Collective Body 2011 Corpo Coletivo 2011

Collective Body 2011
Corpo Coletivo 2011
Collective Body 2011
Corpo Coletivo 2011
This presentation is a partial view of the cross border
work developed through the 2011 Edition of Collective Body project. The following essays were originated from the collaborations between students from
six universities: Universidade Federal de Minas Gerais
(Brazil), Leeds Metropolitan University (UK), University for the Creative Arts (UK), The National Institute
of Design (India), Tampere University of Applied Sciences (Finland) e OCAD University (Canada).
Personal Objects: Processing Negatives*
Raymond Salaber:(OCAD-Canada)
Gretchin O’Donald:(LMU-UK)
We have discussed taking photographs with a manual film camera and process the negative within our respective university darkrooms. There will be
no more than 10 photographs each, and they will be on the theme ‘personal
objects’. We will then develop our own prints.
Once this stage is complete, we will each post the negatives, express post,
and, on receiving these, will begin developing our own version of the others
photograph.
We hope this may result in differences in the developing stage and may
highlight differences when a photograph has no meaning or relevance to us,
compared to when it is deliberately personal.
We have already completed the photography and first development stages
and have received each others negatives.
*No .PDF
Mistranslation
Claire Dearnley:(LMU-UK)Anna
Knappe:(TAMK-Finland)
Mistranslation
Claire Dearnley and Anna Knappe
Mistranslation
Communicating through language,spoken
or written can prove difficult across
varying languages, especially when the
other language is not known or
spoken fluently. In the project
‘Mistranslation’ a conversation is held
across different languages, through
video’s sent via email, each video, a new
person, a new language attempting to
answer the previous question and ask
another without necessarily
understanding the video before, therefore
reliance on tone of voice, pitch, instinct
and gestures are the only tools to
translating or as is often the case,
mistranslating. It may not be a typical
conversation, but still a cross-language
exchange, a multinational meeting of
previously unconnected people.
Väärinkäännös
Kommunikaatio puhutulla tai kirjoitetulla kielellä
voi osoittautua vaikeaksi erityisesti silloin kun
käytetään kieltä, jota kielen käyttäjä ei hallitse
täydellisesti. Väärinkäännös-projekti on eri kielillä
jatkuva keskustelu, jossa sähköpostin välityksellä
lähetettyihin videoihin vastataan aina uudella
kielellä. Vastaaja antaa oman vastauksensa omalla
kielellään ja esittää kysymyksen seuraavalle, vaikka
ei välttämättä itse ymmärtäisi, mihin kysymykseen
vastaa. Tästä syystä puhujan äänensävy, ilmeet ja
eleet muodostuvat tärkeimmiksi asioiksi viestin
ymmärtämisessä ja sen kääntämisessä, tai kuten
useimmiten, väärinkääntämisessä. Väärinkäännös
ei ehkä ole tyypillinen keskustelu, mutta se on
useiden eri kielten välinen, aiemmin toisilleen
tuntemattomien, eri kansallisuuksiin kuuluvien
ihmisten kokoontuminen.
Finnish
English
Dari
French
Mandarin
Russian
Greek
British Sign Language
Click Here For ‘Mistranslation’ Video or go to
http://cagd.leedsmet.ac.uk/media/1227/363178_9b1bd9_
m.mp4
Q: What dream did you have last night?
A: My first kiss was when I was 10.
A: 2 weeks ago.
Q: Do you know what language I am speaking?
Q: What is the longest flight you’ve ever
been on?
A: I am at a party and have my face painted.
A: You've been in Venice.
Q: What do you think about world peace?
Q: Do you have a best friend?
A: When I was younger it helped with my
emotions.
A: I live with 2 friends and my cousin.
Q: Do you like to paint?
Q: Do you get nervous in front of the
camera?
A: No, but it looks really interesting.
A: (Introduced herself to the camera)
Q: Do you like the place you're staying at
the moment and how is the food there?
K: Mitä unta näit viime yönä?
V: 2 viikkoa sitten.
K: Mikä on pisin matka, jonka olet lentänyt
lentokoneella?
V: Olet ollut Venetsiassa.
K: Onko sinulla parasta ystävää?
V: Ensimmäinen suudelmani tapahtui
kun olin 10.
K: Tiedätkö mitä kieltä puhun?
V: Olen juhlissa ja minulla on
kasvomaalaus.
K: Mitä ajattelet maailmanrauhasta?
V: Kun olin nuorempi se auttoi
tunteitteni hallinnassa.
V: Asun kahden ystäväni ja serkkuni kanssa.
K: Pidätkö maalaamisesta?
K: Jännittääkö sinua olla kameran edessä?
V: (esittelee itsensä kameralle)
K: Pidätkö paikasta jossa asut tällä hetkellä
ja millaista ruoka on siellä?
V: En ymmärrä, mutta se näyttää tosi
kiinnostavalta.
Connected Memory
Claire Dearnley:(LMU-UK)
Fernanda Coimbra:(UFMG-Brazil)
There's
one time,no
in Leeds
about,maybee2eu
years
ra
meu this
aniversario
dia 18/11/2001,
e aago,
fê when
me and Clairena
andmesma
our friend
Jaclynne
were
walking
to the shop
studavamos
escola.
Aí era
hora
do recreio,
ela
that
they
used
to
work
in,In
the
day
sometime
and
as
soon
as
w
eio toda pulando para perto de mim, aí falei, NÓ! Ela vai
got to the entrance of the shop we saw their manager run out o
methedar
um
abraço
de
aniversario!
Ai
ela
falou:
Chris!
to
shop after two boys, but we didn't see the boys and It turns
morrendo
de fome,
não
temthe
nada
para
comer
aí não?
aí
out they were
who we
called
"meat
thieves"
because
they
uused
falei:
fe... steal
não tem
Masshop
temthat
dinheiro,
vc Jaclynn
quer
toih
always
meatnão..
from the
Claire and
omprar
alguma
coisa na
cantina?
fê falou:towards
Quero!the
Ai
worked in
so we chased
them
aroundAí
thea building
and dinheiro
i couldn't run
was really
,I was getting
ucanal
dei um
parait ela,
ela foidifficult
lá e comprou
umaout o
breathebut
theybalinhas,
kept dropping
packets
of meatEee!
on the
floor soe
ipoca
umas
voltou
lá e falou:
brigada!
and
I
was
like
picking
them
up
as
we
went
and
then
we
got
all
cou perto lá da gente. quando veio o pessoal da minha
the way round the corner back to the entrance of the shop
ala
abraçando,
dando
parabens,
ai
a
fê:
Uê!
é
seu
where everyone was very out of breath and just... kind of.. It wa
niversario?
é fê!
ha, bad
parabens!
ela we
ficou
toda
seofgraça
funny, but then
it was
also. butAithen
found
one
the
epois
me escreveu
cartinha,
pedindo
desculpa
boys bags
which said uma
his name
on an official
document
andeso
om
abraço
theyu gave
thatde
to parabens.
the police and I'm not sure what happened
Connected Memory
Remembering our past, by reiterating it, through
old photographs,mementos and re-telling stories
can sometimes forge a false memory. Through
these things we can often think that we
remember something, that in fact, we don’t. In
‘Connected Memory’ reminiscent recordings of
our family and friends in our own languages
retell stories from our past and through found
objects and photographs, we have linked our
memories together. The recording from one
partner is fitted with the photo from the other,
combining two pasts to highlight similarities and
contrasts. By imagining the spoken stories of the
other partner are connected to ourselves, we
connect our memories.
http://connectedmemory.blogspot.com/
Fernanda Coimbra (UFMG-Brazil)
Claire Dearnley (LMU-UK)
Take the First Bus
Letícia Silveira:(UFMG-Brazil)
Lydia Caterall:(LMU-UK)
Take the First Bus
Letícia Lopes da Silveira
(UFMG Brazil)
Lydia Catterall
(LMU UK)
“This Project proposes that two people know
each other by sharing and giving their wishes
to each other to do – actually those ones that
they want to perform, but didn’t yet. To be
more fun – and keep those actions like
secrets – they must to tell what is the thing to
do without seeing and hearing the partner.
So, it could be by a photograph, an image, a
symbol, etc. That’s a chance to keep
challenges, feel other persons feelings and
thoughts and experience differently our own
life on a playful way.” - Letícia
“This project has been more than I anticipated. Aside from
producing work by recording the process of completing our
instructions, Letícia and I have been in almost daily contact
and taken a genuine interest in each other’s lives. Some of the
tasks I have completed would not have crossed my mind had
Letícia not asked me to do them; The feeling of someone else
essentially controlling my actions has taken away some of
the responsibility and freed me in doing something out of
the ordinary. There were some miscommunications along
the way, but this only made for a more inventive and playful
result and a lot of learning on both parts! My only frustration
has been that the photographs of my actions do not truly
reflect the array of emotions I experienced and the other
people involved in completing my tasks. To me, the artwork
lies in those exciting and interesting experiences and not
so much my recordings of them.” - Lydia
External Link: http://takethefirstbus.tumblr.com
Extern(inter)national
João Luis_Pereira_Barbosa_Santos:(UFMG-Brazil)
Gary Porch:(UCA-UK)
Gary Porch
João Santos
Once upon a time...
Luíç Caixote:(UFMG-Brazil)
Lucy Aaronson:(LMU-UK)
Once
upon
Once upon
a time...
a time...
Era
uma
Era uma vez...
Once upon a time...
Era uma vez...
Semotions. Is to make your listener or reader will
Ctransmitir emoções. É fazer com que seu ouvinte
also feel inside the story.
ou leitor também se sinta dentro da estória.
torytelling is more than using words. Is convey
ontar estórias é algo mais do que usar palavras. É
In the project “Once upon a time...”, we told a
No projeto “Era uma vez...” nós narramos uma es-
story through photographs, but the story was not cho-
tória através de fotografias, mas a estória não foi esco-
sen in advance. We thought it would be interesting if
lhida previamente. Nós preferimos deixar que ela sur-
the story arose with each new image, as if this image
gisse a cada nova imagem, como se essa imagem fosse
was a new chapter. Each participant began sending an
um novo capítulo. O autor teve a liberdade de utilizar
image to the partner, the partner then responded with
qualquer recurso como recorte, montagem, desenho ou
another image. The author had the freedom to use any
pintura, de modo a contribuir de maneira singular na
resource such as trimming, assembly, drawing or pain-
“escrita” de sua narrativa.
ting in order to contribute to the “writing” of his narrative.
Everything was structured as a game of exchanges,
where each participant sent the image that inspired the
partner to narrate the next chapter.
!
Tudo foi estrutura como um jogo de trocas, onde
cada participante enviava a imagem que inspirou o parceiro a narrar o próximo capítulo.
Lucy Aaronson (LMU-UK)
Luíç Caixote (UFMG-BR
A story Cindy...
Uma estória Cinderela...
Domestic games...
Jogos familiares...
[in process] [tá indo]
!!!
Corpo Coletivo
Collective Body 2011
Lucy Aaronson... LMU-UK
UFMG-BR... Luíç Caixote
Between the lines...
Anna Luiza Costa:(UFMG-Brazil)
Lucy Aaronson:(LMU-UK)
Between the lines... Anna Luiza Costa (UFMG – Brazil) Lucy Aaronson (LMU – UK)) We've got leBers and, when we put them together in a certain order, we've got words. With words, we can say whatever we want to say: we can defend ourselves, we can tell someone we love or hate them, we can sing, we can tell stories. And what if a story has already been told? What can we do with it? What will we change, what will we see between the lines, what will we hide and what will we put on the spotlight? That's what Lucy and I have done: we've played with words and created our own stories, the ones we'd wished to tell, each in our own and unique way" AOer collaboraPng with Anna on this project, it's meaning and significance seems to have shiOed but has been greatly enhanced also. Originally my main concern was to create short stories and poems by bloTng out unwanted words. My interest lies in the relaPon between words and images, however i feel w h at i s n ow i m p o r ta nt i s t wo a l te r n ate interpretaPons of one piece of text. I may choose words that are the same as or differ to Anna's. This all depends on our each individual way of seeing which have blossomed from our different lives on opposite sides of the world. The project has been challenging for me so i admire Anna for her talents in wriPng and reading English! I feel the project could progress if a number of people were involved in the ediPng of found arPcles and not just two. ) Lessons to protect. Conspicuously advanced impossible consistency, no "Time lessons should be interpreted as fate. opPon. But specific slaughter, preserved and David, a military like no other, was about to promoted valuable horrors. commit slaughter. It was simply a necessary shoot down his plans and arm the rebels. intervenPon. Time urged to stop him, freezing, War is a malfuncPoning missile mounted with simbolically, a willingness to shoot. The risks were scrupulous sovereignty in to great: war is terrible and an intervenPon will The last years never tried. resurrected reveal a greater human. Almost all forces fighPng a sobering history confronted with evidence in for life in the last years marked by genocide did terrifying detail intervene in fate. When confronted with evidence War the more This Pme was different. This weary of mass-­‐murderous intent, the official raPonalised world will stand the prospect of a terrible future. Error is the way to be saved from disaster. Its benefits are cleary Error greater than its costs. The debate about a catastrophic error was the next step to accept rising panic and falling disaster. for ever not good that a much larger degree of changes is required. enough anymore. And this must offer people the choice between First, Second, safe. obbligaPons and a incoherent cause. When the The spectacularly made catastrophic error. the less fortunate now biBerly regret. The next step is many a crisis is passed, it becomes obvious that the new success And this means changes arguments have always been strong, but it is Inevitably therefore, the moment is coming is impossible to assess them properly unPl the alternaPves are clear". ) required and created. The right Pming has been a hurry. The crisis is passed Only impossible alternaPves are clear. vote now victory “Beauty was made the patron saint of Heinrich Kubis in 1926. The copilot served meals. Applied to be a Boeing Air Transport Pilot and was turned down. As reported by the New York Times, the "flaming wreckage" hired Emilio to make coffee. The two married well and called in a fake bomb threat to get a day off from work. Years of Pght hot pants, transvesPtes, transexuals, shoes. 1970: a federal judge ruled that it was illegal. Forced to quit, he took two beers, acPvated the emergency slide, and slid down to the tarmac aOer a fight with a female passenger." BEAUTY BY NUMBERS made a liBle sexier. Please 12th: nun, 1911: disaster. 12:Approximate American served meals. 1930: applied and was turned down. 7: Stars aboard 118:weight in pounds and no taller than five feet four. $125: 2: get help 1965: hired helmets to protect against the rain 12: Years later 1967: memoir lives wriBen by a man 2:Pmes married well 1970s: decade basically replaced wearing pants. away from home. 2005: a day off from work 3: between Pght orange hotpants. 2: sizes too big 1970: illegal to be single. shelled out in force held down on another two beers, acPvated with a female passenger. I needed to just switch off. amazing breathtaking, my mini bar.... smug missing moment of solitude “It was November when it finally clicked that I so heavily remembering a Pme postcard cloud of desperately needed a breathtaking work. I was communicaPon breathing-­‐ completely missing the point and was too busy to -­‐from a sun drenched island care. Too many impacted on our lives. pulse in the lives of Remembering a Pme when friends and family felt pictures like an opportunity and guaranteed fabulous so consumed by minutes of media into the hours of hours, minutes, each day. Is this how we enjoy each day. Back in that forgoBen book. shot Like our lives? Over the past few years I’ve clearly sPmulated second nature. SiTng sPll on our forgoBen how to simply read a book. I crave to be horizons, unable to live in the now. siTng sPll for a while and allowing my mind to power proven. a sound wander. To start living a more engaged life, we buzz. can’t be parted from our pleasure. Every Pme we pleasure producing take in a bit of existence, our brain actually jumps brain from the screen in agreement”. throughout the day. our brains removing all life, one thing at a Pme. A Pme you might wonder, what's leO? “Ashley never comments on Robert. Or their Halfway out the window, year-­‐old minutes pass back breakup. If she did, she wouldn’t have leO pedals print halfway through our conversaPon. “He’s she says freqully "i feel bad." She twists off. "Don't extremely aBracPve, but i think he’s an ass”. get wasted but have a drink." Champagne. Despite the past few years, new hair, Her every move is bizarre "The boys get begged to bite necks; showed up at the door asking for rabid she tells herself: “it’s easy to understand.” Every comedy constantly appearing month. By now, expects to have some interacPon She's snagged shortly with boys, especially Taylor, best friend. SPll, she broke up with the past, The reason is simple, I'm not worries about being heart broke, with that good at it." senPmental issues.She says: “I’m really happy”. "Avoid trendy efforts, March to an impressive bass She rolls her eyes. She sighs. “I’m not good at it.” For you might expect. "preBy blue eyes caught Has been trying to get beBer since breaking up, kissing back crazy, daPng preBy boys with blue eyes and floppy hair. I would Maybe you wnat what you can’t have”. "I'd be all over that." Liene Abaronina:(UCA-UK)
Kirsi Hellman:(TAMK-Finland)
For the collaborative project we intend to work with the idea of imagery
found online exploring the possibilities of working with collages, images and
text and various narrative structures, choosing the one that works in the final
stages of the project. Our intention is to create small picture banks, based on
individual words or phrases that are randomly selected and removed from the
context. All the photographic material is going to be selected intuitively.
*No .PDF
Can you tell my taste in music? Anna Luiza Costa (UFMG – BRAZIL) Ka?e Lee (UCA – UK) Music has a way of making itself present in our lives, whether it's on our daily rou?ne or in special moments. For that, it will always create a feeling in each and everyone of us, a bad or a good one. Our aim for Collec?ve Body was to try to catch this feeling, by photographing people’s spontaneous reac?ons and face expressions while listening in headphones to an 8-­‐song playlist, that has been pre-­‐prepared and exchanged between us. The catch with this proposal is that music will be portrayed and perceived with other senses, rather than the hearing sense. Exchanging the photographs, we can analyse the different reac?ons and expressions, what they say about the people who were photographed and their taste in music, and what are the differences between our playlists and culture. Anna’s list, made for ka?e Ka?e’s list, made for Anna 1. Zeca Baleiro -­‐ À Flor da Pele 9. Cliff Richard -­‐ Summer Holiday 2. Franz Ferdinand -­‐ No You Girls 10. Rage Against the Machine -­‐ Killing in the name of 3. Spice Girls -­‐ Wannabe 11. JLS -­‐ Beat Again 4. Sepultura -­‐ Ratamaha_a 12. Kylie Minogue -­‐ I should be so lucky 5. Seu Jorge -­‐ Mina do Condomínio 6. Aerosmith -­‐ Hole in my Soul 7. Marvin Gaye -­‐ Let's get it on 8. Infected Mushroom -­‐ Becoming Insane 13. Foo Fighters -­‐ Best of you 14. Mariah Carey -­‐ All I Want for Christmas is You 15. Enrique Iglesias – Hero 16. The Prodigy -­‐ Warrior's Dance Sound @ City
Essi Laurila:(TAMK-Finland)
Hannah Kells:(UCA-UK)
Patricia Lawson:(OCAD-Canada)
Sounds @ City
Patricia Lawson - OCAD Canada
Essi Laurila - TAMK Finland
Hannah Kells - UCA UK
•  The point of our project was for each member
to record some sounds of the city where they
lived or visited, and to send those sounds off
to another member of the group. Then each
member took photographs in response to the
sounds, ending up with a wide range of
thoughts and ideas between the two.
•  There was no outline we gave each other,
making it a very open concept. The videos
related to how the photographs and sounds
are similar and how we ourselves interpret
them.
Hannah Kells - UCA UK
Patricia Lawson - OCAD Canada
Essi Laurila - TAMK Finland
Intimate Distance
Mikael Kinanen:(TAMK-Finland)
Christina Makri:(UCA-UK)
Intimate Distance
Mikael Kinanen: (TAMK-Finland)
Christina Makri: (UCA-UK)
The idea for this project was to communicate through
body movement. We have used both a naked male and a naked
female body. The original image is the one with the male
naked body, which has been used as a background image, with
the help of a projector. A naked female body is standing in
front of the body that is projected in order to create
intimacy between the male and female body using photography
as means. Have of the male body has been projected on the
female body, which has take the same posture as the male
body. That could be a metaphor of the relationship between
male and female. The intention was to create an intimate
piece between male and female from such a long distance
using only the human body.
Exposed: Bridges and River
Chinar Shah:(NID-India)
Laetitia Kamayi:(UCA-UK)
15 Things
Bess Martin:(LMU-UK)
Raymond Salaber:(OCAD-Canada)
Rebeca Prado Santos:(UFMG-Brazil)
15 Things
Bess
Raymond
Rebeca
Rebeca, Ray and Bess have decided to work with photograph and playful documentation.
We have each submitted a list of 5 things to search for and photograph within our
Universities:
1. Something you don't leave your apartment/house without
2. Something that you can eat, but no one else likes
3. The oldest person around campus
4. The most colourful hairstyle in your school
5. A statue that you walk by every day
6. Something with a very long name.
7. Something bigger than you that is not very useful.
8. Something you cannot eat, that is smelly.
9. Something that you can drink a hot drink from, but not a cup.
10. Something with three legs
11 - Something that can be used in a pillow fight.
12 - Something that might be useful in an escape in a horror movie.
13 - Something bigger than a chair and that Batman should have in his utility belt.
14 - A person with an indecipherable tattoo that has been made ​less than 18 years.
15 - Something you might find in your grandmother's closet when shewas your age
We will then upload our photographs for comparison.
Something you don't leave your
apartment/house without
Something that you can eat,
but no one else likes
The oldest person around
campus
The most colourful hairstyle in
your school
A statue that you walk by every
day
Something with a very long
name
Something bigger than you that
is not very useful
Something you can not eat,
that is smelly
Something that you can drink
a hot drink from, but not a
cup
Something with three legs
Something that can be used
in a pillow fight
Something that might be useful
in an escape in a horror movie
Something bigger than a chair
and that Batman should
have in his utility belt
A person
with an indecipherable tattoo t
hat has been made ​less than 18
years
Something you might find
in your grandmother's
closet when she was your age
Memories
Eduardo Gutierrez:(OCAD-Canada)
Gretchin O’Donald:(LMU-UK)
Luíç Caixote:(UFMG-Brasil)
P. Maya:(NID-India)
Samuel Andrade:(UFMG-Brazil)
Memories
Eduardo Gutierrez
Gretchin O’Donald
Luíç Caixote
Maya Pillai
Samuel Andrade
OCAD-CA
LMU-UK
UFMG-BR
NID-IN
UFMG-BR
B
ackground:
The possibility
of remembering
things, to have a past, is
what gives us a future.
Without memories we
wouldn’t be able to imagine
and build a future in our
minds. Without memories,
we will live forever in the
present. Memories make
us who we are. They give a
sense of individuality, and
help us put ourselves in
perspective. Their influence
in our lives is so strong that
sometimes they can stop us
for doing things, make us
afraid of the new, and even
affect our perception of
reality.
The Project: After establishing our 5-persons group, we
decided to play a little game to get to know each other
better. Now we know that Maya’s favourite band is the
Red Hot Chilli Peppers, and that Gretchin’s best friend is
Andy Buclaw. Luis told us that he writes short stories as a
hobby, while Eduardo hates to cook. We know five things
about Samuel, including that he prefers his bed messy
than tidy.
But those simple facts are not enough to create an
emotional link with a new friend. We needed memories.
So we decided to share a personal story, an event that has
happened in the past, together with an image to illustrate
that event. We collected five memories.
The next step was to mess around with those memories.
Make an appropriation of that story and construct a new
one. We were allow to intervene, intrude and participate
somehow in that event; add new details, expanded it,
make it our own, get it imprinted with our own language
and style. Or simply be inspired by it to deliver new
images.
Each one of us came up with a series of photographs
that, at the end, can be seen as responses, new memories,
or a visual dialogue. Or perhaps they are projections of
the past, and that is a better description of our work.
Initial idea: It’s ironic that the more
society gets obsessed with knowing the
truth, the more we are able to create
other realities. Internet is a place where
the borders between fake, real, virtual
and imaginary can be erased. Having
this in mind, the participants will take
photographs of places, people or
situations, and pretend that those images
are part of a larger story between us. We
can elaborate, for instance, a love story,
or a family relationship, and construct a
past to it. We can also add anecdotes and
facts that support all of it. We don’t need
to lie necessarily, since the value of the
photographs are that they will be part of
our very real fantasies and dreams, and
attached to our daily reality.
JAKE (by Eduardo)
We took Jake to Cherry Beach on his last night in
Toronto, three years ago. My friend was leaving for good,
going back to his home in Germany, to his job and his
life, and we all thought we were ready to say good-bye.
Cherry Beach was warm and full of fun people, as usual
in summer, and the party went on and on until the next
morning. As some point we sat down, tired and drunk,
and suddenly Jake said: “I give you this moment, this sky,
this water, this night. And also the fire.” Just for a couple
of minutes the usually tough guy disappeared. Or maybe
that’s what we remember.
Response (by Maya)
I love snow! (by Gretchin)
In the UK it snows about once a year. My birthday is
in December. When you blow out birthday candles you
make a wish. Mine was always that it would snow before
the new year. Snow makes people happy and I meet a lot
of new people each year by having snow ball fights and
making snow men. My favourite time in the snow was a
few years ago. I lived in London. I was supposed to be
working, but everything had been closed because of the
snow. I started building a snow man and people joined
in. By nightfall I had made friends with around 20 new
people and we all went to see Jeffery and Jack Lewis play
a gig at The Betsy Trotwood pub.
Response (by Luíç)
I live in a region of Brazil where does not snows. I was
curious as to how it would leave the house in winter,
playing with friends in the snow or make a snowman. To
end my curiosity I invited some friends I met in books and
magazines and we ventured (improvised) in the refrigerator.
It was fun.
O povo de Curato de Macaúba (by Luíç)
I saw him walking calmly in half of those people. He
watched things very carefully. I felt he was a good man. I
tried to start a conversation by asking him for hours. He
changed his attitude and with an air of superior, looked
at me from above. He was silent for a long time, when he
opened her mouth just told me: “I do not have time to
tell you what time it is. I’m too late!”
He was silent, turned around and continued his way. With
the same tranquility as he arrived, he was gone dissolving
in the middle of other people.
Response (by Eduardo)
I went to the city hall in Toronto. Every night, in winter,
they have these lights and music, and fireworks. I saw a
man, took some pictures of him, and then followed him.
It was easy at first, but then he left the park and when
down to a main street. It was busy and people where
looking at me taking pictures of this man. I didn’t want
him to see me so I didn’t follow him that close. I followed
him until I lost him.
Response (by Eduardo)
I went to the city hall in Toronto. Every night, in winter,
they have these lights and music, and fireworks. I saw a
man, took some pictures of him, and then followed him.
It was easy at first, but then he left the park and when
down to a main street. It was busy and people where
looking at me taking pictures of this man. I didn’t want
him to see me so I didn’t follow him that close. I followed
him until I lost him.
Re-response (by Luíç)
The man turned the corner. He wanted to once again go
unnoticed. I also turned the corner and I followed him as
he tried to dissolve in the light.
Sky (by Maya)
We looked up at the sky; it was the perfect weather to
head into the forest. Ouija Board in hand, the 5 of us
took deep breaths and jumped over the rickety fence into
the darkness. We found a little corner, lit some candles,
held each other’s hands and started calling the unknown.
None of us were sure if spirits existed, but we tried
nonetheless. A good 10 minutes passed and nothing had
happened. Suddenly the planchette started to move over
the alphabets, we opened our eyes in disbelief. A chill ran
down our spines, it was like we all had the same thought
in our heads, we scrambled to our feet and ran as far as
our feet could take us, over the fence, towards my front
door. We vowed never to try this again.
Response (by Samuel)
I also made photos for the story of Maya. My idea was
to show variations of the ouija board and other practices
related to ghosts, spirits and supernatural beings.
Sky (by Maya)
We looked up at the sky; it was the perfect weather to
head into the forest. Ouija Board in hand, the 5 of us
took deep breaths and jumped over the rickety fence into
the darkness. We found a little corner, lit some candles,
held each other’s hands and started calling the unknown.
None of us were sure if spirits existed, but we tried
nonetheless. A good 10 minutes passed and nothing had
happened. Suddenly the planchette started to move over
the alphabets, we opened our eyes in disbelief. A chill ran
down our spines, it was like we all had the same thought
in our heads, we scrambled to our feet and ran as far as
our feet could take us, over the fence, towards my front
door. We vowed never to try this again.
Response (by Luíç)
Turists are terrorist (by Samuel)
At that Lisbon street oppositions are indistinct. The
region is more or less rich, more or less poor, more or less
new, more or less old. Maybe that’s why I was surprised.
Me: the first word I said was “why?”, the last ones are
these I say now. Presumably, the next one can only return
to that first question. Since I did not understand if I was a
boy, a girl, white, black, whore .. and even if a whore, still
a damsel. But I was a tourist, of course.
Response (by Gretchin)
It’s dark in there, and, even though it is a public road,
it has a feel of having been claimed. There were always
graffiti artists in the tunnel. It wasn’t uncomfortable to be
there.. but it did feel like you were walking through their
house. They knew if you were one of them or not. When
I walked through usually I wasn’t one of them. When I
was there with my camera, I was.
Collective Body Corpo Coletivo | 2011
Project Projeto | Memories Memórias
Eduardo Gutierrez OCAD-CA | Gretchin O’Donald LMU-UK |
Luíç Caixote UFMG-BR | Maya Pillai NID-IN | Samuel Andrade UFMG-BR
David Summerill:(UCA-UK)
D. Pranshu:(NID-India)
Kiara Robinson:(OCAD-Canada)
Anne Lehtelä:(TAMK-Finland)
Fernanda Coimbra:(UFMG-Brazil)
file:///Users/kiararobinson/Desktop/collective%20body/Untitled.html
For our collective body, we focused on public spaces that reflect our respective
cultures.
Collective 1 shows people in public spaces, Collective 2 shows events, festivals,
or day to day activities, and Collective 3 shows public walkways and streets.
Each person responded to the previous person's photograph, according to the
order that they are displayed.
David Summerhill started with the first photographs, followed by Fernanda
Coimbra, Anne Panda, Pranshu Dubey, and Kiara Robinson.
file:///Users/kiararobinson/Desktop/collective%20body/Untitled.html [07/12/11 9:17:59 PM]
Interpretations; Re-interpreted
G. Tarun:(NID-India)
Maíra Gouveia:(UFMG-Brazil)
Sarah Tehan:(UCA-UK)
Shanon Fujioka:(OCAD-Canada)
Interpreta(ons, Re-­‐interpreted The Le&er ‘J’ Shanon Fujioka (OCAD – Canada) Maria Gouveia (UFMG-­‐Brazil), Tarun Tarun Garg (NID – India) Garg (NID-­‐India), arah – TBrazil) ehan (UCA-­‐
Maira Gouveia S(UFMG Tehan (F
UCA – UK) (OCAD-­‐
UK), and SSarah hanon ujioka Canada) "InterpretaEons Re-­‐interpreted" The project is about how the Interpreta8ons change when travel across distances. Everything took birth from the simple alphabe8cal Le&er 'J'. In which 'J' depicts the Joining of cultures, ideas and images. The first thought that comes to the mind aFer listening to the 'J'. It could be anything star8ng from the literal depic8on of it, to the applied meaning. There is no supported text or 8tle with the photographs, just the ideas contained within them. These photographs will travel across oceans and be re-­‐interpreted by the other person as an answer to the original image. This photograph will again travel and other group member will decipher it as per his/her own understanding and re-­‐post. The cycle con8nues 8ll a total of 4 Photographs are clubbed (4 per person) together. We are becoming one
but yet we still so different
Raymond Salaber:(OCAD-Canada)
Emmanuelle Dias:(UFMG-Brazil)
James Stewart:(UCA-UK)
Elsa Trzaska:(TAMK-Finland)
We are becoming one
but yet we still so
different
James Stewart (England), Emmanuelle Dias (Brazil),
Raymond Salaber (Canada), Elsa Trzaska (Finland).
The Proposal:
 We encounter objects and landscapes everyday, which have similar or
different shapes and graphic forms. Although, perhaps because each of us
see only what is revolved physically around us, we began to think that
certain objects or landscapes could only look a certain way.
The purpose of this project is to play with these forms, to show the
differences of each of our countries through things we all encounter
everyday. We set out a proposal to the four of us from all different continents
to photograph a food dish that somehow conveys characteristics of our
nation/surroundings. However, our photos are presented through uniting into
one image - by carefully stitching all four photos digitally together. We have
also included text explicating how our dish represents our
countries/surroundings.
The aim is to lead the viewer to open up a discussion about globalization
and universality - to rethink about its meaning and structure in addition with
cultural differences in mind. How some things expresses the same meaning
and looks similar to us all but yet it really is so different from each other.
Emmanuelle continued to the original proposal with urban night scenes. Initial results found in: collectivebody_urban_night_scenes.tumblr.com/
Site-Specific Time
Tara Newnham:(UCA-UK)
Shanon Fujioka:(OCAD-Canada)
Tuomas Koskialho:(TAMK-Finland)
Melissa Clark:(OCAD-Canada)
Anna Carolina_Aguiar:(UFMG-Brazil)
Site-­‐Specific Time Anna Carlona (UFMG-­‐Brazil), Melissa Clark (OCAD-­‐Canada), Shanon Fujioka (OCAD-­‐Canada), Tuomas Koskialho (TAMK-­‐Finland), and Tara Newnham (UCK-­‐UK) We tend to have all kind of rouJnes which become apparent in specific places. We are dressed in a certain way, doing something, going somewhere ,or waiJng for something. Each place has it’s own idenJty and funcJon. But it’s not only about the place, it’s also about Jme. No maQer where you live, place and Jme are always connected one way or another. We took our photographs at 9 am at a bus stop, 2 pm at university, 7 pm at a popular square and 12 am in front of a bar. PuXng it all together in a form of photographs gave us something to look at. Places are always comparable but despite the Jme difference, we all have 24 hours in a day. Time makes the rules and places will offer the pla[orm for us to follow our plans and goals. It also gives us a change to break the rules. If you have to be in a certain place at a certain Jme, Jme will keep on running even if you’re not there. 9 am at Bus Stop 2 pm at University 7 pm at a Square 12 am at Bar hQp://sitespecificJme.tumblr.com/ Camila Fernandes_Machado:(UFMG-Brazil)
Sam Francis:(UCA-UK)
Joanna Glezakos:(OCAD-Canada)
COLLECTIVE BODY 2011
Group 17 ~ Dialogue
C a m i l a M a c h a d o ~ B r a z i l UFMG
S a m F r a n c i s ~ E n g l a n d UCA
J o a n n a G l e z a k o s ~ C a n a d a OCAD
With the objective of narrative, we have created a photographic chain, with each new
image inspired by the previous one.
One person begun the project by photographing a subject of their chosing, then the
second person photographed something inspired them within the previous image, and
this chain continued on. Through this process an interesting visual dialogue has become
apparent. Although their is not neccesarily a narrative, the work has the feel of a visual
chinese whispers, creating a series of images that are not linked by subject, but instead by
visual components, altering throughout the process.