Note card. Inventory/Invention Workshop. International Encounter Care as Method # 2, Saracura, Rio de Janeiro, 29th September, 2017. Photo: Josemias Moreira Filho
Glossary
Editors
Jessica Gogan and Izabela Pucu
Contribuitors
Alison Stirling, Ana Teresa Derraik, André Bastos, Angela Carneiro, Annette Krauss, Casa Jangada, Catarina Resende, Cezar Migliorin, Cristina Ribas, Dai Ramos, Eduardo Passos, Enrico Rocha , Fernanda Eugenio, Gladys Schincariol, Iacã Macerata, Lidia Costa Laranjeira, Luiz Guilherme Vergara, Mariana Guimarães, Noelle Resende, Rafa Éis, Rafael Zacca, Ruth Torralba, Steve Hollingsworth, Tulio Batista Franco, Virgínia Kastrup.
Glossary Entries
Being-with – The practice of being-with is an apparatus for creating a common ground of resonance for body experiments in the city. In these practices there is a movement of opening up that occurs according to the measure of the encounter. The other that presents itself as desirable – person or place – decentralizes us and moves us toward not knowing, the indeterminate, the unpredictable. The practices of being-with are thought of as “choreographies” not because they link [different] scores of movement, but because they activate pre-movements, force fields and openness to crisscrossing. In these practices new potentialities and creative relationships, corporealities and possibilities are inaugurated. The care that emerges in these relationships moves in a counterflow to control, operating in a relational space, in a bet without guarantees that the ground will proffer support. Lidia Costa Larangeira and Ruth Torralba
Care of/for Territory – To take care of/for a relational space where the situated experience of living unfolds, in contiguity with the alterities that abound in the near and far of an individual[‘s world]: network of agencies of heterogeneous elements, people, groups, animals, plants, statements, stories, local knowledge, habits. In caring, we always take care of and in a territory of relationships. In this sense the preposition “of” comprises multiple understandings of the relational: to care for, from, to, in, through. As a caring protagonist, care of/for a territory is to activate the potency of a living territory, renouncing care as a unilateral action of a specialist Iacã Macerata
Cinemar [T.N. Cinemar = cinema as a verb i.e. “to cinema”] – The cinema subject, cinema group. Listens, sees, chooses, unites, eliminates, cuts, deviates, follows, frames, changes, receives, denies, mounts. Knocks on a door, invades, enters, waits, talks, dances, writes, hears. Documents: negotiates a place in the world of the other. Artifice of relationships. Something happens. Black screen. Thinks, cries. Dreams the dream of the other, thinks-cries (synapse-tear). Sees through the eye of the other – I am no longer there. Rehearses, redoes, does differently, repeats. Makes the gesture last, stop, return. The gesture, the eye, the skin, the word, the sound – cinema shows everything, everything between the said and sayable, between feeling and meaning. One song deflects meaning, remakes sensation. Dry cut. To plot, to roam, to eroticize; silence inhabited. Other presents, new pasts. The time is. The cinema subject, the cinema group. Cezar Migliorin
Commitment – Think about the high school student who is enthusiastic about her school days. She discovers, as someone at once remove, what has been preventing her from having direct contact with her interests, that it is in the process of caring of and for what life asks [of us], individually and collectively, where learning takes place and disciplines develop. After the experience of living entire days and nights with other colleagues in the shelter of the school, [as part of the wave of 2015/2016 school occupations], she continues to investigate how that space, and the relationships that are constituted in it, can support mutual care and the learning of coexistence. Enrico Rocha
Common – Think of community leadership that mobilizes community sentiment as a charge to fight for their rights. Before she felt that she belonged, she understood the meaning of her life as one in relation to those other lives with whom she shared her daily life. So from then on, she recognized herself as a leader and refused any offer of value for the sale of her house that was less than the value she herself assigned to the common land, which is incalculable. Also think of the artist who presents himself as an ordinary man, as a worker in the daily struggle of conquering life, beyond material necessity. His effort is to give shape to what is woven between one life and another, and so, in the same movement, also make it visible. Enrico Rocha
Cuidada [T.N cuidado in Portuguese means care. Nouns in the language are gendered and care/cuidado is a masculine substantive. This glossary contribution proposes feminizing the noun via changing the “o” at the end of cuidado to an “a” as in “cuidada.”] – Care, as a male noun? Facing “cuidadO” we say “cuidada.” In flexing the gender to the female, “cuidada” makes explicit the feminized nature of care work – mostly carried out by women. But I do not propose to change the gender to the feminine as a way of endorsing the subjection of women to this invisible work, that when paid, is poorly paid. Also, the care of the “cuidadas” is not an issue here. It always lags behind. To exchange “cuidado” for “cuidada” is part of the work of feminist struggles to keep the tension of gender in play. Like the tense of a verb: to “tense” gender in your own body, in each body and in the backbone of society. To “tense” in order to dismantle the binaries that still regiment much of the home environment, organized movements, and modes of reproduction and allow for the emergence of other genres, other ways of caring, and means of crossing divides. Cuidado and cuidada, cuidados and cuidadoras [care givers] in private and public dimensions are woven into the background by the invisible infrastructure of feminized labor, which feeds and nourishes (the emotional, economic and cultural, etc.) the [so-called] “productive” portion of society – but of which they are also part. It is necessary to “tense” these determinations – as much with regards to the questioning of gender as to issues of reproductivity or of unproductivity. Cristina Ribas.
Cuilêncio: Silence as Caring [T.N. cuidado (care) + silencio (silence) = cuilêncio or caresilence] – Silence, wandering on the edge of the abyss, opening up to the unknown, to that which has no name, but is present. Silence as care is the possibility of projecting [ourselves] to where the wind blows the intensities of what is to come. In a world noisy with sounds, images, productivism, silence becomes a political position for listening to what is constantly whispered. Caring asks for time, body, dislocations, harvesting of the rare, but also, says silence, courage, patience and faith in life. Conviviality with the deaf invites us into the silent world of sounds in order to enter the time of lost syllables, a place where the body draws time and makes of space marks of intensities. Edges of creation, mixture of people, objects, nature and other surprises in which life is made possible. Deaf young people face daily the challenge of transforming the city into a village, a partner of encounters and stories. To plant silence in us opens up the possibility of creating a common ground between the deaf and the hearing, in the wealth of forms and movement that mutually alienate us, and leaves us porous with possibilities. No more deaf people, not even hearers, but playful traces of the flows of life. A wager maybe more beautiful, dignified and supportive. Angela Carneiro
Dialogue – Think of the doctor and artist who sidestep(s) the title of doctor to enable a true encounter with her patients. In the dislocation between such different realities, she seeks to listen to murmurs of similarity between one life and another, including her own. She thrives on other systemic forms that allow life to follow its own course [more] freely. Think also of the artist seeking to emphasize in social environments dedicated to the elevation of the spirit, those actions necessary for the sustenance of matter, which are daily ignored. Her gesture, when perceived, makes visible the systematic processes that render many lives invisible, ones which devote their time and energy to cares that are only noticed when they are absent. Even in those spaces where attention to the sensible is celebrated, it is only when the floor is dirty that we perceive the person who cleans, it is only when we are thirsty or hungry that we notice the person who balances the trays. And it is no coincidence, says the silent presence of the artist, that these people, in their vast majority, are black women. Enrico Rocha
Expansion of the Female Body – The female body is a cyclical succession of ordinary events with extraordinary consequences. Some physiological phenomena express themselves violently imposing ruptures, others more subtle and delicate, are barely perceived. To think about care in the approach to this corporal and individual universe means to think of life in all its instances and manifestations, where each new cycle brings within it infinite possibilities of discovery, reinvention, joy, multiplication, mutilation, outbreak, fecundity, finitude, expansion … these possibilities have explicit objectivity and concreteness and their effects reverberate in the ambiences that contain them. Care in attending to women’s health needs to welcome subjectivity and the persistence of these phenomena that have in biological events a delicate and inevitable presence that is not limited to the body itself. Lapses and intervals create gaps. Movements are catalyzed by triggers that nourish themselves with a plurality of stimuli of various natures. Life is suspended at every moment and in a sudden breath reestablishes itself with vigor and greed and fury. To approach this body in care is primarily to ensure space for its creative processes to take place in all their fullness, in expansion. Ana Teresa Derraik
Humility – Should it Always Prevail? – Always be humble with those who hold power (in the full meaning of the word of power: psychological, financial, institutional) in order to have in exchange a good relationship, to gain as a benefit the captivation of those who hold power, as a psychological prostitution; [such as] when the mental health user is voluntarily submissive with the purpose of gaining something (cigarette, seconds of meals). You may be living in a therapeutic residence or alone, but you may have institutionalized thinking – a psychic institutionalization. Should this be the kind of patient humility that prevails? André Bastos
Insertion – Among different forms of participation, inclusion has a more passive meaning than insertion. Being included in a project or activity can happen because of your interest, because someone invited you, or in the course of a therapeutic program that you participate in and that activity is part of. But that which is inserted incorporates the activity within the act itself. It does not only rely on momentary exchange. It assumes responsibility in relation to the activity. That is the big difference. When we are inserted, it is truly an insertion, not an inclusion. It has to do with desire. It is not just about being there, participating. André Bastos
Jangadear [T.N from the noun “jangada” meaning raft = to build a raft] – Method of anti-institutional care experimentation that draws on the concept of “raft” as articulated by the French educator Fernand Deligny. Constituted of a certain precariousness, in the non-normative sense, this mode of clinical practice is based on encounters that emerge from the collective-creative uses that acting in common offers, producing certain nodes of coexistence. The possibility of the collective invention of space-time consists of occupation as a medium, creating conditions favorable to the unpredictable in the art of composing elements (what we can call the political practice of “bumping into each other [and things]”). Betting on the effective dynamism of a living space, this method unfolds in clinical cases that are, at one and the same time, the starting and end point for our work. They are spaces that point to the outside: outside the house, out of reason and out of capitalist entrapment. In this way, caregiving agents work clinically as producers of circumstances, with the autonomy to create multiple references of listening in the microtextures of encounters that chance offers. Jangadear is precise and at the same time imprecise. Casa Jangada (Alessandra Jordan, Ana Thereza Ribeiro Coutinho, Bettina Mattar, Bruna Pinna, Caroline Valansi, Francisco Costa, Gabriel Geluda, Mayra Wainstok).
Joint Attention – This attention can be defined by four main characteristics drawing on Yves Citton, Daniel Stern and Félix Guattari: co-presence, reciprocity, tuning in affectively and improvisational practices. In a situation of co-presence, the attention of the other affects the orientation of my own attention and vice versa. It brings together a small number of participants who mutually affect one another in a dynamic of complex reciprocity. It involves the self-other relation and also objects and situations in the world, connected in a plane of pre-individual forces and affects. It is a presential, inventive and shared attention that takes place in the lived experiences of artistic presentations, in the classroom, in the mother-baby relationship and in diverse encounters. Embracing improvisation and experimentation, it is marked by unpredictability. The concept of joint attention problematizes individualistic and mentalistic conceptions of attention and, in another direction, points to the role of attention in the production of collective subjectivities and in the connection of bodies, as well as the inseparability between cognition and affection. Virginia Kastrup
Least Event – In his Time Base theory, the artist John Latham (1921 – 2006) of the Artist Placement Group collective took issue with the traditional mode of physics where emphasis is directed toward ever more complex understanding of sub-atomic particles. He stated that as creatures of memory, our awareness of time as an “Event” should be our fundamental unit of understanding the world. He argued, from a humanistic viewpoint, that an “Event Structure” or “Least Event,” could help us explain the world. A “Least Event” for Latham was the shortest bridge from nothingness to a perceivable memory, an anti-physics fundamental unit of being. For many people with complex developmental disabilities, events happen far too rapidly to be perceivable, the world and events move way too fast for them to catch. To try and decipher minds and memories time has to be ‘thickened’, made ‘sticky’ or ‘congealed’ somehow, to be slow enough to appreciate. We need to meet them very much on the same level, unlearning our own rapid perceptions, trying to disengage our own sensory habits – our own “normals.” Learning to meet someone with complex disabilities in THEIR time and building meaningful connections with them opens interesting doors into new ways of thinking about who we are. Steve Hollingsworth
Management as a Gesture – Think of the management of a public cultural center that recognizes as its principal resource its ability to mobilize people and, in so doing, face the innumerable limitations of a bureaucratic machine developed in contradiction to common interests. By putting its human resources behind an understanding of the center as the point of intersection between many vectors of a complex network and of culture as an ethical and aesthetic experience of the collective, as well as embracing the notion of the public as a political condition of existence, this management is capable of moving not only a building, but also a neighborhood and a city. A management that invites us to gamble together on the future and in so doing gamble on a common future. Enrico Rocha
Method as Care – Let us start from the preliminary definition of care as a reception practice (as all clinical reception operates – from the Greek Klino, Kline, bed, leaning over the bed of the bedridden) and from the transformative deviation (the leaning in/over in the sense of deviating-oneself, which in Latin is called Clinamen). Method can be a practice of care when we reverse meta-hodos to hodos-meta, that is, where instead of the primacy of the meta (as in a predefined goal), established in our language in the traditional understanding of method, we rather emphasize the primacy of the path (hodos). It is on the path that we collectively build our metas. Care as method unfolds as a gerund; it is the action of walking (in the sense that Lygia Clark gives that term in her 1964 [art proposal Caminhando [Walking]). Such a methodological reversal presupposes participation and openness to the new, including the different subjects and non-human actors (the material conditions of existence in cities, the media, sensitive art materials, technical objects, etc.) encountered along the way as we construct the metas as well as how to achieve them. To guarantee participation is to accept/to welcome. Reception is a basic condition of care, its necessary condition, but it is not sufficient. In addition to accepting reality, it is necessary to guarantee the possibility of its transformation. In this sense, care as a method is the acceptance and transformation of reality. Eduardo Passos
Micro-Geographies of Affections – Key to micro-geographies of affection is the recognition of the importance of care within the subtle and fragile immaterial potential of collaborative relationships and co-creations. Such care invokes an ethical pragmatism, a tripartite psycho-social-spiritual materiality in the world, embracing intuitive tangibility, the indeterminacy of the experimental, the risks of unsustainability, and the impermanency of temporary events of solidarity. The ephemerality of events gives sensitive potency to affections that while, at once requiring a geopoetic approach to their corporeality and territoriality, are also subject to the contingencies that crisscross the configuration of ethical-aesthetic situations. These depend on the production of multiple forms of listening and voicing of different desires and knowledges – a practice incarnated in encounters vested in the construction of a shared institutionality and the common good. Micro-geographies of affections are qualified by their intrinsic relational condition as collective happenings. This is what confers their potential as forms of resistance and group consciousness and as states of invention and political-poetic action. Luiz Guilherme Vergara
Pedagogy – The origin of the word pedagogy is doubly cruel. In Ancient Greece, pedagogues were the slaves who led children to their preceptors, so that they could in turn lead them. Neither do children need a teacher, nor should people be enslaved: children and the countless Afro-descendants and descendants of indigenous people who have undergone both white education and forced catechesis know this well. There are, however, certain practices that germinate another vocation for the word “pedagogy.” A secret methodological thread articulates the actions of the educator Paulo Freire (who dreamed of education as a collective practice – “nobody educates anyone”, “people educate one another”) to the psychiatrist Nise da Silveira (who dreamed of care as a collective cure) and the actual conditions of the struggles against what Freire called “banking” education and the anti-asylum movement. These actions that seem to know that “pedagogy”, a mixture of children and leading, of paidós and agein, makes a world without slaves or adults, a world where everything is child-like. In this world leading is done by children, indeed by everyone. A world that leads itself, is self-managed and made into a collective infant can, as the poet Leonardo Marona declared, be “dirty and happy / after the flood.” Rafael Zacca
Perceptual grammar – Touch, lick, hit, digest, sniff, kiss, push, punch, ignore, listen, lie on, ignore, rub, stare, feel, smile, push, ignore, lie on, lie next to, stare, hit, kick, push, ignore, stare, Rub, stroke, roll, laugh, shout, recoil, hiss, gurgle, stare, reach, lie on, lick, scratch, swing, jump, sleep, scream, touch, pat, scratch, drum, taste, rock, tap, caress. Alison Stirling
Performative Listening – The aesthetic dimension of listening in clinic practice positions itself as an act of sensibility, but also of expressiveness. The presential state of each of the agents is decisive for the configuration of the scene: there is a performance of a song that is in tune with a performance of listening. “It’s just as fadist the one who sings as the one who knows how to listen,” I once read on the wall of a house of fados. [T.N. Fado is traditional mournful Portuguese folk music song by solo singers.] The fado ritual is one that plays within and in between songs, music, pauses and silences; in the staging of the musicians, in the reactions of the audience. The art of fado is established between the one who sings and the one who listens, they are both fadistas. In the clinic, as in fado, the analyst’s sensitivity is often expressed through a performative listening. Such performativity brings the analyst present to the scene, actively affirming a position in facing the sensitive impressions exchanged by the communication of bodies, co-creating a musicality common to care. Catherine Resende
Potentia – Potential/potency is like an inner force, capable of setting a body in motion, in the production of oneself and of the world, driven by the propulsive energy of desire that is formed based on the affections that are generated through encounters. “[…] joy is an effectuation of potentialities,” as Deleuze says. The encounter is an event that affects the bodies that meet there, and modifies them, producing joy or sadness, which, respectively, leads to a greater or lesser degree of the power to act. By body we understand people and things, the work of art is a body. Art is a powerful apparatus for effecting potential, for “art thinks by affections” (idem). We bet on potentia, capable of activating and vibrating creative forces, not on power, which captures those same energies. Power refers to an act of government over another, producing sadness, and at the same time is capable of imprisoning the freedom of those who exercise it. Freedom is the great source of creation, and it is produced with joy. According to Deleuze “Power is always an obstacle to the effectuation of potentia. I would say that all power is sad.” Túlio Batista Franco
Presence – Think of the doctor-artist narrating his experience with the inmates of a psychiatric hospital, and his interest in the pre-language communication process. Eyes and ears to see and hear what has not yet been said, but which calls for the presence of the other to be expressed. Think also of the artist attentive to the subtle movement of objects. A glass full of water on the uncertain pavement of the street, the ripples on the surface of the water in interaction with the movements at the crossroads, the thirst quenched of someone, the shards on the wet ground. A million bricks inside the museum, the trace of red dust on the gallery floor, an art exhibition in the city center, a new wall in the distant neighborhood. All in the process of becoming something else. Enrico Rocha.
Proximal Presence – Adults who, together with autistic children, built a common life in the residencies started by the French educator Fernand Deligny in the city of Cévennes, France, in the 1960s. They were neither doctors, nor psychologists or educators, but women and men who lived with children operating a care that was based on constancy – presence – and respect for the space of another form of existence – the idea of proximity marks an ethical distance to the impulse of Man to interpret and domesticate. For the children, this search for the significance of a behavior based on the subject and his/her desires represented an unacceptable violence. The practice of care required constant attention, an ethical stance not to allow the laws of the men-that-we-are to guide the construction of ordinary life. The children revealed to Deligny an existence falling short of the Subject and the Symbolic: the human, that layer of life shared by all of us, but buried by the empire of Language and Law. The care of the human could only unfold in proximity, distant from the constitutive precepts of the men-who-we-are, a distance that guarantees the necessary space where the human can exist. Noelle Resende.
Reparar [T.N. The Portuguese verb “reparar” while meaning repair may also signify mend, restore, redress, observe, recompense, among several other meanings. The glossary contribution plays with the complexity of these various connotations. OBS: Words in square brackets […] indicate translator notes] – Reparar is the main tool-concept of the Modo Operativo [Modus Operandi] AND. This comprises a three-part operation deployed as follows: stopping/taking another look (re-parar [literally re-stopping]), inventorizing-inventing attentively (reparar [here meaning to observer or note]) and re-managing-rehabilitating for use (reparar [here meaning making a repair or amends]). Together these thus perform the triple modulation of the care gesture involved in “reparar.” The Modo Operativo AND (MO_AND) is a system of improvisation and positioning-with of transversal use, which offers instruments for the practiced study of the politics of coexistence and the capacities of self-observation in the process of acting and situated decision-making. It is supported via the sensibilization to and the fulfillment of an ethics of sufficiency, being the condition-disposition in order to enter into relation with the environment, allowing for the emergence and sustenance of common metastable events. In addition to “Reparar,” MO_AND proposes a set of concepts that, via the (counter) device of the performative game, become concept tools: the political modulations of the conviviality of É-OU-E [É from the verb “to be” means “is” and E means “and” – literally IS-OR-AND]; the game of questions WHAT-HOW-WHEN-WHERE; the game of description-circumscription / formulation-perform-action THIS-THAT-THIS; the Open-Explicit positioning diagram; the proposition of reciprocal ethnography as a process of Defragmentation-Fractalization of oneself and the environment. And also as the relational-tensions of: Composition/Positioning-with, Decision/De-scission, Knowledge/Flavor, Resistance/Re-existence, Coherency/Consistency, Explanation/Implication, Representation/Presentation, Efficiency/Sufficiency, (In) dependence / Autonomy, Relevance / Relief, Rigidity / Rigor, Justice / Fairness, etc. Fernanda Eugenio
Respect – With respect to those voices who have spoken this word, to whom speak and will speak it. With respect to the rapper, Sabotage. Respect is for those who have it; that is in a country where above all the many have little and the few have a lot. To speak of the word makes us hang onto the dust jacket of the Aurelio Portuguese dictionary that regrettably, in a tone of voice sounding of classic norms, says that respect is an ode to submission. I would like to blow with winds that understand and feel the word respect as a possible word to describe the: Gesture of perceiving grain / Be it bean, sand, wheat-bread / Gesture not to see oneself as an owner of what one can not own, of what must not be owned / Gesture to seek to know where you are, to know whose drops of sweat and blood irrigate the ground under your feet / Gesture of assuming the responsibility for your own feet / Gesture of realizing that it is the places and their winds, memories, rhythms and colors that should guide the measure of the necessity of speaking or listening / Gesture of perceiving one’s responsibility in the diffuse layer of time, perceiving oneself as part of the people, things, words and mysteries that have been, are and will be / Gesture of stepping softly with one foot and firm with the other / Ethical movement of care and preservation of dignity that passes through word, body, soul, and finally as gestures / Respect does not diminish us in relation to persons or things, it operates in another logic: respect puts us in convergence / It is the opposite of embarrassment, the moralizing vamipirization of life, of shame / Respect is the means and the end / It is a tool of dislocation, a means of transport to taking the right step, the right way / It is synonymous with keys, with open paths / Laroye Exú [T.N. Afro-Brazilian spiritual entity] / Between respecting the other and respecting oneself there is no or almost no distance / If they are not indeed the same thing. Rafa Éis
Ritual as Method – I understand ritual as a set of gestures, words, thoughts, formalities and actions that are not only linked to a belief, religion, or popular custom, but also serve to help us connect with some sense of the sacred, that is our sacred, our deep sense of things. I see that ritualistic-artistic movements open up a path to care, bringing, as one of its possibilities, a method of anchoring, of empowerment and of strengthening of a collective. That we may embrace the rituality of such moments, allowing our processes to interact with the immersive aspect of the rite, dislocating it from religious action and using it as a practice of crossing time and space, provoking in itself and in the group a new possibility of the artistic and symbolic event. Dai Ramos
Thread-action (Spinning) – [T.N. Thread-action (Fio-ação) in Portuguese) is a portmanteau word combining thread (fio) and action (ação). The concept comes from the term “fiação” (meaning spinning in English) and was formulated following the artist/writer’s experience working with traditional weavers/spinners in the Northern Brazilian state of MInas Gerais.] – Processual movement of weaving paralleled with the weaving of the collective. A becoming that occurs in the encounter with the other, drawing on the other and reverberating in itself, producing processes of singularity and autonomy within intrapersonal and collective relationships. It is a becoming-with, a micropolitics of transformation where the processual movement of weaving is always mirrored by the collective movement where we weave ourselves, via the invention of processes of creation, enunciations, collective agencies, practices of care, affection, and above all dialogue. Thread-action is the constant movement of becoming. Mariana Guimarães
Transmutation – When the patient transforms him/herself toward a new psycho-social life. André Bastos
Unlearning – The term “unlearning” has appeared in the contexts of social movements, alternative education, feminist, postcolonial, and decolonial history (Andreotti 2011, Spivak 1993)… Unlearning denotes, here, an active critical investigation of normative structures and practices in order to become aware and get rid of taken-for-granted “truths” of theory and practice.’ ‘It comes close to what postcolonial scholar Gayatri Spivak calls a “productive undoing” that must be carried out along the fault lines of the doing, without accusation, without excuse, with a view to use’ (Spivak 2012,1) (Krauss, 19). The term unlearning will be explored in the forthcoming publication Annette Krauss, Sites for Unlearning: On the Material, Artistic and Political Dimensions of Processes of Unlearning (Brooklyn: Autonomedia, 2019). Annette Krauss.
Vínculo [T.N. meaning link or bond in English inherent in the term is the implication of the affective and the social]– In the field of mental health the vínculo or bond is the affective relationship and trust established between two people, in the therapeutic context, providing the individual in psychic suffering a stable reference of support and reorganization both internally and socially. … “Repeated observations have shown that hardly any treatment will be effective if the patient does not have at his [or her] side someone who represents a point of support on which he [or she] makes an affective investment.” Nise da Silveira, in the book Images of the Unconscious. Gladys Schincariol
About the Contributors
Alison Stirling
Studied at Glasgow School of Art and the Royal College of Art, London. As artistic director of Artlink, she has created innovative projects in the public sector for over 24 years. Her current focus is arts practice within The Ideas Team (Artlink initiative) that will culminate in a large-scale exhibition in 2020. This ongoing work aims to draw attention to and change preconceptions of and ways of caring for, some of the most marginalized in our community.
Ana Teresa Derraik
Doctor, gynecologist and obstetrician, Derraik also holds a masters in family health. Currently she is the medical director of Nosso Instituto, a social organization that provides access to sexual and reproductive rights for women in conditions of social vulnerability. She is also technical director of Derraik Mulher, a private women’s health clinic.
André Bastos
Retired physiotherapist, participates in the Escola Livre de Artes (Free School of the Arts) of the Bispo do Rosário Museum of Contemporary Art and is part of the collective/studio Ateliê Gaia. He is also an announcer for the radio station Delírio Cultural [Cultural Delirium] and a percussionist in the carnival bloco Recreativo Império Colonial and the Band 762. He also facilitates music and literature integration workshops for mental health service users. He is currently interned at the Rodrigues Caldas mental health center at IMAS, but in the process of de-institutionalization.
Angela Carneiro
Researcher with the collective Las Compostivistas (cities and gestures), and the research group Entre-Redes [Between Networks]. Recently she developed the project Invenções de Futuro no Território da Surdez [Inventions of Future in the Territory of Deafness], a partnership between the Instituto Nacional de Surdos and Universidade Federal Fluminense. Other projects include: “The Rivers that Flow into the Sea,” a cartography of artists from the periphery, presented in the exhibition “Há escolas que são gaiolas e há escolas que são asas” [There are schools that are cages and there are schools that have wings] at Museum of Art of Rio de Janeiro (MAR) and “Trail Trails – borders between the city and the forest, ways of caring.”
Annette Krauss
Annette Krauss’s practice addresses the intersection of art, politics and everyday life. Her artistic work emerges through different media, such as performance, video, historical and everyday research, pedagogy and texts. Krauss has (co-)initiated various long-term collaborative practices: Hidden Curriculum, Sites for Unlearning, Read-in, ASK!, Read the Masks. Tradition is Not Given, and School of Temporalities. These projects reflect and build upon the potential of collaborative practices while aiming to disrupt “truths” that are taken for granted in theory and practice. Recent collaborations, exhibitions, lectures, screenings, and workshops have taken place at Casco – Office for Art, Design and Theory, Utrecht; KUNCI, Cultural Studies Center, Yogyakarta; The Showroom, London; Van Abbemuseum, Eindhoven; Kunstverein, Wiesbaden; and Whitechapel Gallery. Since 2011, Krauss has been a lecturer at HKU Fine Art, Utrecht. Currently, she holds a Post-Doc position at Academy of Fine Arts, Vienna.
Casa Jangada
Collective formed by 6 professional psychotherapists, 1 psychiatrist and 1 artist. “Psy” professionals with training in clinical psychology and psychomotricity deploying a phenomenological psychiatric perspective and a clinical practice based in the therapeutic aparatus of treatment. Alessandra Jordan, Ana Thereza Ribeiro Coutinho, Bettina Mattar, Bruna Pinna, Caroline Valansi, Francisco Costa, Gabriel Geluda, Mayra Wainstok.
Catarina Resende
Professor at the Universidade Federal Fluminense (UFF) Institute of Psychology, a clinical psychologist and movement therapist. She is also the coordinator of the Laboratory of Subjectivity and Corporeality (CorporeiLabS – UFF/UFRJ/UFC/FAV).
Cezar Migliorin
Works with words and pictures. He is an artist and professor of Cinema at Universidade Federal Fluminense (UFF).
Cristina Ribas
Works as an artist, researcher and curator. Born in 1980 in Brazil. She develops projects at the interface of politics and aesthetics, militant research and radical pedagogy. She holds a PhD in art from Goldsmiths College, University of London (2017). In 2011 Cristina created the open platform Desarquivo.org from the research archive “Arquivo de emergência.” More recently she conceived and edited the book Political Vocabulary for Aesthetic Processes featuring contributions from various authors. In the past year Cristina has been developing the workshops “Protocol to Intersect Vocabularies,” which mixes together collective and socio-clinical practices with improvisation techniques from Augusto Boal’s Theatre of the Oppressed. She is part of the network Red Conceptualismos del Sur. http://www.cristinaribas.org
Dai Ramos
Ramos’s artistic trajectory has been shaped by her involvement in collective performances in saraus [T.N. musical and poetic gatherings] and film projects. Engaged in experiences that involve the presence of the diasporic black body together with drumming rhythms, her artistic experiences include participation in the Coletivo Mulheres de Pedra [Women of Stone Collective], a collaborative group addressing the empowerment of black women that promote the Pure Stone Poetry Sarau, and through the Elekô Audiovisual Collective, which was founded based on the performative and collective “backyard” experiences of Mulheres de Pedra, with whom she has scored, produced and performed soundtracks and performances in films like Elekô (2015), Quijaua (2016), Tia Ciata (2017) and Fé…Menina (2017).
Eduardo Passos
Psychologist and professor at the Universidade Federal Fluminense (UFF) Institute of Psychology.
Enrico Rocha
Artist and educator with an MA in visual languages from Universidade Federal de Rio de Janeiro (UFRJ) and a BA in Social Communication from UFC. In 2016, he directed a study group at the Tomie Ohtake Institute in partnership with Vitor Cesar. Between 2010 and 2012, he coordinated the research program of the Vila das Artes Visual Arts Center, a partnership between the Fortaleza City Hall and the Banco do Nordeste Cultural Center. At the beginning of his artistic career, he participated in the Visual Arts Group of Alpendre – a home for art and production and was awarded as an artist included in the Itaú Rumos Visual Arts program 2001/2003. Particular past project highlights include: the individual presentation of the projects “Common Questions on Existing Paths” in 2006, and “Onde Aqui Localiza”, in 2008, in addition to collaborative projects “108 anniversary of Poço da Draga,” held in the vicinity of Poço da Draga and presented at the MAC-CE in 2014, and “Described as Real”, developed with Vitor Cesar and presented at the CCSP in 2015.
Fernanda Eugenio
Anthropologist and artist, she works with the construction of modes of relational composition –namely, the Modo Operativo [Modus Operandi] AND, a project developed over the course of fifteen years that explores ethical-aesthetic-political uses of ethnography. Since 2011, she directs the AND_Lab | Arte-Pensamento e Políticas da Convivência [Art-Thinking and Coexistence Politics] headquartered in Lisbon with study groups in Brazil and Spain. She holds a postdoctoral degree from the ICS / Lisbon and a doctorate and masters from Universidade Federal de Rio de Janeiro (UFRJ). She travels and works as a guest teacher and with her artistic creations, through Brazil, Chile, Argentina, Peru, Portugal, France, Italy, Greece, Germany, Czech Republic, United Kingdom, USA, Vietnam, etc. www.and-lab.org
Iacã Macerata
Clinical psychologist and adjunct professor of the Universidade Federal Fluminense (UFF) Department of Psychology in Rio das Ostras. Researches and practices in the following areas: expanded clinic practice; collective health; social assistance policies; social psychology; methods of knowledge production in health; cartographic perspectives; institutional analysis; body and subjectivity. He is a researcher in the research group: Knowledge and Care (UFF); AND_Lab | Art-Thinking and Coexistence Policies – Lisbon / Rio de Janeiro; and the Laboratory of Subjectivity and Corporeality (CorporeiLabS – UFF/UFRJ/UFC/FAV).
Izabela Pucu
Artist, curator, researcher and cultural manager. She has a PhD in History and Art Criticism PPGAV / EBA / UFRJ. She was director and curator of the Hélio Oiticica Municipal Art Center (2014-2016) and coordinator of projects of the EAV Parque Lage (2008 to 2011). She was researcher for the book Mário Pedrosa: Primary Documents, eds. Gloria Ferreira and Paulo Herkenhoff (MoMA / NY, 2016) and edited the books Roberto Pontual: Critical work (City Hall of Rio / Azougue, 2013), Imediações: Criticism by Wilson Coutinho (Funarte / Petrobrás, 2008) and was curator of exhibitions such as, “Osmar Dillon: não objetos poéticos” (2015), “Ivan Henriques: Relandscape / Repaisagem” and “A lágrima é só o suor do cérebro” featuring the work of the artist Gustavo Speridião (2016). She is currently coordinator of the Escola de Olhar at the Museum of Art of Rio de Janeiro (MAR).
Jessica Gogan
Curator and educator and director of the MESA Institute, and co-editor of Revista MESA. She holds a PhD in art history from the University of Pittsburgh, USA (2016). Her research and projects explore the interfaces between art and society focusing on ethical and esthetic practices that traverse the fields of art, curatorship and education. In 2017 she launched the book Domingos da Criação: Uma coleção poética do experimental em arte e educação awarded an Itaú Rumos 2015-2016 grant on the participatory happenings Domingos da Criação held at Museum of Modern Art, Rio de Janeiro in 1971. She co-coordinates the Art and Care Project with Izabela Pucu and is PNPD postdoctoral fellow at Postgraduate Program in Contemporary Studies of the Arts at Universidade Federal Fluminense (UFF).
Lidia Costa Larangeira
Artist, teacher and researcher in dance formed by UNICAMP. She has worked as a dancer with choreographers such as Holly Cavrell, Regina Miranda, Andrea Jabor, Luis Mendonça and Lia Rodrigues, and, with the latter, collaborated to create the Free Maré Dance School. She is a professor of undergraduate dance courses at Universidade Federal de Rio de Janerio (UFRJ), PhD in Arts at State University of Rio de Janeiro (UERJ), and currently coordinates the research group Research, Studies and Encounters in Dance: www.onucleo.art Since 2016 has also been developing a solo performance piece “Brinquedos para Esquecer ou praticas de levante”.
Luiz Guilherme Vergara
Professor in the art department and the Postgraduate Program in Contemporary Studies of the Arts at the Federal Fluminense University (UFF). As former curator/director of the Museum of Contemporary Art in Niterói (MAC) (2005-2008) he curated numerous exhibitions including Poetics of the Infinite (2005) and Lygia Clark: Poetic Shelter (MAC, 2006) as well as the outreach initiative Arte Ação Ambiental [Art Environmental Action] (1998-2014)) working with the favela community of Morro do Palácio. In 2013, on returning to MAC as director (2013-2016), he curated a number exhibitions with Brazilian artists including Alexandre Dacosta, Suzana Queiroga and Carlos Vergara and co-curated the exhibition Joseph Beuys: Res-Publica: Conclamation for A Global Alternative. His research interests focus on the interface between art, museums and society, and he is co-editor of Revista MESA.
Mariana Guimarães
Artist, educator and research, she lives and works in Rio de Janeiro and is a professor of visual arts at the Universidade Federal de Rio de Janeiro (UFRJ)’s Application College, where she also serves as director. She is currently a doctoral candidate in the visual arts at PPGAV / EBA / UFRJ. Her research is focused on the investigation of thread as an apparatus of mediation in contemporary art and education in dialogue with ancestral practices of weaving and its innumerable political, aesthetic, ethical and social connotations. She develops projects and research with distinct groups in diverse territories. For more information see: www.marianaguimaraes.art.br.
Noelle Resende
Militant activist for human rights and member of the Subcommittee on Truth in Democracy – Mothers of Acari (ALERJ Human Rights Commission), she works with collective memory in the struggle for the defense of human rights and the confrontation with state violence.
Rafa Éis
[Rafael Silveira] is a visual artist, educator and tattoo artist. He holds a masters in contemporary artistic processes from State University of Rio de Janeiro (PPGARTES-UERJ) and works at the interfaces of art, philosophy, education and politics via gestures of different languages and media such as drawing, video, objects, relational actions and body arts. Since 2007 he has worked on various collaborative projects with diverse institutions dedicated to modern and contemporary art. He is also a member and co-founder of Coletivo E, an independent group of artist-educators. He currently facilitates visual arts workshops at the Centro Cultural UERJ/CoArt, as well as collaborates with the Centro Cultural Pequena África.
Rafael Zacca
Poet, critic and co-coordinator of the collective group Oficina Experimental de Poesia [Experimental Poetry Workshop]. He is currently a PhD candidate in philosophy at PUC-Rio researching the work of Walter Benjamin. He collaborates with Jornal Rascunho and Revista Escamandro and develops poetry workshops in universities, schools, cultural centers and festivals. His poetry is published in Kraft (2015, Cozinha Experimental) and Mini Marx (2017, 7Letras), and the recent A Estreita Artéria das Coisa (2018). He is a co-author of Almanaque Rebolado (2017, CMAHO, Azougue, Cozinha Experimental, Garupa), a poetry workshop book. http://rafaelzacca.com
Ruth Torralba
Ruth Torralba is a professor of dance at the Federal University of Rio de Janeiro (UFRJ) as well as a clinical psychologist and therapist for the Movement with Improvement in Eutonia. She holds masters and doctorate degrees in psychology. Author of the the book Sensorial do Corpo: via régia ao inconsciente (Rio de Janeiro:EDUFF, 2016).
Steve Hollingsworth
An artist based in Glasgow, Holllingsworth graduated from the MFA course at Glasgow School of Art. He also works with Artlink and this work has influenced his PhD study at the Royal Conservatoire of Scotland. He has a collaborative practice with fellow Artlink artist and writer, Jim Colquhoun. Working with performance, neon, sound, installation, text and film. Their practice is called Two Ruins.
Túlio Batista Franco
Psychologist and associate professor at the Institute of Collective Health at the Universidade Federal Fluminense (UFF) where he has also served as the dean of human resources. His research and practice focuses on collective health. He has a PhD in collective health from Unicamp and a postdoctoral fellowship in health sciences from the University of Bologna, Italy. He is a member of the Science and Technology Committee of the National Health Council, and leads the Laboratory Research Group for Labor Studies and Subjectivity in Health – LETRASS / CNPq-UFF. He is a member of the Italian-Brazilian Laboratory of Training. He is the author of various books and articles on work and health care, micropolitics, subjectivity studies, indigenous health.
Virgínia Kastrup
PhD in Clinical Psychology (PUC-SP) and full professor at the Psychology Institute of the Federal University of Rio de Janeiro (UFRJ) and CNPq PQ fellow in the field of cognitive psychology. Her research focuses on the problem of invention and its connections with learning, attention, art and visual impairment. She has published several books and articles on these topics.
