Giovedì sera – 03.06.04 – Intorno vede *ar-, drawing studies– “L’inoperosità e il «tra» nei e fra disegni”---film,
problematiche, condizioni“

Tematica:

1. Su questo Giovedì
2. Sul film che vedremo
3. Su Pedro Paixâo
4. Cosa leggere
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1. Su questo Giovedì

Cosa: proiezione del film *ar-, drawing studies / comprensione di problematiche e condizioni
Quando: 6:00 pm, Giovedì 3 Giugno 2004
Dove: Lab 1, IUAV-FDA Magazzini Ligabue, fermata S. Basilio, Venezia
Chi: Tutti sono invitati

Saranno presenti l'autore del film Pedro Paixâo e Giorgio Agamben, docente
di Estetica allo IUAV - Facoltà Design e Arti di Venezia
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2. Sul film che vedremo

Titlle: *ar-, drawing studies
By: Pedro Paixâo
Date: 2002
Duration: 37 minutos

The film — *ar-, drawing studies — is part of The Bouzean Project, a
project that corresponds to one of the many collaborations Pedro Paixão
have been developing throughout the years with Rui Moreira, a Portuguese
artist, and Tiago Marrecas, a Portuguese photographer, and unites a
collective effort to extend and explore the idea of drawing as a
discipline.

This project shares the notion that drawing is the privileged domain for
the understanding, perception and production of images, an “year 0” for
the articulation of images in men’s body. It presents drawing as a
dimension where the image is firstly set forward and is presented in its
“in-operativity” (in its oscillation between not being an end or just a
study, and being a draft that never becomes a work, never becomes an
opera).

We are interested in working with the idea of a «drawing between
drawings», that is, in dealing with a ‘body of drawing’ that includes not
only the time of the physical mark on the paper but also the whole event
(that constrains that marking and is constraint by the marking), which
extends to life itself. A new spacio-temporality that is the “just more”
of the walking/travelling through locations, cultures and systems of
measurement that we are confronted while ‘passing’; a “drawing” that,
giving life to our own constellation of memories and elements, steps into
an absolute alterity, something able to change our culture and produce new
meridians.

«The project has started from a will to develop a work about the
discipline itself, and specifically about what could happened to the
discipline if activated and potentialized within the naked non-place par
excellence: the desert. The question was how could we approach the
incommensurability of a territory that sets in us its unexpected own
distances, and transcends our physicality and our ideals as well as our
individual wills.

We departed on March 2002 for the desert of Sahara in Morocco, outlining
from north to south the borders of Algeria; while in transit, we started
discovering within our own bodies the creation of our own gestures. The
initial premise was only to cross the desert – the “landscape without
reference” – while drawing under particular circumstances (testing
resistance and enduring adverse conditions to the practice). Instead
another passage was imposed and unveiled.

Specifically, the works presented here delimitate the “Bouzean”, a
specific high plain region in the Western Sahara of Morroco. Such an area
functioned for us as a real paradigm for the “drawing space” (a notion
borrowed from Blanchot’s book The Literary Space). An axis was formed
around a small hill named Kudia, a hill that became the “immanence plane”
where the project took its force and found the ground to draw its
mappings, and discover its matter. From there we were able to propose a
hypothesis of world, a “cosmos”.»

The works that form The Bouzean Project are: (a) a large group of drawings
on paper by Rui Moreira, (b) eight series of photographs named Lucerna by
Tiago Marrecas, (c) and two films, *ar- drawing studies and coversation
with rui moreira before kudia.

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3. Su Pedro Paixâo

Pedro Paixão is a Portuguese artist who lives and works in Milan, Italy.
He studied Fine Arts at Ar.Co in Lisbon, between 1991 and 1997. In 1999
he finished a Master degree at The School of The Art Institute of Chicago,
where he received the John Quincy Adams Fellowship Award for his thesis, a
ten minutes video named Flieg!—.

Since 2000 he is developing a research project at the Libera università di lingue e comunicazione IULM in Milan,
around problems in contemporary art and thought; university where he also
teaches Aesthetics and Analysis of the Art movements. Currently, he
studies Philosophy at the Università degli studi di Milano, in Milan.

His projects depart from problems around the relation between drawing,
thought, voice, the body and the movement-image. He has been developing a
long-term collaboration research that, focusing on the practice of
drawing, thinks the integration of art in life.

His work has been shown in solo exhibitions in Centro Cultural de Belém,
in Lisbon, at Estgad (within the Slowmotion project curated by Miguel
Wandschneider), in Caldas da Rainha, and in Centro de Arte Moderna José de
Azevedo Perdigão/ Fundação Calouste Gulbenkian, also in Lisbon. Recently
he participated in the group exhibition Guardi, The Art of Memory at the
Centro Cultural de Belém in Lisbon, where he presented a large
installation named Une Femme Douce (A Gentle Woman), and in which he
recreated the life of the main character from the Robert Bresson’s film.

A publication (DVD + book) titled *ar-, Studies on Drawing, will be
published by Assirio & Alvim, Lisbon, in collaboration with the Fundação
Carmona e Costa.
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4. Cosa leggere

Giorgio Agamben:
L’opera dell’uomo (in Rivista Forme di Vita, DeriveApprodi, gennaio
2004; pp. 117-123)
Mezzi senza fine (Bollati Boringhieri, 1996): Forma-di-vita, pp. 13-19;
Note sul gesto, pp. 45-53; Il volto, pp. 74-80.
L’uomo senza contenuto (Quodlibet, 199?): L'origine dell’opera d’arte,
pp. 143-174
La comunità che viene (Bollati Boringhieri, 2001): Dal Limbo, pp.
11-12; Irreparabile, pp. 37-38; Etica, pp. 39-40; Aureole, pp. 45-47
L’Aperto, l’uomo e l’animale (Bollati Boringhieri, 2002): Macchina
antropologica, pp. 38-43; Animalizzazione, pp. 78-80; Tra, pp. 83-86

Gilles Deleuze:
Lettera a Serge Daney: ottimismo, pessimismo e viaggio