///25 de Setembro @ Círculo Católico de Operários do Porto
19h00 - Screening
"LAWINE - BERLIN"
Documentary video, produced by Mariana Caló, about the first presentation of LAWINE that took place in July of the present year.
"COMMERCIALS FOR A CONCEPT"
Due to the consideration that not only products but concepts and ideas need publicity, this project is about producing "commercials for a concept". "Commercials for a Concept" are ads - but not for products. They are ads for ideas, concepts or utopian product suggestions. Artists and music video directors were invited to create clips on the theme "Ideas for Europe". The result is 24 entertaining and experimental advertising clips that offer unconventional solutions for social, personal and philosophical problems.
"Ideas for Europe - 24 Commercials for a Concept" is a project by Graw Böckler. Commissioned by the 53rd International Short Film Festival Oberhausen 2007. Sponsored by the Federal Foreign Office of Germany.
///26 de SETEMBRO - SÁBADO @ Passos Manuel 21h
PROJECTO GENTILEZA - Biting song /concert
Projecto Gentileza members, shared a recurrent dream, during childhood, referring to a dark abstract place with a spinning shape in the center, massive and white or luminous and immaterial. This landscape, contained in itself a deep low pain, or sometimes, sharp and acidic, invisible. There was a continuous distant milky sound, that could become incisive and close.
KATHERYNA ZAVOLOKA & LAETITIA MORAIS - Vedana /live act & video
"Vedana" is a unique piece of both artist's artwork. It is exploration of Water Element, ancient knowledge through experimental music and generative visuals. The music is composed by Zavoloka in real-time, transmitting different states of water and how they can be specifically translated to sound, as a interactive research. Low frequencies as a depth, secret, mystery, unknown. Ukrainian traditional vocal and voices as a water of life, flowing as canvas, clearness and deepness of sound. Deep changeable rhythms, warm harmonies.
The visuals are composed by Laetitia Morais, exalting the water shapes, as the visuals react and transform themselves, depending to the frequencies captured from Zavoloka's music. In addition, other real-time data is captured through internet, like sea levels or camera recognition of particular shapes and movements, controlled and formed as 3d complex, but clean and abstract compositions, that unify all this information to the simplicity of code. The join of very technological systems with rude and natural materials (high and low tech) is an interest present on this project. If the space is open to it the visuals can be integrated into architectural forms, changing the perception of the structure.
The main technical support of this project is a laptop connected to internet and to the output of Zavoloka's master sound; an open source of programming language; a designed interface that react to drawings, printings or simply corporal movement (developed with Augmented Reality technology), 2 MIDI controllers and connections to one ore more video projectors;
The result is a symbiotic system that can be performed or stand by itself. An ephemeral moment that reflects experimental approaches to deep conceptual objections.
Juicy chewy dub from a bass devoted selektor. Having recently re-entered the earth atmosphere, this long time friend of outer space heroes like Alf, Zim and Sun Ra takes you on a cosmic dubwise adventure from Flying Lotus to King Tubby.
///29 de SETEMBRO - TERÇA-FEIRA @ CAFE AU LAIT
MARVELLOUS TONE DJ'S /djset
///1 de OUTUBRO - QUINTA-FEIRA @ MAUS HÁBITOS
GUILHERME GARRIDO - This is not my home.It is just a place where I spend my days. /concert
DISCOTECA FLAMMING STAR - Sara Violet Paris Moses(For Paul Robeson) /performance
Discoteca Flaming Star is an interdisciplinary artistic and collaborative performance project, a rock to band together, or rather, a group of persons that plays songs, understanding them as a personal response to political, social and historical events.
Through conceptual and musical transformations of/in/around the songs they try to create visuals, text scenographies and a musical frame in which one of the main aims is to challenge the memory of the audience: moving it into unexpected collective and individual memory-territories. A memory for something in the future, for something that has not happened yet and maybe never will. Through the old that has not happened, the new is interrogated.
Cristina Gomez Barrio and Wolfgang Mayer work since 1998 as the foundation of Discoteca Flaming Star.
GRAW BOCKLER & SONOPLASTIA IMPROVISADA em A.B.C. /live act & video
Graw Böckler are Ursula Böckler and Georg Graw. They live in Berlin & Cologne, Germany. Graw Böckler work as artists with Film, Video and Photography. In 2001 they founded "Raum für Projektion" - a temporary Projection Space. "Raum für Projektion" is publishing since 2003 experimental video DVDs.
They will be part of Acepipe Bit Capum, as artists.
D.CARMO E A MAGNÍFICA MALETA VERMELHA /Performance
Enlightenment on the use and treat of sexual and erotic toys.
///2 de OUTUBRO - SEXTA FEIRA @ Plano B
23h00 - SALA PALCO
COEX /live act
Performance and experimental electronic project, by João Alves and Pedro Moura.
WHAT & QUEIMADELA /djset
A transverse trip through broken beats, deep bass, echoes and spacial synths.
MIKY RY /live act
In 2003 he moves to Berlin and starts a new project, Narcotic Substrata, a mixture of techno Detroit and noisy electro, playing in different clubs of Berlin and Europe. At the moment he is preparing his next lp on his record label, Substrata.
MARVELLOUS TONE & PISO co-production
PARANOID DISCO /dj set
////3 de OUTUBRO - SÁBADO @ A Sala
CONCURSO PÚBLICO DE IDEIAS PARA A REQUALIFICAÇÃO DO CASTELO DE ARRAIOLOS
By Ana Fernandes, Inês Bartolomeu e Nuno Pedrosa
The ground was defined as the starting point of the project, understood as the architectonic foundation . The first appropriation of land settled in the ground's handling. Look at the place as a process of historical sedimentation, without giving to the vestiges of an era, preponderance over the other. The project interacts with the memories of the place in a way intended to be active, creating new points of view, allowing other interpretations.
The project is not limited to address what, in the light of the intentions for this space, it seems like a problem to solve, but seeks to consolidate a new era, in a dialectical relationship with the heritage, fostering latent themes. In this way, the proposed solution takes the floor as a working base, while an element with thickness, with identity, with the potential to comply space. A reading of the morphology of the walled area pulled two approaches: - the elevation of the interior, which extends up the hill from the outside, and establishes himself as a sacred space, a geometry that confirms the origin of the place and at the same time, announces the church as an outcome of this composition space - the area surrounding the road, with elevations and regularized as an area of ownership easier and more-intervention over time, it is understood that this line of sharecropping between the inner wall and the hill has a character movement and imaging event to be developed. The working area of the project is defined between the inner wall and the hill, while the ground is not all down manipulated a strategy that defines a unit. It starts with a series of rings that interact among themselves and with the outer ring (the wall), "plowing" this territory in a continuous movement that started in the hole, culminating in the palace. By the middle of drawing up the program in spaces that arise in the oscillations of the different trajectories. The cafeteria, the space to support the entry, the enclosure of the sheep, the stage and its support, do not identify themselves as stand-alone buildings, spring from the ground and belonging to it; they are 'stolen' fluctuations between platforms. The materiality of this proposal does not depart from the earth as matter, however, it is with land that it is built, as an inert that combines with the concrete.
CANTARIA. UM PASSEIO A MEIAS.
Regina Guimarães made a poetic reading about the Arraiolos' Castle, recorded by Ana Deus and available to the visitors of the city and its castle, through audio-book, for the 2008 "Festival Escrita na paisagem". There are about 18 minutes of spoken and sung words , whispered, sighed, remembered, screamed ... The visitors of the castle could hear them,while sitting in the square, or while walking through the ancient walls, accompanied by Kafka, António Joaquim Lança and others.
João de Deus Monteiro
Recording and editing
/// 25 DE SETEMBRO A 4 DE OUTUBRO @ Círculo Católico de Operários do Porto
15h00 às 19hoo
ACEPIPE BIP CAPUM
Acepipe Bip Capum is a laboratory for experimentation and informal research combined with open dialogue and creation through collaboration. It is intended that this place is a potential exhibition space, a proposal of accumulation of experiences in real time and of transformation of resources offered by the participating artists. The strategy of Acepipe Bip Capum has to do with crossing different methods of work and union of artists, in one space, that express different directions, but at the same time, hypothetically complementary. It is expected that, through this building framework, based on interdisciplinary experimentation, it will be possible to generate organic and interesting creation in collective, enabling the exchange of content and construction of a common context, during a specified period.
The artists invited to participate in this project, express their work in different areas, such as visual arts, sound and performing. We will seek that the ideas and proposals generated by the participants, are understood as the beginning of a process of questioning, where the arising construction is not defined by its boundaries, in order to be understood as a stream of continuous work. Acepipe Bip Capum is perceived as an intermediate space between what could be an open studio and an exhibition space, receptive to to the development of concept in partnership, as well as the recycling of contents and construction of traces, through temporary intervention, experimentation and rehearse, where the participation of the public will be included in a potential way, since it is not our intention, through this process, to entertain but rather to gather people together and stimulate constructive debate.