furthermore

NOTE 1

After one or two centuries of increasing overload in urban life, one might recognize certain human physical / mental / emotional adaptations towards dealing with overlapping stimuli. We can perceive the poem of subtlety within noise. The natural harmony got out of random mix. The human behind the machine, the punctuation of the less expected.
Illusions as reality’s multiples exist in a fascinating place for creation. This place integrates a wide range of perceptions and insights.

NOTE 2

Assuming the artistic making as a performative procedure itself implies playing with the extent to which this more or less private process gets explicit; either if performing publicly either if working under more private circumstances.
Anyway it can be a personal exposure within a game between control over what happens and acceptance-integration of the "external" Í a deal with randomness.
Working in collaboration seems to emphasize the demand for openness and tuning, immediate-instinctive reaction regarding the circumstances. It happens within a single output dialogue. Beyond a neural awareness of the whole, this work process requires that fragile balance between one’s individuality and one’s production in conjunction; a balance worked out as unity without losing the creative tension, i.e., the specific differences.One gets occasionally provided with intensive living together fragments. It could reach a collapse through the excess of fragmentation, it is always happening although it is never inescapable. Recordings of collaborations are tools of undeniable reality. If one tries to avoid honesty one gets betrayed by the work.

NOTE 3

Receptivity, emotions, physic, impulses and intuitions (the body) are raw material. The performative affirmation of the self is also its representation. Every act and movement is stretched through this significance - it acquires the force of a ritual.
The work process balances non-linearity and randomness with intuitive control, it creates and simultaneously follows the moment. Stimuli and emotions populate the work’s environmental density. The body generates them while it simultaneously remains unprotected when they return in their "visibility": this feedback takes one to unexplainable liminalities. It is a permanent game between perception, challenge and reaction, a mirror game.

How real is each reality?

Adriana Sa (2000)

THIS IS JUST TO DO@CENTRO DE ARTE MODERNA

SHOWING BY AND WITH:
adriana sa - (Lisboa, Portugal)
alexandra bachzetsis - (Grécia/Zurich, Switzerland)
ella raidel - (Linz, Austria)
erin macgonigle - (New York)
Isabelle Schad - (Berlin)
ludger lamers - (Lisboa/Berlin)
toshio kajiwara - (New York)

"This is just to do" has developed through an intermedia work process, in which the participant artists have mutually challenged themselves for exploring and crossing the conceptual and technical "borders" underlying their disciplinary formations.

This work-in-progress has assumed the form of several collective residencies in four countries (PORT, BE ,GER and USA), joining a nucleus of artists of different nationalities and disciplines (sound, movement, electronics, visual arts, video).

Beyond the group working now at Gulbenkian, the project has benefited from the contribution of other artists who participated in previous residences: Benton Bainbridge (USA), Cristina Moura (Brasil), Claudia Serpa Soares (Portugal), David Linton (USA), Jochen Roller (Alemanha), Melissa Lockwood (USA), and Nuno Bizarro (Portugal).

This is a project conceived by Adriana Sa and Isabelle Schad who tried to orientate consequently the progression of all collective residen*s, considering their own very different professional backgrounds; and, in fact, assuming the work as a group creation. The result is truly collective, since it is all about a collaboration system articulating personal approaches and individual artistic interests within a structural unity.

One has followed the way of practical researches, such as: balance between improvising and structuring; exchange, re-invention and re-assimilation of disciplinary and personal tools and experiences; exploration of the signifies inherent to the specific working spaces/sites; articulation of the "absurd" within a game between tension, irony and seriousness; esthetical exploration of processes related to identity transferring, fusion and splitting.
Production

Adriana Sa & Isabelle Schad, Slow-up (Brussels)

Published 25 April 2017