portfolio pdf - Cia. Excessos

Transcrição

STATEMENT
The body is the pivotal concern in my artistic conceptions. I do not focus only on the logos. I seek to validate the figural discourse through the blending of
artistic languages, bringing up my particular instincts that flourish through a spontaneous manifestation or, on the other hand, through conscious decision
making. The body is the main agent in my creative production, both emerging either from its most logical materiality or the surreal universe that comes from
an unconscious state.
My microcosm's voice is Art. Within the need of communicating with the macrocosm, I make art and live art.
Life and art blend in my work, a blend that very often explores queer politics to generate critical thinking against power relationships that control or disciplines,
power relationships that are usually protected by normative regimes.
TALESFREY(Catanduva-SP,Brazil.1982)livesandworksbetweenBrazilandPortugalasperformer,videomakerandartcriDc.DoctoratedegreeinTheatreandPerformance
StudiesattheUniversityofCoimbrainPortugal,wherehedevelopedaPracDce-ledResearch:“Performanceartandritual:fashionandreligioninbodymarks”.
HedidhisBAdegreeinTheatreDirec4onattheFederalUniversityofRiodeJaneiro.HealsodidaspecializaDoninContemporaryAr4s4cPrac4cesandaMAdegreeinArt
TheoryandCri4cismattheFacultyofFineArtsattheUniversityofPortoinPortugal.HeshowedhisworksinArgenDna,Brazil,Canada,China,Cuba,Colombia,England,France,
Germany,Iceland,Malaysia,Mexico,Peru,Poland,Portugal,Serbia,Sweden,USAandThailand.
SomeofhisworksbelongsinstrongartcollecDonsastheMuseumofContemporaryArtMAC-USP(SãoPaulo),theInsDtutoMunicipaldeArteyCulturadePueblainMexico
andPinacotecaJoãoNasserofCatanduvainSãoPauloState,Brazil.
Hegotanawardas“BestNewArDst”in18ºSalãoContemporâneoinSalãodeArtesPlásDcasdeCatanduva(annualeventfromstateofSãoPaulo).In2006,hegotanawardas
“BestCostume”inAldeiaFIT(FesDvalofTheatrefromRioPreto,SãoPaulo,Brazil).
Withperformanceart,heshowedhisworksin:TeatroAcadémicodeGilVicenteemCoimbra,Portugal(JanuaryandFebruary2016);SESCIpirangainPerformapa,SESCSantos
andPaçodasArtes(duringtheFesDvalPerfor6)inSãoPaulo(November2015);TeatroMunicipalRivoli(JanuaryandMarch2015)inPorto,Portugal;BiennialofMaiainJuly
2015inPortugal;SESCSantana,SESCRioPretoandSESCCampinas(2015);p.ARTEinMay2014inCuriDba,Brazil;SESCPiracicabain2014;PerformancePla:ormLublin2013in
PolandatLabiryntGallery;RapidPulseInterna4onalPerformanceArtFes4valatDefibrillatorPerformanceArtGalleryinChicagoin2012;EspaçodeIntervençãoCulturalMaus
Hábitos in 2012 in Porto, Portugal; 25ª and 26ª Feira Franca at Palácio das Artes/Fábrica de Talentos in 2012 in Porto, Portugal; Stockholm Fringe Fest 2011 in Stockholm,
Sweden;FesDvaldePerformancedeBeloHorizonte2011,Brazil;SESCTaubatéin2010;AlmadaRuainPorto,Portugalin2009and2010;MOLAatCircoVoadorinRiode
Janeiroin2007and2009;SESCBauruin2009;Funarte-SãoPauloin2008;SESCCamposin2007;CaixaCulturalRiodeJaneiroin2007;andothers.
AmongthemanyexhibiDonsthatheparDcipated,wehighlight:Sob(Ul)trajeseGozosatJulioDinisMuseuminOvar,Portugal;EmEstadodeGuerraatTeatroAcadémicodeGil
VicenteinCoimbra,Portugal;ModaeReligiosidadeemRegistrosCorporaisinGuimarães,PortugalatCentroparaosAssuntosdaArteedaArquitectura,inSESCCampinasand
SESCRioPreto,Brazil;(Tra)ves4rumFa(c)toatEspaçoMIRAinPorto,Portugal;OrexiaatBarracãoMaravilhainRiodeJaneiro;andtheexhibiDonBeija-meatEstaçãoCultura–
SecretariaMunicipaldeCulturadeCatanduvainMarch2013andattheSESCRibeirãoPretoinJanuary/March2015.
HeparDcipatedofthecollecDveexhibiDons:KualaLumpur7thTriennial–Barricadein2013(KualaLumpur,Malaysia);XVIIIBiennialCerveirainPortugalin2015;BiennialMaia
in Portugal in 2015; I Biennial of Gaia 2015 (Gaia, Portugal); TRANS[acto] TRANSDISCIPLINARY ANTI-ARTISTIC PROJECT] #01 (Coimbra, Portugal), TRANS[acto]
TRANSDISCIPLINARYANTI-ARTISTICPROJECT]#02(BoaVista,Brazil);CemitériodoPeixe–MorteeMagianasArtesVisuaisin2015(ConceiçãodoMatoDentro,Brazil);Brasil:
FicçõesatArmazémdoCháin2015(Porto,Portugal);OPasseio,aEscutaeoRespirardaAcçãoatQuintadeBonjóia(Porto,Portugal);tpaExchangeatGalleriaMoitrein2015
(Turim,Itália);Corpo(I)materializadoatCentralGaleriadeArte(SãoPaulo,Brazil);1ºBienalInternacionaldeVideoarteyAnimaciónPuebla2014(Puebla,México);18ºSalãode
ArtesPlás4casdeCatanduva(Catanduva,SP,Brazil);TreesOutsidetheAcademyatCentroparaosAssuntosdaArteeArquitecturain2015(Guimarães,Portugal);SENTIDO(S)–
DIRECTION(S)#2atFórumMaiain2014(Porto,Portugal);CorposAusentesatPinacotecadoEstadodoRioGrandedoNorteduringtheIIICircuitoRegionaldePerformance
BodeArtein2013(Natal,Brazil);Trânsitos/visualidadesin2013(Vitoria,Brazil);LovemeatEspaçodeIntervençãoCulturalMercadoNegroin2011(Aveiro,Portugal);and
others.
ComPauloAurelianodaMata,organizedthecuratorialconceptoftheMostraPerformatus#1atCentralGaleriadeArteinSãoPauloin2014;PriscillaDavanzo:Lugaresda
EscritaatCAAAinGuimarães,Portugal,2014;ÁguaArofSuzanaQueirogaatCAAAinGuimarães,Portugal,2015;Trabalha-DoresdoCUatMausHábitosin2015.
Withvideos(videoart,videoperformance,etc.)andothertypesofmasterpieces,heexhibitedhisworks:atTheKicheninNewYorkin2012duringthelaunchofthecatalogue
EmergencyIndex2011;ShortFilmCorner-FesDvaldeCannes2011;KLEXinGeorgetownFes4val,Penang,Malaysia,2012;TheBiennial6thBangkokExperimentalFilmFes4val
(BEFF6);KLEX–TheKualaLumpurExperimentalFilmandVideoFes4valin2011,Malaysia;DirectAc4onatInsDtutFürAllesMöglichein2011inBerlim;CineDesignin2010in
Recife,Brazil;VideoformsFes4valin2010inClermont-Ferrand,France;
SupermarketArtFairin2010inStockholm,Sweden;
KulturpalastWeddingInternacionalin2009,Berlin,German;AlucineTorontoLa4noMediaFes4valin2009,Toronto,Canada;Ar4stsAccessTelevisionin2009inSãoFrancisco
inUSA;Contatoin2009inSãoCarlos,Brazil;Magasinin2009inBelgradeinSerbia;
V.ART09 in 2009 in Varnamo, Sweden; Wikitopia in 2010 in Hong Kong in China; London Premiere in 2010; Experimenta! in SESC Campinas, São Paulo, Brazil; Galerie Carla
Magnain2010inParis,France;VideoDanzaBa2011inBuenosAires,ArgenDna;Fes4valInternacionaldeVideoartedeCamagüeyin2011inCuba;FILMIDEOnoIndexArtCenter
in2012inNewJerseyinUSA;CicloNómadainLaTabacalerain2012inMadrid,Spain;Videadavol.05.atElgalponEspacioin2013inLima,Peru;CÓDECFesDvaldeVídeoY
Creaciones Sonoras in City of México in 2015; EN DIFERIDO. 7º Encuentro de Acción en Vivo y Diferido, A Seis Manos, Bogotá, Colombia in 2015; TRAFKINTU. Co-habitar
III,EspaçoIndependentedeArteContemporâneaGálvez,Valparaíso,Chilein2015;Convergência2015,MostradePerformanceArte,SescTocanDns,Palmas,Brazil;andothers.
AuthorofthebookDiscursosCrí4cosatravésdaPoé4caVisualdeMárciaX.HeisfoundermemberoftheelectroniceMagazinePerformatus.
INDESTRUCTIBLE
PERFORMANCE ART
With food and playful decorative elements, which refer to children's birthday
parties, I build a body mass similar to my body, seeking an identical
silhouette. Such an object is destroyed in the space in front of the public. The
colorful particles of the object reintegrate with other living and dead materials
and ensure a metaphorical immortality, becoming indestructible through the
destruction of my representation.
Performance by Tales Frey | length: about 30 minutes | Realization: Cia.
Excessos | Campinas, Brazil 2015
https://vimeo.com/153580121
REVERSE
PERFORMANCE ART
On June 20, 2013, I presented my first work of the series of performances that made a
commitment to convert the rite of passage of my birthdays in artistic procedures that
allude to what we know as memento mori.
“Reverse”, the second creation from this series, is a kind of regression to my origin; it is
the reverse of the chronological sense as an alternative to refuse the inevitable death of
my story. In this performance, with the help of my mother, I trigger a recall of all my
birthdays through a game that takes the concept of “mirror stage” by Lacan imbued a
narcissistic elucidation, until reach the 8pm of the day June 20, 1982 – In this date I
blocked the first birthday party of my sister to be born, When I leaved the comfort of the
womb.
Description:
I lay down on a mirror 2 feet by 1 and remain for 32 minutes contemplating every part of
my body that I can see through the mirror while I am listening a recording of a reversed
conversation that I had with my mother to remember and learn the details occurring on
the day of my birth and all birthday parties until the last before this.
Credits
Performance by Tales Frey | length: 32 minutes | Realization: Cia. Excessos | Guimarães
Portugal 2014 | Porto Portugal 2015 | Campinas Brazil 2015 | Santos Brazil, 2015.
MaterialsresulDngfromtheacDon:TalesFrey(Cia.Excesses),Reverse,2014.Video,3'56
".EdiDon:3+2P.A.
REVERSE
VARIANT I
PERFORMANCE ART
In this first variant of the original action entitled only as Reverse, I present my own body
lying in symmetrically opposite of the ghostly body formed in the reflection of a mirror
arranged on a garden. I expose my illusory representation as a body mass in a
decomposition process in a lair for who attentive on the image shown on the mirror and, at
the same time establish a narcissistic iconographic composition for who observe my
palpable body, my real body contemplating my own constitution as image as if I could
notice the irrepressible decay inherent in our human condition.
Credits:
Performance by Tales Frey | length: 1h | Realization: Cia. Excessos | Maia Portugal 2015
Materials resulting from the action:
Tales Frey (Cia. Excessos), Reverse – Variant I, 2015. Video, 0’49’’. Edition: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Reverse – Variant I. Photo, 45 x 80 cm. Edition: 5 + 2 P.A.
PROXIM(A)IDADE
PERFORMANCE ART
On the date of my 31º-age celebration, I used my body as a symbolic field to convert
signs that marked the “rite of passage” of my birthday to announce my proximity to my
death.
From the celebrated new year of life, I collected the announcement of my death.
The performance explains the celebration of a skeptical youth, obsessed with
consumption of what is elusive, but full of enthusiasm, connected with the old age,
wedded with the metaphysical faith for fear of a cruel denouement in a vacuum.
The contradiction emphasizes two ideas coming from the same date, when we celebrate
one more year of life and regret the time it leads to death.
Credits:
Concept/Direct/Performer: Tales Frey | Action length: about 3 hours | Realization: Cia.
Excessos | Guimarães Portugal 2013 | Lublin Poland 2013 | Campinas-SP Brazil 2013 | São
José do Rio Preto-SP Brazil 2014 | Curitiba Brazil 2014 | Porto Portugal 2015 | São Paulo
Brazil 2015 | Santos Brazil 2015
GETTING THE MOLD
VIDEO PERFORMANCE
I stayed for the duration of two groups of narrow lighted candles on my hands. I
constantly kept as still I can (which is practically impossible). The goal was to shape a
sort of pair of "gloves" on me, but the hot liquid didn't fix to my body and just burned my
two hands. The video recording is presented as exaggerated and accelerated video
performance. The movement in the action is quite subtle when viewed in its full time,
but when it is unreasonably fast, it suggests a kind of possession due to the oscillation
energy of my body.
Tales Frey (Cia. Excessos), Getting the mold, 2013. Video, 1’04’’. Edition: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Getting the mold (Triptych), 2013.
Photographs, 48 x 27 cm each. Edition: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Getting the mold- Object, 2013. Photo, 50 x 33,3 cm
Edition: 5 + 2 PA
FINITE COUNTING TO ENDLESS VARIATIONS
PERFORMANCE ART
Finite Count is Endless Variations is considered the title
based on construction process of the individual and his/her
gender that does not agree to a fixed unit and this idea is our
starting point in this work.
We’ll use 2 microphones with one amplifier to account the
numbers of the poses that we’ll do during 6 hours. The
number of poses is variable as the gender that we’ll
incorporate for fleeting few seconds.
Each count is repeated and added to that becomes noise.
Amplifier, microphones, two pedals Echo Delay, two black
skirts and two pairs of high heels.
All poses are built based on the audience and the context in
which this performance art falls.
Credits:
Concept: Tales Frey | Invited performer: Paulo Aureliano da
Mata | Realization: Cia. Excessos | 2016
GET INTO THE SAMBA
VIDEO PERFORMANCE | PHOTO PERFORMANCE
Entrar no Samba | Get into the Samba (2013) is a video performance that clearly refers to the act of
repression, in an environment that produces some sexual connotaDon and, in some aspect, goodnatured,despitetheviolenceoftheact.
“Boy,you’llgetintothesamba”.Inmychildhood,thiswasthephraseIheardfrommyparentswhenI
wasthreatenedtotakeslapontheassaspunishmentforhavingdoneorbedoingsomemischief.
Thecaptureoftheoriginalaudio,a|erbeingtreatedtoissueadriersound,alludestotheharshsounds
offirearms.
ThisworkintegratestheexhibiDonOrexia,whichwastotallyoriginatedthroughadreamandweighted
in residency 6X6, which was produced by the NEC (Núcleo de Experimentação Coreográfica) at the
MosteirodeSãoBentodaVitóriainPorto–Portugal. Tales Frey (Cia. Excessos), Get Into the Samba (Poliptych), 2013.
Photos, 27 x 48 cm each Edição: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Get Into the Samba, 2013. Video, 9’05”. Edition: 5 + 2 P.A.
PLEASE DO NOT TOUCH
PERFORMANCE ART-INSTALATION
In a hole made in a white wall of a
gallery, from inside I fit my butt
and I stand for about 2 hours. The
butt is not placed in its actual
height; it is presented to 1m60cm
away from the floor.
Credits
Performance art by Tales Frey |
Lenght: about 120 minutes |
Realization: Cia. Excessos |
Oporto Portugal 2015
ISLAND #1
VIDEO PERFORMANCE
Tales Frey (Cia. Excessos),
Island #1, 2016. Video
performance, 8’21’’. Edition: 5
+ 2 P.A.
ISLAND #2
VIDEO
Island #2, 2016. Video, 1’51’’.
Edition: 5 + 2 P.A.
Password: ilha
ISLAND #3
PHOTOS
Tales Frey (Cia. Excessos), Island #3, 2016. Photos. 40cm x 60cm each. Edition: 5 + 2 P.A.
À-TERRA-DOR
VIDEO PERFORMANCE
"À-Terra-Dor" (original title in
Portuguese that means at same time
"To-Earth-Pain" and "Startling")
functions as a metaphorical attempt to
rewind time, to circumvent the
inevitable in order to corrupt the natural
degradation of matter. With this work,
the purpose is to transform a natural
chronological run through an imagined
cure for the death, reflecting on the
constant putrefaction of our matter,
emphasizing, in a snapping way, our
stay as it is always changing and how
the materials are always in a process of
recombination.
Tales Frey (Cia. Excessos), À-Terra-Dor,
2014. Video, 3’13”. Edition: 5 + 2 P.A.
EdiDon 1/5 is part of the collecDon
of InsDtuto Municipal de Arte y Cultura
dePuebla(IMACP),Puebla,México
Tales Frey (Cia. Excessos), À-Terra-Dor, 2014. Photos, 45 x 80 cm each. Edition: 5 + 2 P.A.
The original name of this work is “Rebanho” (in Portuguese language), which means
something like “wash again” and at same time
means “herd”. There are two ideas in only one
word.
Nietzsche says that the “morality is the herd
instinct in the person”. At same time that this
performance shows some of that Nietzsche
resounded, this work comes to emphasize how
the model of Christian moral is castrating,
which builds shame and guilt over the freedom
of the subject.
The action consists in six people washing their
bodies, in front of a church. The body is not
displayed. Everybody wash their bodies wetting
their clothes.
This action can be showed as a video
performance. The video-document is part of the
collection from MAC USP / Museum of
Contemporary Art from São Paulo.
Credits:
Conception: Tales Frey | Invited Performers:
Joana Lleys, Lizi Menezes, Miguel Ambrizzi,
Paula Guedes, Tales Frey and Tânia Dinis |
Length of the action: 1h | Realization: Cia.
Excessos |Oporto Portugal 2010.
RE-BANHO
PERFORMANCE ART
Tales Frey (Cia. Excessos), Re-banho, 2010. Video, 11’33”. Edition: 5 + 2 P.A.
Edition 1/5 is part of the collection of Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP). São Paulo Brazil
Tales Frey (Cia. Excessos), Re-banho, 50,7 x 76 cm. Edition: 5 + 2 P.A.
F2M2M2F
PERFORMANCE ART
Two performers – a male biological sex and a female biological sex – positioned face to face, with
their bodies almost united. At the same position of their faces, there is a double-sided mirror on
which each artist spend a kiss with 1 hour long, whose mouths are coinciding in the very same
height.
Costumes are subverted regarding heterosexual culture: he costumes clothing and accessories
taken by female and she otherwise.
Credits:
Conception: Tales Frey | Invited Performer: Majú Minervino | Length of the action: 1h | Realization:
Cia. Excessos | São Paulo Brazil 2015.
(CROSS)DRESSING
VIDEO PERFORMANCE
The video exposes two male bodies and each with two kinds of marriage clothes: sometimes
considerate male and sometimes feminine. A social fact is erected in four willing types of clothes
combinations on each individual in a single homosexual couple, taking into account their identities, like
all others, that they are not crystallized, they are not fixed structures; they are constantly building and
surpass even the four building proposals.
Tales Frey (Cia. Excessos), (Cross)dressing, 2015. Video, 45”. Edition: 7 + 2 P.A
THE KISS III
VIDEO PERFORMANCE
Heterosexual kiss with exact duration of 30 minutes whose codes found on
clothes and accessories on the two bodies are reversed according to
heteronormative and binary logic.
Tales Frey (Cia. Excessos), The Kiss III, 2015
Material: 1 vídeo transferido para DVD com som, 30’25” loop
Edição: 7
+ 2 PA
TO HAVE AN ARGUMENT
VIDEO PERFORMANCE
To have an argument is not a kiss between two guys. It is the collision of two male mouths vying for
monopoly of a speech, each performer tries to boot the tongue of your partner / rival as a way to
silence the verb would be proliferated by him. The artificial blood (made of honey and food colour)
emerges as a gust, emphasizing the existing pleasure in the act of silencing the other through the
alleged cutting of other people's language and not in the sweet flavor able to provide pleasure to both
mouths connected.
Tales Frey (Cia. Excessos), To have an argument, 2014. Video, 6’10”. Edition: 3 + 2 PA
Tales Frey (Cia. Excessos), To have an argument, 2014.
Photos, 30 x 53,3 cm each. Edition: 3 + 2 P.A.
VIDRAR
VIDEO PERFORMANCE
There’s no form to translate the original Portuguese title that
means in one time “become glass” and “passionate/obsessive”.
With the aid of a red lipstick I apply kisses continuously on a
transparent glass surface until it is completely translucent and
stained with the make-up blush tone in its entirety until my
image to become blurred to the viewers.
TalesFrey(Cia.Excessos),Vidrar,2015.Photos,50x37,5cmeach.
EdiDon:5+2P.A.
TalesFrey(Cia.Excessos),Vidrar,2015.Video,12’32’’.EdiDon:5+2
P.A.
DRESS
FOTOPERFORMANCE ART / ACTIVISM
This performance art was realized in 4 steps: 20 October 2014 and 14, 15 and 19 May 2015.
The action behave as a sociopolitical research and the place of analyzing is the same street of Oporto in Portugal.
I visited a lot shop of marring dress to try some dresses. The established rule is that when I can taste every dress, I would make a self-portrait (selfie) in
front of the mirror and when I could not accomplish my goal, I photograph the provision dress in the window.
Through a cell phone, I caught audio (which served only as an object of analysis) and photos that make up the final device.
Below each photo I tell the situation that I lived in each experience.
Tales Frey (Cia. Excessos), Dressed. Performance art/activism realized in Oporto Portugal. October 2014; May 2015. Photo,
120 x 50,7 cm. Edition: 10 + 2 PA
THE OTHER ASPHALT KISS
PERFORMANCE ART
It consists in an intertextuality with the classic The
Asphalt Kiss by Nelson Rodrigues and an evolution of
the art performance The Kiss by Cia. Excessos.
It is about two artists, through a 30 uninterrupted
minutes kiss, whose codes found on wedding clothes
and accessories on the two bodies are reversed
according to heteronormative and binary logic.
It acknowledges that prejudice is huge when the image
brings a sexual connotation yet shocking in a context
morally conservative.
Coincidently, the place where the video was made is,
nowadays, a wedding dress store; it was an off store
during the filming time.
Credits:
Conception: Tales Frey | Invited performers: B., Joana
Leys, Lizi Menezes, Marcela Tavares, Paulo Aureliano da
Mata | Length of the action: 30 minutes | Realization:
Cia. Excessos | Oporto Portugal 2009 | Belo Horizonte
Brazil 2011 | Stockholm Sweden 2011 | Oporto Portugal
2012 | Chicago USA 2012.
Tales Frey (Cia. Excessos), The other Asphalt Kiss, 2009. Video, 6’59”.
Edition: 7 + 2 P.A.
Tales Frey (Cia. Excessos), The Other Asphalt Kiss.
Performance art realized in Oporto Portugal.
January 2009. Photos by Tales Frey, 5 x 7 cm each.
Edition: 7 + 2 P.A.
Tales Frey (Cia. Excessos), The Other Asphalt
Kiss, 2012. Video, 4’01”. Edition: 7 + 2 P.A.
Tales Frey (Cia. Excessos), The Other Asphalt kiss.
Performance art realized in Oporto Portugal. May
2012. Photos by Tales Frey, 60,2 x 40,1 cm each.
Edition: 7 + 2 P.A.
Performance art realized in Belo Horizonte, Brazil.
August 2011. Photo by Gustavo Moreira Alves, 76 x 50,7
cm. Edition: 7 + 2 P.A.
Performance realized in Chicago USA. June 2012. Photo by
Tales Frey, 63,9 x 42,6 cm. Edition: 7 + 2 P.A.
Performance realized in Oporto Portugal. May
2012.PhotobyTalesFrey,60,2x40,1cm.EdiDon:7+2
P.A.
Performance art realized in Chicago USA. June 2012. Photo
by Tales Frey, 43,8 x 65,7 cm. Edition: 7 + 2 P.A.
Performance art realized in Ouro Preto Brazil.
August 2011. Photo by Alber Centurion, 66,5 x 99,6 cm.
Edition: 7 + 2 P.A.
by Helmut Heiss, 68,3 x 51,2 cm. Edition: 7 + 2 P.A.
by Tales Frey, 80,3 x 53,5 cm. Edition: 7 + 2 P.A.
THE KISS
PERFORMANCE ART
(1st version)
The first kiss – A 30 minutes kiss makes the observer doubt if what is happening
is an performance art or a random surprise. Tales Frey wears miniskirts and
Cristine Ágape dressed baggy pants. The artists were not invited to the exhibition
“Erotic – The Sense of Art” at CCBB (Cultural Centre of Bank of Brasil) in Rio de
Janeiro but they were not censored as Márcia X. They weren`t invited but they
wanted to be incorrectly censored as Marcia X.!
Action and video credits
Conception: Cristine Ágape and Tales Frey
Performance artists: Cristine Ágape and Tales Frey
Action length: 30 minutes
Video length: 5’24”
Realization: CIA.EXCESSOS
Rio de Janeiro, 2006
THE KISS II
PERFORMANCE ART
(2nd version)
The Second Kiss – After the death of the unforgettable Cristine Ágape, “The
Kiss” was held by Tales Frey and Larissa Camara in 2007 at the “Casarão
Cultural dos Arcos” and at Circo Voador – MOLA.
Yes! They were invited for both … No! They didn’t want to be expelled!
In this tribute to Cristine, “The Kiss” become the ordinary clothes in a wedding
looks where he uses a white dress and she uses suit and tie.
Action and video credits
Performers: Tales Frey and Larissa Camara
Video length: 4’21”
Realization: CIA.EXCESSOS
Rio de Janeiro, 2006
Tales Frey (Cia. Excessos) and Cristine Ágape, The Kiss, 2006.
Video, 5’24”. Edition: 3 + 2 P.A.
Tales Frey (Cia. Excessos) and Cristine Ágape, The Kiss.
Performance art realized in Rio de Janeiro Brazil. March 2006. Photo
by Hugus Félix, 37,4 x 28,1 cm. Edition: 3 + 2 P.A.
Tales Frey (Cia. Excessos), The Kiss II, 2007. Video, 4’21”. Edition: 3 + 2 P.A.
JUST KISS
PERFORMANCE ART
Just Kiss is an action in which the performer (using a long wedding
dress) is kissing a glass for one hour. The glass has two distinct areas:
a transparent side that was kissed by the performer, and another
mirror side where there was the title “Just Kiss” with lipstick. The
participant can kiss himself/herself on the mirror, and it inevitably
ends up kissing the performer brokered by the glass.
Credits:
Performance de Tales Frey | Length: 2 hours | Realization: Cia.
Excessos | Porto, Portugal 2012
Tales Frey (Cia. Excessos), Just Kiss, 2012. Video, 4’03”. Edition: 4 + 2
P.A.
Tales Frey (Cia. Excessos), Beija-se – TV Inculta, 2012. Video, 1’34”
Tales Frey (Cia. Excessos), Just Kiss.
May 2012. Photo by Paulo Aureliano da Mata,
62,6 x 41,8 cm. Edition: 4 + 2 P.A.
62,5 x 45 cm. Edition: 4 + 2 P.A.
45 x 67,5 cm. Edition: 4 + 2 P.A.
45 x 64,8 cm. Edition: 4 + 2 P.A.
Soulless Reciprocity is an art performance and consists in a group of artists
kissing some mirrors for 1 hour. The framed mirrors are placed along the
sidewalk or in the white gallery; the place variants. Women wear looks that are
considered menswear while men wear looks considered female clothes.
This performance establishes a link between him and her, her and her, him and
him, breaking taboos regarding the social role of the person as to their gender,
that in this action is presented with a multiple character through the act of
kissing the own image conventionally subverted.
Naturally, this action carries the myth of Narcissus to a new context, not only
about the concept of worshiping the own image, but understanding the
complexity of the multifaceted person, filled with a lot of instincts and desires.
This work belongs to the sequence The Kiss, held in Rio de Janeiro, which
originated a second version in that city. This creation has triggered the
development of The Other Asphalt Kiss and after Soulless Reciprocity both held
in Oporto – Portugal.
The position of the mouth on the mirror seems to form a powerful sound box,
and the sound of the kiss is surprisingly high and can be noticed even in the
video that recorded the action.
Credits
Concept: Tales Frey | Length: 60 minutes | Realization: Cia. Excessos | Oporto
Portugal 2010
SOULLESS RECIPROCITY
PERFORMANCE ART
Tales Frey (Cia. Excessos), Soulless Reciprocity, 2010.
Video, 4’13”. Edition: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Soulless Reciprocity.
Performance art realized in Oporto Portugal. April
2012. Photos by Paulo Aureliano da Mata, 76,7 x 49,9
cm each. Edition: 5 + 2 P.A.
2012. Photos by Paulo Aureliano da Mata, 76,7 x 49,9
cm each. Edition: 5 + 2 P.A.
2012. Photo by Paulo Aureliano da Mata, 76,7 x 49,9
cm. Edition: 5 + 2 P.A.
Performance art realized in Oporto Portugal. July
2010. Photo by Suianni Macedo, 40,2 x 38,2 cm.
Edition: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Soulless Reciprocity. Performance art realized in Oporto Portugal. July 2010. Photos by Lívia Novaes. Edition: 5 + 2 P.A.
ALLIANCE
PERFORMANCE ART | RITUAL
The performance / installation is a wedding ritual in the strict sense. It
is an artistic performance, one pseudo religious ritual and an aesthetic
ritual. It's art and life together.
Concept: Tales Frey and Paulo Aureliano da Mata | Realization:
Cia.Excessos | Catanduva-SP Brazil 2013
Cia. Excessos (Paulo Aureliano da Mata e Tales Frey), Alliance, 2013.
Video,2’35”.EdiDon:6+2P.A.
Cia.Excessos(PauloAurelianodaMataandTalesFrey),Alliance.PerformanceartshowedinCatanduva,Brazil.
March2013.PhotosbyGustavoRosaFontes,NatháliaMelloandPaolaFrey,50x98cm.EdiDon:6+2P.A.
COMPROMISE
BODY ART | VIDEO
Cia. Excessos (Paulo Aureliano da Mata and Tales Frey), Compromise. Body art created in Oporto Portugal. May 2015. Photos by Cia.
Excessos (Paulo Aureliano da Mata and Tales Frey), 50 x 75 cm each. Edition: 6 + 2 P.A.
https://vimeo.com/139249901 (password: compromisso)
DYSMORPHOPHOBIA
PERFORMANCE ART
Dysmorphophobia is a hybrid performance, based on “The philosophy of
Andy Warhol (from A to B & Back Again)” and created through a set of
texts collected from newspapers and television advertisements, this
show proposes reflection and irony of what comes to fashion and
beauty. In this work, the body dysmorphic disorder (body image
distortion) is associated to diets that are considered “miraculous”, to
eating disorders, plastic surgeries, through many other drastic forms of
body change.
This work is one of nine performances from the PhD project
“Performance art and ritual: fashion and religion in body marks”. This
research is developed at the University of Coimbra (Portugal).
Conception: Tales Frey | Invited performers: Lizi Menezes, Paulo
Aureliano da Mata, Tânia Dinis, Thais Nepomuceno and Xana Miranda |
Action length: 10 minutes | Realization: Cia. Excessos | Porto Portugal
2012
Tales Frey (Cia. Excessos), Dysmorphophobia, 2012. Vídeo, 7’05”. Edição: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Dysmorphophobia (Triptych), 2012. Photos, 30 x 45 cm each. Edition: 5 + 2 P.A.
Tales Frey (Cia. Excessos), Dysmorphophobia, 2012. Photo, 29 x 51,6 cm. Edition: 5 + 2 P.A.
DYSMORPHOPHOBIA
VARIANT I
PERFORMANCE ART / VIDEO INSTALLATION
TalesFrey(Cia.Excessos),Dysmorphophobia–VariantI,2014.Video,4’59”
TalesFrey(Cia.Excessos),Dismorphophobia–VariantI,2015.Video,1’38”
Tales Frey (Cia. Excessos), Dysmorphophobia – Variante I, 2014. Photos, 40 x 60,4 cm each. Edition: 3 + 2 P.A.
OREXIA
PERFORMANCE ART-INSTALLATION
Credits
Performance-installation
Videos by Paulo Aureliano da Mata and Tales Frey
Realization: Cia.Excessos
Action length: 4 hours
Performance art-installation Orexia (2014), by Tales Frey (Cia. Excessos). Photos by Nathália Mello
SEDE VÓS
VIDEO PERFORMANCE
The imperative form of the verb to be in Portuguese idiom
seems something like “thirsty” and there is not a good
translation to have the same idea as in English. The
Portuguese title has those two ideas in one word:
“sede” (translating means be or thirst).
Advertisement seduction. Consumer appeal. To be is needed to
have. Consume what the advertisement claims as right. You
can have a hyponatremy in the name of beauty!
When someone drinks a tremendous amount of water in a
short time, it’s possible to have hyponatremia, in other word,
intoxication. Water symbolizes health, but also water in excess
is unhealthy.
"Sede Vós" is a video performance that displays two people
supposedly reasonable in an unstable environment, with many
containers filled just with water.
The video shows the cycle of water digestion, and after being
eliminated in the urine, the liquid changes its color.
Happiness in a world pathologically capitalist is directly
associated to perfect image and that perfect image directly
related to fashion. Thinness is a standard set by the fashion
universe. If you want to be beautiful, you must be thin. It`s the
cruel contemporary reality.
Slogans advise behaviors, which determine what we should
wear, eat and drink. "Drink Coke”, for example. "Sede Vós"
encourages the viewer, at the same time, to ponder the very
essence of the imperative tone and to mock advertisement
language, which displays perfect landscapes and apparently
happy people.
The act of ingesting only water translates imbalanced diets
into uncontrolled physical and psychic trigger (bulimia and
anorexia).
“A thin body will pass more easily at the gate of paradise, a lightweight
body will rise faster
and will be better preserved in the grave”
Tertuliano
“If the medieval saints longed for eternal communion with God, the
anorexics of today are contented
to the ephemeral glory of the fashion shows”
Cybelle Weiberg and Táki Athanássios Cordás
Tales Frey (Cia. Excessos), Sede Vós. 2013.
Video, 25’’
Edition: 3 + 2PA
Tales Frey, Sede Vós (Triptych), 2013. Photos, 80 x 45 cm each. Edition: 3 + 2 P.A.
(DE)RETER-SE
PHOTO PERFORMANCE
In a totally white space, the action consists in one performer
melting a white catholic image made by wax, using hot red
toffee syrup, used to top apple (sugar, corn glucose and red food
coloring). The syrup is boiled in the same action space and the
liquid (that exudes a seductive sweet smell), with temperature
until 145ºC, is dissolved over the infantile image arranged in the
space, which lose its religious expression replaced by a scary
visual composition in white and red colors.
The action is about sexual abuse in childhood that happens in
religious environments through melting infant purity, replaced
by condemned, deformed and trauma retained bodies.
Tales Frey (Cia. Excessos), (De)Reter-se (Poliptych), 2013.
Photograph, 30 x 45 cm each. Edition: 4 + 2 P.A.
BY A THREAD
VIDEO PERFORMANCE
Allusion to the insignificance of earthly life (if there is another
beyond) and the transience of beauty, the video seeks to disfigure
the human form, exposing a common habit of vanity so bizarre and
unconventional, making ordinary women in mythical figures,
ethereal, heavenly, while there is a constant affirmation of their
inevitable outcomes. The exposed female bodies inhabit a land full
of trees and leaves in order to display a favorable environment for
the recombination of their own material with the soil in which they
overlap. Disturbance unconscious characters merge into a dream
plan, explaining the obsession with morbid theme, which refers even
to the reasons “vanitas” in art through the exhibition of a few
pounds of leftover human hair diluted in dry leaves.
TalesFrey(Cia.Excessos),ByaThread,2012.Video,3’41”.
EdiDon:5+2P.A.
TalesFrey(Cia.Excessos),ByaThread,2012.Photo,49,9x75cm.
EdiDon:5+2P.A.
IDE!
VIDEO PERFORMANCE
Tales Frey (Cia. Excessos), IDE!, 2014. Video, 4’55”. Edition: 5 + 2 P.A.
Edition 1/5 is part of the collection of Pinacoteca João Nasser. Catanduva-SP Brazil
COMA
VIDEO ART
Tales Frey (Cia. Excessos), COMA, 2014. Video, 1’43”. Edition: 3 + 2 P.A.
Edition 1/3 is part of the collection of Pinacoteca João Nasser. Catanduva-SP Brazil
EU FALO
VIDEO ART
TalesFrey(Cia.Excessos),EuFalo,2014.Video,2’52”.
EdiDon:3+2P.A.
FOR SALE: DEBIT CARD ACCEPTED
PERFORMANCE ART
He carries a board sign saying “For Sale” on his body. But he is not for sale…
He wants some money to strip, but he is not a stripper…
It’s not about prostitution. It is a strategy by who is out of the society.
“For sale: debit card accepted” is a work conceited by the Brazilian artist
Tales Frey, and everything on his body is for sale. Everything, but not his
body! Tales wears “second hand” clothes and accessories and in each piece
there is a label stating the product’s price. He has a debit card machine on his
hand and, when everything is sold, he revels the sign in his body: “I am not
for sale”.
The action is marked by contradictions:
- Women’s clothes (in a heteronormative conception) in a male body (with
mustache);
- Mistaken notion of prostitution in something that is pure clothing trade;
- Conceptual art against commercial art, but doing business. The sound design of the video (record of the action) is result of a happy
coincidence (serendipity). A store decided to put music on to attract
customers during the event “Alma da Rua” (Soul of the street) in the city of
Porto in Portugal.
The action originated a video performance.
Performance by Tales Frey | Length: variable | Realization: Cia. Excessos |
Porto Portugal 2009 | Limeira Brazil 2015
Tales Frey (Cia. Excessos), For Sale: Debit Card Accepted, 2009.
Video,9’37”.EdiDon:3+2P.A.
Tales Frey (Cia. Excessos), For Sale: Debit Card Accepted.
Performance art showed in Oporto Portugal. June 2009.
Photos by Jorge Taveira, 33,5 x 50 cm each. Edition: 3 + 2 P.A.
CANINE SPASM
PERFORMANCE ART
Collage from the poem “The animal” by Manuel Bandeira, the staging “My
Movements Are Alone Like Street Dogs” by Jan Fabre and the film “Un
Chien Andalou by Luis Buñuel and Salvador Dalí. This is a direct reference
to the artist Guillermo Vargas Habacuc, that let a dog die in an exhibition in
Nicaragua. Pictures of that dog are showed while Tales plays the song
“Debaser” by Pixies.
The performer (Tales Frey) shows some situations when he killed some dogs
in his past accidentally. He felt about to have a psychotic breakdown and
tells it to the public. He tries to meet his “owner” among observers that feed
him with dairy and place him into a starving dog condition. PerformancebyTalesFrey|CollaboraDon:Leonardo
Manzano|Length:40minutes|RealizaDon:Cia.Excessos
|SãoPauloBrazil2002|RiodeJaneiroBrazil2005|Bauru
Brazil2009|TaubatéBrazil2010|OportoPortugal2012
TalesFrey(Cia.Excessos),CanineSpasm,2009.Video,3’22.
EdiDon:3+2P.A.
BLIND MAN’S BUFF,
WHAT HAVE YOU LOST?
VIDEO ART
I dedicate this work to my mother.
Tales Frey (Cia. Excessos), Blind
Man’s Buff, what you have lost?,
2011. Video, 1’54”. Edition: 5 + 2 P.A.
Edition 1/5 is part of the collection of
Pinacoteca João Nasser. CatanduvaSP Brazil
HIT-AND-MISS
VIDEO ART
"Hit-and-miss" is a story of two people that cannot have a
sweet harmony. Hit plays his violin and Miss is a dancer.
Together they could do a perfect union, but the relationship
shows a chaotic life towards death.
Tales Frey, Hit-and-Miss, 2011. Video, 3’12”.
Edition: 5 + 2 P.A.
HIT-AND-MISS II
VIDEO ART
In this second part, the dreamlike world reveals the tumultuous
relationship of "Hit" and "Miss". Despite the separation, both
remain trapped in their psychological dramas, mixing desire,
revenge, loss of their own identity and even suicide obsession.
Tales Frey, Hit-and-Miss II, 2011.
Vídeo, 2’25”. Edição: 5 + 2 P.A.
BEDSIDE BOOK OR MY
BRAIN ON PAGE TWELVE
VIDEO ART
Inspired in Arnaldo Antunes’ composition “Moment I”, the voices of a Brazilian
man (Paulo da Mata) and a Portuguese woman (Tânia Dinis) reflect the striking
difference of words in the same idiom but different accent. Besides the
weirdness in comparing words, both say incessantly names of parts of the
human body, creating a surprise in the word "WORD" that in Portuguese is
“PALAVRA”.
Tales Frey (Cia. Excessos), Bedside Book or my Brain on Page, 2009.
Video, 3’23”.
Edition: 5 + 2 PA
ARTIFICIAL
ART POSTAL
Tales Frey (Cia. Excessos), ARTificial, 2008. Post Card, 10 x 15 cm. Edition: 100
VIDEOPOLAROID
VIDEO ART / PHOTOGRAPHY
Photos
Tales Frey (Cia.Excessos), Videopolaroid series, 2009/2010
Polaroids
Photos 78 x 18,5 cm (with frame)
Videos
Tales Frey (Cia. Excessos), Videopolaroid, 2009-2010. Video, 8’30’’
Edition: 4
BITCHES
PHOTOS
Tales Frey (Cia.Excessos), Bitches, 2009
Polaroids
Photos 26,5cm x 31 cm (with frame)
(EXTRA)ORDINARY DAYS
PHOTOS
(Extra)ordinary days, 2009. Polaroids,
26,5 x 18,5 cm (with frame)
FACELESS
PHOTOGRAPHY
Faceless is a photographic series made by majestic women posing in beautiful
countryside enviroments, where their faces (main identity) always remain
anonymous, hidden by their hair or any other material. This is a typical logic in
editorial and fashion catalogs, that entice the viewer through an image
appealing, arousing the "desire to have" and, although the observer buys what
is in the picture, he/she will never be satisfied, because the apparent
performance cannot be removed off the flat image.
Tales Frey (Cia. Excessos), Faceless, 2011.
Photography, 50 x 75 cm each. Edition: 5 + 2 P.A.
THE LITTLE RED SHOES
PERFORMANCE
Synopsis
Adelina is a 40 years-old housewife that has her relationship suddenly
broken, followed by issues such as shortness of life and transience of beauty
that can twist her life into an unexpected situation, making her desperate
and alone.
The female instinct, in touch with freedom for the first time after a long
time repressed, comes in an unbalanced rhythm, wandering the extremities.
The continuous search for the lost harmony moves the character. In chat
rooms, on virtual communities, Adelina tries to restore her loving life,
creating an even deeper gap, or even worst.
Credits
Original text: Caio Fernando Abreu
Direction and dramaturgy: Tales Frey
Assistant of Direction: Deborah Engiel
Cast: André Ramiro, Cecília Carvalhal, Débora Paganni, João Velho, Paulo da
Mata and João Lucas Romero (stand-by).
Sound: Tales Frey
Sound edition: Bibo Bassini
Set and Costumes Design: Tales Frey
Lighting: Ananda Felippe Garcia
Videos: Deborah Engiel
Graphic Design: Murilo Nogueira
Press Contacts: Pedro Neves
Production: Paulo Aureliano da Mata
Realization: Cia. Excessos
Rio de Janeiro Brazil 2006/2008
THIS PROPERTY IS CONDEMNED
PERFORMANCE
Synopsis
The man as an environmental product is the main
strength of spectacle. The individual is merely a
projection of the scenario, which is confused and
cannot escape. The finding of the reality brings the
dream as the only form of relief.
In a small town, Willie lives in a property condemned
by the local city hall. Abandoned by her parents and
with the reference of her dead sister Alva, the 13
years old girl pretends not to notice her cruel life
conditions. The figure of Greta Garbo merged into her
sister’s memories in an uncontrollable obsession,
making constant reference to the film “The Lady of
the Camelias” that bring back the fictional universe
of the 30’s cinema.
Credits
Text: Tennessee Williams
Direction, translation and adaptation: Tales Frey
Direction Assistant: Amanda Soares
Cast: Cecília Carvalhal and Leticia Guimarães
Photos of the scene: Benjamin Laubie
Sound: Bibo Bassini | Sound operator: Felix Hugus
Lighting: Ananda Felippe Garcia
Press Contacts: Pedro Neves
Production: Thais Nepomuceno
Realization: Cia. Excessos
Rio de Janeiro Brazil 2006
DRESS TO MESS
PERFORMANCE
Dress to Mess is a literal invitaDon for the audience to “mess”
withtheperformersinthedirty,it’salsoa“mosaic”thattypifies
the21stcenturyenvironment,builtbyfragmentedreferencesof
the 20th century, that, in image, the le~erhead speech is an
outburst on fuDlity that surround the actual human being,
which’sawarningaboutfragilerelaDonshipsestablishedthrough
technological media that fills the need of physical presence of
others and a trail of destrucDon of the creaDve power of the
subject.Theaimistodirtythebodyandcleanthesoul.
Credits
Direction: Tales Frey
Performers: Juliana de Toledo, Larissa Cifarelli, Lucas Mendes,
Marcos Paulo, Mariana de Toledo, Mariane Lazarine, Mariele
Riguetti, Melina Borges, Thais Sisto and Tainá Golfe.
Special Participation: Clóvis Frey and Silvana Frey
Sets, Costumes Design: Galpão 6
Videos: Mariana Mastrocola and Tales Frey
Graphic Design: Fepe
Direction of Production: Julio Cesarini
Production and Press: Mariana Mastrocola
Photography and Light: Tiago Carvalho
Realization: Cia. Excessos and Galpão 6
Catanduva-SP Brazil 2009
Website: http://www.ciaexcessos.com.br
Facebook: https://www.facebook.com/CIA.EXCESSOS
ISSUU: http://issuu.com/ciaexcessos
Vimeo: http://vimeo.com/ciaexcessos

portfolio pdf - Cia. Excessos

Transcrição

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