The performance \/ installation is a wedding ritual in the strict sense. It is an artistic performance, a pseudo-religious ritual and an aesthetic ritual; it is an injunction and liminoid ritual. It is art and life at the same time<\/span><\/span>.<\/span><\/p>\n <\/p>\n Hilda de Paulo\/Paulo Aureliano da Mata e Tales Frey, Alian\u00e7a<\/b>.\u00a0Performance art showed in Catanduva-SP, Brazil.\u00a0March 2013. Photos by Gustavo Rosa Fontes, Nath\u00e1lia Mello and Paola Frey, 50 x 98 cm. Edition: 6 + 2 P.A.<\/span><\/p>\n <\/p>\n On March 13, 2013, on the last day of the Kiss me<\/em> exhibition, we began our wedding ritual, making our partnership between art and life official. We concluded our ceremony on the 15th of the same month, so the action was performed in two stages. From the marriage (contract sanctioned by the State) came the visual poetics proposed by us in a work that has our signatures, that is, it is a co-authorial work. With this work, we seek to impress love at the expense of exclusion, prejudice, affirming differences at the expense of conventionality strongly concentrated in various religious and also in the most trivial media.<\/span><\/p>\n The performance \/ installation took place in an empty exhibition hall, which was filled with flowers by the spectators [1]<\/strong> and marks of lipstick kisses by us performers. In addition to the silhouette, we drew with flowers in the afternoon, before the opening of the exhibition, with the collaboration of artist Nath\u00e1lia Mello, our action consisted solely of registering kiss stamps with our mouths painted by brightly colored lipsticks (black and red lipsticks that last 24h on the lips). On the one hand, one of us started the construction of columns of kisses that corresponded to the height of the body of the kisser, where a kind of painting was formed with the lips that marked several kisses (one beside the other). We did the same action, each coming from one side of the entrance to the room, until we met at a certain point. At the meeting, we kissed the same surface, stamping a kiss over the other in more reddish tones than the previous ones, which had purple tones and which, with drying, acquired a black color. Finally, we gave a kiss like “peck” and left for our family.<\/span><\/p>\n The performance took place only once, with potent ritualistic effectiveness, since it transformed our marital status forever. From \u201csingles\u201d, we move on to \u201cmarried\u201d. Not even if we want to, we can go back to the first condition, because if we end our marriage, we will be “divorced”, “widowed”, but never “single” again.<\/span><\/p>\n The lipstick – which remained on our lips for a little over 24 hours – and the friction mark on the tip of our noses – which were grated all the time on the surface of the white modules that bounded the performance room within our exhibition – marked the transitory element between the action that we consider our \u201cwedding party\u201d (public event) and the event at the registry office (announced in the official daily newspaper of the local newspaper). The general rule of a wedding was re-established: the party was the episode of the performance, which took place before the event at the registry office. We wear jeans and black T-shirts from the brand Der Metropol, with flower print details. On the day the wedding contract was signed, we wore a shirt made with the same fabric as the flower print details of Der Metropol, an Adidas brand shirt designed by Jeremy Scott and printed with teddy bears.<\/span><\/p>\n At the bottom of one of the walls, we left, from the first day of the Kiss me<\/em> exhibition, a \u201clooped\u201d video with reddish tones, which were changed every 1 second, which showed overlays of images of our scars and tattoos and, also, of individual parts of our bodies, establishing a fusion of our stigmas, our pains, our experiences and memories, forming a new body, a body in communion.<\/span><\/p>\n We serve well-married and kisses; sweets that were accompanied by lemonade seasoned with orange blossom water, a refreshment that marks our first year of dating. The two waiters-performers were dressed in white tulle dresses.<\/span><\/p>\n In addition to the presentation of photos and videos, the performance can be redone, but only as an aesthetic action and no longer with the transforming ritualistic efficacy, as we are already married.<\/span><\/p>\n <\/p>\n [1]<\/strong> Spectators were advised from the first day of the exhibition, March 5, 2013, to take such elements. The sign posted in the room said: “Bring us flowers and be an integral part of our performance-wedding ritual that will take place right here”<\/span>.<\/span><\/p>\n <\/p>\n Performance created by Hilda de Paulo \/ Paulo Aureliano da Mata and Tales Frey | Crossdresser waiters: Carlos Alexandre and Lucas Alves | Action Duration: around 2 hours | Realization: Cia. Excessos | Catanduva, SP, Brazil 2013<\/span><\/span><\/p>\n \u2192 the action was performed as part of the exhibition Kiss me<\/i>, which was held by the VI Festival of Forms of Poetics and by Dell’Arte Associa\u00e7\u00e3o Cultural, with support from the State Government of S\u00e3o Paulo, from the State Department of Culture – Program of Cultural Action 2012 (PROAC)<\/span><\/span>.<\/span><\/p>\n <\/p>\n [2013]<\/strong> Exhibition Kiss me<\/strong>. IV Festival of Poetic Forms, Esta\u00e7\u00e3o Cultura, Catanduva, SP, Brazil.<\/span><\/p>\n <\/p>\n [2016]<\/strong> Exhibition In State of War<\/strong>. Academic Theater of Gil Vicente, Coimbra, Portugal.<\/span><\/p>\n [2015]<\/strong> Exhibition Kiss me<\/strong>. SESC Ribeir\u00e3o Preto, Ribeir\u00e3o Preto, Brazil.<\/span><\/p>\n [2013]<\/strong> Fashion and Religiosity in Body Marks<\/strong>. CAAA Centro para os Assuntos da Arte e Arquitectura, Guimar\u00e3es, Portugal.<\/span><\/p>\n <\/p>\n As it is an extraordinary event such as our own wedding, we believe it is of paramount importance that our marriage be held in the city of Catanduva, state of S\u00e3o Paulo, where almost all of our family lives. Furthermore, at a time when an evangelical pastor, a federal deputy, chaired, in our native country, the Human Rights and Minorities Committee of the Chamber of Deputies and, denying a supposedly secular policy, preached hatred of homosexuals and blacks in his speech, we assume the urgency of stirring the commonplace of this society, transforming our marriage into a performance composition. The feeling of overblown faith, of religious fanaticism that condemns the freedom of the subject has grown in a fearful way in Brazil, being unbridledly introduced into the political environment by devotees of extrapolated religious feelings.<\/span><\/p>\n The performance, the most daring part of our wedding ritual, was held at Esta\u00e7\u00e3o Cultura, an environment dedicated to the arts at the headquarters of the Municipal Secretary of Culture of Catanduva. Coincidentally, there is, right in front of the enclosure, an Evangelical Assembly of God Church.<\/span><\/p>\n Phone calls from fervent religious, prejudiced people without religion, among several others who took a stand against the event, marked the impediment so that the Alliance performance was not held at the headquarters of the small town’s Municipal Secretary of Culture. In vain, since everyone from the city’s cultural area collaborated so that the event would be indefectible.<\/span><\/p>\n <\/p>\n![\"\"](\"http:\/\/ciaexcessos.com.br\/ciawp\/wp-content\/uploads\/2020\/02\/Alian\u00e7a-Paulo-Aureliano-da-Mata-Tales-Frey.jpeg\" "\\"Hilda")
<\/span><\/p>\nDESCRIPTION<\/span><\/span><\/strong><\/span><\/h2>\n
NOTE<\/strong><\/span><\/h3>\n
CREDITS<\/b><\/span><\/h3>\n
TRAJECTORY<\/strong><\/span><\/h2>\n
LIVE<\/u><\/strong><\/span><\/h3>\n
AS VIDEO, INSTALLATION AND \/ OR PHOTOGRAPHY<\/span><\/span><\/u><\/strong><\/span><\/h3>\n
ENVIRONMENT<\/span><\/b><\/span><\/h2>\n
![\"\"](\"http:\/\/ciaexcessos.com.br\/ciawp\/wp-content\/uploads\/2020\/02\/Alian\u00e7a-Paulo-Aureliano-da-Mata-Tales-Frey-391x1024.jpg\" "\\"Brazilian"){kind=spacer}
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