Parallel avenue takes shape of “aspiral”
Parallel avenue takes shape of “aspiral”, PATSA, is the Senior Research Project in Visual Arts at the Fundação Armando Álvares Penteado of Laura Carvalho.
The work was advised by Professor Suzana Torres, PhD in Educational Psychology by PUC SP.
The evaluation board was composed by Professor Caru Duprat, PhD in Visual Arts by Unicamp, by the philosopher Peter Pál Pelbart, PhD in Philosophy by USP, and by, Professor Ana Helena Curti Director at the company Arte3 –production consultancy and cultural marketing.
This work was designed and developed to take place at the moment that preceds the evaluation bench. PATSA thus assumes an ephemeral and fragile character. The work was born and is intended to be multiple, having a hibrid aspect, can be understood through different categories, especially as an action, once it aims to stablish a relation, a real-action among all involved. Aiming to change rigid structures in cirandas (Brazilian folk dance and song similar to ring-around-the-rosy).
Parallel Avenue takes shape of “aspiral” is a body of works that aim to articulate itself from its main three members – Sound Composition / Patchwork / Wheel.
Sound Composition – Ponctuates the beggining of the work and, consequently, of its evaluation board.
Patchwork – Sewing work that marks the center of the wheel, beeing bordered, by my courses notebooks, by my monograph and by small ceramic eggs, symbols of the work’s birth, available to the use of the evalation board members and guests.
Click in the image in your left hand side to check details.
Click below to listen the sound composition
Wheel – Made by the members of the board and guests. It is within the circular space made by the wheel, that was possible to provoke a dislocation of the look about the usual shapes and recurring experiences at a learning space, like a classroom.
Parallel avenue takes shape of “aspiral” is a reflextion of the experiences lived in the Institute Nise da Silveira, at the Hotel and SPA of Madness, in Rio de Janeiro. The purpose of this experience was to create an arts workshop for the residents of the Institute’s ward. The workshop was created bearing the name of Canto do Arteiro, however it was within the practices performed by the Hotel e SPA da Loucura/Hotel and SPA of Madness, that the PATSA is fruitful.
The Hotel and SPA of Madness, idealized by the doctor and actor Vitor Pordeus, is a place that is proposed, from the art, to create a space of leisure and relation between the residents of the Institute Nise da Silveira’s infirmary and its visitors. Its main practice is the DyoNises theater, a junction of a sort between the Dionysian principles and the propositions of Nise da Silveira (brazilian psychiatrist, student of Carl Jung). Its articulation is a mix of these precepts with the concepts of the theater ritual of Antonin Artaud and with the practices of the street theater.
The Dyonises theater is articulated within the space formed by a wheel, tracing back the practices of our ancestors, where: HISTORY politics DANCE music MEDICIN arts SCIENCES merge. This type of wheel, thanks to the ritual that is proposed, ends up generating a transforming experience for those involved, a limit experience, that ends up transforming internal and external space, creating a dynamism in the environment and being.
Parallel avenue takes shape of “aspiral” – It proposes to re-read this space, which within the limits of its circumference allows the meeting, dialogue and transgression of the space and time, thus allowing the manifestation of the other which exists within ourselves. It resides in this attempt to (re) create a ritual, the reason for the food available to the guests, during the presentation of PATSA
In addition to the food, I put myself as an allegory of myself: LAURA_AkiÓ, figure that appears with her hat. The object, just like a headdress, is loaded with symbolic aspects, serving as a means of protection and strength, protecting and potencializing the existence of both LAURA_AkiÓ and Laura Carvalho.
Parallel avenue takes shape of “aspiral” , is part of my individual trajectory, of this process of self-reflection, where I constantly try to live experiences that put myself in contact with my limits. This line that delimits the limit is the guide of the work. It’s no wonder that sewing is my main instrument of work, the act of sewing as the intersection, part of the hole, breaking the rupture, to transpose, unite, thus creating something new.
It is in this crossing process that I see a metaphor, related to the act of sewing and what happens when experiencing a limit situation,
in both situations there is a smash, a rupture, a body crossing, that is transformed.
In this path, doubts, fears, inquiries, vulnerabilities, discoveries, adventures and disappointments are constant, and evidently there is the anguish that comes from the impossibility of making the other experience what I have already lived . It’s from the womb of this anguish that comes the PATSA, because thanks to it, I’ve come to understand that a personal experience can only affect the other from the creation of a new experience that (re) creates the power once experienced.