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daily chronicles

What about tomorrow?

Text by Claudia Galhós

It is always only possible to tell part of the story. There is always a lot left untold. It is as if you were keeping a secret but you didn’t actually decided to keep it a secret…

Dealing with life through the sensibility, imagination and disturbance of artists, sometimes is possible to have a glimpse at reality in its purest and most naked and rough state. Those are moments simultaneously beautiful, scaring, overwhelming and touching. What is usually hidden in the sand of “The Society of the Spectacle” (quotation of the title of Guy Debord’s book first published in 1967) becomes visible. But that clarity may be too difficult to deal with. First because, as Rui Catalão says, “people accept only a certain amount of reality” but also because memory helps protecting each person from having to deal with all reality without having to feel responsable for it. That is also the way it is possible to approach each intensive day of TryAngle Montemor: only a certain amount of reality. But also part of that reality is in fact a non conscious creative construction of memory. With this thought in mind, here are some fragments of TryAngle’s real fiction – through the words of the artists and the identification of the context in which they were expressed.

“How much can you live a feeling of being connected with yourself while at the same time you are aware of the camera, of other people looking at you and of the presence of the lights…?”

Context: Leandro Kees explaining to Anna Nowicka why he wanted her “just to dance and feel pleasure doing it” for his “Dance” project.

“Memory is itself creative. Is not immutable or objective. There is not even the need to produce a lie. Each person is condemned to produce lies and falsities even with the most honest and clear intention of telling the truth.”

Context: Rui Catalão explaining one aspect of his project “La Cité des “ânes”

“Why do most of the experiments going on this week require audience, participation of the community from Montemor-o-Novo or some context of public presentation?”

Context: The question is from Tiago Rodrigues in friday’s morning meeting.

“What do you expect to receive from art when you go to see a presentation?”

Context: One of the questions Leandro Kee’s asks in his “Interview” project.

“After a first formal presentation of each person about who they are, what they do and what interests them, how is it possible to create the conditions to continue that moment of presentation?”

Context: Thomas Fourneau question that originated his proposal of “Monsters…”

“The system is important to trigger dynamics of work, but we are in a turning point in which the system is here to follow the natural dynamics already going on, that emerge from each artist participating in TryAngle.”

Context: The proposal is from Tiago Rodrigues in friday’s morning meeting. He is referring to the context and dynamics of TryAngle, analysing the moment of the end of first week of TryAngle. But is it only about TryAngle’s dynamics?…

“How to mutate? And can I be you?”

Context: Title of the research about movement proposed by Thomas Forneau. He is researching the idea of mutation connected with the idea of the monster inside each person (which is another project of him). The monster is, in that sense, an exception; while the mutation is the possibility of emergence of a new rule. This opens for him two other questions: “What is that? Post-human?” and “What am I?” But other consequences derive from this: the mutation begins another normality, which can be questionable – because is a norm – but brings a possibility of a future…

“What about tomorrow?”

Context: The question is from Miguel Borges. He wrote it inside a drawing, kind of comic stripe drawing, in friday morning, while the organisational meeting was going on in the White Room.