paradise open on sundays or enclosure destined

paradise open on sundays
or
enclosure destined to have a prosperous life
jorge da cruz
buch-oase
germaniastr. 14
kassel
22 juli
|1
to heidrun, christine and mike, for all the love and support
2|
works: jorge da cruz
texts: ivo do carmo, vera justino
haikus: ivo do carmo
design: ramona taterra, jorge da cruz
translations: maya kempe, vera justino, barbara bichler
funding: myartbymail community
obrigado
ivo do carmo, julio iglesias, vera justino, katrin memmer, sergio fernandes, ramona taterra, maya kempe, luis de camoes, susana cecilio, dana & jörg, nadim natour, barbara bichler,
kunstquartier bethanien basement, myartbymail comunity, mama, papa and Lisbon Turists for supporting „holidays in lisbon, artist support in Berlin“ project
|3
o paraíso abre aos domingos
Ivo do Carmo
„e descansou no sétimo dia de toda a sua obra“
(Génesis 2:2)
1
Neste princípio de milénio, despojado de utopias literárias e paraísos
nostál­gicos, não resta à alma nenhuma outra esperança escatológica além
das narrativas felizes do turismo, no contexto desta nossa empolgante sociedade
de consumo.
4|
Em brevíssimas linhas diria apenas que essa sociedade foi essencialmente caracterizada na obra de Max Weber em A Ética Protestante e o Espírito do Capitalismo, onde surgem formuladas as teses que permitem combinar a redenção
das almas com a prosperidade social. Essa relação entre a salvação e a riqueza,
que só raras vezes não assume contornos promíscuos, é a própria essência do
conceito de trabalho.
A expiação do tempo por via do trabalho e o trabalho enquanto lugar de descoberta e experiência do dom de deus, tem por base a dignificação do homem
pelo reconhecimento social. A finitude humana é assim sublimada pela missão
social e escatológica do trabalho.
Uma sociedade que se desenvolve em função do conceito de trabalho, enquanto elevação da alma, precisa pois de ter um horizonte de significado verosímil
para o paraíso. Porém, se outrora o céu e as metáforas celestes faziam parte da
semântica escatológica, hoje esse paradigma é inócuo quando comparado com
os poderes redentores do lazer e do turismo, que reproduzem na terra os milagres do céu.
Bonitas palavras como céu, paraíso, sonho ou delícia estão hoje rendidas ao
léxico da indústria turística e constituem sedutoras ofertas para alguns que privilegiam condignamente do tempo do lazer.
Lazer (licere), que do latim significa ser lícito, ser permitido, é expressão de
uma forma legítima e merecida de ocupar o tempo-livre. Distinto do ócio, o lazer
é um otium cum dignitate, como gostavam de salientar as elites da modernidade, isto é, uma permissão pública para estar alienado do trabalho. Por isso, só se
pode entregar condignamente ao lazer aquele que é reconhecido no interior da
sociedade de trabalho.
O outro tempo, o tempo do ócio e do far niente é um tempo pernicioso, poi s ex-
põe o declínio da alma, órfã de talento e condenada à peçonha das horas. Numa
sociedade de trabalhadores – mesmo que o trabalho não seja mais necessário
nem útil – o desemprego é a epifania de uma classe de amaldiçoados por quem
deus não olha e para quem o vagar ocioso dos dias é uma visitação dantesca aos
anéis infernais do submundo.
Não deverá ser estranho, então, afirmar que o turismo se substituiu ao céu,
e que é a partir das suas múltiplas narrativas e dispositivos que o conceito de
paraíso pode ser inteligível e verosímil na contemporaneidade.
Seja a praia tropical ou a montanha, seja a suite de hotel ou o bungalow ecológico, seja o paquete dos oceanos ou a travessia dos desertos, seja o parque natural ou a sala do casino, o que todos esses prospectos turísticos solicitam é um
sonho da alma. E no vislumbre desse caleidoscópio de imagens sensuais e felizes
a alma descobre-se separada da sua quimera por um bilhete ou por um postal.
A analogia entre o turismo e o paraíso vai mais além das afinidades alegóricas.
Note-se que a palavra paraíso deriva do persa pairidaeza e que significa simplesmente muro em volta. Imaginemos então um prodigioso muro, em volta de
um exuberante jardim, onde magníficas bestas vagueiam por entre a exótica
vegetação. E aí encontramos repuxos e lagos, estatuetas e topiárias, e no interior
deste recinto de prosperidade passeiam ou caçam, nos tempos de lazer, príncipes, embaixadores, eminentes soldados e viageiros ilustres.
Ora, esses paraísos primordiais não são tão diferentes dos resorts turísticos
contemporâneos. A ideia de exclusividade, bem-estar e excelência são as prerrogativas do céu na terra, votadas à alma do contribuinte.
Por tudo isto, o turista representa uma classe privilegiada, porque possui mobilidade, porque frui das sensualidades da vida e, sobretudo, porque se assume
protagonista de uma narrativa feliz.
2
De todas estas coisas falámos, eu e o Jorge. Eu ia à procura de palavras.
Ele fixava imagens. Depois apercebemo-nos que as suas imagens tinham
as minhas palavras e as minhas palavras eram compostas pelas suas imagens.
Numa sinergia de intuições combinadas, vi o paraíso transformar-se no seu es-
Paradise open on sundays
Ivo do Carmo
“… and he rested on the seventh day from all
his work which he had made” (Genesis 2:2)
taleiro de obras. Nesse estaleiro vi o Jorge a medir, a serrar, a pintar, a destruir,
a ensaiar e a criar o paraíso. Através desse seu trabalho agora aqui publicamente
revelado, eu pude melhor compreender e acreditar no meu próprio trabalho.
Obrigado.
1
In this very beginning of the millennium, deprived of literary utopias and
nostalgic paradises, there isn’t any scatological hope left for the soul, except the blissful narratives from tourism, in the context of our society.
I would only say, briefly, that society was essentially described in Max Weber’s
The Protestant Ethic and the Spirit of Capitalism, in which the thesis that allowed to combine the redemption of the soul with the social welfare is framed.
This nexus between salvation and wealth – that only but rarely doesn’t assume
promiscuous outlines – is the very essence of the concept of labour.
The expiation of time through work, and labour as the place for revelation and
experiment of God’s gifts, tend to distinguish someone through a social recognition. The human finiteness is thus sublimated over the scatological mission of
work.
A society that progresses strictly on the dependence of the concept of work, as
exaltation of the soul, needs a plausible framework for the meaning of paradise.
However, if before heaven and the celestial allegories had naturally belonged to
the scatological semantics, nowadays that paradigm is innocuous when compared to the redemption power of leisure and its industry, which have the capacity
to play on earth the wonders of heaven.
Appealing words as heaven, paradise, dream or delight are currently rendered to the lexicon of the tourism industry and put forward seductive proposals
for those who can properly dispose of free time.
Leisure (licere), in Latin to be licit, to be allowed, is the expression of a legit
and merited manner of having free time. Different from otium (other Latin word
for leisure), leisure is otium cum dignitate, – as the gentry in the old times liked
to say – i.e., a public approval to be alienated from work. Therefore, only those
who are socially recognized by the labour society can afford condign leisure.
The other kind of free time, the time out, the far niente, is a pernicious time,
because it exposes the decay of the soul, orphan of talent and lost in the venom
of time. In a society of labour – even though much of the work isn’t necessary or
useful anymore – unemployment is an epiphany of a doomed class which God
doesn’t contemplate and for whom the slow run of the days is a dantesque visi-
|5
Das Paradies hat sonntags geöffnet
Ivo do Carmo
„... und er ruhte am siebten Tag, nachdem er sein
ganzes Werk vollbracht hatte.“ (Genesis 2:2)
6|
tation of the underworld’s rings of hell.
It shouldn’t be strange to say that tourism has replaced heaven and it is from
its multiple narratives and devices that paradise, as a contemporary concept,
can be understood and believable.
Whether it is the beach or the mountain, the hotel suite or the ecological
bunga­low, the cruise through the oceans or the journey through the desert, the
natural park or the casino room, what all of these touristic prospects appeal to is
the dream of the soul. And catching glimpses of this sensual and vertiginous kaleidoscope, the soul finds itself apart from its chimera at the distance of a ticket
or a postcard.
The analogy between tourism and paradise goes beyond allegorical affinities.
The word paradise is derived from the persian pairidaeza which means wall
around. Let us imagine a wonderful wall around an exuberant garden, where
splendid beasts dwell, moving through the exotic vegetation. There we find
fountains and lakes, statuettes and topiaries, and inside that prosper enclosure
we see princes, ambassadors, eminent soldiers and honourable travellers, strolling or hunting during their free time.
Thus, those ancient paradises are not so different from the contemporary tourist resorts. Excellence, welfare and the idea of exclusivity are a privilege of heaven on earth, consecrated to the soul of the taxpayer.
For all this, the tourist represents a privileged class, because has mobility, enjoys the sensuality of life and, above all, stars in a blissful narrative.
2
About all that we talked, me and Jorge, until late in the night. I was looking for words. He was picturing. Afterwards we realized that his images
had some of my words and my words had some of his depictions. Through that
synergy of combined insights I saw paradise become his workshop. In that workshop I saw Jorge measuring, sawing, painting, destroying, testing and creating
paradise. Through his work, now here openly revealed, I could better understand and believe in my own work. Thank you.
1
Zu Beginn unseres Jahrtausends, in dem literarische Utopien und nostal­
gische Paradiesvorstellungen fehlen, gibt es für die Seele keine andere eschatlologische Hoffnung mehr, als die Glücksverheißungen des Tourismus in
unserer atemberaubenden Konsumgesellschaft.
Ich würde sagen, daß diese Gesellschaft in Die protestantische Ethik und der
Geist des Kapitalismus von Max Weber grundlegend beschrieben wurde und in
seinem Werk die Thesen formuliert sind, mit denen man Seelenheil und sozia­
len Erfolg in Zusammenhang bringen kann. Die Beziehung von Erlösung und
Wohlstand ist die Essenz des Konzepts ‚Beruf‘, das nicht selten mit Promiskuitäten einhergeht.
Durch Arbeit Buße zu tun und durch einen Beruf Gottes Gaben zu ernten und
zu erleben, wertet den Menschen in sozialer Anerkennung auf. Die Endlichkeit
des Menschen wird so durch die soziale und eschatologische Aufgabe der Arbeit
sublimiert.
Eine Gesellschaft aber, die auf darauf basiert, daß die Arbeit den Weg zum
See­len­heil darstellt, braucht auch für das Paradies einen plausiblen Bedeutungsrahmen. Waren einst der Himmel und die himmlischen Bilderwelten Teil der
eschatologischen Semantik, sind diese Paradigmen heute machtlos gegenüber
der Erlösungsmacht von Freizeitvergnügen und Tourismus. Sie ahmen heute
himmlische Verheißungen auf Erden nach.
Die Tourismusindustrie hat sich wohlklingende Worte wie Himmel, Paradies,
Traum oder Wonne zueigen gemacht, die jedem verführerische Angebote geloben, der über entsprechend freie Zeit verfügen kann.
Die Freizeit, aus dem spätmittelalterlichen frey zeit, d.i. die Marktfriedenszeit –
im Portugiesischen o lazer, aus dem Lateinischen licere, erlaubt sein, zulässig
sein – meint, in legitimer Weise und verdientermaßen über seine freie Zeit zu
bestimmen. In Abgrenzung zum Müßiggang, ist die Freizeit otium cum dignitate, wie die Eliten der Neuzeit gerne betonten, und damit öffentliche Erlaubnis,
die Arbeit ruhen zu lassen. Nur wer zur arbeitenden Bevölkerung gehört, kann
sich also der Freizeit hingeben.
Die andere Zeit dagegen, die Zeit des Müßiggangs und das far niente, ist anstö-
ßig, denn sie offenbart den Niedergang der Seele, ist Stiefkind des Talents und
hat den Zweck, die Zeit zu vergiften. In einer rund um den Beruf organisier­ten
Gesellschaft ist Arbeitslosigkeit – selbst wenn Arbeit lange nicht mehr wirklich
notwendig ist und auch nicht mehr nützlich – die Epiphanie einer verfluchten
Klasse, die Gott mit Nichtachtung straft, und für die das saumselige Verstreichen der Tage einem Aufenthalt in Dantes Höllenkreisen gleichkommt.
Weder die Aussage, der Tourismus habe das Himmlische ersetzt, noch die
Ansicht, das Konzept Paradies könne aufgrund seiner vielschichtigen Erzählformen und Dispositive in der heutigen Zeit glaubhaft und wahrhaftig funktionieren, sollten verwundern.
Ob mit tropischen Stränden oder Bergen, Hotelzimmern oder Öko-Bungalows, Kreuzfahrten oder Wüstendurchquerungen, Naturparks oder Casinos –
all diese Reiseprospekte appellieren an Seelenwünsche. Und im Abglanz dieser
kaleidoskopischen Bilder von Sinnlichkeit und Glück findet sich die Seele getrennt von ihrem Trugbild durch ein Ticket oder eine Postkarte.
Die Analogie von Tourismus und Paradies geht weit über allegorische Affinitäten hinaus. Das Wort Paradies kommt aus dem Persischen, bzw. Avestischen,
pairidaeza und bedeutet umgrenzter Bereich. Stellen wir uns also eine prachtvolle Mauer um einen üppigen Garten vor, in dem anmutige Tiere durch exotische Vegetation streifen. Wir sehen Brunnen und Seen, Statuetten und kunstvoll beschnittene Pflanzen, und inmitten all dieses Gedeihens lustwandeln oder
jagen Fürsten und Botschafter, stattliche Soldaten und illustre Reisende in ihrer
Freizeit.
Solch maßgebliche Paradiesvorstellungen unterscheiden sich nicht allzu sehr
von heutigen Touristenressorts. Das Ideal des Exklusiven, des Wohlbefindens
und des Erlauchten sind Privilegien des Himmels auf Erden – abgestimmt auf
die Seelenwünsche des Steuerzahlers.
Aus all diesen Gründen repräsentiert der Tourist eine privilegierte Klasse,
denn er ist mobil, genießt die sinnlichen Freuden des Lebens, und erkennt sich
als Hauptfigur einer glücklichen Erzählung an.
2
Über all das sprachen wir oft, Jorge und ich. Ich begab mich auf die Suche
nach Worten. Er hielt Bilder fest. Später stellten wir fest, daß in seinen
Bildern meine Worte aufgehoben waren und meine Texte seine Bilder in sich
trugen. In diesem Zusammenspiel gegenseitiger Einsichten sah ich, wie das Paradies sich auf seiner künstlerischen Baustelle veränderte. Ich beobachtete Jorge auf dieser Baustelle, wie er vermaß, zersägte, malte, zerstörte, ausprobierte
und das Paradies erschuf. Durch seine Arbeit, die hier ausgestellt ist, konnte ich
meine eigene besser verstehen und an sie glauben. Danke.
|7
8|
O Fantasma de Vera Cruz
The Ghost of Vera Cruz
Vera Justino
Vera Justino
Lisboa-Berlim começa e acaba igual. Qualquer lado – Qualquer lado.
Lisbon-Berlin begins and ends the same way. Anywhere-Anywhere.
De que catástrofes, na nossa memória, emerge ainda a nossa poesia? Ela quer
viver. Insurge-se contra a própria vida, num enredo primário de sobrevivência.
A nossa poesia tem asas de fogo.
Também nós, quero dizer eu e tu, temos a nossa máquina do tempo, manifestação da nossa memória antenatal – o fantasma de um navio que conduz
ainda ao desterro mas não já à guerra (inferno na terra, terra reduzida a solidão
porque só nós vivemos o mundo, paraíso envenenado na terra, paraíso possuído
de perfumes estrangeiros e flores por descobrir, perfumes, flores e fumos que
não pertencem à realidade do nosso pensamento nem aos nervos do nosso corpo, terra figurada pelos métodos do mal, terra que se precipita pelo coração humano e aí planta o seu horror). O nosso barco, como todos os navios-fantasma,
entra em qualquer espaço com fulgor reluzente. Diáfano, vago, misterioso, o
nosso fantasma cobre o próprio céu. Apavora pela beleza sem osso e sem sangue
do seu tamanho. Mas quando pelos vapores abre insólito as prodigiosas asas de
fogo, e logo se retira para revelar um horizonte límpido e constelado, é um rosto
aberto ao amor que transparece.
From what catastrophes, in our memory, does our poetry emerge yet? It wants
to live. It rebels against life itself, in a primary plot for survival. Our poetry has
wings of fire.
We too, I mean you and I, have our own time machine, a manifestation of our
pre-birth memory - the ghost of a ship which still leads to exile but not to war
any longer (hell on earth, earth reduced to loneliness because only we ourselves
can experience the world, poisoned paradise on earth, a paradise possessed with
foreign fragrances and flowers yet to discover, fragrances, flowers and fumes
that don’t belong to the reality of our minds or the nerves in our body, a land
outlined by the methods of evil, a land that rushes to the core of the human heart to plant its horror). Our vessel, like all ghost ships, enters any space with a
shimmering glow. Diaphanous, vague, mysterious, our phantom covers the very
sky. The boneless bloodless beauty of its size is terrifying. But when through vapours it opens its prodigious wings of fire, soon to retire and reveal a clear and
constellated horizon, it is a face open to love that shines through.
O poeta, marinheiro do vazio, parte.
O caminho que conhece melhor é o do desterro.
O tempo tão pesado
Qualquer lado-Qualquer lado
quando partes.
The poet, sailor of emptiness, leaves.
The path he knows best is the path to exile.
Time is so heavy
Anywhere-Anywhere
when you leave.
„E, porque está em extremo desejoso
De te ver, como cousa nomeada,
Te roga que, de nada receoso,
entres na barra, tu com toda armada“
„And because he is in extreme wishing
To see you, as a thing nominated,
He beseeches you to, afraid of nothing,
go forward and enter the bar, the whole fleet of you“
(„Os Lusíadas“, Luís de Camões)
(„The Lusiads“, Luís de Camões)
Lisboa, 18-06-2012
Lisbon, 18-06-2012
Der Geist von Vera Cruz
Vera Justino
Lissabon-Berlin beginnt und endet gleich. Irgendwo – Irgendwo.
Von welchen Katastrophen in unserer Erinnerung entsteigt noch unsere Poesie? Sie will leben. Erhebt sich gegen das eigene Leben in einem puren Überlebensakt. Unsere Poesie hat Flügel aus Feuer.
Auch wir, das heißt ich und du, haben unsere Zeitmaschine, Äußerung unserer vorgeburtlichen Erinnerung – ein Geisterschiff, das in die Verbannung fährt,
aber schon nicht mehr in den Krieg (Hölle auf Erden, Erde reduziert auf die Einsamkeit weil nur wir die Welt leben, vergiftetes Paradies auf Erden, von fremden
Wohlgerüchen und unentdeckten Blumen besessenes Paradies, Gerüche, Blumen und Rauch die weder zur Wirklichkeit unserer Gedanken gehören, noch zu
den Nerven unseres Körpers, Erde die von den Methoden des Bösen dargestellt
wird, Erde die sich in das menschliche Herz drängt und dort ihre Grausamkeit
pflanzt). Unser Schiff hat – wie alle Geisterschiffe – mit blendendem Glanz Zugang zu allen Räumen. Durchscheinend, vage, geheimnisvoll, so bedeckt unser
Gespenst den Himmel selbst. Ängstigt durch die knochen- und blutlose Schönheit seiner Größe. Aber wenn es durch die Dämpfe die wunderbaren Feuerflügel
ausbreitet und sich dann zurückzieht, um einen klaren und von Sternen übersäten Horizont bloßzulegen, ist es ein offenes Gesicht zur erscheinenden Liebe.
Der Dichter – Matrose der Leere – geht.
Den Weg, den er am besten kennt, ist der in die Verbannung.
Die Zeit so schwer
Irgendwo – Irgendwo
Wenn du gehst.
„Und weil er extrem sehnsüchtig ist,
dich zu sehen, als ausdrücklichen Grund,
bittet er dich, ohne Angst,
komm in die Flussmündung, mit deiner ganzen Kriegs-Flotte.“
(„Die Lusiaden“, Luís de Camões)
Lissabon, 18-06-2012
|9
10 |
Haiku [俳句]
| 11
Haiku is both a type of poetic pattern and a way of experiencing the world. This
short, 17-syllable form, usually written in three lines with a 5-7-5 syllable count,
focuses our attention on a single, insightful moment. Closely tied to the Japanese
aesthetic of Yugen and the spirituality of Buddhism, Haiku looks deceptively
simple, yet can take years to master.
A well-executed haiku is rooted in the physical world of our senses, yet suggests something deeper, often evoking the mysterious, transitory nature of all
existence.
www.wikipedia.com
12 |
paradise is here
| 13
14 |
animal
Based on the play „Hamlet“ by William Shakespeare
Oil pastel, pencil on wood, 100 x 80cm
Berlin 2012
| 15
Based on „Measure for Measure“ by William Shakespeare
Oil pastel, pencil on wood, 100 x 80cm
Berlin 2012
measure for measure
16 |
(work in progress)
Series „Paradise is here“
Oil pastel, gold pigment, henna, pencil on wood
Based on „turismology“
160cm x 100cm
written by Ivo do Carmo
Berlin 2012
| 17
Series „Paradise is here“
Oil pastel, gold pigment, henna, pencil on wood
Based on „turismology“
120 x 80cm
written by Ivo do Carmo
Berlin 2012
anglicized or the rise of paradise
18 |
a friend told me that smile is gaza
Series „Paradise is here“
Oil pastel, mixed media on canvas, 100 x 80cm
Lisbon 2007, Palestine 2008, Berlin 2009
| 19
Series „Paradise is here“
Oil Pastel and pencil on canvas, 120 x 120 cm
Kassel 2009, Palestine 2010, Berlin 2011
heaven pull
20 |
| 21
Series „Paradise is here“
Oil pastel, mixed media on canvas
Based on “turismology”
100 x 80cm
written by Ivo do Carmo
Berlin 2012
masters mirror
22 |
toda a superfície da cidade
é um palmo de terra maldita;
diz-se que aí
a eternidade
é como uma banheira de aldeia
coberta de fuligem e com aranhas por todos os cantos
whole city surface
is a bloody inch of soil;
some say over there
eternity
is like a hamlet bathtub
covered with grime and spiders all over the place
| 23
Series „Paradise is here“
Print on old business documents, 4x 21 x 29cm
Karl-Marx Allee 28, Berlin 2009
i loved my life there
24 |
paradise open on sundays
| 25
Nothing happens here. Just you.
26 |
Eve McCarmo, S.I.P.R. (South Institute for Paradise Research)
| 27
Series “Paradise Open on Sundays”
2x 21 x 29cm
Photo printed on paper
Palestine 2008, Berlin 2009
120mm film, Diana F + camera, lomo lens
sunset in jaffa | sunrise in tel-aviv
[Júlio Iglésias sings:]
28 |
„Oh Island in the sun
Willed to me by my father’s hand
my days I will sing in praise
Of your forest waters, your shining sand“
| 29
Series „Paradise Open on Sundays“
2x 21 x 29cm
Photo printed on paper
Acre 2009, Berlin 2009
120mm film, Diana F + camera, lomo lens
ohhh island in the sun
30 |
„El infierno tiene vista panorámica.“
„Enjoy your tour!“
| 31
Series „Paradise Open on Sundays“
Print on paper, 21cmx29cm
Based on „turismology“
Ivo do Carmo collection
written by Ivo do Carmo
Berlin 2009
paradaeza park
32 |
we free space
Series „Paradise Open on Sundays“
2x 50 x 50cm
Photo printed on paper
Palestine 2008, Berlin 2009
120mm film, Diana F+ camera, lomo lens
| 33
ohne titel
Series „Paradise Open on Sundays“
Print on paper
Based on „turismology“
12 x 20cm
written by Ivo do Carmo
Berlin 2010
34 |
[crime e castigo]
[crime and punishment]
„ …como se o sangue derramado
fosse a explicação para esta alma
e esta alma a explicação para este crime
e este crime um a-tre-vi-men-to
i.e.: a invocação do nome de deus com o inverso da fé… “
„ …as if the blood spill
could be the explanation for this soul
and this soul the explanation for this crime
and this crime an au-da-ci-ty
i.e.: invocation of god’s name within the reverse of faith… “
| 35
Series „Paradise Open on Sundays“
Print on paper
Based on „turismology“
2x 21 x 29 cm
written by Ivo do Carmo
Berlin 2010
smile
36 |
„Heterotopia is a concept in human geography elaborated by philosopher Michel
Foucault to describe places and spaces that function in non-hegemonic conditions. These are spaces of otherness, which are neither here nor there, that are
simultaneously physical and mental, such as the space of a phone call or the
moment when you see yourself in the mirror.“
http://en.wikipedia.org/wiki/Heterotopia
| 37
Series „Paradise Open on Sundays“
Print on paper
Based on „turismology“
2x 20 x 29cm
written by Ivo do Carmo
Berlin 2009
wishyouwerehere
38 |
| 39
Series „Paradise Open on Sundays“
Print on paper, 3x 20 x 29cm
Based on „turismology“
Heidrun Hubenthal collection
written by Ivo do Carmo
Berlin 2009
attraction formula
According to the author, the process of sacralization of a place may occur deductively or inductively.
40 |
The first is more like
(tourist > sight > marker) > attraction
The second is more like
(naming phase < framing and elevation < enshrinement < mechanical reproduction < social reproduction ) < attraction
| 41
Series „Paradise Open on Sundays“
Print on paper
Based on „turismology“
2x 12 x 20cm
written by Ivo do Carmo
Berlin 2010
relax
„Genießen Sie Traum-Temperaturen von 26 Grad an 365 Tagen im Jahr.
Entdecken Sie ein Stück der Tropen auf 66.000 Quadratmetern (was der Größe
von 8 Fußballfeldern entspricht) mit dem größten Indoor-Regenwald der Welt,
Europas größter tropischer Sauna-Landschaft, der Südsee mit 200 Metern Sandstrand und vielen Superlativen mehr.
Paradies ist der Ort, an dem der Traum von einer perfekten Insel in Europa wahr
geworden ist.
In 55 Metern Höhe in einem Ballon über dem Regenwald schweben, Schildkröten im Mangrovensumpf beobachten, entspannt in der Bali-Lagune liegen oder
sich von Deutschlands höchstem Wasserrutschen-Turm auf eine rasante Fahrt
begeben.
All dies gibt es nur im Paradies.
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Nutzen Sie das Angebot „Direkt Happiness 24“ und machen Sie Urlaub im Tropenparadies. Bei konstanten 26 Grad traumhafte Wasserwelten durchschwimmen, den tropischen Regenwald erkunden, rasante Abfahrten von Deutschlands
höchstem Rutschen-Turm erleben und eine spannende Nacht im Zelt verbringen. Das „Direkt Happiness 24“ ist buchbar bis 10. Juni 2114!
Seien Sie Abenteurer, Genießer und Entdecker von Universum größter Paradies.
Im Paradies warten jede Menge Attraktionen auf Sie, an 365 Tagen im Jahr fast
rund um die Uhr.* Tauchen Sie ein in eine andere Welt, die von fernen Ländern
erzählt und die Magie der Himmel heraufbeschwört.
Entdecken Sie Paradies!
*Ab Morgen gilt ein Nachtzuschlag von 10,00 EUR (Aufbuchung um 3:00 Uhr
morgens) pro Person, pro Nacht.“
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Series „Paradise Open on Sundays“
Print on paper
Based on „turismology“
2x 12 x 20cm
written by Ivo do Carmo
Berlin 2010
leisure protected
44 |
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Series „Paradise Open on Sundays“
Drawing on transparent paper
Based on „turismology“
3x 21 x 29cm
written by Ivo do Carmo
Berlin 2011
expulsion
46 |
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Series „Paradise Open on Sundays“
Drawing on transparent paper
Based on „turismology“
3x 21 x 29cm
written by Ivo do Carmo
Berlin 2011
admission
48 |
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Series „Paradise Open on Sundays“
Drawing on transparent paper
Based on „turismology“
3x 21 x 29cm
written by Ivo do Carmo
Berlin 2011
kraft durch freude
50 |
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Series „Paradise Open on Sundays“
Drawing on transparent paper
Based on „turismology“
4x 21 x 29cm
written by Ivo do Carmo
Berlin 2011
60 km south of berlin
52 |
enclosure destined to have a prosperous life
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This District has become a popular weekend destination for many tourists with
its natural beauty and sprawling landscapes. While it may look a bit middle-age,
this place was designed for the real world, with many sustainable features in
mind.
Water plays an important part in the design, featured in many areas around
the District. Waterfalls, underwater aquariums and green areas will be integrated into the design to match the existing facing of the ground.
The District might just become the newest and natural attraction.
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Series „Enclosure destined to have a prosperous life“
Pastel and coal on wood, 6x 40 x 50cm
Berlin 2011
perfect garden #2
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FRUIT OF THE SEASON
„In the beginning God created the heaven and the earth. The
earth was without form and void and darkness was upon the face
of the abyss. A steam from the earth, however, climbed up and
watered the whole extent of the world and heaven. You will eat
freely of every tree but the tree of knowledge of good and evil,
you shall not eat, because on the day that you eat it will open
your eyes and you shall know the black fruit of paradise. “
Génesis 1-3, Free adaptation
OBST DER SAISON
„Am Anfang schuf Gott Himmel und Erde. Und die Erde war
wüst und leer, und es war finster auf der Tiefe. Doch die Erde
dampfte und der Dampf begoss die ganze Welt und den Himmel.
Es entstand ein Garten in Eden damit der Gärtner ihn pflüge und
versorge. Esst frei von allen Bäumen aber von dem Baum der
Wissenschaft von Gut und Böse esset nicht, weil sich an
dem Tag an dem ihr von ihm esst, eure Augen öffnen werden
und ihr die schwarzen Früchte des Paradieses erkennen werdet.“
Frei nach Genesis 1-3
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Series „Enclosure destined to have a prosperous life“
Oil Pastel, Mixed media on wood
Based on „turismology“
100 x 80cm,
written by Ivo do Carmo
Berlin 2011
a fruta da época
58 |
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Series „Enclosure destined to have a prosperous life“
Printing on old paper towel, 35 x 15cm
Berlin 2011
hainan airlines
60 |
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Series „Enclosure destined to have a prosperous life“
Printing on 50s arquitecture russian book
Based on „turismology“
21 x 42cm
written by Ivo do Carmo
Berlin 2011
simulator 2 park
62 |
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Series „Enclosure destined to have a prosperous life“
Printing on 50s arquitecture russian book
Based on „turismology“
21 x 42cm
written by Ivo do Carmo
Berlin 2011
simulator 1 park
64 |
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Series „Enclosure destined to have a prosperous life“
Digital C-Print on paper, 4x 21 x 29cm
Berlin 2011
adão paradaeza:
admitted-conditioning-failure-expulsion
66 |
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Series „Enclosure destined to have a prosperous life“
Digital C-Print on paper, 4x 21 x 29cm
Berlin 2011
eva paradaeza:
admitted-conditioning-failure-expulsion
68 |
His vision is that this building is a great boat … a big cruise ship has arrived at
this port full of strange people, who are more like pirates in a land where anything goes, where time has stopped and the only thing moving is the movement
of port, boat to boat coming. A land where love is absent. A land where the smile
has no teeth and the adventure is lost in the corridors of the subway line U1.
(…)
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Series „Enclosure destined to have a prosperous life“
Drawing on watercolor paper
Photo printed on paper
3x 29 x 21cm
120mm film, Diana F+ camera, lomo lens
Berlin 2009
come on board to the wrong side of the sun
Exhibitions
70 |
2006 T0 / Galerie Interpress / Lisbon
Meio / Italienischen Kulturzentrum / Lisbon
2007
Cartão / Bacalhoeiros / Lisbon
L‘Uomo del Mediterraneo / Complesso Vittoriano / Rome
Farm Documents / Buchoase-Galerie / Kassel
2009
UtopiaXMatter / Buchoase-Galerie / Kassel
Naked Green / Botanischer Garten / Kassel
Dorf-Eigen-Art / Staginnius Residence / Osterhausen
Open Studio / Kasseler Atelierrundgang / Kassel
2010
Paradise open on sundays / Mostly Harmless Gallery / Berlin
2011
Paradise open on sundays / Die SpukKommune / Berlin
UtopiaXMatter / Kulturklub im Europäischen Patentamt / München
2012
Open Studio / Kunstquartier Bethanien / Berlin
My integration documents / Santiago Alquimista / Lisbon
Paradise open on sundays or Enclosure destined to have a prosperous life / Buchoase-Galerie / Kassel
Jorge da Cruz
… nasceu em Junho de 1974 em Lisboa. Reside e trabalha actualmente em
Berlin. Teve a sua formação em artes
plásticas no A.R.C.O - Centro de Arte
e Comunicação Visual, de 1991 a 1994.
Desde então tem desenvolvido uma
série coesa de trabalhos maioritariamente em modelo de residência
artística internacional. A produção é,
ela própria, a grande força galvanizadora deste percurso artístico muito
particular: desde há muito que Jorge
da Cruz alia o trabalho de pintura à
experimentação e à procura constante
de novos materiais, instrumentos e
suportes físicos que sirvam a sua trajectória. Manipulando, combinando,
explorando; tirando, afinal, dessa aprendizagem, modelos próprios e novos
de pintar ou de entender a matériaprima, os seus equilíbrios e desequilíbrios, a origem da cor e a natureza do
seu corpo.
A absorção das estéticas dominantes
e o trabalho exclusivo com materiais
locais servem de base ao desenvolvimento de todos os trabalhos realizados
em residência. Todo o seu trabalho se
sujeita de várias formas a processos e
técnicas artesanais quase-etnográficos,
variados, livres e abertos a resultados.
… was born in June de 1974 in Lisbon.
Works and lives in Berlin. He had his
own vocational training in Visual Arts
at the renowned A.R.C.O – Centro de
Arte e Comunicação Visual, from 1991
to 1994. Since then, he has been developing a consistent body of work, most
of it created within a model of artistic
residence. For a long time, he has
been allying his painting to a constant
search for new and exciting materials,
techniques and media that he can experiment with, and eventually incorporate into his works, manipulating
and combining in the hope of getting
to new processes and understandings
as far as matter is concerned.
… im Juni 1974 in Lissabon geboren,
studierte ich von 1991 bis 1994 Kunst
an der Kunsthochschule A.R.C.O –
Centro de Arte e Comunicação Visual
in Lissabon. Eigentlich aus meiner Not
heraus, kein Atelier zu haben, habe ich
mich seit 2000 vor allen Dingen auf
„artistic residences“ konzentriert. Dies
hatte zur Folge, dass ich meiner künstlerischen Tätigkeit in den verschiedensten Umgebungen nachgegangen
bin (Portugal, Brasilien, Marokko, Indien, Deutschland). Hierbei stand für
mich immer die Beobachtung meiner
Umgebung im Vordergrund. Meine
Bilder sind eine Art Spiegel dieser
verschiedenen Orte. Hieraus erklärt
sich die sehr unterschiedliche Anwendung von Farbe, Form und Symbolen,
die ich in meinen Bildern verwende.
So wurde meine reisende Kunst zum
Konzept, die wechselnde Erscheinung
zum Merkmal.
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72 |
jorge da cruz | studio k37
kunstquartier bethanien
mariannenplatz 2 |10997 berlin
phone: ++49 (0)176/ 349 63 201
skype name: encruzilhada4
mail: [email protected]
www.jorgelcruz.wordpress.com