Quando, na verdade, o poeta só pode dizer o(s) gestes et son port de tête, lorsqu’il écoutait: ‘that turns out to have been understimate’. There are now theoretical models that have compelled researchers to abandon (del)la sua personalitá – conflittuale, fragile. E há?  A trocar a sua natureza com a de uma térmita íntima de todo o instinto e, como se depreende, quase sempre representa a heightened theoretical expression of the transnational – temi avvolti ancora oggi nell’incertezza. L’antica forza simbolica delle immagini em sete faixas, todas nessas cores cópia impondo-se-lhe a fidelidade à verdade,

à metamorfose os músculos se distendiam

à convulsão escrita ou representação figurada

se bem que muitas vezes o texto permaneça dançante e irrequieto, é um herdeiro da mudança ao encontro do excedente enquanto incalculável, improvável, a fim de dardes de mamar à vossa boneca. Isso permite – anche se forse non aveva vissuto così tanto come sembrava.

* This text is an assemblage by Silvana Ivaldi from: Dante Alighieri; Pietro Aretino; Hans Belting; Horst Bredekamp; James Elkins; Françoise Frontisi-Docroux; Fleur Jaeggy; Julia Kristeva; Pierra Louÿs; John Roberts; Arthur Schopenhauer and Bernard Stiegler.

A KIND OF DESCRIPTIVE MEMORY

La Divina Commedia is the motto for a visual fabric that wants to be adapted to 4 different supports: # 1 Photographic image; # 2 Moving image – audiovisual; # 3 Verbal image; # 4 Moving image – performance.

October 14, 2020

#1 The image of a space. Spatial delimitation as an invitation to enjoy it.[Quella stanza è un concetto]

October 15, 2020 – 19H00

#2 on-line-live. 1 computer with webcam and a link.
Articulation of elements in an assembly. That scene of generating symptom through the interval in a discontinued continuum, the unexpected, erratic and parasitic crossing.

October 16, 2020 – 10H00

#3 Full reading of the first tome of the Divina Commedia – Inferno – at the window [to Rua da Boavista]. A working day. The language will be the original and the support for reading an 1844 edition. I will stop at the door of Purgatory.

October 17, 2020 – 21H30

#4 Performance. The nature of the object prevents me from saying anything about it. It is open to the public.

CREDITS:

EVERYTHING AND MORE Silvana Ivaldi
SPECIAL PARTICIPATION Stefano Ivaldi
LIGHT Ricardo B. Marques
PHOTOGRAPHY Alípio Padilha, Aline Macedo, Mafalda Jacinto and Rui Félix
VIDEO RECORDING Afonso Brito
SUPPORT cão solteiro.residências
ACKNOWLEDGMENTS Pedro Barreiro, Telma João Santos, Teatro Praga and Paulo Caneco.

SILVANA IVALDI

Silvana Ivaldi was born in Bordighera – northwestern Italy – in 1987. She came to live with her mother in Águeda – Portugal – after her father’s death in 1993. She has a degree in Fashion Design from the Faculty of Architecture of the University of Lisbon and a Master’s in Image Design by the Faculty of Fine Arts of the University of Porto, still training in Styling at the Istituto Marangoni in Milan. She lived and studied in São Paulo, Brazil, between 2011 and 2014. She works in various areas in the performing and audiovisual arts, namely as a scenic creator, performer, actress, designer, costume designer, producer, art director and assistant. Lives and works in Lisbon.