The Current Art Program now constitutes a Festival. Relying on the logic of accumulation - of works, of texts, of ideas - and of living among different people and ways of doing and thinking, each of the curators invited three artists to occupy an exhibition room and build a show from different thoughts about things without names. Using the exchange between these 15 participants, it is proposed that the works, gathered in the same space, are always subject to complete, to unfold, to transform in the course of the exhibition.
In addition, several authors were invited to write texts, comments or essays on this open process that incorporates the unpredictable and improvisation, which will be made available to the public during the exhibition. In this inaugural edition, the broad motto chosen to be interpreted and declined is an expression that points precisely to what resists definitions. "Things without names" is a provocation to which each agent can react freely with answers or new questions. It also allows us to bring up a range of concerns, such as the difficulties of defining borders, the possibilities of revealing the unspoken, and even the limitations of language itself. In all cases, it is a question of working the imprecise, the unusual, the strange and the unfinished, in a curatorial process guided by doubt.
Research and Curation Department
Paulo Miyada, Carolina Mologni, Julia Lima, Priscyla Gomes and Olivia Ardui"
In this inaugural version of the exhibition, the broad theme chosen for the artists to interpret and reject centers around expressing that which resists definition. “Coisas sem nomes” (Things without Names) provokes each participant to respond freely with answers or new questions. It also allows a whole range of concerns, such as the difficulties in setting borders, the possibilities for revealing the unsaid, and even the limits of language itself, to come to the surface. It always entails working with the unclear, the unusual, the strange, and the incomplete in a curatorial process characterized by doubt.
Each language has its own shortcuts for expressing ideas and emotions. In Portuguese, for example, we pride ourselves on the word "saudade," for a feeling tinged with affection and painful yearning which, in other languages, can only be expressed by combining the concepts of absence and melancholy. Portuguese does not, however, have a word for "unheimlich," which means "uncanny" and is a word coined by Freud and discussed in his 1919 essay, "Das Unheimlich" (The Uncanny). With no direct Portuguese translation, the word means something that lies somewhere between strange and familiar; something that feels ever so immediate and yet appears from a threateningly unrecognizable context.
Although the term was originally intended for psychoanalysis, our analysis of the word takes us beyond this field. At the heart of the term, we realize that the uncanny is nothing more than a broader meaning of the ambivalent word "heimlich" (domestic, familiar). In other words, what is protected within the intimacy of the home is also what is hidden from outsiders. When what has been stored away from sight unexpectedly emerges, it creates the "unheimlich" effect.
Research and Curation Team: Paulo Miyada, Carolina Mologni, Julia Lima, Priscyla Gomes, and Olivia Ardui