Neyde Lantyer


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“For most of history, Anonymous was a woman.” _Virginia Woolf

“The truth is, I often like women. I like their unconvetionality. I like their completeness. I like their anonimity.”  _Virginia Woolf

THE 4CANTOS PROJECT
Site-specific, sculpture, performance and video
Samos Island, Greece
2018


                      




          

   
The project consists in traveling to "the four corners of the world". Four journeys in search of 'new and old memories', using photography, video, literature, performance and music to outline a dialogue between geography and art, history and gender, crossing a subjective-personal path in which the chosen destinations are inserted.





ON MATRIARCHY




SAMOS ISLAND, GREECE - 2018

The Samos Island is situated on the eastern Aegean Sea, off the coast of Asia Minor. In the island stands a large shrine in honor of the goddess Hera, the Heraion, situated along a river and near the sea, two ancestral symbols of transcendence. Beyond the mythology, where she appears as the 'jealous' wife of Zeus, Hera is the goddess-symbol of a feasible pre-Hellenistic matriarchal civilization that would have existed on the site. As a result of the proximity to Turkey, Samos is one of the destinations for the refugee exodus, driven out of the Middle East wars that ravage that region. Despair and tragedy, death at sea, the inglorious struggle to penetrate the “Fortress Europe”, the Aegean Sea is the grave of so many lost hopes which are embedded in the historical-subjective fabric of the island’s memory.







The “4Corners” creates an intercession between memory and ancestry by means of moving in space, travelling and welcoming the incident of unusual experiences. Both physical, psychological, social and aesthetic such experiences have the potential to provoke the unfolding of the poetic experience while awakening a new repertoire of memories.




THE HERAION







THE MONUMENT
















SALVADOR DA BAHIA


When American anthropologist' Ruth Landes arrived in Salvador da Bahia, in the end of the 1930’s, she was confronted with the hierarchy of the Candomblé -  the Afro-Brazilian religion - where the female role could be acknowledged as a kind of matriarchy strongly rooted in the city’s black cultural hegitage.  Ruth Landes imersed herself into the rich universe of the Candomblé, contemplating that unecspectedly form of female power - eventualy extended to male homossexuals. Such study resulted in the book “City of Women”.

"Because of the importance of women in traditional candomblé, this Afro-Brazilian religion was incompatible with patriarchy. Possession by the gods, the central component of the religious practice, was the domain of women: men supported the candomblé temples financially, but did not run them. . . . _Ruth Landes
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**The copyrights of the photographs in the gallery of Candomblé pristesses from Salvador da Bahia, are by several authors.