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#Building Healing Processes

Title: #BuildingHealingProcesses
Artist: RitaGT
Technique: Video, color, sound, 9’28’’
Year: 2016
Collaboration: Casa dos Rapazes Viana do Castelo
Curator: Patricia Oliveira and Arte Institute
Camera and editing: Marcos Guilherme

Home-world, a project co-curator by the Arte Institute and Patricia Oliveira is pleased to present its fifth #BuildingHealingProcesses performance by the artist Rita Gt. This performance explores processes and possible response to the question "What is this place one calls House- World?"

#BuildingHealingProcesses video was made on May 2016 in a typical industrial ceramic factory of the north of Portugal. The performance shows the artist dress with a work costume followed by a group of traditional Portuguese drum players in a procession inside the big factory warehouse. The drums echoes on the space, producing an extremely loud sound. The artist collects a big amount of ceramic objects in a pile and with the help of a forklift, the artist jumps on the ceramic pile and breaks it all. A foyer is associated with a transition, a movement in time and also a type of crossroads, a temporary port, a space station. A foyer is the space between a path that makes traveling to other spaces possible. Such as a foyer is a space between spaces; the plaster is an “intermediate” material. Much of sculptural works at some stage of their development, go through the molding stage in plaster. Plaster is an intermediate step between the clay and the final object. The plaster mediates the transition. This video performance aims to reflect, such as plaster, on intermediate spaces, a space in between spaces. I am interested in evoking contemporary debates as opened up by the discourses around the constructions of the feminine, especially around the interiority, private and the domestic; exploring the role of history and memory in these constructions; interests me think of how cultural projections and identifications can happen through the circulation of art objects; investigating how the fetish gets feminized. This performance for video stimulates a subversive and ambivalent approach, questioning the ceramics as mostly associated with women and domestic performance technique in a more westernized context.