Multidisciplinary program
Teatro Munganga
Amsterdam 2017
SAD DAYS
IN BRAZIL
Project by Neyde Lantyer
Teatro Munganga - Amsterdam
Subsequent to 13 years of an extraordinary ascend as a new economic power, Brazil is
facing a dramatic period. The aftermath of the coup, one year ago, that deposed two
times-elected president Dilma Rousseff, has been continuously bizarre.
The country lives now under an illegitimate government, disapproved by 97% of the
population, while it watches the explosion of corruption in the National Congress.
Meanwhile, there is a serious rising of right-wing fundamentalism, threatening the cultural institutions. In the last months, art exhibitions have been censored, several temples of the Afro-Brazilian religions have been attacked and all sorts of progressive actions have been repressed.
Meanwhile, there is a serious rising of right-wing fundamentalism, threatening the cultural institutions. In the last months, art exhibitions have been censored, several temples of the Afro-Brazilian religions have been attacked and all sorts of progressive actions have been repressed.
PROGRAM
17h - 18h
From curls to straight lines. Aesthetics as a key to the evangelical boom in Brazil
MATTIJS VAN DE PORT (Anthropologist UVA Universiteit van Amsterdam, Multi-Media
Talk.
MATTIJS VAN DER PORT is anthropologist and Professor of popular religiosity at the Vrij Universiteit and at the Department of Anthropology at UVA, the Universiteit van Amsterdam. He is the author of “The End of the World”, “Geliquideerd” and “Gipsy, War and other instances of the wild” and “Ecstatic Encounters”, written after a long research in Salvador-Bahia, in Brazil. He also ^ilmed the awarded movie “The possibilities of spirits” in Bahia, Brazil.
MATTIJS VAN DER PORT is anthropologist and Professor of popular religiosity at the Vrij Universiteit and at the Department of Anthropology at UVA, the Universiteit van Amsterdam. He is the author of “The End of the World”, “Geliquideerd” and “Gipsy, War and other instances of the wild” and “Ecstatic Encounters”, written after a long research in Salvador-Bahia, in Brazil. He also ^ilmed the awarded movie “The possibilities of spirits” in Bahia, Brazil.
16h - 19h
Quem inventou a fome são os que comem (Who invented hunger are those who
eat)
NEYDE LANTYER (Visual Artist).
The work is a portrait of former president Lula da Silva, plus a sentence of Brazilian writer Carolina de Jesus and reproductions of the seventeen century Dutch painter Albert Eckhaert.
The work is a portrait of former president Lula da Silva, plus a sentence of Brazilian writer Carolina de Jesus and reproductions of the seventeen century Dutch painter Albert Eckhaert.
PROGRAM
19h - 20h
LANDSCAPES OF EXCESS
04 short films in the format of short essays and visual experiments by a young generation of Brazilian artists. The films reflect on the construction of imaginaries and systems of representation as sources of constant disputes around national identities and collective memory. How can these bodies exist, affected by the violent exuberance of this imagery? How can these bodies exist in transit? How can these bodies exist inside and outside of a territory, a language, colors, textures and flavors, all of these fabrications? How can we devour all these membranes and allow ourselves to be devoured, regurgitated, expelled, spilled and spread?
04 short films in the format of short essays and visual experiments by a young generation of Brazilian artists. The films reflect on the construction of imaginaries and systems of representation as sources of constant disputes around national identities and collective memory. How can these bodies exist, affected by the violent exuberance of this imagery? How can these bodies exist in transit? How can these bodies exist inside and outside of a territory, a language, colors, textures and flavors, all of these fabrications? How can we devour all these membranes and allow ourselves to be devoured, regurgitated, expelled, spilled and spread?
19h - 20h
Shared Cannibalophobe
By VITA EVANGELISTA 2017, color, no sound, Full HD, 9' The film speculates the motivations behind the Western phobia of cannibalism, registered in European colonial accounts as a bestial practice of primitive peoples. How do differences allow for human beings to be categorized as non-human? Does this hierarchy render their subjection less unethical? The installation video creates a painterly landscape where a toxic green color contaminates the image in a sort of parasitic symbiosis. Interconnecting the performers and their food, the shared ingestion disregards postmodern fears of contagion, whilst emphasizing the kinship of their "creaturehood".
By VITA EVANGELISTA 2017, color, no sound, Full HD, 9' The film speculates the motivations behind the Western phobia of cannibalism, registered in European colonial accounts as a bestial practice of primitive peoples. How do differences allow for human beings to be categorized as non-human? Does this hierarchy render their subjection less unethical? The installation video creates a painterly landscape where a toxic green color contaminates the image in a sort of parasitic symbiosis. Interconnecting the performers and their food, the shared ingestion disregards postmodern fears of contagion, whilst emphasizing the kinship of their "creaturehood".
PROGRAM
19h - 20h
LANDSCAPES OF EXCESS
04 short films in the format of short essays and visual experiments by a young generation of Brazilian artists. The films reflect on the construction of imaginaries and systems of representation as sources of constant disputes around national identities and collective memory. How can these bodies exist, affected by the violent exuberance of this imagery? How can these bodies exist in transit? How can these bodies exist inside and outside of a territory, a language, colors, textures and flavors, all of these fabrications? How can we devour all these membranes and allow ourselves to be devoured, regurgitated, expelled, spilled and spread?
Shared Cannibalophobe
By VITA EVANGELISTA 2017, color, no sound, Full HD, 9' The film speculates the motivations behind the Western phobia of cannibalism, registered in European colonial accounts as a bestial practice of primitive peoples. How do differences allow for human beings to be categorized as non-human? Does this hierarchy render their subjection less unethical? The installation video creates a painterly landscape where a toxic green color contaminates the image in a sort of parasitic symbiosis. Interconnecting the performers and their food, the shared ingestion disregards postmodern fears of contagion, whilst emphasizing the kinship of their "creaturehood".
04 short films in the format of short essays and visual experiments by a young generation of Brazilian artists. The films reflect on the construction of imaginaries and systems of representation as sources of constant disputes around national identities and collective memory. How can these bodies exist, affected by the violent exuberance of this imagery? How can these bodies exist in transit? How can these bodies exist inside and outside of a territory, a language, colors, textures and flavors, all of these fabrications? How can we devour all these membranes and allow ourselves to be devoured, regurgitated, expelled, spilled and spread?
Shared Cannibalophobe
By VITA EVANGELISTA 2017, color, no sound, Full HD, 9' The film speculates the motivations behind the Western phobia of cannibalism, registered in European colonial accounts as a bestial practice of primitive peoples. How do differences allow for human beings to be categorized as non-human? Does this hierarchy render their subjection less unethical? The installation video creates a painterly landscape where a toxic green color contaminates the image in a sort of parasitic symbiosis. Interconnecting the performers and their food, the shared ingestion disregards postmodern fears of contagion, whilst emphasizing the kinship of their "creaturehood".
PROGRAM
19h - 20h
The Open Forest
By BARBARA MARCEL 2017, color, audio, Full HD, 24'
The Open Forest is part of an ongoing research project, along with “Victoria Amazonica”
(2015-16), Marcel's early essay^ilm, resulting in a compost of found and produced images of the Amazon Forest as a landscape of imperialist and developmental imagination. By conceiving landscape as a cultural medium, which not only symbolizes power relations but is also an instrument and agent of power itself, the video re^lect on stories of accessing, framing and consuming the forest as well as its complex entanglements of human technologies and ‘natural’ resources.
A Maldição Tropical
By LUISA MARQUES & DARKS MIRANDA 2016, color, HD, 14'
A science fiction from the past. A friction between two nation-building projects forged for Brazil in the mid-20th Century: one is a tropical imagery personified by the singer and actress Carmen Miranda; another one is a late modernism established in Brazil by the end of the 50's, beginning of the 60's, embodied in Rio de Janeiro by Flamengo Park.
SuperRio SuperFicções
By GUERREIRO DO DIVINO AMOR 2016, color, HD, 9’
SuperRio is Rio de Janeiro's super-^ictional twin; an ecosystem of super-^ictions that interfere with the development of the city and of the collective imagination.
Sad Days in Brazil
Project by Visual Artist Neyde Lantyer Talks, art exhibition and screenings
By BARBARA MARCEL 2017, color, audio, Full HD, 24'
The Open Forest is part of an ongoing research project, along with “Victoria Amazonica”
(2015-16), Marcel's early essay^ilm, resulting in a compost of found and produced images of the Amazon Forest as a landscape of imperialist and developmental imagination. By conceiving landscape as a cultural medium, which not only symbolizes power relations but is also an instrument and agent of power itself, the video re^lect on stories of accessing, framing and consuming the forest as well as its complex entanglements of human technologies and ‘natural’ resources.
A Maldição Tropical
By LUISA MARQUES & DARKS MIRANDA 2016, color, HD, 14'
A science fiction from the past. A friction between two nation-building projects forged for Brazil in the mid-20th Century: one is a tropical imagery personified by the singer and actress Carmen Miranda; another one is a late modernism established in Brazil by the end of the 50's, beginning of the 60's, embodied in Rio de Janeiro by Flamengo Park.
SuperRio SuperFicções
By GUERREIRO DO DIVINO AMOR 2016, color, HD, 9’
SuperRio is Rio de Janeiro's super-^ictional twin; an ecosystem of super-^ictions that interfere with the development of the city and of the collective imagination.
Sad Days in Brazil
Project by Visual Artist Neyde Lantyer Talks, art exhibition and screenings
