Eu, como homem branco, de 29 anos, queer e homosexual, pertencente a uma classe média. Reconheço o meu particular interesse em temas como ambiente, ecofeminismo, sociedade, comunidade e des-colonização. A escolha das imagens motivou-se em referência aos temas referidos acima e a minha relação com estes foi-me motificando ao longo do workshop, reconhecendo o meu lugar na história, mas também as suas possibilidades no desenho de novos imaginarios. // R. Bo
Apesar das imagens analisados serem antigos e terem um padrão político, social e ético, a verdade é que ainda hoje temos alguma repetição dessas padrões. Talvez a sociedade já esteja mais “acordada”, mas ainda temos muito para discutir, ... e, sobretudo, mudar. Com isto estou consciente a minha posição de privilegio e que esse deve ser usado para ajudar também quem não tem.
No entanto, acredito que nunca existe só uma realidade, mas vários lados. A verdade/realidade é uma construção social, mas também está nos olhos de quem a vê e na pele quem a vive. // Carolina Rosa
Tudo o meu trabalho artístico tem como base ideias, memórias, probemáticas de autobiográfico. concietne ou inoncientemente relacionamos com as questóes de posicão social, minha e do meio em que me insiro . No trabalho desenvolvido [por mm] nenhumas das questões me identitade são relacionadas diretamente com genero, raça ou sexualidade; estão de forma direta no entanto implicitas na escolha de temas e metodologieas de trabalho. // Angelina
Me sitúo por el lado, dentro, através de un archivo hecho de fragmetnos. Fragmentos que son mios y tiyos, de vozes apagadas que insisten en aparecer en las grietas de la imagen y de la palabra, en los intervalos de la história. Deste Latinoamérica me reconozco, como mujer y niña, que baja de la Cordillera. Me gusta manosear el archivo, rasguñarlo, inistir, en los documentos hasta desarmarlo para encontrar otras maneras de assemblage, de sus piezas. Ser archivo con otros, (des)aprender el archivo en conjunto, pensas con los cuerpos, presentes, ficcionados para imaginar futuros comunes, todavía posibles. // Laura qabriela
picture books
J. Staub: A instrucção da creança / J. Staub’s Bilderbuch, vol. 1
J. Staub: A instrucção da creança / J. Staub’s Bilderbuch, vol. 2
J. Staub: A instrucção da creança / J. Staub’s Bilderbuch, vol. 3
J. Staub: J. Staub’s Bilderbuch, vol. 4
U. Kolkbrunner: J. Staub’s Bilderbuch, vol. 5
U. Kolkbrunner: J. Staub’s Bilderbuch, vol. 6
I proposed to study the cover image of J. Staub’s picture book series through embodied and visual analysis as well as a small creation process. This image is particularly interesting as it is in itself a layered reflection of “looking” in educational settings. I proposed this exercise as studying of the “program” through reenacting that image (see also “how this archive is worked”). These activations were developed in groups of 3 to 5 people and partly the constellations changed as the process was continued on the second workshop day where a different group of participants were present.
As a group, they should create a freeze frame of the image i.e. each person would take a certain posture and then remain still. Together all bodies would create a frozen scene. One person would remain outside of the frame as the viewer helping to create the freeze frame. This exercise is common in theatre education and there are various versions of this. The function of the viewer was not to direct the frame – this would be the group's task – but rather that person could help to create a scene that would visually communicate and I hoped to invite reflexivity about the viewing process into the scenes by making the role of the viewer an obligation.
When creating the freeze frame, I encouraged the participants to try to relax the body and then get into the frozen posture a couple of times as in my experience this “getting in” and “out” of the posture gives a better understanding of it than just being frozen constantly. When in freeze frame, each person, including the viewer, ought to say a word that comes spontaneously to mind: it can be an emotion, a sensation, a thought, a phrase…
After this first phase of experimentation which lasted about half an hour, the groups took a break and I spread out a small desert (this activity took place after lunch) with questions taped to each little desert container. These questions ought to trigger reflections about the image as well as the first experience that the groups had by studying the image not only visually but also through their embodiment of it.
Based on the experience of the freeze frame exercise and their discussion, the task was then to create a little scenario or scene. I suggested a methodology that was not entirely followed but all groups but guided the overall creation:
All persons go back into a freeze frame. One person becomes “unfrozen” and takes on a different person. Then the next person reacts to that movement or change in the scene, unfreezes, refreezes. This goes on until everyone has “moved on”. I invited them to link the movements also speech but only one group implemented a small verbal component.
Three very different scenes and thoughts around the picture were developed by the groups that they showed to each other by the end of the day, including some thoughts about what had driven their creation process. Closing that workshop day, each person wrote down a word or sentence to describe or “score” the scene their group had developed during the day. On the second workshop day, these words and phrases were the kick-off for the groups to create a score for their scene collectively. It was left open to the groups if their scores aimed to speak to their experience as performers, to communicate their idea of the scene or if they even wished the readers/viewers themselves into another round of re-enactment.
