“The life that you live in order to photograph it is already, at the outset, a commemoration of itself,” Italo Calvino
More and more we are relying on photographs to track our memories…
We are giving away our capacity to embody experiences and turn them into memories.
I see photography as a technology of foreseeing and forgetting… a collective action which program is to impose control. I don’t have anything against giving control away but my worrying is determined by the fact this is a technologically constructed condition… we become set up to forget our creative power.
Oblivium was performed in Sao Paulo as part of La Platformance Festival in April 2016.
The action was performed in collaboration with Marcio Vasconcelos and Gabriel Arroyo Gallardo.
The photo documentation was created by Rodrigo Munhoz, Camilla Loreta, Pedro Galiza and Cristiana Nogueira.
“Perhaps all anxiety might derive from a fixation on moments — an inability to accept life as ongoing.” Sarah Manguso
Video documentation by Camilla Loreta.
In July 2014 I performed ‘Metaphor’ a durational performance during the 9th edition of Verbo, an international Festival of Performance Art in Sao Paulo (Brazil). With a photographic camera taped on my face I performed a deep breathing exercise until reaching complete exhaustion. While I was breathing the members of the audience were triggering (through a remote control) the camera on my face and witnessing the photo created projected onto a large wall behind me. My vision was blocked by the camera and I could only imagined the images I was producing. During the performance, my task was to heat the temperature body through the deep breathing so to produce a large amount of sweat. The drops of sweat would then melt an image (of myself with the camera) printed on soluble paper placed on a small platform where I was standing.
Out of my control, the action of breathing and the action of photographing ended up synchronizing. For the entire forty-five minutes focus and repetition become my mantra. For forty-five minutes the audience was exposed to a process of destruction: each new image projected was deleting the former, the image under my feet was melting and my body was showing exhaustion.
During the Performance, the act of photography transformed my body into an automated object, a breathing object possessed by the program of the apparatus.