Artist:
Daniel Santiago
Title:
Simulacao da obra Floresta do Alheamento
Year:
2012
Adress:
Usina de Arte
Website:
www.galeriajaquelinemartins.com.br:
Daniel Santiago is at times recognized as a street performance artist. In many of the works presented Daniel Santiago seems to speak directly to Fernando Pessoa, for whom the poet is a pretender.Santiago's artistic psychographs are related not only to the Portuguese poet's Auto psicografia, but to the very attempt to transfer his thinking to the other.
Unlike Pessoa, who created fictional authors and vested them with facets of his own personality, Daniel Santiago makes use of artifices from the psychograph, of the lethargy and incarnation of Augusto dos Anjos (irrational stages but that go through the artist's body as the vehicle of communication) to define performance.
www.arteculturalpe.wordpress.com:
Since the 70s, we can perceive the poetics that involve the artistic production of Daniel Santiago, which has contained political, existential and social issues in his works. The artist is also known for his performance actions that allude to dailyin the city of Recife and adverse situations that occur in literature and in the theatrical environment.
This is precisely a duel of two electronic devices popular in the markets of the 70s -super 8 and Kodak -. If we analyze the current way, there are also these duels of electronic equipment today, which 'fight' for the sales market by showing off their functions.
His electronic poetry, built in the 70s, brings very futuristic questions: whether to digitally build a poetry. If we talk about this nowadays, it becomes beautiful due to the futurism of his work, showing how current his production is.
As the last work presented by the artist, I bring the Floresta do Alhamento By Fernando Pessoa. This project that was just written in the artist's notes. With the opportunity to assemble it and take it off the paper to exhibit it in his exhibition, one can see the ostentation of his work, without losing Daniel's unique delicacy and subtlety. The work is a physical tribute to Fernando Pessoa, who has em with the same title. This installation consists of a forest of white cloths, bringing two hues to light them: blue and red. To enter the forest, you must put on the 3D glasses and notice dimensional issues that the work offers.
It is important to remember that this is a small portion of the artist's work, which still has several drawings and paintings made at the time he took a correspondence course in drawing, as well as his other art videos and performances '' which I highlight O Brasil é o Meu Abyss and O Velho Ernest Hemingway and the Sea of '‹'‹Recife and Vaccine against boredom '' both '' and much more '' that can be seen in his exhibition, at the aforementioned museum.
Fernando Pessoa
IN THE ALIGNMENT FOREST
I know I've woken up and I'm still sleeping. My old body, bruised from living, tells me it's still too early... I feel feverish from afar. I weigh myself, I don't know why...
In a lucid torpor, heavily incorporeal, stagnant, between sleep and wakefulness, in a dreshadow of dreaming. My attention floats between two worlds and blindly sees the depth of a sea and the depth of a sky; and these depths interpenetrate, mingle, and I don't know where I am or what I dream.
A wind of shadows blows ashes of dead purpose over what I am awake. From an unknown firmament a warm dew of boredom falls. A great inert anguish handles my soul inside and, uncertainly, it alters me, like the breeze to the outlines of the crowns.
...
www.artdaily.cc:
The set of works exhibited here portray the artist's studies into questions of poetry / Poiesis and of the artifice, one of the most striking branches of his artwork. Through the (fictional) incarnation of Augusto dos Anjos, a character embodied by the artist, and the artistic psychographs where he speaks with the writer Fernando Pessoa, Santiago transfers his discourse to the other. His discourse is made concrete through writing.
www.wikipedia.org:
Fernando António Nogueira Pessoa (Portuguese: [fɨɾˈnÉ̃du pe3 June 1888 '' 30 November 1935) was a Portuguese poet, writer, literary critic, translator, publisher and philosopher, described as one of the most significant literary figures of the 20th century and one of the greatest poets in the Portuguese language. He also wrote in and translated from English and French.
Pessoa was a prolific writer, and not only under his own name, for he created approximately seventy-five others, of which three stand out, Alberto Caeiro, àlvaro de Campos and Ricardo Reis. He did not call them pseudonyms because he felt that they did not capture their true independent intellectual life and instead called them heteronyms. These imaginary figures sometimes held unpopular or extreme views.
Pessoa: How do I write in the name of these three? Caeiro, through sheer and unexpected inspiration, without knowing or even suspecting that I'm going to write in his name. Ricardo Reis, after an abstract meditation, which suddenly takes concrete shape in an ode. Campos, when I feel a suddeulse to write and don't know what. (My semi-heteronym Bernardo Soares, who in many ways resembles àlvaro de Campos, always appears when I'm sleepy or drowsy, so that my qualities of inhibition and rational thought are suspended; his prose is an endless reverie. He's a semi-heteronym because his personality, although not my own, doesn't differ from my own but is a mere mutilation of it. He's me without my rationalism and emotions. His prose is the same as mine, except for certain formal restraint that reason imposes on my own writing, and his Portuguese is exactly the same '' whereas Caeiro writes bad Portuguese, Campos writes it reasonably well but with mistak"me myself" instead of "I myself", etc.., and Reis writes better than I, but with a purism I find excessive...).
www.usinadearte.org:
Daniel Santiago: Pernambucano, multimedia artist and teacher, is one of the pioneers of experimental art in Brazil.
He began working with drawing and woodcuts, expanding his poetics to various other formats, such as video, photography, performance, happening, installations and urban interventions. Political criticism, the poetics of everyday life, the design of the cultural landscape and the interference with the city's flow are some of the striking features of Daniel Santiago's work. His works often question the very statutes of art, exploring irony and intensely dialoguing with the surroundings.
He participated in hundreds of exhibitions, in Brazil and abroad, but only in 2012 did he have his first individual exhibition, What is it that I'm afraid of?, at the Aloisio Magalhàes Modern Art Museum - Mamam. He was one of the forerunners and greatest exponents of postal art, which consolidatd itself as a movement in opposition to the military dictatorship in the country (1964 to 1985).
For Usina de Arte, Santiago is designing a work that is an offshoot of the installation Floresta do alheamento , inspired by the work of the Portuguese poet Fernando Pessoa and initially presented at Mamam, in 2012.
Daniel Santiago is at times recognized as a street performance artist. In many of the works presented Daniel Santiago seems to speak directly to Fernando Pessoa, for whom the poet is a pretender.Santiago's artistic psychographs are related not only to the Portuguese poet's Auto psicografia, but to the very attempt to transfer his thinking to the other.
Unlike Pessoa, who created fictional authors and vested them with facets of his own personality, Daniel Santiago makes use of artifices from the psychograph, of the lethargy and incarnation of Augusto dos Anjos (irrational stages but that go through the artist's body as the vehicle of communication) to define performance.
www.arteculturalpe.wordpress.com:
Since the 70s, we can perceive the poetics that involve the artistic production of Daniel Santiago, which has contained political, existential and social issues in his works. The artist is also known for his performance actions that allude to dailyin the city of Recife and adverse situations that occur in literature and in the theatrical environment.
This is precisely a duel of two electronic devices popular in the markets of the 70s -super 8 and Kodak -. If we analyze the current way, there are also these duels of electronic equipment today, which 'fight' for the sales market by showing off their functions.
His electronic poetry, built in the 70s, brings very futuristic questions: whether to digitally build a poetry. If we talk about this nowadays, it becomes beautiful due to the futurism of his work, showing how current his production is.
As the last work presented by the artist, I bring the Floresta do Alhamento By Fernando Pessoa. This project that was just written in the artist's notes. With the opportunity to assemble it and take it off the paper to exhibit it in his exhibition, one can see the ostentation of his work, without losing Daniel's unique delicacy and subtlety. The work is a physical tribute to Fernando Pessoa, who has em with the same title. This installation consists of a forest of white cloths, bringing two hues to light them: blue and red. To enter the forest, you must put on the 3D glasses and notice dimensional issues that the work offers.
It is important to remember that this is a small portion of the artist's work, which still has several drawings and paintings made at the time he took a correspondence course in drawing, as well as his other art videos and performances '' which I highlight O Brasil é o Meu Abyss and O Velho Ernest Hemingway and the Sea of '‹'‹Recife and Vaccine against boredom '' both '' and much more '' that can be seen in his exhibition, at the aforementioned museum.
Fernando Pessoa
IN THE ALIGNMENT FOREST
I know I've woken up and I'm still sleeping. My old body, bruised from living, tells me it's still too early... I feel feverish from afar. I weigh myself, I don't know why...
In a lucid torpor, heavily incorporeal, stagnant, between sleep and wakefulness, in a dreshadow of dreaming. My attention floats between two worlds and blindly sees the depth of a sea and the depth of a sky; and these depths interpenetrate, mingle, and I don't know where I am or what I dream.
A wind of shadows blows ashes of dead purpose over what I am awake. From an unknown firmament a warm dew of boredom falls. A great inert anguish handles my soul inside and, uncertainly, it alters me, like the breeze to the outlines of the crowns.
...
www.artdaily.cc:
The set of works exhibited here portray the artist's studies into questions of poetry / Poiesis and of the artifice, one of the most striking branches of his artwork. Through the (fictional) incarnation of Augusto dos Anjos, a character embodied by the artist, and the artistic psychographs where he speaks with the writer Fernando Pessoa, Santiago transfers his discourse to the other. His discourse is made concrete through writing.
www.wikipedia.org:
Fernando António Nogueira Pessoa (Portuguese: [fɨɾˈnÉ̃du pe3 June 1888 '' 30 November 1935) was a Portuguese poet, writer, literary critic, translator, publisher and philosopher, described as one of the most significant literary figures of the 20th century and one of the greatest poets in the Portuguese language. He also wrote in and translated from English and French.
Pessoa was a prolific writer, and not only under his own name, for he created approximately seventy-five others, of which three stand out, Alberto Caeiro, àlvaro de Campos and Ricardo Reis. He did not call them pseudonyms because he felt that they did not capture their true independent intellectual life and instead called them heteronyms. These imaginary figures sometimes held unpopular or extreme views.
Pessoa: How do I write in the name of these three? Caeiro, through sheer and unexpected inspiration, without knowing or even suspecting that I'm going to write in his name. Ricardo Reis, after an abstract meditation, which suddenly takes concrete shape in an ode. Campos, when I feel a suddeulse to write and don't know what. (My semi-heteronym Bernardo Soares, who in many ways resembles àlvaro de Campos, always appears when I'm sleepy or drowsy, so that my qualities of inhibition and rational thought are suspended; his prose is an endless reverie. He's a semi-heteronym because his personality, although not my own, doesn't differ from my own but is a mere mutilation of it. He's me without my rationalism and emotions. His prose is the same as mine, except for certain formal restraint that reason imposes on my own writing, and his Portuguese is exactly the same '' whereas Caeiro writes bad Portuguese, Campos writes it reasonably well but with mistak"me myself" instead of "I myself", etc.., and Reis writes better than I, but with a purism I find excessive...).
www.usinadearte.org:
Daniel Santiago: Pernambucano, multimedia artist and teacher, is one of the pioneers of experimental art in Brazil.
He began working with drawing and woodcuts, expanding his poetics to various other formats, such as video, photography, performance, happening, installations and urban interventions. Political criticism, the poetics of everyday life, the design of the cultural landscape and the interference with the city's flow are some of the striking features of Daniel Santiago's work. His works often question the very statutes of art, exploring irony and intensely dialoguing with the surroundings.
He participated in hundreds of exhibitions, in Brazil and abroad, but only in 2012 did he have his first individual exhibition, What is it that I'm afraid of?, at the Aloisio Magalhàes Modern Art Museum - Mamam. He was one of the forerunners and greatest exponents of postal art, which consolidatd itself as a movement in opposition to the military dictatorship in the country (1964 to 1985).
For Usina de Arte, Santiago is designing a work that is an offshoot of the installation Floresta do alheamento , inspired by the work of the Portuguese poet Fernando Pessoa and initially presented at Mamam, in 2012.