Tales Frey, Finite Counting for Infinite Variations, 2017. Photos, 5 x 7 cm each. Edition: 7 + 2 P.A.
Finite Counting for Infinite Variations is a durational performance grounded on the notion that identity cannot be presented as a fixed unit; It is in constant construction, always multiplying in moving identities, with which we identify only temporarily.
The action is based on the work “Pose Work for Plinths” (1971) by Bruce McLean and culminates in a creation that relates performance, sculpture, contemporary dance and the musical style noise. In space, we see 3 plinths – on which the performer does poses incessantly -, a microphone, a pedal (looper) and a sound amplifier. In addition to the varied poses, the performer counts in ascending order, with his voice amplified, for each one of the postures erected there, avoiding repetitions of corporal compositions, varying voices and impulses in his grimaces. It influences and is influenced by external and internal stimuli. The looper is triggered at the beginning of the counting, gradually registering the tangle of numbers that add up and become noises.
Performance art by Tales Frey | Production: Cia. Excessos | Length: 60 minutes
Tales Frey, Finite Counting for Infinite Variations, 2017. Video, 3’40’’
 Fórum Internacional de Gaia 2019. Vila Nova de Gaia, Portugal.
 FIT – Festival Intenacional de Teatro de São José do Rio Preto. São José do Rio Preto, SP, Brazil.
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 Limiar. SESC Bauru, Bauru, SP, Brazil.
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 SESC Registro. Registro, SP, Brazil.
 Atmo #3. Curated by Rodrigo Garcia and Rosa Grün. Berlin, Germany.
 Maus Hábitos – Espaço de Intervenção Cultural, Porto, Portugal.
 Projeto T3, Café-Concerto ESMAE, Porto, Portugal.
AS VIDEO, INSTALLATION AND/OR PHOTOGRAPHY
 In Loqus: Mostra de Performance. Curated by Marcos Villas Boas e Renan Marcondes. SESC Santo Amaro, Sao Paulo, SP, Brazil.
Tales Frey, Finite Counting for Infinite Variations. Performance showed in Bauru-SP, Brasil. April 2018. Photos by Paola Frey
Brazilian Newspaper O Regional, Catanduva, July 11, 2019