VASOS PARA OUVIR [VASES TO LISTEN TO], 2018
ceramic, speakers and indigenous songs. All songs reproduced inside the vases belongs to Acervo Histórico da Discoteca Oneyda Alvarenga / Centro Cultural São Paulo / SMC / PMSP – except one song performed by Kerexu. Vasos cerâmicos, caixas de som e fonogramas, dimensões variáveis. Fonogramas do Acervo Histórico da Discoteca Oneyda Alvarenga, Centro Cultural São Paulo, SMC, PMSP. O texto em português sobre o trabalho encontra-se no rodapé do post.
Vases to Listen to is one of the pieces of Aprendendo com o Barro [Learning from Mud] in São Paulo. It is a sound research carried out at Mario de Andrade’s archive, located at Discoteca Oneyda Alvarenga. The installation came from the experience of documenting Kerexu’s work. During one year we followed Kerexu’s ceramic production, from the clay findings in the riverbanks to be fired in a ground fire pit. She is one of the last Guarani ceramists still working in the Southern region of Brazil. The documentary was aimed to provide support to elementary schools to be introduced to Guarani’s context and clay techniques. Thinking education as site for artistic practices.
The show brings together the film Kerexu, the video-documentary featuring the activity of ceramic production held in Rio Grande do Sul schools and Vases to Listen to, these huge ceramic vases that resonate indigenous songs from the beginning of the last century.
Vasos cerâmicos, caixas de som e fonogramas, dimensões variáveis. As músicas reproduzidas dentro dos vasos pertencem ao Acervo Histórico da Discoteca Oneyda Alvarenga / Centro Cultural São Paulo / SMC / PMSP – exceto a canção interpretada por Kerexu Jera Poty.
A instalação Vasos para Ouvir é uma das peças da individual Aprendendo com o Barro apresentada no Centro Cultural São Paulo. Trata-se de uma pesquisa sonora em busca de canções guaranis nos arquivos das Missões Folclóricas de Mario de Andrade e da Discoteca Oneyda Alvarenga. A instalação surgiu de nosso convívio e amizade com a artista Kerexu Jera Poty.
