O ESTADO DAS COISAS / THE STATE OF THINGS
2017-2018

Produced for the project:
​Taxonomia, O Estado das Coisas
with Rodrigo B. Camacho

​Galeria do Sol
Porto, Portugal
August 2018

interviews with João Costa, Daniel Osvaldo, Dona Imelda, Sara Rodrigues, Afonso Almeida, Vítor Pereira, Sara Rafael, Rita Braga, Gonçalo Araújo, Andrew Nimmo, Jorge de Carvalho, José Valente, Kiko Pereira, Francisco Babo, Daniel Catarino, Manuel Molarinho, Inês Lapa, Bertrand Chavarria-Aldrete, Ana Cruz, Leonor Parda, Gabriela Villar,  Paulino Garcia, Sara Villar, Gabriel Mendes, Sérgio Tavares, Marta Angela.


PIPINOIR Expressão Criativa 
Funchal, Madeira
August 2017

interviews with Daniel Vasconcelos Melim, Rui Alberto Camacho, Carlos Jorge Pereira Rodrigues, Roberto Moritz, Fernanda Martins, Alexandra Barbosa, Roberto Moniz, José Camacho, Cristina Vieira, Duarte Nuno, Tiago Castro Lopes, Paulo Gouveia, Lídia Araújo, Helena Barbosa Camacho, Marta Faria Capelo, Rosa Madeira, Miliza Mendes, Diogo Casto,  Mariana Camacho, Tozé Cardoso, Filipe Ferraz,Emmanuel Mejía, Mariana Pipocas, Rodrigo Barbosa Camacho, João Viveiros, Natacha Gonçalves, Lidiane Duailibi, Norberto Cruz, Virgilio Caldeira.


Various invited musicians were interviewed during a period of 2 weeks, with questions relating to one’s identity: name, age, profession. Following were questions related to their first musical memory, the music they most have to play and the one they most enjoy, always associated to a place. A final question asked for a sound they find characteristic of Funchal, which Sara then went to record, gathering phonographic material which the other musicians could chose from and relate to by using their voice or  instrument. In this way, the posed issues started to mould to participants’ volition,  originating a mapping of what is most relevant to each one, and inevitably, to the whole.

Throughout the days, these answers were recorded and recombined in various forms, producing new dynamics as more arrived. They were reproduced through various speakers hanging from the ceiling of the space in relation to floor map with coordinates of Funchal produced to scale. Little by little, the audience became able to witness the development of a space that received the expression of a community of a time and place, whose identity is marked by the artistic practices as well as the sociocultural experiences they hold alive.
 
The work focused on the recovery of information through various types of memory one can activate. This includes particularly episodic memory, dedicated to autobiographic events linked to a time and space associated with emotions and other contextual criteria such as who, when, where and why. Also procedural memory, which does not base itself on the conscious return of memory, but on an implicit learning, activated, for example, in the act of doing something such as playing a musical instrument.


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PORTO - 2018

FUNCHAL - 2017