Fields of Prepositions Sesc Ipiranga

“Contradictions in themselves, mixtures and time reveal themselves to be, like my soul, hazy, variable, undulating, hued, Aquitaine. My soul, mixtures and time can’t express themselves through nouns, too stable, nor adjectives, too juxtaposed, but describe themselves more precisely through the assortment of their prepositions: before and after building the viscous fluidity, with and without the hesitant divisions, on and under the true and false subject, for and against the violent passions, behind and before the lax hypocrisies and the brave loyalties, in and out the bodily and theoretical, social and professional claustrophobias, between and beyond the metaphysical vocation of the herald archangel, to and from my travelling furore, a fine topology that best expresses places and proximities, ruptures and continuances, accumulations and rarities, positions and sites, flows and evolutions, the liquidity of solvents and solutes.”
Source: Michel Serres. Le Tiers-Instruit (The Instructed Third), Instituto Piaget Publishing, Lisbon, 1991.p.140

Architecture are artefacts that remain. They are prescriptive by nature – a design that plans a space, proposes behaviours and determines conducts. A design plots, projects itself from a distance in an attempt to organise life, which, in its everyday struggle, hits back, subverts, reprograms and resignifies.

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The artist, thinker and babalorixá Kabila Aruanda proposes a brief reflection on the territory of devastation that we are currently living in. A devastation inside and outside, of each individual, a social, political, economic and natural resource devastation: "In this territory of devastation, we have two very clear choices: to live of hope, to hope that something, preferably other than me, will happen and lead me to another stage, in my life, in my existence. Or, to empower myself in the time of the now and to be me the agent. I transforming what is inside and what is outside. A territory of devastation is not a destroyed territory. A territory of devastation is a territory that must and can be restored in the time of the now. It integrates the sound installation "Aparelhagem" [Rig] of Fields of Prepositions - Sesc Ipiranga, by O grupo inteiro (15/09 -12/04/2016).

The National Congress Palace is one of Brasilia’s postcard images and is located at the eastern end of the Eixo Monumental (Monument Axis). It sits at one of the vertices that outlines the Três Poderes (Three Branches) triangle. At the bottom vertices of the triangle are the Palácio do Planalto (Presidential Palace) and the Supreme Court. Designed by architect Oscar Niemeyer, the National Congress is made up of a main, horizontal building, which acts as a platform for the Senate and the House of Representatives’ domes. Source: National Congress website.

Diana was the goddess of the hunt and the moon in Roman mythology. She was very strong and powerful, and better known as the pure goddess, daughter of Jupiter and Latona, and twin sister of Phoebus. Indifferent to love and a tireless huntress, Diana was worshipped in rustic temples in the forests, where hunters would offer her sacrifices. In Roman mythology, Diana was the goddess of wild animals and the hunt, as well as domestic animals. In Roman art, she was usually depicted as a huntress, with a bow and quiver, and either a dog or a deer. Source: Wikipedia.

Parkour is a practice where people aim to transpose obstacles in their way in either urban or rural settings: tree trunks, rocks, fences, walls, etc. Male practitioners of parkour are known as traceurs, with the feminine form being traceuse, owing to the sport’s French origin.
Source: Wikipedia.

At the site of the Monument to the Independence of Brazil, in São Paulo, one can witness unpredictable uses of space, like skateboarders and bike riders using the monument’s features to perform tricks. The story behind the monument is controversial: its construction was based on a contest-winning project by Italian artist Ettore Ximenes, which was vastly contested by local artists due to its collage of styles, many of which made no sense in a Brazilian context.

Between skateboarders and symbolic intentions, it is possible to think of a disconnect between different, even contradictory, perceptions of the site.

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WITH WalySalomão, JardsMacalé, Aretha Sadick, Grupo Ultra, Kabila Aruanda, Lina Bo Bardi, Oscar Niemeyer BY Cláudio Bueno

The rapper musician Rappin Hood talks about Ipiranga, his community, and the unequal spaces, but also about the coexistence of the neighborhood, in the plenary – part of the sound installation "Aparelhagem" [Rig] of the project Fields of Prepositions - Sesc Ipiranga, by O grupo inteiro (15/09 - 12/04/2016).

Fragment of "Totalitarian Languages", a proposition by Laymert Garcia dos Santos presented at Casa do Povo, São Paulo, on November 12th, 2015, by Programa de Açoes Culturais Autonomas (vimeo.com/153449199 – thanks to: 7 Visões and P.A.C.A.). It was part of the sound installation "Aparelhagem" [Rig] of the project Fields of Prepositions - Sesc Ipiranga, by O grupo inteiro (15/09 - 12/04/2016).

“As a synthesis, a historical painting should be based on the truth, and replicate the essential sides of the fact; as an analysis, it should be based on a vast number of rationales that stem both from the weighing of plausible and probable circumstances, as well as a knowledge of the rules and conventions of art. Reality inspires, as oppose to enslave the painter. He is inspired by that which it holds worthy of public contemplation, but not enslaved by what it conceals against the designs of art, which often coincides with the designs of history.” Pedro Américo.
Reference: “The Cry of Ipiranga or The Proclamation of Independence of Brazil. A few words on the historical event and the celebratory painting by Doctor Pedro Américo de Figueiredo”, Florence, Tipografia Arte della Stampa, 1888. São Paulo University Paulista Museum Collection. BY Solange Lima.

Performer artist Aretha Saddick questions the rules of occupation of the city spaces and of the prepositions in the Portuguese language ,in this fragment of her performance "N.U. (Na.Unha)” for the project Fields of Prepositions - Sesc Ipiranga with O grupo inteiro (15 / 09 - 04/12/2016): "In the places of conviviality, building, courtyard, house, city, ramp, street, boteco (bar), boulevard. Who occupies them? In such areas of occupation and free relationship, between quotation marks, that is, exchange. Who defines when, where and how? Field of preposition. "

Mediation activities carried out by the group Zebra5. Click on the link below to find out all the activities developed by this group during the exhibition period:
http://zebra5.wixsite.com/educativopreposicoes

IPIRANGA is an affluent of the Tamanduateí river, on the left shore, in the city of São Paulo. Its bank is historically known as the place where Dom Pedro, then Prince Regent, later Emperor of Brazil, gave the cry of Independence of Brazil on September 7, 1822. Ipiranga is a corruption, or rather, a contraction of the word IPI-RÁ-Ã-N-GA meaning “sloping and uneven bed”. From y – relative; PI – centre, deep; RÁ – uneven, unequal; Ã – slope, with the suffix N G A (brief) to form the supine.
Source: BARRO, Máximo and BACELLI, Roney. Ipiranga – Series: História dos bairros (The History of neighbourhoods). Department of Historical Heritage – Historical Archive Division, 1979.

Solange Lima, director of the Paulista Museum - University of São Paulo, raises questions about the artist's imagination, the historical and current dimensions of the painting "Independência ou Morte" [Independence or Death], by Pedro Américo, which is today in the noble hall of the monument building of the Museu Paulista, in the Ipiranga neighborhood of São Paulo. Sesc Ipiranga. It was part of the sound installation "Aparelhagem" [Rig] of the project Fields of Prepositions - Sesc Ipiranga, by O grupo inteiro (15/09 - 12/04/2016).

The artist Enrico Rocha reflects on the notions of neighborhood, as part of the sound installation Aparelhagem [Rig] of the project Fields of Prepositions - Sesc Ipiranga, by O grupo inteiro (15/09 - 12/04/2016).

"In a neighborhood relation, you negotiate what is common. The proximities as well as the necessary distances ... It is good to think that a good neighborhood politics must start from reciprocal relations. It is good to believe that between war and the colonizing diplomacy, there are other possible relations of neighborhood, at any scale. Livig together, speaking with, trating, compromising. There are several fundamental actions for the common life that we do not do alone. The neighborhood relations are woven by actions such as these. So, it is necessary disposition and disponibility (willingness) to combine actions with this assumption of the existence of the other. "

The artist Daniella Mattos reads the fragment "Crua a Vida", which integrates her performance "Voices of Words, Edges of Images" for the project "Fields of Prepositions - Sesc ipiranga" with O grupo inteiro (15 / 09-04 / 12 / 2016).