200gr.

Sinopse . Sinopsys

2009-12-23T14:35:00.000-08:00

200 gr.

de António Júlio

Produção MUGATXOAN 2006 / Arteleku Gipuzkoako Foru Aldundia / Fundação de Serralves

200gr. É uma forma de exibição não assumida.

Se numa embalagem não existisse senão a designação de peso, nada ficaríamos a saber acerca da natureza do seu conteúdo. Esperaríamos pela sua revelação. Ansiaríamos por abrir a embalagem e conhecer o produto. E poderia ser que o produto do interior fosse outra embalagem com a designação de peso, que nos instigasse a continuar.

200gr. apresenta uma verdade escondida. Muitas vezes revelada, muitas vezes distorcida. É um lugar de existência.

Há uma tela de projecção que separa o público do performer, ou intérprete. Nessa tela passa-se tudo o que é possível ver. Ao espectador é vedado o acesso ao que se passa, mas este pode ir adivinhando, pelos sons que ouve, pelo que imagina, pelo que projecta. Na tela, sempre em sombra chinesa, vão passando personagens; conta-se pequenas histórias, ou histórias interrompidas - momentos que se relacionam uns com os outros por todos partirem de um só corpo, do mesmo sempre, que se multiplica, mutila, amplia, recorta ou reinventa. joga-se com surpresa, num tempo suspenso, sem palavras ditas, nem música tocada. Tudo parte do silêncio e da luz para a obscuridade. É um espectáculo visual, minimal e sensível que deixa ao espectador a possibilidade de lhe acrescentar sons, palavras ou expressão a um rosto sem identidade. O que eu apresento, do que eu falo é de identidade, da minha, de mim. Mas essa identidade é sempre a construção que faz o espectador. Não digo o meu nome, uso-me como um qualquer. E as respostas que tenho tido são de quem ao ver um, vê-se a si próprio em projecção e apõe-lhe as suas próprias histórias.

200gr.

by António Júlio

Production MUGATXOAN 2006 / Arteleku Gipuzkoako Foru Aldundia / Fundação de Serralves

200gr. is a way of exhibition that's not fully assumed. If on a package we hadn't but the inscription of the weight we wouldn't know nothing about the nature of its content. We would wait for its revelation. We would long to open the package in order to know the product. And it could happen that inside we found another package with another weight designation, that would make us want to go on. 200gr. presents a hidden truth. many times disclosed, many times distorted. iIa place of existence. There's a screen that separates the public from the performer. It is on that screen that everything to be seen takes place. The viewer is blocked to see what's happening behind he screen, but he can guess, can go along with the things he hears, the things he can imagine, the things he can, himself, project. On the screen, some stories are told, little stories, cut stories, moments that relate to a single body that multiplies itself, that suffers mutilation, grows wide and reinvents itself. You shouldn't wait for words, you shouldn't wait for music - you might be imagining those things. There is a suspended time. Everything comes from silence and goes from light to darkness. iIs a visual show. Minimal and sensitive. That lets to the viewer the possibility of adding an expression to a face without identity. Yes, I intended to talk about identity. I present myself and show things that can compose a portrait of what I am. But those things are the construction left on the hands of the viewer. I don't say my name, I use myself as anyone. and what I've been discovering by showing this piece is that people whatching it look for themselves around their own stories.

200gr. Promo

2008-10-17T06:36:00.000-07:00

About 200gr.

2007-07-02T17:34:00.000-07:00

Silent Shadow by Sergio Herrero

They say 21gr. is the weight of a person's soul. Maybe 200gr. is the weight of its shadow. A show of shadows which reflection close to the performance reaches a real aesthetic sense. A person in constant transit multiplied by its shadow. The delicate and precise set of shadows make us, at some point, doubt if the body crosses the screen, creating amazing dimensional sensations, coming to the foreground. Even shows us the pupil that observes us in a lighting effect with its blinking eyelid. You can see that the spectacle was built out of the occurrence, but its creator, António Júlio, has managed to keep the hits released in the trials, by experimental method of trial and error, everything that can reach the sublime point he maintains throughout the 25 minutes of show. Although the risk of improvisation is lost, at times like this you also thank, in the fields of performative arts, to see not the experiment but the discovery.

There is also something of the circus in the proposal. The more difficult still, to ask: how does he do it? But without: alehop! From the silence, the meditation and the purity of the plastic. The reflection on the body is mysterious and profound. Starting from immobility, his body creates the silhouette in question, and the small movements of limbs produces, at times, the sensation that these seem alien to him. Speaking about the body includes, and it could not be otherwise, an attention to disability, into a moment of poetic mood where to the armless figure will grow two small wings that make him fly.

When silhouettes fall apart, they seem to fold as a paper sheet: the body can be body-object, and it is indeed when it becomes transformed into a Swiss Army knife. Poetic humor led to the summit with the image of the penis-head. But certainly wins the poetic: the split of his shadow on two figures, producing among them a delicate encounter and giving each one independent movements, excits and amazes: it will be one of those images that remain forever etched in the brain where memory and fantasy are mixed.

Behind and Before

2007-06-29T07:39:00.000-07:00

MUGATXOAN

2007-06-28T08:31:00.000-07:00

MUGATXOAN trabalha nos espaços intermédios que são comuns entre o artista, o processo de cada peça e do produto final, bem como entre as disciplinas. MUGATXOAN propõe partilhar e questionar a forma como se cria, produz e apresenta. MUGATXOAN convida artistas que não necessitam de grande produção e centrados na procura de novos códigos. Direcção Artística: Blanca Calvo + Ion Munduate. Co-produção: Arteleku Diputación Foral de Gipuzkoa (San Sebastian) / Fundação de Serralves, Serviço de ArtesPerformativas : Cristina Grande (Porto) / La Laboral Escena (Gijón)

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Mugatxoan trabaja en los espacios intermedios que se dan tanto entre el artista, el proceso de cada pieza y el producto final, así como entre disciplinas. Mugatxoan propone compartir y cuestionar el modo en que se construye, produce y presenta. Mugatxoan invita a artistas que no precisan de grandes estructuras de producción y centrados en búsquedas de nuevos códigos.

Dirección Artística: Blanca Calvo + Ion Munduate.

Co-Producción: Arteleku, Diputación Foral de Gipuzkoa (San Sebastian) / Fundação de Serralves, Serviço de Artes Performativas: Cristina Grande (Porto) / La Laboral Escena (Gijón)

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Mugatxoan works in the intermediate spaces that are common between the artist, the process of each piece and the final product as well as between disciplines. Mugatxoan proposes sharing and questioning the way one builds, produces and presents. Mugatxoan invites artists that do not require large production and are focused on searches for new codes. Art Director: Blanca Calvo + Ion Munduate. Co-Production: Arteleku Diputación Foral de Gipuzkoa (San Sebastian) / Fundação de Serralves, Performing Arts Service: Cristina Grande (Porto) / La Laboral Escena (Gijón)

2007-06-05T20:02:00.000-07:00