For 3 days ALTES FINANZAMT was a filmste for the third episode of neurosex pornoia. The Film under direction of Eric Pussyboy is a queer sci fi trip.
Finally I made my comic
A Special show. Its a one and omly special show
Writing scripts in a group. Meeting every week for devloping
Its a movie about energy in sexual intercourse. You can follow the tracks on the body.
With uv color we made touch visible to everybody.
da gab es mal etwas, pornomäßiges-..adndasmcölmölsavlasväö
An evening of several perspectives on and from Oporto city and its inner lives. The video selection presents, reflects and projects questions of nowadays living situation in Oporto and its relation to actual social-political questions within an European scale.
// “This Is not Manchester”
(A route in Campanhã), 33′ , 2012
“So the industrialization shapes the urban space in Porto, introducing new forms of settlement and occupation of the space, as well as new modes of urban life – in other words, new ways of living of the city and in the city.” Paula Guerra, 2008.
This is a route across Campanhã, a territory comprising a particular part of the city’s history, its development, and its community. A specific territory and community that being a part of the city, sometimes looks detached from it.
// “Hospedaria”, 20’47
An old inn, located in central Porto, hosted people with few possessions for many years: prostitutes and people passing by made of that place their home for long or short time. At the end of 2013, the landlady, who sub rented the rooms, handed out the key to the owner of the house. In the 14 rooms, which make up the building, almost everything was left behind, like unmade beds and all kinds of objects such as toys, posters, chairs and ladders, clothes and shoes in closets.
A diary written by a child and found onsite brings us to the kind of atmosphere – dark and violent – that would be lived in the inn. It left mainly memories that we project in time and space, echoes and sounds, images of emptiness and abandonment of a space that is no longer inhabited.
Rita Faustino- Portugal adjacente e ultramarino ou apontamentos / / Adjacent Portugal and Overseas or Notes
Felícia Teixeira -S/título
João Brojo- 26
Rui Pinheiro – Repérage
Fernando Sebastião -Aqui / here
Diana Carvalho – Olá, Adeus / Hello Goodbye
Amarante Abramovici – dezembro / december
Nuno Cassola Marques – “Hino da Alegria” / “Ode to Joy”
Adriana Romero – Rei e Rainha / King and Queen
Fernando Sebastião – Aqui / Here
Hernâni Reis Baptista – Lá Fora / Outside
Susana Chiocca – Não temos de morrer pelo euro!/ We don´t need to die for the euro!
Fernando Sebastião – Aqui / here
Diana Carvalho – Olá, Adeus / Hello Goodbye
José Oliveira – “Vamos Lutar Até ao Fim”/ “We Will Fight Until The End”
At first sight, the body of work gathered in this video screening does not seem be closely related, except for the fact that all the videos were created by artists who are either from Porto or working there. Despite the formal, thematic and technical differences contrasting these short videos, visualizing them as a whole allows us to perceive a collective attitude and sentiment: these are the fruits of the social, political and economic context which is currently lived in the city of Porto and in Portugal; fruits that bloom regardless of whether such concerns are part of the creative and productive processes.
The evening will count with the presence of José Oliveira.
open for talk and reflection on the works and the topics they bring.
soup & bread
doors open 20:00
first screening starts 20:30
The Dream Machine explores the unconscious by processing all forms of dreams in an attempt to arrive at a collective psychoanalysis of now.
Dream processing takes place on Saturday, 28th of June 2014, from 21 h to 23 h.
Come and feed the machine.
Die Traummaschine erkundet das Unbewusste durch Verarbeitung von Träumen, um zu einer kollektiven Psychoanalyse des Jetzt zu gelangen. Die Maschine verbrennt dein geträumtes Benzin.
Die Traumarbeit findet am Samstag, den 28. Juni, zwischen 21 und 23 Uhr statt.
This distinct, pleasurable tingling sensation in the head, scalp, back, and peripheral regions of the body you feel in response to the visual, auditory, tactile, olfactory and cognitive stimuli of the chameleon charming night.
This night appears to you in a morphing narrative of a hypnotic dance performance by Austėja Vilkaitytė (Stella) as well as all white eye gazing through the blue liquor haze by Grégoire Blunt. Plus 3D text with Eglė Kulbokaitė. Plus plus plus DJ SAMOLN
It is mainly invisible walls made of crystal that define most of the spaces where our bureaucratic fluxes inhabit: tax offices, shopping malls, airports or banks. For a long time we have known them as non-places, they are the epitome of the architecture of transparency. These transit spaces represent in their very glass construction what is supposed to be hidden. In a way comparable to what happened with the appearance of credit cards and the ongoing disappearance of money as a physical object, today a similar process is happening with the representation of the infrastructures of power. On the transparent walls are some floating corporative logos as the customer care person is always within our sight. While one does not perceive the symmetry of power as it happened before, the architecture of transparency pushes our steps in a stealthy fashion. This transparency hides the rules of our regulated lives in its own immateriality.
In this exposed nothingness, we individuals are choreographed through the perverse management of our desire, very well described by Byung-Chul Han. In this mechanic conception of all movements, synchronized once more by an interior panopticon composed in our time by of a digital substance, it would seem that the gestures of defiance are the ones that propose a disruption in this machinery.
_Doval Holt, April 2015
Opening 15th of April at 19:00.
Exhibition continues until April 24th (visit possible by appointment)
With the support of:
and John Holten
The exhibition contains a film from a greenhouse and a film prop of sorts. Of sorts as not having been built to be in the film, the prop is made after the shooting and based on an object in the film. Displayed under the same roof this time but separately in other occasions, both works stem from an interest in how objects gain importance and sway between their function and their worth.