{"id":991,"date":"2014-11-04T15:55:11","date_gmt":"2014-11-04T14:55:11","guid":{"rendered":"https:\/\/yannbeauvais.com\/?p=991"},"modified":"2024-06-21T22:36:42","modified_gmt":"2024-06-21T21:36:42","slug":"tu-sempre-portugues","status":"publish","type":"post","link":"https:\/\/yannbeauvais.com\/?p=991","title":{"rendered":"Tu sempre # (portugu\u00eas)"},"content":{"rendered":"

Installation Tu, sempre\u00a0<\/strong>
\n# 1, 2001, La cri\u00e9e, Rennes
\n# 2, 2002, EOF, Paris
\n# 3, 2003, Galerie de l\u2019Ecole des Beaux Arts de Tours Feb 13th- March 16th
\n# 4, 2003, Galerie Faux Mouvement, Metz, April 3rd \u2013 May 31st
\n# 5, 2003, Espace multim\u00e9dia Gantner, Bourogne Oct 11 \u2013 Dec 6th
\n# 6, 2004, La Compagnie, Marseille Jan 14th \u2013 March 13th
\n# 7, 2004, After Foucault, Vacarme, Les Vo\u00fbtes, Paris Oct 9\/10
\n# 8, 2008, Centre d\u2019Art La Panera, Lleda Oct 22sd \u2013 Jan 4th
\n# 9, 2009, CRAC Languedoc Rousillon, S\u00e8te Jan 16th \u2013 March 8th
\n#10, 2010, Conversations Intimes, Mus\u00e9e d\u00e9partemental de l\u2019Oise, Beauvais\u00a0\u00a0 June 19th \u2013 Oct 31st \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 #11, 2012, Festival de Garahuns e Um dia sem artes, B3, Recife Dec\u00a0 1 dec\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 #14, Casa Hoffman, Bogota Colombia, Artifacts<\/i>, (version gb, esp + col)\u00a0 24 sep au 22 oct 2021 \u00a0 https:\/\/casa-hoffmann.com\/portfolio\/barbara-krulik-mildred-duran-2\/<\/a>\u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 # 15, Mucem, Marseille L\u2019\u00e9pid\u00e9mie n\u2019est pas finie<\/i>, Tu, sempre #15 (version gb, fr, por, it)\u00a0 4 dec 2021 au 2 mai 2022.\u00a0 # 16, Palais de Tokyo, Paris Tu sempre #16 ( version gb, fr, por, ita, esp) 16 de fevereirio 14 de maio 2023<\/p>\n

uma instala\u00e7\u00e3o de yann beauvais realizada em colabora\u00e7\u00e3o com Thomas K\u00f6ner. primeira vers\u00e3o 2001<\/span><\/span><\/span><\/p>\n

Trata \u2013se de uma video-instala\u00e7\u00e3o abordando a Aids e que d\u00e0 continuidade aos trabalhos anteriores do autor que tamb\u00e9m faziam uso do texto. (Sid a ids, 1992 e Still Life<\/span><\/span><\/span><\/span>1<\/sup><\/a><\/span><\/span><\/span><\/span><\/sup>, 1997). Essa instala\u00e7\u00e3o amplia a no\u00e7\u00e3o de proje\u00e7\u00e3o, pondo-nos no cerne do dispositivo. Ao lado da proje\u00e7\u00e3o propriamente dita, podemos ver fotos banais de diversas pessoas, um mapa do mundo exibindo estat\u00edsticas de soropositivos ou daqueles que se declararam portadores da aids; cartazes; CDs… O pr\u00f3prio dispositivo de proje\u00e7\u00e3o \u00e9 paradoxal no que faz uso de um tel\u00e3o de 2mx 3m, que tem uma das faces espelhada e gira lentamente em torno de si mesmo. <\/span><\/span><\/span><\/span><\/p>\n

Duas proje\u00e7\u00f5es de textos se deslocam e giram no espa\u00e7o, sendo reenviadas pelo espelho ou retidas na superf\u00edcie do tel\u00e3o. As duas proje\u00e7\u00f5es n\u00e3o est\u00e3o dispostas exatamente uma diante da outra; elas permitem uma ocupa\u00e7\u00e3o m\u00e1xima do espa\u00e7o expositivo atrav\u00e9s de tiras de textos simples ou m\u00faltiplas que deslizam em velocidades, l\u00ednguas e locais distintos, deslocando-se segundo o sentido da leitura, ou no sentido inverso. A imagem se constitui no espa\u00e7o. Nessa rota\u00e7\u00e3o, a irrup\u00e7\u00e3o de nossa imagem como imagem e difusora de fragmentos de textos que tentamos ler percorrendo o espa\u00e7o sublinha a parte essencial do que colocamos em jogo na difus\u00e3o, na propaga\u00e7\u00e3o da Aids, por nossos atos assim como por nosso sil\u00eancio. A instala\u00e7\u00e3o se preocupa com a hist\u00f3ria das representa\u00e7\u00f5es da aids por meio de uma apropria\u00e7\u00e3o de textos e de declara\u00e7\u00f5es em ingl\u00eas, portugu\u00eas, franc\u00eas, italiano e \u00e1rabe, organizadas segundo uma arquitetura que privilegia a pluralidade e sublinha o desinteresse crescente do ocidente com rela\u00e7\u00e3o a uma epidemia que teria desaparecido de seu horizonte. O uso de textos, seu posicionamento no quadro, seu ritmo foram concebidos em fun\u00e7\u00e3o de trabalhos anteriores que permitirem a Yann Beauvais determinar algumas das caracter\u00edsticas de legibilidade, da leitura do texto na tela.<\/span><\/span><\/span><\/p>\n

\"Brasil\"<\/a><\/p>\n

Aqui a implica\u00e7\u00e3o dos espectadores \u00e9 grande porque ter\u00e3o constantemente que escolher, selecionar o que \u02c6 em termos de textos como de sons \u02c6 pode ser captado no momento em que se movimentam. Somos perturbados pela instala\u00e7\u00e3o, assim como reenviados a n\u00f3s mesmos. Nesse vai-e-vem, nesse fluxo constante, sem fim, somos constrangidos a pensar globalmente e individualmente; e reenviados ao que move a experi\u00eancia dessa rota\u00e7\u00e3o, assim como \u00e0 emo\u00e7\u00e3o causada por ela em n\u00f3s.<\/span><\/span><\/span><\/p>\n

Edson Barrus ,Paris, 2004.<\/span><\/span><\/span><\/p>\n

\n

1<\/a> Sid a ids se limitava ao uso da fala em franc\u00eas, mas Still Life \u00e9 simultaneamente em franc\u00eas e em ingl\u00eas. A posi\u00e7\u00e3o das l\u00ednguas n\u00e3o sendo fixa induz a rupturas que quebram assim o tempo de leitura<\/span><\/span><\/span><\/span><\/p>\n

\"texte<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Installation Tu, sempre\u00a0 # 1, 2001, La cri\u00e9e, Rennes # 2, 2002, EOF, Paris # 3, 2003, Galerie de l\u2019Ecole des Beaux Arts de Tours Feb 13th- March 16th # 4, 2003, Galerie Faux Mouvement, Metz, April 3rd \u2013 May 31st # 5, 2003, Espace multim\u00e9dia Gantner, Bourogne Oct 11 \u2013 Dec 6th # 6, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[5],"tags":[41,97,32],"class_list":["post-991","post","type-post","status-publish","format-standard","hentry","category-installations","tag-aids","tag-hiv","tag-installation"],"acf":[],"_links":{"self":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/991","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=991"}],"version-history":[{"count":11,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/991\/revisions"}],"predecessor-version":[{"id":1946,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=\/wp\/v2\/posts\/991\/revisions\/1946"}],"wp:attachment":[{"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=991"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=991"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yannbeauvais.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=991"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}