From the 25 to the 30 of September, Anjos 70 will host an art exhibition organized by the conference.
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Artists exhibited are:
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Laura Grossi aka Belle de Nuit
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“God is dead!”: or, sex as political instrument
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Series of 8 Photographs (B/W)
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Discussing “political” activity (in the widest sense of the term “political”), and discussing boundaries and their breakage, I believe it is necessary to focus on one of the founding elements of human nature: sex, to be intended as gender (biological sex and sexual identity) as well as act, sexual activity. These two different meanings of the word “sex”, hence two different topics of discussion, are also the two different parts of my exhibition.
The first part (4 pictures) aims to discuss the boundaries of genderized cisgender bodies, and of cismale bodies in particular. I have portrayed two heterosexual cisgender males wearing female lingerie and in classical female poses. The second part of the exhibition (4 pictures) goes further, analysing the breakage of boundaries in sexuality, and the overtaking of normative sexuality.
To do so, I have worked on prominent myths and stories, such as Georges Bataille's “Story of the eye” (1928), or the figure of Salome from the Bible, as well as analyzing, in a more generic way, paraphilias and symbols – what could be a better illustration of the concept of perversion than a woman having sex with a black snake? -.
All pictures are shot with analogue technology and some are developed by me.
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Julia Hovve
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The Museum of Post-Tech Radicalism
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Installation and Video
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The artist is drawn consistently toward the marks of her generation: tech-phobia, populism, the exponential increase of connection combined with segregation. We believe the internet globalizes us, but does it bring us together, or does it simply form a new shape-shifting idea of ‘democracy’? We are in the infancy of how politicians intend to use the World Wide Web to their advantage, and that is what she explores in this project.
The aim is to go beyond the political polarization of social media, and move this atmosphere into the real world. In a place where instead of having ideals, political parties run on the fuel of opposition, she explores her generation around Europe. How are these ideals actually different – how much are people’s political actions based on altruistic visions, and how much are placed on Freudian ego and construction of the self?
She is inspired by ‘stream of consciousness’ footage, archival materials, and minimal narrative – allowing the material to speak for itself, and in doing that, allowing the viewer to come to personal conclusions on our complex and vast current issues, and perhaps to explore more the idea of a political middle ground where power is not pushed to the outer extremes of ideologies.
The final iteration of the project will be exhibited as an installation at The Old Police Station in London (22-29 November 2019).
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Plinio Ribeiro Junior
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IMMINENTÏA
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Series of 5 Photographs
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This project, conceived in the context of « Breaking Borders », represents the dreamlike aspect of the performance CHECKPOINT BESSÅŒ, with which it is a diptych.
IMMINENTÏA is a collection of unlikely totens that indicate the imminence of diving in a hybrid territory, on the threshold between familiar and new perception zones.
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Tatiana Silva
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Um Lençol Branco / A White Bed Sheet
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Photographic Installation
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O Antropoceno, conceito que assenta na observação de que a acção humana tem vindo a produzir e influenciar alterações morfológicas e ambientais à escala planetária, pode ser observado nos territórios e lugares do planeta. Desde cedo, temos vindo a criar paisagens, fronteiras e climas.
Tal como o efeito de borboleta, em que cada pequena acção produz impacto no todo, num lugar especÃfico percebemos as acções que criaram determinado ambiente. Por exemplo, podemos notar as decisões polÃticas que abriram caminho a essas alterações, os interesses instalados, mas ainda a falta de comunicaçao que existe entre a academia e as esferas polÃticas e as faltas de conhecimento ou interesse de quem toma decisões e empreende acções de transformação dos territórios.
Também com as suas próprias fronteiras, a arte é uma forma de chamar a atenção e desafiar acções pessoais, sociais e polÃticas, e é ou poderá ser, uma ferramenta poderosa para lado a lado fazer face a estas questões de forma local e global.
Para alcançar um público mais amplo e seguindo em busca de diferentes facetas do Antropoceno, um lençol branco deixa a galeria para se ir encontrar com os próprios lugares explorados e destruÃdos. Colocado no solo, realça gestos de apropriação e transformação apagando uma parte da paisagem que já se encontra em processo de apagamento. Tal como uma mortalha que cobre uma paisagem morta, abre espaçoo para uma reflexão sobre tempo e espaço, aludindo às memórias, a imagens perdidas dos lugares e quem sabe, inicia um processo de regeneração, necessário e urgente.
Quebrando as fronteiras existentes entre galeria e paisagem, entre as esferas pública e privada, entre diferentes concepções de tempo e categorias artÃsticas, como as da escultura, da instalação, da performance e das artes plásticas e visuais, mas ainda, as que existem entre academia, sociedade e polÃtica, o lençol branco é um tecido, uma escultura, uma fotografia e um desenho, a lutar para ser ouvido, para criar espaço de discussão e levar à mudança.
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Justyna Tuchorska
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Avoy - Drawing the Invisible
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Series of 10 Oil Pastel Portraits
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My work, a series of pastel portraits of Avoy MU Brno blind football team members and their coaches, is part of my drawing/photography project and was made within the international blind sport community over the course of 8 months. It is a return to the very roots of art-activist representation of underprivileged groups by simply putting their beauty and existence before the eyes of the audience.
I show people who are disabled, sometimes disfigured, at the same time as I deeply and personally engage with them. In today's extremely individualistic and lonely society I find this necessary creative engagement reveals something of the revolutionary potential of art. It is hard to say who benefits more from that contact, as the team members gain pride and confidence and I get truly transformative experience. To make portraits like these, the blind subjects have to trust me and my good intentions to present them well, as they cannot control the results themselves. This project wouldn't have come to fruition if I hadn’t put aside the sight-based world I knew, to become “one of them”, following the team to tournaments, matches and social meetings with my camera, paper and box of pastels, and most importantly, an open mind.
The series was my free-choice project for the drawing studio of the Academy of Art and Design in WrocÅ‚aw, Poland, during the academic year 2018/19. Although developed independently and with little help from my teacher, the project gained technical approval during the exams. The topic, however, was labeled unclearly as “niche”, which leads me to think that activist art should rather be done outside of the classroom.