Wednesday, May 28, 2008


Panorama is, undoubtedly, an encounter with experimentation and
exchange. More than many other events, it invites the spectator to think
about the process of making art, its fabrication. To witness the exchange
of ideas between students, projects developed collaboratively, the
sacrifices as well as the dedication.
“Dedication, moreover, says a philosopher, is always a commitment to an
imperfect cause”.
Panorama 9-10 will certainly be no different from earlier editions. It
presents fifty-four projects, fundamentally individual in their nature and
intentions. No theme, no groups, even less movements. How come? The
ages, origins, intentions of each are specific. The professors are shown
with the students. The students of the first year are shown with those of
the second. In short, Panorama doesn't talk about a particular style or
discipline but of an artist future at a time open more than ever to all
possibilities and questions.
Panorama 9-10 does not speak of awareness, of the unknown or even of
experience. It is this awareness, this unknown, this experience. Panorama
9-10, at the heart of a school like the international studio of the Fresnoy,
does not speak of sound, voice or images. It is the sound, the voice, the
images of a generation at work for whom artistic practice comes both from
spark and shine. So if we needed a title, a catch phrase to communicate
this shared moment, perhaps it is here, in this ever-renewed desire to play
with the unknown to discover the new. So why not talk of “the spark and
shine”. BERNARD BLISTÈNE, curator

VEN.06.06 À PARTIR DE 18:30

18:45 : Projection du film d’HANNAH COLLINS, 1h
19:00 : Déclenchement du processus de compression
20:00 : Concert multimédia
d’ANDREA MOLINO, avec David Moss, 40'
20:00 : Projection des films et vidéos réalisés en 2007-2008
21:00 : Concert du groupe islandais RAGNAR GUNNAR HILMAR (spiritual funk,
soft rock,electronic), 30’
autour de l’installation de BENJAMIN CROTTY ROCK GARDEN 4 LE FRESNOY
22:30 : Performance sonore
de YANN LEGUAY, 30 ‘
Improvisation à partir des champs électromagnétiques présents dans le lieu
même du concert, en "récupérant" les parasites qu'ils produisent dans le
spectre audible.
de DANIEL DANIS, artiste professeur invité au Fresnoy
Daniel Danis a réuni une équipe québécoise (issue de l'Usine C et de l'Université
de Montréal) et franco-belge (chercheurs du programme Numédiarts de la
Polytechnique de Mons) pour explorer un vocabulaire performantiel simple
conjugué à des éléments visuels et sonores programmés.
La suite de l'exploration sera reprise au Fresnoy pendant la semaine du 9 au 13 juin.
Les visiteurs seront conviés, tout comme à Montréal, à assister pendant une
trentaine de minutes à une série de gestes posés par deux comédiens baignés
dans un environnement sonore et visuel autour d'un court texte qui évoque
l'espace du grand nord de neige.
10:00-12:00 : Laboratoire public autour du travail de Daniel Danis
18:30 : Restitution (le 12 juin à 19h, lors de la soirée des Amis du Fresnoy)
JEU.19.06 - 19:30
Suite à la publication du livre de Jean-Luc Godard Histoire(s) du cinéma,
Le Fresnoy et le Musée d'art moderne de Villeneuve d'Ascq organisent une
soirée sur les rapports entre arts plastiques et cinéma avec la projection de
deux films : THE OLD PLACE de Jean-Luc Godard et Anne-Marie Miéville et
EL TOPO d’Alejandro Jodorowsky
Soirée organisée en collaboration avec le Musée d’art moderne Lille Métropole, Villeneuve d’Ascq
JEU.26.06 - 20:00
une proposition de ANNE DRESSEN
PLAYBACK est une programmation explorant des incursions de plasticiens
dans le domaine du son. Il s’agit de clips authentiques ou de vidéos d’artistes
empruntant librement ce format, réalisés par des artistes reconnus ou
émergeants. Initialement, PLAYBACK comprenait plus de 70 clips
internationaux présentés à l’Arc au Musée d’Art moderne de la Ville de Paris
entre le 9 octobre 2007 et le 6 janvier 2008.
PLAYBACK_UN BEST OF est comme son nom l’indique une sélection de clips
(dont la durée est déterminée par la capacité d'un dvd). Une mise en bouche ou
un florilège. En se focalisant en priorité sur les vidéos d’artistes français et
européens, il s’agit presque de renverser la tendance, d’un format largement
anglo-saxon, tout en réservant quelques bonus non seulement américains,
mais aussi mexicains, colombiens, chinois, japonais, australiens et canadiens,
tout en incluant des inédits en résonance avec Le Fresnoy.
JEU.12.06 - 19:00
19:00-20:00 : Rencontre avec Daniel Danis, artiste professeur invité
20:00-21:00 : Visite de l'exposition par Bernard Blistène, commissaire
Adhésion possible au plus tard le 11 juin :

Friday, May 23, 2008

Grande Opening in London as we speak

Exhibitions Great Britain
›new video art from europe‹ Gabriel Abrantes....

European Commission - Events
‘New Video Art From Europe’ presents a selection of recently produced, ... as well as new works by Gabriel Abrantes ...

While Superfícies de Contacto is already on in S. Joao da Madeira... Paços da cultura -

Beijing Coma

Beijing Coma by Ma Jian
Review by James Kynge
Published: May 5 2008 06:31
Translated by Flora DewChatto & Windus £17.99, 587 pages FT bookshop price: £14.39

The world has had to wait a long time for an accurate reflection of the Tiananmen Square protests in 1989 and the massacre that followed when the People’s Liberation Army turned its guns on its people. Much has been written, but it has been mainly in the nature of factual representations; attempts to quantify, describe and trace linear relationships between cause and effect. What we have lacked is a comprehensive work that evokes the humour and naivety, the love and sex, the young hopes, the paradoxes and the sheer haphazard humanity of those times.

Ma Jian, a Chinese author who lives in Britain and whose work is banned in China, has now filled that gap with Beijing Coma. This is an epic yet intimate work that deserves to be recognised and to endure as the great Tiananmen novel. People who experienced those heady days in the spring and early summer of 1989 – several months before the Berlin Wall came down – will find Ma’s narrative accurate not only in its telling observations but also in capturing the animating energies of the time.

Students at Peking University and other key colleges marched to the square in central Beijing. On campus they slept in bunk beds in crowded single-sex dormitories, where a recurring topic of conversation during idle moments or after dark revolved around how many girls in a particular year had lost their virginity. Love affairs and sexual assignations were common, but with privacy in short supply, ingenuity was required; makeshift curtains were slung over the entrances to bunks so that when they were drawn, roommates knew not to intrude. Later, after the student demonstrators reached the square, couples found liberation in the tents they pitched on the concrete flagstones, resulting in “a lot of shagging going on in those tents”.

The reader is also led to the realisation that the journalistic shorthand employed by the western media at the time and repeated like a mantra ever since – that the Tiananmen Square protests were “pro-democracy demonstrations” – has always been a gross over-simplification. By interweaving individual motives with broad themes, Ma shows that the movement never adhered to tidy definitions. It was, above all, the vast unburdening of the hope felt by a generation released from the worst strictures of Chairman Mao’s rule. Almost everything fell within its scope: campaigns against corruption, nepotism, inflation, police brutality, bureaucracy, official privilege, media censorship, human rights abuses, cramped student dormitories and the smothering of democratic urges.

The book’s central character is Dai Wei, a tall, attractive PhD student at Peking University. He reads biology, goes out with one girlfriend while dreaming of another, and is intrigued by Freud, Kafka, Márquez and Stendhal – though he remains chiefly devoted to The Book of Mountains and Seas, an ancient Chinese travelogue filled with stories of magical beasts, vengeful gods and weird geographical features.

The book starts with Dai Wei lying in a coma he succumbed to after being shot in the head by the army on June 4, 1989. Despite his apparent vegetative state, Dai Wei can recall events with vivid clarity, overhear conversations around him and think. This allows Ma skillfully to interlace the present with the past, to telescope between imagination and reality, and to sustain a subtle but insistent metaphor throughout the book. Dai Wei’s comatose body imprisons his ideals as emphatically as China’s system stifles the people’s aspirations for political reform and human rights.

Ma does not make the metaphor explicit, but there are passages in which Dai Wei’s lifeless body seems indivisible from China’s body politic, a place where “millions of tiny cells could gather and forget themselves and, more importantly, forget the thick, oppressive walls that enclosed them’’.
On the back cover of Beijing Coma, Ma Jian is described by his publisher as a dissident author. His previous works, including Red Dust and The Noodle Maker, certainly fell well outside the Chinese government’s definition of acceptable literature. But for Beijing Coma at least, the dissident label somehow seems too narrow and too pedantic to describe a magnificent book so brim-full of humanity, insight and humour. This epic, beautifully translated by Flora Dew, Ma’s wife, ends by being about much more than Tiananmen, and comes close to rendering China itself. Dai Wei’s body eventually perishes, but the message of this book will live on.

James Kynge is the author of ‘China Shakes the World’ (Phoenix), and a former FT correspondent who covered the Tiananmen Square massacre

Time out for Gabriel Abrantes

Check this out.  HTTP://*1572

Les bons esprits se rancontrent...

Chanel Contemporary Art Container by Zaha Hadid

Hermes HBox by Didier Fiuza

111 House By Pacheco & Abrantes

Contemporary Art courtesy of Benjamin Crotty

Wednesday, May 21, 2008

Lucas being silly

Lucas wears dad's shirt

Lucas organizes things in the kitchen - he likes piles (jojo?)

Lucas eats one bite out of each strawberry

End of movie Arabic Hare - glowing arabic durer bunny

Monday, May 19, 2008

For once I agree with my father on movies

Iron-Man - quite good. Jojo, if you're in town we should go see it. Gabral, wanna come back to check out with the bro and mom?

Sunday, May 18, 2008

A Explosao Cultural na Era Glacial

Ha cerca de 60 mil anos, surgiram sinais de um despertar da artes floresceram na Europa durante a longa era glacial, que teve inicio cerca de 75 mil anos atras.

Blainey G 2004. Uma Breve Historia do Mundo. Brazil: Fundamento.

Se florescem na era glacial porque nao hao-de floorescer na era do aquecimento e da crise financeira?!

The truth is: I am Ironman

A must:

Saturday, May 17, 2008

Mission accomplished

Wake up at sunrise...

Pega o jatinho na base aerea... ok, concordo que nao e tao dramatico como o Tomahawck....

Jojo instala-se....
E chegamos passadas tres horas... encontramos os locais... ...o cupim, morro de salale, as famosas termites para quem nunca viu!
Um beneficiario que quer brincar comigo...

...e outro que tem brinquedos muito sofisticados...

...o Centro de Saude Indigena e outro beneficiario....... e um belo hospital...

 centro cirurgico... dizem que nao tem fila de espera...

... these guys know their priorities....... vamos entao rezar a a igreja na rocha que dizem que apareceu no meio da planicie extensa devido a um meteorito...

Friday, May 16, 2008

"New Video Art From Europe" Friday 23 May - Sunday 25 may - LONDON

In a show in london organized by Blow de la Barra and 111. if you happen to be there, go - more info on the picture

Wednesday, May 14, 2008

Jojo on the road with FAs again...

... so I just re-entered my TR so you can get your Ferraris in case things go wrong.. I am headed for Bom Jesus da Lapa tomorrow, and Dourados after tomorrow. Pray for me boys. Luv ya.

P.S. Split stuff amicably and fairly please.

Just in case this is what you are talking about...

Sue Tilley with Lucian Freud's painting of her. Picture by Nigel Sutton

Artprice reports that the art market was bound to be affected by the turbulence seen in international stock markets this first quarter. As the impact of the subprime crisis rippled out through financial systems and the international economy, seven years of soaring gains in the price of artworks were brought to an abrupt halt. For the first time since the twin towers attack of 11 September 2001, the art market has been showing signs of a fall. According to the International Monetary fund, the financial crisis will cost close to USD 1 trillion. The IMF goes on to explain in its latest Global Financial Stability Report that the crisis has now spread beyond the US subprime market and, specifically, is now impacting the leading markets for office and residential property, consumer credit and corporate debt. In this environment, nobody doubts that the Fine Art auction market, too, is starting to reflect the gathering gloom felt by investors the world over. In the first quarter of 2008, international art prices were 7.5% below those recorded in the last quarter of 2007. That said, because of the incredible 18% rise in 2007, this still left prices at 1 April 2008, 13% above those seen 12 months previously. As prices have fallen, so we have also seen an 18% reduction in the number of sales at auction compared to 2007. But tight supply has kept bought-in ratios relatively steady, at close to 35% in the first three months of the year. By taking a prudent line, setting realistic reserve and estimated prices, sellers and auction houses have been able to find buyers for 65% of lots on the stands. 
With the steep decline in the dollar, Europe felt the full force of the slump, and prices were down by 9% over the quarter. Art prices in the euro zone have slipped back to their year-ago levels, wiping out in three months a whole year of euphoric gains in 2007. The uptrend in volumes on the European art market, meanwhile, looks to have stopped dead in its tracks. 
In the USA, the Fed has been trying to stave off recession by one drastic rate cut after another, taking its Funds rate down from 5.25% in September 2007 to 2.25% by March this year. The impact of the financial crisis on the US art market may not become apparent for another month, when we see what happens at Christie’s and Sotheby’s prestigious Contemporary Art sales, scheduled for 13 and 14 May in New York. The weakening greenback and galloping inflation could actually give a short-term boost to auctions bid in dollars. To join ArtPrice go to and look for the ArtPrice logo at the bottom of the Home Page. Key in any artist to check prices and join. (For full source and full article click the Headline). Irish Art

Got to get 2 things right Phat boy...

First your facts... then your logic...

Facts - your buddy Freud just sold something last week for $33.6M so not sure why that doesn't count - maybe Koons (who is behind on his child care payments to Chicho) sells direct so he keeps more of the $25M and therefore is the highest paid? But come on gabral - don't get technical with me on the definition...

Logic - the indexes consider all types of art, and also considers all types of stocks - making it a fair comparison. Just like your buddy Jeff is a good buy - so is Google. However, the trick is in how to pick those at the present and be correct in the future. That takes 2 types of events - luck or voddoo magic.

Which are you down with?


There is a distinction to be made of the broad spectrum of the artmarket and the large players in the art market. As in the auctions at sotheby's / christies both in the slow down of the 70's (also oil) and today only see a larger investment in the biggest investments. Although the middle players suffer, the investment at the upper level increases. As in Jeff Koons one month ago auctioned for 25 million USD, the highest ever payed for a living artist, and this is in the midst of talk of the impending financial crisis.


Art IS affected by financial crisis - very affected... at least that's what the voddoo magic economist guys say, and hell they're pretty good at breaking the Argentinian and Mexican economies so why shouldn't we listen to them this time?

El Greco

Accounting For Taste: Art and the Financial Markets Over Three Centuries
by William N. Goetzmann

In this paper, transaction prices of paintings brought to market at least twice over the period 1715-1986 are used to construct an art return index. The index allowed a comparison of painting price movements to stock-market fluctuations, and also an evaluation of risk and return characteristics of art investment. I find evidence of a strong relationship between the demand for art and aggregate financial wealth over the very long term, manifested by the fact that the art index and an index of the London Stock Exchange shares over the same period are highly correlated. I interpret this as evidence that the demand for art increases with the wealth of art collectors.

This relationship between art prices and wealth has further implication for art as an investment vehicle. While an art buyer might expect that holding a 'collectable' asset provides a hedge against fluctuations of the stock market, the opposite appears to be the case. Consequently, the risk and return characteristics of a painting portfolio suggest that a risk averse agent would typically not find art to be an attractive purchase for investment purposes alone....

Cannes: Ensaio sobre a Cegueira abre o Festival

Obra de Saramago em filme
"Blindness" inaugura Festival de Cannes esta noite
Honras de abertura para o filme que adapta ao cinema obra de Saramago.
Francisco Ferreira, enviado a Cannes
9:50 | Quarta-feira, 14 de Mai de 2008

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"Blindness" inaugura Festival de Cannes esta noite Julianne Moore em «Blindness», de Fernando Meirelles

Julianne Moore em «Blindness», de Fernando Meirelles

O novo filme de Fernando Meirelles, realizador brasileiro que o mundo descobriu por Cidade de Deus, chama-se Blindness e adapta para cinema Ensaio Sobre a Cegueira, de José Saramago. Surpreendentemente, foi o filme escolhido para inaugurar o Festival de Cannes, que arranca esta noite, até dia 25. Até há bem pouco tempo, falava-se que seria o novo Indiana Jones e o Reino da Caveira de Cristal, de Spielberg (estreia em portugal no dia 22), a ter as honras de abertura.

Ao contrário do que já vimos escrito, Blindness não é um filme americano: trata-se de uma co-produção Brasil/Canadá/Japão, rodada no Canadá e no Uruguai. Os actores protagonistas, esses sim, são americanos: Julianne Moore e Mark Ruffalo. O filme acompanha a história de um médico (Ruffalo) e da sua mulher (Moore), única personagem que escapa a uma repentina cegueira que se abate sobre uma cidade não identificável.

Curioso é também o facto da obra de Meirelles integrar a Competição pela Palma de Ouro, coisa rara para um filme de abertura. Blindness vai concorrer pelo prémio ao lado de mais 21 filmes, dos quatro cantos do mundo.

Outros candidatos

Dos EUA, chega-nos o novo Clint Eastwood, Changeling, com Angelina Jolie e John Malkovich. É um filme de época, passado em Los Angeles, em 1928, durante a Depressão e (diz-se) um drama feminista, já que a história gira em torno de uma mãe que procura o seu filho de nove anos. Também nos EUA, Steven Soderbergh realizou uma ficção baseada na vida de Che Cuevara. O filme chama-se muito sucintamente Che e traz Benicio del Toro na pele do revolucionário argentino que lutou pela Cuba de Fidel Castro. Wim Wenders, James Gray e o rebelde argumentista (e agora também realizador) Charlie Kaufman têm também novos filmes num concurso em que a presença americana foi menos acentuada. Cannes investiu este ano na América Latina: para além de Meirelles há outro brasileiro na lista, Walter Salles, com Linha de Passe. Da Argentina, facto inédito, temos duas longas metragens a concurso: Leonera, de Pablo Trapero e La Mujer sin Cabeza, de Lucrecia Martel.

Já correm boatos de que, este ano, Cannes vai premiar um filme de língua francesa. Os belgas Jean-Pierre e Luc Dardenne, bem conhecidos em Portugal, vão tentar vencer a sua terceira Palma de Ouro com Le Silence de Lorna. Do hexágono chegam dois filmes assinados por autores de grande respeito: Un Conte de Nöel, de Arnaud Desplechin e La Frontière de l'Aube, de Philippe Garrel. Em relação à representação asiática sublinha-se 24 City, novo filme do chinês Jia Zhang-ke (realizador de Still Life - Natureza Morta) outro candidato.

Aquele Querido Mês de Agosto

Última nota para assinalar a presença do único filme português em Cannes. Aquele Querido Mês de Agosto, segunda longa-metragem de Miguel Gomes, integra a escolha da prestigiada "Quinzena dos Realizadores", uma secção do festival que comemorora este ano o seu 40º aniversário.


(Definitely will grow stronger than the USD and the EURO and the REAL - Art is beyond financial crisis!)

Real ou 111 House???

Bom dddia (sotaque brasileiro por favooo). 111 House may grow stronger than Real, hmmm?

Tuesday, May 13, 2008

Jojo's all about Brazil

Gabral - your last image and title needs a bit more explanation for the unitiated in your later venture - please explain.

Also - Jojo... all your George Soros type investing desires have good instincts - you should start your own hedge fund. Brazil has been going crazy for the past few years - all after almost defaulting in 2002. Let's get on board with the Real!!!!


Monday, May 12, 2008

Wednesday, May 07, 2008

Noticias do Sul

Noticias do Sul 1

Lula afirma que acusações de países ricos ao etanol são 'sacanagem pura'
O Globo Economia
07 de maio de 2008
Chico de Gois Enviado especial

MANAUS. O tema foi o mesmo e, mais uma vez, o presidente Luiz Inácio Lula da Silva subiu o tom das críticas aos que classificam o programa brasileiro de biocombustível de prejudicial à oferta de alimentos. Desta vez, o presidente usou expressões como "sacanagem pura" e "malandragem pura" para atacar os países ricos que, em sua opinião, são palpiteiros e tratam equivocadamente o Brasil como coitadinho.
Em tom de desafio, ele disse que o Brasil não precisa de conselhos e, se precisar, pedirá.
As declarações do presidente foram dadas durante entrega de obras de urbanização de uma área de igarapés em Manaus, que custaram R$ 24,6 milhões.
- É preciso que o mundo aprenda uma lição. O Brasil já não é mais um coitadinho. Já sabe andar com suas próprias pernas. Já sabe enxergar com seus próprios olhos, e não queremos mais que palpiteiros venham aqui dizer o que a gente tem de fazer. Quando a gente quiser conselho, a gente pede. Quando a gente quiser opinião, a gente pede - afirmou.
Lula disse que "inventaram" que vai faltar alimento no mundo por causa do biocombustível.
E aproveitou para criticar os países ricos.
- Sacanagem pura. Malandragem pura de quem não tem competência para competir com o Brasil. O álcool americano produzido de milho custa mais que o dobro do nosso e produz muito menos; o álcool produzido de beterraba, na Alemanha, produz menos que o nosso por hectare e é mais caro que o nosso.
O presidente atribuiu o problema da crise de alimentos no mundo ao fato de que mais pessoas estão comendo.
- Esse é um bom problema - classificou, acrescentando que o Brasil é um dos lugares no mundo onde há terra suficiente para plantar. - Eles não sabem que o Brasil adquiriu vontade de ser grande.
Lula voltou a brincar que não sabia o que era o investment grade (grau de investimento), como fizera na semana passada: - O investment grade é aquele cara que paga as coisas bem, e o Brasil virou investment grade porque toma conta do seu nariz, exibe sua política econômica e aquilo que queremos fazer.
Lula disse não estar preocupado se vai entrar mais dólar ou não na economia com o selo recebido pela agência de classificação de risco Standard & Poor"s. Mas rechaçou o capital especulativo: - Nós precisamos diferenciar o dólar que vem para investir na geração de empregos e o dólar que vem para investir na especulação financeira. Este da especulação financeira nós temos que banir. Agora, aquele que vem para investir em uma fábrica, nós temos que dizer: pode vir dólar, pode vir euro, pode vir iene, pode vir o que quiser porque o povo brasileiro não tem preconceito contra dinheiro. O nosso preconceito é contra a miséria, contra a pobreza a que o povo está submetido. O nosso preconceito é que este país perdeu quase 50 anos em seu desenvolvimento.

Noticias do Sul 2

Caso das Travestis e Ronaldinho

A Associação Brasileira de Gays, Lésbicas, Bissexuais, Travestis e Transexuais (ABGLT), organização de abrangência nacional com 203 entidades afins afiliadas em todos os estados brasileiros, cuja missão é: promover a cidadania e defender os direitos de gays, lésbicas, bissexuais, travestis e transexuais, contribuindo para a construção de uma democracia sem quaisquer formas de discriminação, afirmando a livre orientação sexual e identidades de gênero, vem a público se posicionar referente ao caso envolvendo três travestis e o jogador de futebol, Ronaldinho:
Primeiramente, afirmamos que a ABGLT é a favor da apuração rigorosa do ocorrido, sem nenhum tipo de pré-julgamento.
Não obstante, ressaltamos que a prostituição não é crime no Brasil, mas que a discriminação é expressamente vetada, conforme os artigos 3º e 5º da Constituição Federal. Ademais, é um preceito fundamental da Carta Magna que todos são iguais perante a lei, sem distinção de qualquer natureza.
Os meios de comunicação têm mostrado que as autoridades responsáveis pela investigação do caso envolvendo as três travestis e o Ronaldinho vêm tratando as partes envolvidas de maneira diferenciada, de forma discriminatória, contrariando a Constituição. Por exemplo, exigindo que as travestis deponham na delegacia e dispensando essa providência no caso do jogador.
Por outro lado, determinados setores da mídia também têm atuado de maneira a promover o preconceito contra as travestis, seja descrevendo os fatos de maneira a pré-julgar a culpa das profissionais do sexo, seja tratando-as com o artigo masculino ao se referir às mesmas. Nossa reivindicação é que as travestis sejam respeitadas na sua identidade de gênero, que é feminina, e que sejam identificadas por seus nomes sociais, e não pelos nomes de registro, os quais não se adeqüam à sua identidade de gênero. Infelizmente, a maior parte da mídia não tem observado esse princípio, que faz parte, de um direito humano fundamental, preservando a dignidade das pessoas, que têm o direito de ser tratadas como se reconhecem.
1º de maio de 2008