I Remember - Reflections on Lab2's Time with Eleonora Batista Fabiao

Eli Steffen

I remember when I was ass up legs on the counter over the trash discovering I could message my own shoulders and groaning quite uncontrollably.

I remember when we were shown the picture of the artist ___ (Graciela Carnevale) locking her audience into the gallery until someone broke them out and what a visceral desire I had to be that free.

I remember when Claudio couldn’t reach his mom to tell her he loved her during the “things we have never done” segment of our performative program and the range of emotions and stories it brought up in me.

I remember wanting to call my mom.

I remember Tehching Hsieh’s first one-year performance and how sad it seemed, a little too close to reality.

I remember “this was a love letter my dears, did you receive it?”

I remember being surprised that piecing my wrist didn’t hurt nearly as much as I thought it would.

I remember snow falling in New York, two pictures one of |a trees and a conservative dressed woman and |one of a man a back-packer or a well-supplied homeless person?

I remember looking at Ebana’s full bookcase despite the fact that she was flying out the next day and wondering what kind of housing arrangement she lived in. (She did not fly out the next day… I was wrong… or maybe she missed her flight…)

More rememberings here

Pankaj_Tiwari

I remember taking to ebana in the morning for our piece. That was thhe moment whe I come to know about her.

I also remember that moment of massaging our feet.

I rememring that artist who use to punch every hour ffor a year.

I remember many things but especially the balance between theory aand practice. I remember the openness and knowledge sharing tools of Elonora.

Juan Miranda

The performative program: which kind of actions we want to open?

Performance, where is the work? Marcel Duchamp, introduces the perspective of the intention, there is an intentionality that lies behind the work .

To deal with space-time and law. (there is also the legal aspect).

The space as a body, everything is a body (Spinoza).

Desire / need / demand

How to sustain desire over time? Why to differentiate practise from philosophy ? Can it be different ?

Spinoza. What is a body? (ontological question) A group of particles in movement and stillness at the same time with the same forces.

What moves a body? The power to affect and to be affected.

To produce - To receive - To exchange

Poison or food? This is augmenting the capacity of action or dismissing it?

100 aesthetic 100 political 100 social 100 spiritual

William Pope.L A chamán and a clown. To give up verticality. Art is making things happen. The egg is a body of potentiality.

The program: composition, procedure not methodology. The word methodology is too big! Temporality of not rehearsing (another logic)

Warm up: to open spaces for listening. To find out.

During the act(Experience) not exercise, because exercise is the practice of exercising something that is not happening yet. No this is now and is happening. Which questions are raised by this gesture? Which question resonated with us as performers during the program? How do we allow the space to not rush nor freak out and remain with the question not seeking a solution?

Catalysis Adrian Piper catharsis

The movie without a film. How to create our own archives? Things over the years and by ageing imposed themselves. How do we organize the narratives of the experiences and the experiences of the narratives?

Having a dialog is an act of negotiation. (negotiation without any mercantilist connotation). How can we create a program for ourselves?

We are both virtuals and actuals: with possibilities/potentialities/protesis to change. The virtual is also real. The virtual and the actual are real.

Hannah Arendt idea of Initiative (you have to have a good reason)

Ebana Garin

I remember when Eleonora asked us to make space on our feet. I remember at that time I remembered my mother massaging my feet when I was a child.

I remember that Eleonora told us that her formula was when she did something if it was 100% political, 100% social, 100% aesthetic, 100% spiritual. if not, she did not. I remember that at that moment I thought that the most difficult thing for me was accounting for the spiritual.

I remember when Claudio called his mother and she did not answer him at that moment I wondered if she was still part of this world

I remember that Pankaj made a house with bricks and bread, that I made a house with ruins, and that Juan almost jumped out of the window from his house into the street.

I remember that Pankaj made a house with bricks and bread, that I made a house with ruins, and that Juan almost jumped out of the window from his house into the street.

I remember Eleonora saying that she loved working. That for her there was no difference between theory and practice, between politics and aesthetics, between concept and action, between tradition and performance.

I remember we talked about how food can turn into poison. And I remember that after Eleonora introduced us to Tehching Hsieh, the Taiwanese artist who lived in a Jail cell inside his house, eating for a year the same food. or was it not the same food? or did I want to remember it like this?

I remember that the Taiwanese artist created a body for himself. A body outside his body.

I remember thinking that the inside and the outside are points of view. they are ways of experiencing reality.

I remember that the body is movement and mobility, the body is not defined by its functions, I remember that the function is defined by velocities and slownesses.

I remember that the body has the power to affect and be affected. I remember at that time I thought that bodies are organic antennae.

I remember that the body can be a brick, a ruin, a bread, a needle, a song.

I remember a woman who takes wishes of Palestinians in the United States to Palestine. I remember that she leaves flowers on a mother's grave.

I remember a black man, William Pope.L, who trades verticality for horizontality, crawling from his grandmother's house to downtown NY

I remember that Eleonora created a performance program. Something that she has been working on for the last 13 years.

I remember Regina José Galindo's head emerging from the rubble, emerging from the sand, emerging from the mud. Then I remember the body of Paulo Nazareth emerging from a tree, emerging from the water, emerging from the ground.

I remember that what I will remember from all this is deep gratitude. I remember meeting people without ever touching them, and yet feeling that they affected me deeply, that my sense of myself changed and that my parts came together.

I remember that we speak of oscillating, of a body that oscillates between art and non-art, between life and death, between what I currently am, and what I potentially am. I'm constantly swinging I don't know if that is something I remember or something that I now feel in my body.

I remember opening space I could feel how my gaze changed and that every time I looked at one place or looked at another my chest changed as well. my energy changed. my perception of my body changed.

It was close to Christmas, he searched the city