Wednesday, May 1, 2024


PORQUÊ?

Sábado, 4 de Maio de 2024

Cinema farO, porta esquerda da Igreja de Santa Isabel, Lisboa



PODES VER    PODES OUVIR    PODES FALAR  


E se considerássemos a monocultura como resultado de uma intensa competição vegetal que leva os humanos, sob a silenciosa influência das plantas, a favorecer o desenvolvimento de certas espécies em detrimento de outras? Do ponto de vista da planta, um campo monocromático de girassóis ou papoilas não seria apenas um produto industrial, mas a expressão de uma aliança milenar em prol da luta botânica. As plantas desempenham um papel determinante no curso da história e, o que consideramos conquistas humanas, podem ser também consideradas vegetais. 

A produção europeia de Dianthus caryophyllus, o cravo, teve dois picos: entre Março e Outubro de 1917 e entre Abril de 1974 e Novembro de 1975 – é curioso que este crescimento coincida com as revoluções russa e portuguesa, que usam ambas a flor vermelha como símbolo.

Em Portugal, diz-se que o cravo apareceu espontaneamente no dia 25 de Abril no snack-bar do Franjinhas, o edifício projectado pelo arquitecto anti-fascista Nuno Teotónio Pereira. Notícias de uma revolta fecharam o estabelecimento da moda, impossibilitando a celebração do seu primeiro aniversário. As flores que nesse dia eram destinadas a clientes especiais foram arrancadas das jarras pelos funcionários e enfiadas no cano das espingardas dos soldados que iam tomando as ruas. Os cravos aliaram-se assim ao movimento dos que lutavam pelo fim da guerra colonial e da ditadura.

Não foi esta a primeira vez que a flor surgiu em Portugal em apoio ao movimento antifascista. Também em 68, no Maio da sua floração, a Europa sentiu um aumento da produção de cravos, acompanhada de manifestações estudantis em Paris. A flor, embora não tenha sido adoptada como símbolo pelos franceses, veio a florescer em Lisboa nesse mês. 

Em abril de 1968, um grupo de amigos viajava de Mini pela Europa quando o choque da morte de Martin Luther King Jr. os fez desviar para Paris para se juntarem a uma homenagem. Assassinar um vencedor do Nobel da Paz. PORQUÊ? Indignados, Maria Antónia Pacheco, Joaquim Osório e os irmãos Moita, Manuel e Maria da Conceição, de volta a Lisboa, pediram ao pároco progressista de Santa Isabel para replicar o tributo sob o protectorado da igreja. Organizaram um colóquio com a projeção do filme “A Marcha” de James Blue que imortalizou o sonho de Luther King. No folheto do evento pediam aos que viessem que trouxessem consigo uma flor porque “POR CADA FLOR ESTRANGULADA MILHÕES DE SEMENTES A FLORIR”, uma tirada pré-maoista de um poema de João Apolinário, escrito no início dos anos cinquenta numa cela em Peniche.

A 4 de maio, uma multidão concentrou-se no largo da igreja para assistir ao filme de flor ao peito. Mas as portas do cinema paroquial não chegaram a abrir. Coagido pela Polícia Internacional e de Defesa do Estado (PIDE), o Padre Armindo Duarte pediu às pessoas que se dispersassem. Proibir o colóquio quando este filme era apresentado regularmente em escolas e catequeses? PORQUÊ?
Indiferente, a polícia cercou e esmagou indiscriminadamente flores e pessoas. Este incidente foi mais uma faísca para a revolta que levou activistas democratas católicos e não católicos à desobediência civil e a acções não-violentas de protesto, como a vigília na Capela do Rato ou o ciclo de conferências “Lusitânia, Quo Vadis?”, fundamentais para a queda do regime.

Este sábado, novamente 4 de maio, 56 anos depois à mesma hora, tentamos uma vez mais exibir “A Marcha” no cinema da igreja de Santa Isabel, sede do farO e sob o signo da flor, vamos VER, OUVIR e FALAR em liberdade. No ano do jubileu da Revolução dos Cravos – marcado pelo avanço da extrema direita, dos regimes totalitários e pelo terror das bombas – a verdade, a justiça e a liberdade continuam a ser valores definitiva e irremediavelmente subversivos. PORQUÊ? Partilhamos do credo que a verdade desarmada terá a última palavra sobre a realidade (Martin Luther King Jr., do seu obituário, 1968).





+++++++++++




WHY?

Saturday, May 4th, 2024

Cinema farO, left door of Santa Isabel church, Lisboa


YOU CAN WATCH    YOU CAN LISTEN    YOU CAN TALK


What if we were to consider monoculture the result of an intense plant competition that leads humans, under silent vegetable influence, to favor the development of certain species over others? From the plant’s point of view, a monochromatic field of sunflowers or poppies would not only be an industrial product, but the expression of a millennia-old alliance in service of the botanical struggle. Plants play a determinant role in the course of history and human feats could as well be seen as vegetable triumphs. 

The European production of Dianthus caryophyllus, the carnation, had two peaks: between March and October 1917, and between April 1974 and November 1975 – it is curious that this growth would coincide with the Russian and Portuguese revolutions, both of which wear the red flower as a symbol.

In Portugal, it is said that the carnation appeared spontaneously on April 25th at a snack bar in Franjinhas, the building designed by the anti-fascist architect Nuno Teotónio Pereira. Word of a revolt shut the establishment, preventing the celebration of its first anniversary. The flowers intended that day for special customers were pulled from the jars by the staff and stuck in the barrels of the soldiers who took to the streets. The carnations joined battle with those who fought for the end of colonial war and dictatorship.

This was not the first time the flower sprung in Portugal in support of the anti-fascist movement. Also in 68, in the May of its florescence, Europe experienced an increase in the production of carnations, accompanied by student demonstrations in Paris. The flower, although not adopted as a symbol by the French, bloomed in Lisbon later that month.

In April 1968, a group of Portuguese friends was traveling through Europe by Mini when the shock of the death of Martin Luther King Jr. made them turn to Paris to join a tribute. To murder a Nobel Peace Prize winner. WHY? Outraged, Maria Antónia Pacheco, Joaquim Osório, and the Moita siblings, Manuel and Maria da Conceição, back in Lisbon, asked the progressive priest of the parish of Santa Isabel to replicate the tribute under the Church’s protection. They organized a conference with the screening of James Blue’s film “The March” that immortalized Luther King’s dream. In the flyer of the event, they asked those who came to bring a flower because “FOR EVERY CRUSHED FLOWER, MILLIONS OF SEEDS WILL BLOOM,” a pre-Maoist line from a poem by João Apolinário, written in the early 1950s in a cell in the jail of Peniche.

On May 4th, a crowd gathered in the church square to watch the film with a flower on their chests. The doors of the parish cinema never opened. Coerced by the International and State Defense Police (PIDE), Father Armindo Duarte, in his liturgical gown, politely asked people to disperse. WHY? Repress this gathering when the film was regularly shown in primary and Sunday schools. Indifferent, the police surrounded and crushed flowers and people alike. This incident was another spark for revolt, engaging Catholic and non-Catholic democratic activists in actions of non-violent protest and civil disobedience, such as the wake in Capela do Rato or the cycle of conferences “Lusitânia, Quo Vadis?”, fundamental for the downfall of the regime.

This Saturday, May 4th, 56 years later at the same time, we attempt once again to show “The March” in the cinema of Santa Isabel church, farO’s headquarters, to WATCH, LISTEN and SPEAK in freedom, under the sign of the flower. In the jubilee of the Carnation Revolution – marked by the advance of the far right, totalitarian regimes and by the terror of falling bombs – truth, justice and freedom are definitively and inevitably subversive values. WHY? We commune on the credo that unarmed truth will have the final word on reality (Martin Luther King Jr., from his obituary, 1968).



-- 

FarO
Rua S. Joaquim nr. 2
Campo de Ourique, Lisboa
Entrada do lado esquerdo da Igreja de Santa Isabel

Monday, March 4, 2024



SATURDAY, 24 February  2024, 10 PM 

farO presents VENUSVILLE 

by  Chris Langdon and Fred Worden, 10', 

16mm film transferred to video, color , mono sound 1973

--------------------------------------------

---------- Forwarded message ---------

De: oporto <oportolisboa@gmail.com>
Date: terça, 20/02/2024 à(s) 17:20
Subject: Convite aos associados da AAVP: farO, 24 de fevereiro, 22h, Lisboa
To: <aavp.artistas@gmail.com>


To the Association of Visual Artists in Portugal (AAVP)

(Apologies in advance for writing in English, but it remains the language most spoken by most of our intercontinental peers)


As you know, in 2011 the South of Europe was plagued by Rhynchophorus Ferrugineus, a red horned Asian weevil, that drilled thousands of centennial palm trunks into a greying depression. That same year, Troika, a consortium of Northern European bureaucrats, swarmed the Mediterranean bay and ruled years of austerity to squeeze pennies off of the PIGS of Club-Med, the agent’s pet name for Portugal, Italy, Greece and Spain. In Portugal, the action of these intruders dramatically changed our ecosystem with devastating effects. Fellow artist and founding member of AAVP, Pedro Barateiro, righteously pointed in his essay/performance “Sad Savages” to a correlation between the simultaneous disappearance of palm trees and the financial crisis that hit the country. Barateiro explored these events as metaphors for concrete disaster. As the weevil chewed at the palms silently in the dark, Troika's operation attacked right to the pith our precarious economy, in plain sight. 


The deceased palms might have effaced from the landscape the imported tropical flare of the Phoenix Canariensis’ mane, a symbol of our sad colonial history. But its absence became the landmark of a new era, moved by real estate speculation, unruly tourism and human exploitation. The crisis opened the way for two waves of diaspora on the European West Coast. The first, a party of nawab immigrants looking for sun, salt and fast and easy profits, nomads out of choice who called themselves ex-pats. The second, a less glamorous group, were nomads out of necessity, true expatriates fleeing countries in crisis. By necessity or convenience, they were both agents of change in an arid economic and social environment. Some built and speculated over the vacant spaces of dying trees, others unfruitfully looked for fallen dates. 


To these, we would add a third group that disbanded from their homeland for unclear personal reasons or poetic revenge. Ampersand’s members are part of this kind. Arriving seven or eight years ago, in post-crisis Lisbon, they carried the romantic dream that an Atlantic cliff could be a safe haven for fundamental “research on art at a serious and fair pace”. These voluntary exiles adapted to the adversity of the context, and were, malgré tout, forcibly integrated. Soon they realised, like most of us, that in Portugal palm trees in the sun never bore fruit, so they took to growing potatoes in the dark. 


Their program put together, with light touch and unpredictability, new and all-time favorites like Sylvie Fanchon, Ilene Segalove, David Wojnarowicz, Gabriel Abrantes, Nancy Graves, Artur Varela, Tina Girouard, Sofia Montanha, Zoe Bellof, Ana Jotta &etc. We keep fond memories of Wolfang Stoerchle's penis giving birth to Mickey, Bern Porter's found poems and Pati Hill’s cat piss stains. Their existence generated desire and fed our desire to see more. 


Ampersand’s Lisbon branch is now closing as its founders are forced to emigrate anew. To show our gratitude for the shared adventure of discovery, farO is organising a farewell tribute, on the 24th February at 10 pm, screening Venusville, by Chris Langdon and Fed Worden, a moving picture about movement in film, starring as subject no more no less than the Phoenix Canariensis.


We’d be highly appreciative if you could promote the event among your members, as it’s most certainly of their interest. We also want to take this opportunity to suggest that, given the importance of the work carried out, the AAVP would consider granting Ampersand’s team honorary membership.


We hope that this tribute will raise awareness to the importance of the shared experience of art, which is as vital to its makers as the making.



Subscrevemo-nos com amizade,


P'lo farO,

Ana Baliza e Alexandre Estrela

Thursday, March 31, 2022

SEMANA 7 GOOD TIME IS REAL TIME





SATURDAY, 2 APRIL 2022, 9 PM 
farO presents GOOD TIME IS REAL TIME
Jane Veeder and Phil Morton

We're approaching the end of our 8 week programme.
To celebrate, we’ll pay tribute to two of our long time heroes, Jane Veeder and Phil Morton, and their collaborative work that pioneered the pre-digital adventure of analogue video.

We welcome everyone to join us for dinner, at 9pm, while playing three road trip video tapes, shot on the mythical path of America Deserta:

Program 7
32’21’’, 1978

Program 9 (Amateur TV)
30’56’’, 1979

and

Ha-Ha, Many Mammals, Leary, Jane’s Fall (unedited raw material)
12’30, 1980

Analogue video, processed on Sandin Image Processor, colour and b&w, sound
Transferred to digital by The Phil Morton Memorial Research Archive
Shown with kind permission from the Archive and Jane Veeder


*

In the late seventies, during the summer breaks of the Chicago Art School, Jane Veeder and Phil Morton left their Electronic Visualization Center to travel out west, to work on a new type of art.


Phil had converted a General Motors van into 
a mobile video station, with customised windows and an awesome paint job. Equipped with two cases of video tape and the most advanced portable (though heavy) sound and video technology they migrated to the 
West towards the Sun. They snaked the trails of America Deserta, where nothing officially exists and everything can happen, set up camp and took day trips to their favourite places, collecting footage of a joyful journey that collapsed mythical with real time, under the surveillant eyes of cactuses, ongos and wild animals.


In the fall, they would drive back to Chicago, far from the desert where the years are counted by the thousands. In their video lab they would rework the material to recover real time. 
The footage was expanded adding other image sources and using Dan Sandin’s real time image processor and Tom Defanti’s ZGRASS graphics language, both fellow teachers at the same Art School. Sometimes this recycling process was edited into Video Programmes, presented at schools and media centres to introduce early video practitioners into their philosophy of the immediate through experimental electronic image visualisation. 


Sitting and contemplating the reverberating light going through the cathode ray tube was like sitting again under the desert sun. Like the Sun, the TV would become a model of 
an unmediated life source. With this 
live production-reception feedback network, they conceived video beyond a recording medium, as a system for interactive learning that would allow us to tune in through real-time communication. Theirs was an art programme for a social revolution, rewiring consciousness to be closer to desire and imagination.

Woody Vasulka’s interview with Morton and Veeder (1977) has great insights on the artists visionary project. It can be found at www.vasulka.org.
jonCates’ article Phil Morton and Jane Veeder: Our Desired Futures and the mobile Media Art lab (2014) speaks in more detail about the video programmes. Available at www.joncates.medium.com

*
Thank you
Jane Veeder, for kindly accepting this invitation.
jonCates, founder of the Phil Morton Memorial Research Archive, for the generous effort in making Morton’s work accessible under the free-distribution policy he stood for. The archive can be followed at www.copyitright.org

This session had the technical support of Borja Caro and Carlos Gaspar, and photo coverage by Pedro Alfacinha. The programme was printed by António Rijo de Carvalho and Gonçalo Duarte. Camping food by João Simões with the support of Conserveira de Lisboa. 
At the entrance, on display for the last time, the SLANT STEP.

Produced with the support of Fundo de Fomento Cultural Garantir Cultura–Compete 2020, República Portuguesa–Ministério da Cultura.


Thursday, March 24, 2022

SEMANA 6 SOUNDS GOOD





SATURDAY, 26 MARCH 2022, 10 PM 

farO presents SOUNDS GOOD



A video lecture on language feel and form, meaning and meaninglessness

by Peter Roseco-directed by Jessie Lewis 

The Pressures of the Text 

analog video transferred to digital, color, sound, 17', 1983


A logical deconstruction of the duck's speech

and the encoding of a Nokia 6150 user manual 

by Cátia Serrão


A Fala do Pato

powerpoint animation, color, sound, 5'7'', 2010

(alternate cut)

 

Book 

offset print, 92 pp, 17 × 12 cm, 2007/2022 

edition of 250, issued by farO 



A reading on nothing

by Clark Coolidge 

Nothing I-XIII, 1968



SOUNDS GOOD


A person, when speaking, walks, as a pig walks, as a duck walks, as a hound walks, and so on… 

This can be thought of as a short form of travelling, which comes from the Greek word quel "to move”, often used with the word quela (pronounced qua! ).

Another way of saying this is that there is a language to be heard which is no word of any kind. It is understood that things, like a candle or a sword, are sound-made. Whereof it is understood that sound is made by sound itself, which in itself is no-thing at all of an origin.  

 

The object of nothingness, requires a speech of continuum airy words. If we cannot speak we must remain quiet, and thus is born the name of a creature, or a thing, given to the object of silence, just as the name of a house when man made it visible. 


One can use language to explore meaning and meaninglessness. Linguistic and ideographic symbols can, in practice, be combined into a broad set of dialects. They are in fact a "sign language”. Its function and purpose is not in the point of impact but in the language itself, which can be measured again and again, with the result that one can think in terms of how the sign has evolved to allow us to interpret and express. 


This sort of linguistic analysis is part of “the dialect", at the heart of the art we’re making of words. It is usually understood by the people who have the means to listen to it. The problem is that this language doesn't have a grammar (an automatic set of rules that we can learn by doing things). The qua is a one-liner about the nature of our own reality, in other words, QUAQUA=LL, which is short for "novel".


SOUNDS GOOD



The previous text was generated by Artificial Intelligence, using an unsupervised language model, inputting sentences from:
But It Says Nothing (Clark Coolidge, 2000); scripts of Duck's Speech (Cátia Serrão, 2010) and The Pressures of the Text (Peter Rose, 1983); excerpts from Tractatus Logico-Philosophicus (Ludwig Wittgenstein, 1921) and Bouvard e Pécuchet (Gustave Flaubert, 1881).

*We thank the artists for their contribution to this session*
This session had the technical support of Borja Caro and João Simões and photo coverage by Pedro Alfacinha. 
The display shelf for Cátia Serrão’s edition was made by Gonçalo Barreiros. 
This week's programme includes ideograms designed by Cátia Serrão and Jessie Lewis, and was printed by António Rijo de Carvalho. 
At the entrance, on display as always, the SLANT STEP.

Produced with the support of Fundo de Fomento Cultural Garantir Cultura–Compete 2020, República Portuguesa–Ministério da Cultura.



Programme (PDF)

Thursday, March 17, 2022

SEMANA 5 THIS



SATURDAY, 19 MARCH 2022, 10 PM
farO presents THIS
this video by Maarten Ploeg
and this poem by Robert Lax

THIS by Maarten Ploeg is a 32 bit colour video with pitch variations of the word THIS. Made in 1991 with a COMMODORE AMIGA for a Pure Image and Sound broadcast on Park4DTV.
Robert Lax's poem was originally included in the compilation New Poems, designed by Emil Antonucci and published by Journeyman Press in 1962.


We thank Maarten Ploeg Trust, Ryu Tajiri, Peter Mertens and Park4DTV for making possible the presentation of THIS long time favourite.

This session had the technical support of Borja Caro and João Simões and photo coverage by Pedro Alfacinha. This programme is printed weekly by António Rijo de Carvalho. At the entrance, on display as always, this SLANT STEP.

Produced with the support of this cultural fund, Garantir Cultura Compete 2020, of this Ministry of Culture of the Portuguese Republic.  



Programme (PDF)



 

Thursday, March 10, 2022

SEMANA 4. HOT WHEELS





SATURDAY, 12 MARCH 2022, 10 PM
farO PRESENTS HOT WHEELS
With works by  Susan Mogul, Anne Lefebvre, Chris Burden and David Askevold 
Rua de S. Joaquim nr. 2, Campo de Ourique, LISBOA
(entrance on the left side of Igreja de Santa Isabel)

From a failed project to build an auto-tuned mandolin was born a faster and cool-looking matchbox vehicle:  THE HOT WHEELS. These tiny wheeled cars have been rolling with calculated hazards for more than sixty years, on a plastic orange track (sold separately). 
Sixty four times smaller and as easy to grab at the supermarket checkout as colourful candy, Hot Wheels finally fulfil Ford’s dream of making the car affordable and accessible to everyone. 
But regardless of the scale, when it comes to wheeled vehicles, there’s about two kinds of people. Those who couldn’t care less, for whom they’re just shuttles to get on track from A to B. And those who have a spitfire connection to the machine, a group that includes car lovers and car haters. 
Tonight we’re presenting personal accounts by artists who take this matter to heart.


* TRUE STORY * TRUE STORY * TRUE STORY * TRUE STORY * 

Mourning the loss of his partner 
and disenchanted by being an artist, Chris buys a 1952 Ford freight-truck 
named Big Job. He set off with 
huge business prospects. He would 
either turn it into a cross-borders roadshow truck or a mobile 
TV station or the first mobile car factory to build cheap cars on site… Right after the purchase he realises the huge wrecked tin is barely able to drive around the block and even just that was illegal, since he didn't have a license to drive it. After six months of nightmares about the truck rolling backwards and killing someone, 
he sells it half price. But the truck continues to haunt him with the burden of a crime he didn’t commit…


* TRUE STORY * TRUE STORY * TRUE STORY * TRUE STORY * 

Susan has just moved to LA to study at Cal-Arts and there’s only one thing stopping her from making it in Hollywood. She can’t drive and is afraid of learning because she had been in a fatal car crash with her boyfriend. After several feminist attempts she’s no longer stuck on that passenger’s seat, she’s mobil! She cruises town on a 1967 
Volvo Amazon, making a name 
for herself pasting billboards. 
Now she runs her own merch line, selling great art at budget prices, which she’s sure will help advance her career.


* TRUE STORY * TRUE STORY * TRUE STORY * TRUE STORY * 

David knows nothing, and doesn’t care, about cars. He talks to his gallerist who knows everything about them. Every time a car passes outside the window, David asks what colour it is and takes a bite off of a different chocolate, while the other spills information about costs, horsepower, fuel consumption… With this process, 
he conditions himself to memorise what is useless. For David, cars are just metal shells wrapped in colour, with different fillings.


* TRUE STORY * TRUE STORY * TRUE STORY * TRUE STORY * 

To this day Anne can’t drive a car, but she set herself the challenge of taming a 200 kg Honda VF400 sports bike. She managed to beat the clock every time and became a master of bike acrobatics, but only on a fixed circuit. As soon as she got off the track she would become a disaster. After an actual accident, 
in which she hit the breaks instead of accelerating and landed on her head, Anne dropped the steer forever. 
She sold her bike to a famous wheeling champion and became 
a passenger on glider aircrafts.

* TRUE STORY * TRUE STORY * TRUE STORY * TRUE STORY * 



David Askevold 
LEARNING ABOUT CARS 
AND CHOCOLATES
analogue video transferred 
to digital, b&w, sound, 21’11’, 1972
courtesy of Canada Gallery 

Chris Burden
BIG WRENCH
analogue video transferred 
to digital, 15’12’’, colour, sound, 1980
courtesy of Chris Burden Estate
copy from the EAI collection

Susan Mogul
MOGUL IS MOBIL VOLUME III REDUX
analogue video transferred 
to digital, b&w, sound, 
4’38’’, 1975/2022
courtesy of the artist
MOGUL IS MOBIL POSTCARD
offset print and stamps, 
13.3 × 25.6 cm, 1974
courtesy of the artist
*reprint comes with a bonus car charm!*

Anne Lefebvre
BX 1 
digital colour photograph, 
variable dimensions, 2019
courtesy of the artist


We thank Susan Mogul and Anne Lefebvre, Canada gallery and David Askevold Estate, Chris Burden Estate and Electronic Arts Intermix for making this session possible. 
Produced with the support of Fundo de Fomento Cultural Garantir Cultura Compete 2020 República Portuguesa–Ministério da Cultura.   
The session had the technical support of Carlos Gaspar and Borja Caro; and photo coverage by Pedro Alfacinha. Anne Lefebvre’s photograph was printed by Blues studio. Our weekly programme is printed by António Rijo de Carvalho. At the entrance, as always: THE SLANT STEP.

Friday, March 4, 2022

SEMANA 3 FOOD OBSERVATION






SATURDAY, 5 MARCH 2022, 10 PM
farO PRESENTS FOOD OBSERVATION
With works by 
Donald Burgy, Åsa Ersmark, Hollis Frampton, João Maria Gusmão + Pedro Paiva, Martin Laborde, Daragh Reeves, Aki Sasamoto

Rua de S. Joaquim nr. 2, Campo de Ourique, LISBOA
(entrance on the left side of Igreja de Santa Isabel)


Can It be eaten? Is it edible? Should it be eaten? Is it safe to eat?… 

These questions get all the more complicated if you’re suspicious of the hand that feeds you. Let us be clear: we strongly support the poisoning of any dictator. But to give the tyrant an indigestion you’ll first hit the food taster. The master strategy of the taster is to savour deep in existential thought. While the warm food makes its way down to the guts of the taster it gets cold on the dictator’s plate. 

In the 19th century the Western world tried to slow down the cooling of food by adopting the service à la russe, by which the courses in a meal are served faster in sequence, like a movie. With this new type of rapid service, the food taster could no longer resort to the old ways to buy time for the cold served revenge… 

On March 5th, 2022 at 22 pm, farO will work as a set for the sequential observation of food-like things, reflecting on what seems edible beyond the sensitive radar of sight and sound.


Saturday's
7 COURSE MENU

APÉRITIF
Coke Sculptures
by Daragh Reeves
(glass vessels and coca-cola, variable dimensions, 2011. courtesy of the artist)

SIDE ORDER
Carrots and Peas
by Hollis Frampton
(16mm, colour, sound, 5’5’’, 1969. copy from Film-makers Coop.)

AMUSE BOUCHE
Casting
by Åsa Ersmark
(video, colour, silent, 2’, 2010. copy from the Filmform archive collection)

MAIN
Food Observation Idea
by Donald Burgy
(video, colour, sound, 4’24’’, 1976. courtesy of the artist)

DESERT
Do Nut Diagram
by Aki Sasamoto
(video, colour, sound, 20’01’’, 2018. courtesy of the artist and Bortolami Gallery)

SALAD AND FRUIT
(all you can eat)
Chopping fruits and vegetables
by João Maria Gusmão + Pedro Paiva
(16 mm, colour, silent, 1’31’’, 2016. courtesy of the artists)

DIGESTIF
Super Weekend
by Martin Laborde
(three reloaded/combinatory compositions, mixed media, 100 x 70 cm, 2021/22. courtesy of the artist)


We thank the artists for the generous contribution to this session.
The lenders. Anna-Karin Larsson and Stefania Bortolami.
This session had the technical support of Carlos Gaspar, Borja Caro and João Simões; and photo coverage by Pedro Alfacinha. The screens were produced by toca do mocho and the projector stands by Gonçalo Barreiros. 
This week our exquisite staircase made of Aalto, Herzog/de Meuron and Breuer is replaced by a food staircase by Martin Laborde. 
At the entrance, as usual, will be THE SLANT STEP.
Produced with the support of Pato em Pequim and Fundo de Fomento Cultural Garantir Cultura Compete 2020 República Portuguesa–Ministério da Cultura. 


Programme (PDF)

Wednesday, February 23, 2022

SEMANA 2 CARTOONS






SATURDAY, 26 FEBRUARY 2022, 10 PM
farO presents works by Bill Brand, Ben Patterson and Ana Jotta

Attention! The films will be shown only once.
Atenção! Os filmes rodam uma só vez. 


Dear Little Friends, 

Let us briefly introduce you to the life of Pink Panther’s Portuguese father also known as Vasco Granja. Born in Campo de Ourique, not far from farO, at the age of 10 he was already breaking shop windows in the city centre. By 16 he had dropped out of school and was selling silk samples to the bourgeoisie, and later tobacco and books to well-known intellectuals. Schooled over the counter by day, by night he was screening neorealist movies at film clubs channeling the box office return to the anti-fascist struggle, which in return gave him free tickets to torture and prison. 

In the seventies, just after the Portuguese revolution, and 100 jobs later, he became a TV host for the first public television programme dedicated to animation film. Taking inspiration from Norman Mclaren’s film ‘Neighbours’, his programme called for peace by presenting films, independent and commercial, from the two colossal neighbours fighting a Cold War. He proved that American jaw-dropping blocbusters like Tex Avery and Chuck Jones’ Looney Tunes could coexist with the utopian inventiveness of Eastern Bloc experimental animations, like those of Piotr Kamler and Zbigniew Rybczyński. Before running the reel he minutely introduced the cartoons, at length, speaking to all ages and to great despair of a crowd of children anxiously awaiting the pictures to start. 

We cannot say Vasco’s vision was decisive to the lift of the iron-curtain splitting the world, but he certainly planted the seed of curiosity and kind transgression in many generations. farO’s Cartoons is a tribute to humour as the medium par excellence for the Delicate and Great causes. As Patterson would say,  it is the path  of least  resistance to implant subversive ideas. 



ON THIS WEEK'S EPISODE


6 Cartoons
by Bill Brand


BEFORE THE FACT 

16 mm, b&w, sound, 6', 1974


THE CENTRAL FINGER 

16 mm, color, silent, 5' 30'', 1974


AN ANGRY DOG 

16 mm, color, silent, 5’ 30’’, 1974


THE AUTOBIOGRAPHY 

OF BENJAMIN FRANKLIN

16 mm, color, silent, 7', 1974


NEW YORK STATE PRIMARIES 

16 mm, color, silent, 5’ 30’’, 1975


STILL AT WORK 

16 mm, color, sound, 5', 1975


all copies from the Film-makers' Coop.



A SIMPLE OPERA 

by Ben Patterson 


mono sound, 15' 51' ' , 1995

narrated in his own voice, performed by Amerigo Ormea, Davide Mosconi, Elisabetta Roncucci, Gabriele Bonomo, Philip Corner, Phoebe Neville and Walter Marchetti

courtesy of the Estate of Benjamin Patterson


and

UP THE FALL 

by our neighbour Ana Jotta

a new wall drawing especially for this occasion


and yet again...

The Slant Step


This episode had the technical support of Carlos Gaspar and Borja Caro, and photo coverage by Pedro Alfacinha

The evening programme is printed weekly in Pontinha by Antonio Rijo de Carvalho and, this time, also by Gonçalo Duarte in the ruins of Quinta do Ferro

A Loving Neighbours production, with the support of Fundo de Fomento Cultural Garantir Cultura-Compete 2020 / Republica Portuguesa-Ministerio da Cultura

Thank you Bill Brand, The Estate of Benjamin Patterson and Barbro Patterson, Ana Jotta and her Krazy cat. To Vasco Granja and Amos Vogel.




Programme (PDF)