Patrícia Corrêa

a revolução somos nós | we are the revolution [cravo #1 | carnation head]

2011-12-23T14:30:00.000Z

carnation head

We are the revolution is a series of snapshot actions that I started inDecember of 2011 about the current reality of Portugal.

carnation head is the first action of a series of three.

Thered carnation is the symbol of the 25th of April revolutionalso referred as the Carnation Revolution. I use a bouquet of red carnations asmy head. The personification of the idyllic liberty… Faceless and in daily regularclothes I stand by the Tagus river with the statue of Christ in one side and abridge on the other... to where this time will take us? I keep my feet on thetar floor where before I dropped some flowers…

Snapshot action

2011-12-22T13:15:00.000Z

Snapshotaction is a project that I’m developing related with the

needto include my photographic view in my performance works.

Isa performance live action that produce a screen shot image of

theaction.

Theaction itself is related with actual important issues in life in

general,society, politics, etc. or in the personal life of the

performer.Is an appeal for an alternative!!!Always compromised

withits time!

Theactions are not announced and happen in public space. They

aremostly urban but they can happen anywhere. They are not

happenings, photography sessions, flash mobs or guerrilla

actions...they are what they are and happen when they have to

happen!

Theyare performance actions in all senses, they are free, they

canbe everything or just be a no-thing, for a audience or not,

solo,duo or in a group. They have a concept, a time, a space,

theyare spontaneous, undetermined, with no script but with a

research structured base. It’s a zone of immaterial pictorial

sensibilitythat try’s to break completely!!! that accepts flaws

uncontrol and mistakes as an important part of the action an

growingof the artist communication language.

“I am for an art thatgrows up not knowing it is art at all, an art

given the chance of having a staring point of zero.”

(Claes Oldenburg, Store Days, 1967)

Planta-me uma palavra in the 6th edition of Sao Tome and Principe Biennial

2011-11-13T15:59:00.001Z

Planta-me uma palavra is a work-in-progress performancebased on linguistic roots and cultural heritage(s). Is an action about relation, time, communication,emotions, tastes… it’s a game about the power and the weight of words in aspoken and unspoken dialogue.

This work was presented for the first time in the 6^thedition of SaoTome and Principe Biennial curated by Adelaide Ginga. Using the theme of this biennial edition – Heritage(s)I explored in this action the common cultural heritage betweenPortugal and Sao Tome. The common language, the similarities and thedifferences... the weight of the spoken and the unspoken... the present time!the eyes dialogue... me...you... us, here, sharing… ximinha mu uã clonvessa!

In front of me an empty chair that invites the public to sit… I leadthem to do it with my eyes and with a small open gesture.

I press the timer and say “Planta-me uma palavra”, at the same time i give thewritten utilities.

on the table a chess timer, some guava leaves used in traditional Sao Tome and Principe medicine, a instrument towrite and some red food colouring liquid...

under the table my feet planted on a vase full with local earth. I was creating roots during thisaction time...

We share this present intimate moment with an eye dialoguewere the fragments of what we both carry in us will be perpetuated in a memoryof that sharing – here and now among us the WORD! Our labelled emotions, ournamed thoughts, our language, our roots, our cultural heritage.

I receive the word and i eat it, this word becomes a partof my body, a strong connection with the other and in this sharing thatperson leaves in me.

Planta-meuma palavra

Ximinhamu uã clonvessa

Plant me a word

Plant mij een woord

posadź mi jedno słowo

Pflanzen sie mirein wort

Plante moi unmot

Planta mí unapalabra

I want to explore this actionon different cultural environments.

Is our language the onlyvehicle of communication? Can the shared moments live in this fragile time thatwe call memories? Does our cultural heritage enables or disables us to talk? What’s the universal language in sharing? Can our timedialogue?...

I invite you to plant me a word!!!

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Next presentation: March 2012 in Lisboa

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This work was possible with the support of:

Adelaide Ginga and João Carlos Silva
PAS ❘ performance art studies - divulgation
Krzysztof Kaczmar - chess timer sponser
Amélie Bouvier - invitation design
Olavo Amado - language and traditional plants research
Adelino - help with the local earth

Planta-me uma palavra | Plant me a word

2011-10-23T11:30:00.000+01:00

Planta-me uma Palavra is a work based onlinguistic roots as a part of the common cultural heritage between Portugal andSão Tomé and Príncipe. It’s a action about relation, time, communication,emotions, tastes… it’s a game about the power and the weight of words in aspoken and unspoken dialogue.

http://6bienalstp.blogspot.com/

mental drawings

2011-09-21T19:43:00.000+01:00

the lack of time forces me to draw ideas ... i don't know how to draw ... but i have lots of drawings in my head

work in progress [research]

2011-09-16T19:33:00.000+01:00

What defines time?

photo by Patrícia Corrêa

is it our presence in time or the presence of time in us?

photo by Patrícia Corrêa

World of Interiors

2011-09-10T05:00:00.000+01:00

World of Interiors is a performance-installation with people lying on the floor, eyes closed, rather motionless.

world of interiors, 2011 ❘ photos by KineAcaso©RuthRafaela

The performers are whispering the angry and poetic words of the playwright Rodrigo Garcia. The audience has to approach the bodies of the performers to understand what they are saying.

world of interiors, 2011 ❘ photos by KineAcaso©RuthRafaela

World of Interiors explores the border / relationship between spectators and the piece; it seeks to integrate the audience into the time and space of the performance and to identify the tensions between art and the codes that govern society. In this installation/performance, the spectator can enter and leave the performance space at will. He or she has the liberty to define how long to remain inside, whether to stay with one performer or move on to another one. Each performer has a different collage of texts to say. There is a score for the texts. They are part of a collective partition, with moments of silences, chorus and cannons.

Concept and Artistic direction - Ana Borralho & João Galante
Texts - Rodrigo Garcia

in Festival TODOS

passo a passo | step by step

2011-09-03T15:30:00.000+01:00

passo a passo...

caminho em direcção ao que não conheço.

ecoa o som de um tempo que já passou

[compasso de espera]

sabor de aço na fragilidade de cada segundo

pesa-me, afaga-me o rosto e dissolve-se...

estou aqui agora!

estive...

tempo, onde me levas?

onde me levas... tempo, tempo, tempo!

haan galo - haan galo

2011-08-28T06:00:00.000+01:00

haan galo - haan galo was the first public performance as a duo with Liesjevan den Berk. This work is the result of a developing process that started in eye and breathing connection, on a window of the grimmuseum during Pas studies.

haan galo haan galo, 2011 | photo by Matthias Pick

Two heartsbeating, eye contact that never breaks– relation – where there is increasingemotions, control, breathing, control, fight, control, friendship, control,anger and love, control, tears, control and more breathing. We talk with theeyes! A metronome between us marks the pulse of the game, simulating aheartbeat. The sound communicates with the audience this intimate game that weare playing.

haan galo haan galo, 2011 | photo by Monika Sobczak

Whereare we going? No one knows... we don’t know... the tension stays in the room...are they coming back? The questionremains in the room…

breathing through time

2011-08-27T05:00:00.000+01:00

This performance is the result of a series of actions and ideas developed during the PAS-studies 20 – in context. During my residence at Grimmuseum the time became too overt in me because of the constant presence or total absence of time... it began to weigh, to choke me, to free me… it was made of steel, made of gold, made of sand, made of fire made of air… my time wasn’t mine but I was there breathing in the present.

My heartbeat was too loud, I could sense the blood running in my veins, I was there breathing… in a present with all my past memories, all my time until that moment, all my passions, all my pain, all my smells – ALL MY TIME!!! breathing loudly and breathing feebly…

In this action i use my body, a ephemeral timeline and a fragile space.

I start in the garden, it’s dark, the audience it’s inside, they see me and they see themselves in a reflection on the window... this reflection creates an illusion that i’m in the middle of them.

I start with my eyes closed and with increasing breathing. My body is struggling to be “alive” and then i open my eyes. In that moment, in front of me, i have all the audience in the window framed, and, on the other side of the glass window, they have me, framed with their reflection. Who is watching who? The inversion of the space is to create this subtle dialogue with the audience.

I walk slowly to the window, inside they can see me walking between their reflection... there is no separation between us...

I approach the window and start to draw my timeline with a line of breath... the fragility of the line its the fragility of life... my life, their lives... all lives.

I light a match... light my face, the fire, the burning time, childhood pass to quickly. Another match, breathing – adolescence.

breathing through time, 2011 | photo by Matthias Pick

Slowly the breath timeline is going up... lifetime... the smooth breathing increases more and more and more... with a red lipstick i mark my heart... spread all the red in my chest... pain, blood, lost of innocence, red, more pain... life... my life!

I continue breathing to the window... their are still some marks at the beginning of the line, traces of the past, memories to keep.

breathing through time, 2011 | photo by Monika Sobczak

My breathing is decreasing, as well as the line... the presence of death in life... that time will come. Slowly i start to drop and have some stops in the breathing until i’m at the end of the line, close my eyes, stop breathing, and go to another space in time.

next wall

2011-08-23T02:00:00.000+01:00

I AM HERE!

next wall, 2011 | photo by Patrícia Corrêa

I count my time, i mark my space, where are my time going? I trapped myself in a corner between times... my future is on the next white wall.

next wall, 2011 | photo by Matthias Pick

This performance was presented in a empty home at Kastanienallee 64 [künstlerprojekt - PUBLIC IS THE NEW PRIVATE] during PAS-studies

Fishing “A”

2011-08-20T02:00:00.000+01:00

Fishing A, 2011 | photo by Monika Sobczak

Fishing “A” is a work in progress about life and the constant pursuing of something ... defined or undefined in a time or every time “A” is something that we don’t have but we keep on looking. Is “A” a person? a felling? a new job? a men? a house? a i_something? It can be all that and more.

I repeatedly throw my green-hope line to a hidden glass were my “A” was... i stoped, take a big breath and restarted all over again without direction... i never get “A”... is it real? Does “A” exist? i closed my eyes and stop.

A_mén!?

Note: this work research started in Lisboa (Portugal) during June 2011 and was deepen during a action in Pas-studies