism, singular, an art that leaves possess the touch of charm: magic and enchantment in space, ecosystem, a nearby art water and lights. A wet do, stew, in which the artist does not photograph just with the look, however, his eyes full of tears.
Danielle shooting in the womb. With the solar plexus. Proteins. Sap. Milk invigorates pain. Powerful. Tears. Fertility. Warm / hot like life. This is an image / photo revitalized: talent and imagination liquid.
Daniel Lins – Philosopher / Writer / Photographer. Fortaleza, Brazil, July 2013
“The rope and hammer | Danielle Fonseca” by Ana Luiza Lima
Without music, life would be a mistake.
The rope and the hammer: a contemporary song.
(Self repetition required *)
There are pieces of time whose weight falls on our shoulders. With effect of irregular gravity, of course, because things weigh more in some than in others. Commonly, such times are made of shadows. Moments when the light of knowledge hid behind an institution for any and for which humanity decides to watch. What happened was that the invention of civility idea in Western society crushed any other ways of being in the world that was not of European origin. Turning what is out of this species of underworlds, sub-languages, which should not be considered in the “History”. Thus, it was that magical and ritualistic ways to structure our ways of existence were considered secondary. We became so acculturated that do not recognize us easily. Because the roots have won many distances in promoted cultural erasures and encouraged by elites “whitened” by a misguided discourse of civility. Despite the difficulty of building a memory, there is the need for self-assertion as a historical subject, whose multicultural references makes this subject especially contemporary. An indispensable currently targeted for (re) identify ourselves within this context.
It is possible that we are adrift in one of the most evil moments of humanity. Because after all the past experiences of spiritual and intellectual darkness of the ‘Midi Times’, the search for ‘Lighting’ through scientific knowledge that envisioned a Modernity, quedamos today diddling the same mistakes. And that no more innocent coat of not knowing, which could eventually apologize. But for us contemporary, time no longer pass, they are all present and accessible, are all here trampling day and is able to cope with these experiences and accumulated knowledge, today, stocked more informative than embodied in furs data.
In dark times, the string existence stretches too. It must be tied between a bank and another, set between the edge of things so that life does not drain in vain. Remain tied, however, it is how to let the time hammer hit the ruthless and constantly. As chords of a piano. It is in this context that “Our Steps Do Well to Be” poetic proposal Danielle Fonseca, it is a necessary narrative. Yet there are those who escape this relentless crush promoted by the ways of being and of capital? We are trapped in the vilest paradox that is the awareness that continue on the path that is laid will lead to an apocalyptic end at the same time it seems impossible to recognize any alternative away from the capitalist idea of organizing a civil society. What to do? That’s the question that resonates unchallenged.
The empty experience seems sometimes take the entire body. The news of deaths that are repeated act as a device that activates an inability to feel. Everything is lax to the point of no longer know where to get a pain or a pleasure. The excess of everything comes the torpor. Anaesthetized, we have set ourselves out for any walk. Back to know is feet weighing the
ground, perhaps, may bring back some sense of direction. But not. That possibility is that of being without distinction of feeling? That animosity can be the one that sharpens the nose behind any conflict that we can bring back some familiar sensation? Be. Stay. Stay. Verbs inarticulate that our current gap of life.
Being rope under the hammer this homogenizer contemporary life calls us to the challenge to stand firm so the sound resonates, albeit dissonant. Otherwise, we will take the form of a loose rope which the weight of time does not wear, or runs the risk of break – this is the fate of the mediocre – assumption of a functional failure. If the cycle time is like waves, it is in solitude that we find deviation: inside or outside. Or in breach of a tube that takes us beyond the other side. Important is to know how long-takedown nailed under his feet. Given all this, it seems to me no other choice but to learn to (us) reinvent. Take back the reins of the situations that commonly present themselves as apart from us. In recent times, we learn more excuses than daring to move an active intervention on the circumstances that we were given.
Certain historical moments elected characters, symbols, which their ways to undertake journeys demonstrated meanings of the space-times. Thus, the medieval world had the martyr at the time of the first great discoveries had the adventurer, in modernity, the flâneur. It is possible that this time window in which we have been flooded with crises of all sorts: own the individual and the global community, the surfer on a magic base lead us to understand about balance, hold, firm-kindness to put over situations and on these drawings reveal the necessary gestures flow, counterflow, as well as, the know when fall.
* The text contains fragments of other texts the author of various natures (literary criticism, essays). In the face of the artist’s work of speech, also decided to take the way of dialogue mode. The reinvention of herself -from to himself, the other for si-, some choruses make their existential song. [Hear] its echoes.
“Triangular: arte deste século”, Casa Niemeyer, Brasília, Brazil
VAIVÉM”, Centro Cultural Banco do Brasil – São Paulo/SP, Brasília/DF, Rio de Janeiro/RJ e Belo Horizonte/MG, 2019/2020
Salão Anapolino de Arte – Anápolis, Brazil
“PORTA DE BANHEIRO”, Centro Cultural São Paulo, São Paulo, Brazil
“Entre Acervos. Arte Contemporáneo brasileño”, Centro Cultural Rector Ricardo Rojas, Buenos Aires, Argentina
“Entre Acervos”, Palácio das Artes, Belo Horizonte, Brazil“Do Ponto ao Pixel”, Galeria de Artes do MABEU, Belém, Brazil
“Poseidon é cabra, abelha e o movimento dos barcos”, Casa das 11 Janelas e Galeria Kamara Kó, Belém, Brazil
“Brasil: Ficciones”, Espaço Tangente, Burgos, Spain
“Nossos passos fazem jorrar a sede”, selecionado na II Mostra de Programa de Exposições, Centro Cultural São Paulo, São Paulo, Brazil
“Outra Natureza”, coletiva na Faculdade de Belas-Artes da Universidade de Lisboa, Lisboa, Portugal
“Pororoca: A Amazônia no MAR”, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil
“Triangulações”, CCBEU/PA, Pinacoteca de Alagoas, Brazil
“Com Licença Poética”, Museu da UFPA, Belém, Brazil
“Amazônia Lugar da Experiência”, Museu da UFPA, Belém, Brazil
“Outra Natureza”, Espaço Cultural do Banco da Amazônia, Belém, Brazil
“Cromomuseu”, Museu de Artes do Rio Grande do Sul, Porto Alegre, Brazil“O Triunfo do Contemporâneo”, Santander Cultural, Porto Alegre, Brazil
“Corpo Incógnito – Água Viva”, Galeria Amarelonegro Arte Contemporânea, Rio de Janeiro, Brazil
“Coletivo/Individual Kamara Kó”, Galeria de Artes do CCBEU, Belém, Brazil
“Sobre Ilhas e Pontes”, Galeria Cândido Portinari, Rio de Janeiro, Brazil
Salão Arte Pará da Fundação Rômulo Maiorana, Belém, Brazil
FOTOATIVA Pará – Cartografias Contemporâneas, SESC, São Paulo, Brazil
Fotoincena – Fotorio 2009, Espaço Oi Futuro, Rio de Janeiro, Brazil
“Aluga-se”, Galeria Laura Marsiaj, Rio de Janeiro, Brazil
“Abre- Alas”, Galeria A Gentil Carioca, Rio de Janeiro, Brazil
“Swimming Pool: Mergulho de olhos abertos”, Galeria Graça Landeira, Belém, Brazil
Salão Pequenos Formatos, UNAMA, Belém, Brazil
“O Tao Caminho”, Laboratório das Artes – Casa das Onze Janelas, Belém, Brazil
12º Salão da Bahia, Salvador, Brazil
“8 solos s/ superfície”, Galeria Theodoro Braga, Belém, Brazil
X Salão de Pequenos Formatos da Unama, Belém, Brazil
“Onze Reflexos de Max Martins”, CCBEU, Belém, Pará
9º Salão de Artes de Itajaí, Itajaí, Brazil
“Diálogos”, Galeria Henfil, São Bernardo do Campo, Brazil
Faxinal das Artes, curadoria de Agnaldo Farias, MAC Paraná, Curitiba, Brazil
Abril Pra Arte, Museu de Arte de Belém, Belém, Brazil
Awards and Events:
Nominated for PIPA Prize
Amazonian Video Art Centre for Contemporary Arts,Glasgow, Scotland
“Film and video programme SET TO GO”, Contemporary Art Centre, Vilnius, Lithuania
“Film and video programme SET TO GO”, SINNE, Helsinki, Finland
Exchange program- “Fluxo de Arte Belém Contemporâneo”, Belém, Brazil