Naturaleza Falsa | Fake Nature

Naturaleza Falsa | Fake Nature

Textos | Texts

Poema de Ricado Capurro (Uruguay)

Danza de la (no danza)

Naturaleza falsa. Ana Monteiro
Solos al mediodia. Teatro Solis.

Hasta la agonia de tu voz
hasta el borde de la musica
al borde de tu cuerpo
hasta lo casi invisible
penoso devenir hacia lo que no se ve
al poema blanco de silencio
hasta que brote el huerto
hasta que el mar negro se anime
hasta que brote nada

Apenas un instante de tu poderosa humanidad
no lo visites, establece tu residencia temporaria
alla, a contra luz…
altisima de sangre
tus venas antiguas…
ese permanecer contemporaneo
que emite alaridos de goce por los techados del mundo
y rabia, rabia contra la muerte de la luz
Demasiado pos humana, equivocarse no mata
tambien el mercado se burlo de Zaratustra
¡Cuidate Oceanide!, te miran las conquistas de todos los tiempos, de todos los pueblos.
Antaño se clavaba en el madero a la inspirada.

Y no te vi.

Acto poetico (Fragmento) – Tradução Gisele Luiz
Dança da (não dança)
Natureza falsa.
Solos ao meio dia. Teatro Solís.

Até a agonia de tua voz
até a borda da música
à borda de teu corpo
até o quase invisível
penoso devir até o que não se vê
ao poema branco de silêncio
até que brote o pomar
até que o mar negro se anime
até que brote nada

Apenas um instante de tua poderosa humanidade
não a visites, estabeleças tua residência temporária
lá, contra a luz…
altíssima de sangue
tuas veias antigas…
esse permanecer contemporâneo
que emite rugidos de gozo pelos telhados do mundo
e raiva, raiva contra a morte da luz

Demasiadamente pós humana, equivocar-se não mata
também o mercado zombou de Zaratustra
Cuida-te Oceanide! te olham as conquistas de todos os tempos, de todos os povos.
Antigamente se cravava na madeira à inspirada.
E não te vi.

Ato poético (Fragmento)

Fake Nature by Olivia Berthon (University of West Indies)

In the work of the artist performer Ana Monteiro, the consciousness of the Other is pregnant, in a universe where slowness corresponds to the time of the gaze, where the minimalist experimentation which is given to see, presents itself, according to the artist, as “post-humanist”. Ana Monteiro, is well aware of the importance of the hybridities inherent in performative art ; It tends to explore the tensions between the different practices, the different beliefs, the different postures that we can adopt, articulating its action around the sphere of the intimate. In other words, its performative art is situated in a space of junction, on the point, the hinge which unites (or separates) two elements, two substances, two substances which a priori are opposed but which must be understood, are maintained by a permanent link.The movements, the contortions that she performs and which sometimes refer directly to meditative activity, require a real physical and mental preparation, the artist tames her own body, displaces her own subjectivity, she says, into a 3rd body.
This human form, and I would like to point out that it is a form but not a hominization, this form, in the work of this artist, who had the opportunity to conduct his artistic performances in many countries, on an international scale, is asking a very interesting question, that of the “mask”, an extension, or a diversion of the body. Indeed, in its work, this body is camouflaged, masked under draperies, under sections of tissues which, suddenly, when sound the premises of the act, come alive and move on the ground, creating an enlarged organism, with augmented limbs, an enigmatic body, the fruit of a conjuncture, a contact, of a shock.The mask, you know, has many virtues, it hides and shows, it denounces the monstrosity, it protects. Once placed on the face, on the body, the identity of the individual will be able to release the 21 grams which represent this weight of the soul, a new force appears, a door is open. The mask, the camouflage, dear to the Ana Monteiro’s performative approach, affirms itself as a force, a conquest. It should also be noted that this mask question, in the Caribbean, has a very important social and popular rôle : during the carnivals they take power, they occupy the urban space and mark a break, with which everyone is preparing .
In the contemporary art field, this mask participates vigorously in the esteem that is given to attitudes, gestures or procedures as constitutive elements of the work.
Ana Monteiro’s work is like the atom, that can easily establish almost chemical connections with other works. Her work combines easily with multiple problems and we can find here a large number of aesthetic filiations, the reference field is very wide, very broad, and offers infinite possibilities of readings, and without any limit.

Fake Nature par Thomas Cepitelli (Université de Nice – France) pour Théâtrorama

Il est à espérer de voir d’autres éditions de ce Festival International d’Art Performance tant nous espérons encore découvrir les travaux d’artistes passionnants comme Ana Monteiro, chorégraphe-interprète portugaise qui travaille de manière bouleversante à la disparition du corps du danseur. Et qui semble nous dire ô combien nos identités sont toujours au travail, cachées ou montrées, jouées ou réelles, violentes ou douces, mais qu’elles nous invitent à ressentir et penser ensemble.
(article complet :

Fake Nature by Thomas Cepitelli (University of Nice – France) for Théâtrorama

We hope to see other editions of this International Festival of Art Performance as we still hope to discover the work of exciting artists like Ana Monteiro, Portuguese choreographer-interpreter who works in a way that is overwhelming to the disappearance of the body of the dancer. And who seems to tell us how our identities are always at work, hidden or shown, played or real, violent or soft, but that they invite us to feel and think together.
(full article

Fake Nature by Diogo Nóbrega (New University of Lisbon - Portugal)

"(...) Thus, the parturient, vibrating magma of this False Nature, which is always always also underlined in passing, a false nature that interpellates, in particular, the chimerical maturity of a nature or principle originary and sufficient, in resonance spinosis of a God of Nature, is thus differentiating itself / differing, expelling successive elements, whose aggravated ontological resistance is consolidated in the weight of its ambiguous, laughable iconicity, not as a pure impropriety of meaning, which would be a subtractive form , or even denial of property, but as an ex-cess of possible appropriations, marginalizing an always re-started access, each time to the meaning. In the interval where the ethos of a property or finitude is played and modified, rigorously , in finite, we are finally tempted to think again and differently of nature, the Greek physis, whose reception, in the echo, moreover, of the philological legacy of Giorgio Colli, authorizes us with to consider not already a nature, but a birth, an ek-physis, that is, what breaks or what rises, what comes: the extreme point of what is always already (or still) in statu nascendi. Ana Monteiro invites us to consider in the body not the stasis (meaning) of meaning, its phenomenal evidence, but its interruption, its deferment as a sign of the unconditionality of an appeal that the artist does not you can stop listening. According to such a framework, the voice would designate, in the body, the archi-originary evidence of its deviation, of its clinamen, to reaffirm again the name and motive in which the timbre of a collapse of principle is heard and, therefore, of the logic of principality or origin, underlining, in another way, in the body, its sovereign heterogeneity. From a single jet or throw, in the plurality of its dimensions, its modulations, the voice does not present itself to itself, but already exposes itself to another (others), in the living fruition, singularly plural that summons it. (...) In the accent of a precession of language, there are no words that fix it, meaning circumscribing it: "the voice appeals to another nomad," a balloon, a latex glove, a wig, Ana Monteiro, in the unconditional acceptance of a trace or a return of the body to another body, from the singular to the other singular, listening and inscribing, thus, the exteriority in the interiority, or, in a word, the otherness ab-soluta.

Fake Nature por Diogo Nóbrega (Universidade Nova de Lisboa – Portugal)

"(…) Assim, o magma parturiente, vibrátil desta Natureza Falsa, que é já sempre, também, sublinhemo-lo de passagem, uma falsa natureza que interpela, designadamente, a matinalidade quimérica de uma natureza ou princípio originário e suficiente, na ressonância espinosista de um Deus sive Natura, vai, pois, diferenciando-se/diferindo-se, expulsando sucessivos elementos, cuja resistência ontológica agravada se consolida no peso da sua ambígua, risível iconicidade, não como pura impropriedade do sentido, que seria uma forma subtrativa, ou mesmo negativa de propriedade, mas como ex-cesso de apropriações possíveis, marginando um acesso sempre re-começado, de cada vez re- nascente, ao sentido.
No intervalo onde se joga e modaliza o ethos de uma propriação ou finitude, rigorosamente, in-finita, somos finalmente tentados a pensar de novo e diferentemente a natureza, a physis grega, cuja recepção, no eco, aliás, do legado filológico de Giorgio Colli, nos autoriza a considerar não já uma natureza, mas uma nascença, uma ek-physis, ou seja, o que rompe ou o que desponta, o que vem: o ponto extremo do que está sempre já (ou ainda) in statu nascendi. (…) De outro modo, Ana Monteiro convida-nos a considerar no corpo não já a estase (significante) do sentido, a sua evidência fenomenal, mas a sua interrupção, o seu diferimento como signo da incondicionalidade de um apelo que a artista não pode deixar de escutar. De acordo com um tal enquadramento, a voz designaria, no corpo, a evidência arqui-originária do seu desvio, do seu clinamen, para reafirmarmos, novamente, o nome e o motivo em que se escuta o timbre de um desmoronamento do princípio e, portanto, da lógica da principialidade ou da origem, sublinhando, de outro modo, no corpo, a sua soberana heterogenia. De um só jacto ou lance, na pluralidade dos seus portes, das suas modulações, a voz não se (a)presenta a si, mas expõe-se já sempre a outro (outros), na fruição viva, singularmente plural que o convoca.(…) No acento de uma precessão da linguagem, não existem, então, palavras que a fixem, sentido que a circunscreva: “a voz apela a outro nómada”, um balão, uma luva de látex, uma peruca, diria, porventura, Ana Monteiro, na acolhimento incondicional de um rastro ou reenvio do corpo a outro corpo, do singular a outro singular, escutando e inscrevendo, assim, a exterioridade na interioridade, ou ainda, numa palavra, a alteridade ab-soluta.

Performance at FIAP
International Festival
of Performance Art
in Martinique,
curated by Annabel Guéredrat
and Henri Tauliaut, 17-23 April 2017

Ana Monteiro avec Frank Martin
photo Nyugen Smith, J.B. Barnet and Benny René Charles

Up Next:

Buenos Aires | Montevideo