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Only momentum and groping movements, as if it remained suspended between two airs, destined to operate in perpetual incompletion. Performance, video and text attest to this, since her manner of proceeding by reunification and interconnections seems to circumscribe a form of reality composed of different layers, which would have gone astray in a single form.
The narrative, between fable and fiction, relates a series of events in which a character inherits a language comparable to that of birds. The writing, as well as the narration, plays with neologisms and phonetics in order to draw connections between language, spatiality and animality. A notion of territory is highlighted, in particular when its appropriation operates not only on the mode of convention or arrangement, but through abstract, intuitive gestures, those composed by the body, voice, memory and, assuredly, language.
Towards the Third Modernity: How Ordinary People Are Transforming the World
In this context, the performance Passarada , which opens the exhibition, creates an ideal frame for the issues that concern Clarissa Baumann, while offering a certain number of intermediary paths. Coordinated with Kidows Kim and Olavo Vianna, 24 handcrafted wooden decoys are activated among the public, then worn on faces in order to dissimulate features.
What appears then is akin to a mask whose physiognomy, between archaic vestige and ritual object, recalls forgotten or fantastical times. The origin of the sound gradually fades away, mixing with the other sound pieces in the gallery.
With this in mind, three elements can be specified. Of utmost importance are the gestures and manner in which hands sculpt meaning in the air.
Hands, globally, seem to speak of the primordial interaction that every body and being weaves into the immediate surrounding environment, in order to affirm ones presence and capacity of interaction. Secondly, the fact of dissimulating the face behind these same hands clarifies a narrative in which one makes oneself invisible from the eyes of the world; not because one is afraid of being recognized, but in order to reduce the identity codes we live by.
To become imperceptible, unnamed, united to the ample, uniform multitude, like a breath of air, is undoubtedly a way of being inscribed in a cohesive relationship with all that exists. Consequently, one measures the surrounding rhythm and flow, both present and indistinguishable, as can be seen in the video Araponga , which plunges us into the vast maze of a jungle, lost among the cries and songs of the thousands of beings who live there.
Thirdly, one considers the proximity with the animal kingdom, not in the perspective of copying it, resembling it or being transformed into one of its representatives, but in order to prolong its roaming.
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