Glory Hole - Raree Show
Glory Hole - Raree Show
Located under the stairs of the gallery’s building, Glory Hole presents a scale and dimensions that deviates from the conventional standards of architectural exhibition areas (2,15 x 1,38 x 0,90 cm). For the program's first show, researcher Bruno Mendonça invited the duo of Brazilian artists based in London - Tetine - formed by Bruno Verner and Eliete Mejorado, to be the first ones to exhibit. With a multimedia production, the duo present a hybrid and trans-disciplinary vocabulary crossing languages and boundaries between the worlds of music, performance, video art and text. In Raree-Show 1 the duo will present an installation composed of sketches of spoken word and sound experimentations that make up a narrative that moves between the fields of poetry, literature, theatre, film and novel. The sound pieces are like chapters or acts of this narrative. The work can be thought of in an expanded form, as a book, a film or a play.
text by Bruno Mendonça:
In the sound piece “From Now On”, the phrase: “Language: past, present and future”is enunciated categorically. This phrase seems to summarize in only one sentence the vertex of the work by Tetine, that is, the complex articulation of language. This is due to the background of the two participants - Bruno Verner comes from the linguistic and musical fields, having a repertoire of marginal poetry and literature from the Decadence and the post punk movement. Eliete Mejorado, on the other hand, comes from the performance field, more specifically from the spoken word genre. Their joining together led Tetine to create a production based on the use of text, voice, music and performance, materializing and unfolding this relationship in various forms.
Since their first works the two artists have been deepening these relations, be it in their more sombre and melancholic sound pieces in which the two operate a more poetic and literary text,, or in those that flirt with more popular rhythms such as funk from Rio de Janeiro, amongst others – There is always a degree of performativity to the text.
In the article “Literatura Comparada e Estudos de Performance: Tendências, diálogos e desafios no limiar da transdisciplinaridade”, researcher Maurício de Bragança studies the issues raised by linguist Paul Zumthor in his book “Performance, recepcion, lecture” with regards to the performative notion of the text. According to the researcher, the body, through language, brings to the text a performative character that is permeated with semiotic, political, ethnographic, cartographic and mythological implications.
This statement seems to me fundamental for our understanding of the artists’ work with regards to the construction of a critical and political discourse. In projects such as Alexander´s Grave and Música de Amor, from the beginning of the 90s, the duo gravitate on a variety of themes dear to contemporaneity and western society through extremely poetic texts. These projects from the duo’s first phase present something which is very close to the concept of “poetry” as developed by by Paul Zumthor. For the linguist,poetry thought of in its expanded and performative state is more than a group of poetic text, poetry according to Zumthor is, above all, the action of the body, the gesture and the mediums.
When they begin, at the start of the year 2000, researching and experimenting with pop and funk from Rio de Janeiro, Tetine draws on another type of poetics which is the use of text as a manifesto. For Zumthor the performative text as a manifesto,gains a status of resistance and a polemic character.
Since the duo’s first production phase, they present an intelligence that language operated by voice is still (even centuries later) a powerful manifestation.
In culture, the use of voice and word (text) made a number of spheres of society such as politics and religion build a narrative that moves between power and the truth, cult and poetry through the profound pulsation of the voice, making us follow the path from the mouth to the ear in an imperative manner. Text, in its manifesto form, works with the same bases, however in a disruptive, combatant,transgressive and disobedient manner. Is there something closer to this than the funk from Rio de Janeiro?
In this manner, Tetine no matter what the temperature, typology or format with which they are working, from the most melancholic to the most aggressive and/or festive makes it assume a performative state, transforming it in a type of social body. The text gains, through this performative state, collective dimensions coming from the body of the performer to the body of the public through a discourse which gains corporeity. In this manner the idea of performance in its anthropological vein as shown by Zumthor places itself as an act of communication and not only a poetic action.
The discursive and narrative potential that the text acquires from this performative vein is very strong. In the already above mentioned article by researcher Maurício de Bragança, he presents a reflection about this discursive/narrative issue approximating Walter Benjamin to Zumthor and which we can connect to the work of the artists.
Benjamin suggests two forms of comprehending the narrative event, first as a type of composition, which is evidenced in the elements, aspects and structures which form the narrative. Such elements localize the narrative as a work, through a text which is imagined, moulded, constructed. A second way of understanding the narrative, starting from the performative gesture, is established exactly in the field of action, and not only in the composition. In this manner, the narrative is affirmed both as the place of the composition as well as of the action, keeping the ambiguity that the performance maintains between poiesis and praxis. This performance of the narrative and of the discourse also creates another interesting situation which is of a fictional amplification of the text. After all the performance problematizes the relation between body, memory and time.
Tetine’s work as part of a network of artists who act upon this complexity of the language starting from the voice and the performance, is very important at a time when listening has a significant legacy (at a time of poor listening), be it of a poetic work, mediatized songs or the voice on the telephone, as researcher Cida Golin from UFRS curiously points out in her article “Paul Zumthor e a poética da voz”. After all, as Deleuze himself said: “sound invades us, impels us, drags us, transpierces us.” (Deleuze, 1997: 166).
ZUNTHOR, Paul. 2007. Performance, recepção, leitura. ed. rev.e ampl. Trad. Jerusa Pires Ferreira e Suely Fenerich. São Paulo: Cosac Naify,2007
DE BRAGANÇA, Maurício. Literatura comparada e estudos de performance: tendências, diálogos e desafios no limiar da transdisciplinaridade. In: Aletria, Brasil, volume 20, Janeiro-Abril. P.63-75, 2010
GOLIN, Cida. Teorias do rádio: Paul Zumthor e a poética da voz. In: MEDITSCH, Eduardo (Org.). “Teorias do rádio: textos e contextos”. Florianópolis: Insular, 2005. V.1, p. 259-267. (Coleção NPsIntercom, 5).