Co Creative Connections is a (in)dependent & (in)ternational project of curatorship that aims to develop thought in action for the present moment, in order to questioning Ethically and Aesthetically the implications in the relationship between; Culture and Society, Religion and Science, Art and Spirituality, so that one can intuit beyond the small perceptions, a whole series of small possible places and not places that sublimate themselves in the way of the realization of the paradox that is the present co creation.
O projecto “co creative connections”, assim como esta exposição CCC VI, pretende estabelecer uma interligação co criativa com países onde Portugal interagiu durante as viagens, sejam eles de língua portuguesa ou não, no sentido e com a direcção de fomentar e evoluir conscientemente as relações, alteridades e entendimentos que nos relacionam e definem há tantos séculos, quer na história, quer na arte, quer na cultura, quer nos costumes, quer na sapiência do viver, e pretende dar a conhecer meios e valências, que levem a uma efectivação consciente da partilha do processo estético e ético da co realização, que revela do artista objecto um potencial e efectivo sujeito criativo. É essa a “observação” aberta que se propõe: como relacionamos o “artista objecto” com o “sujeito criativo” na contemporaneidade; do pensar conceptual ao sentir processual, como acontece essa transposição da ideia à linguagem própria da obra ou da acção, e se ela exprime na integridade o ser sujeito, ou se é apenas e só mero reflexo objectual.
Co Creative Connections é um projecto independente iniciado em 2012 no Porto, que redunda na ideia fundamental de conectar pela co criatividade a humanidade mestres espirituais, criadores, artistas, investigadores, pensadores e a democracia em geral, de forma a partilhar novas e equilibradas experiências de indivíduo e lugar, com e em países onde Portugal interagiu durante as viagens dos ‘descobrimentos’, no sentido, e com a vontade de voltar a iniciar um novo processo relacional de conhecimento, assente na arte da cooperação co criativa.
Nesta edição de 2017 onde se premeia a interligação com o Nepal pretende-se na sua síntese, desvelar uma nova partilha estética, ética, conceptual e espiritual, de forma a tentar visualizar linhas de comunhão nas tradições da arte e fundamentalmente da lingua e poética que expressamos.
Sugerindo um olhar aos encontros e aos desvios que pela obra expomos e desenhamos em linguagem, no viajar e no voltar que vamos cumprindo enquanto nos vamos interligando, informando e experienciando para além da consciência normalizada que nos desenharam.
É uma procura processual assente nas bases éticas do sujeito criativo, sujeito esse que se cumpre na pontualidade do presente que é, e se encontra num processo de constatação eminente da sua sincronicidade evolutiva, num limiar de uma quantica de possibilidades, onde o campo expandido já não é expresso pela competitividade espaço temporal, mas antes pelo partilhar, interagir e envolver de alternativas que efectivem o lugar do presente do sublime no seu designio de soberania e de divindade expressa pela pura expressividade do rizoma da co criação consciencializada somos.
THE TARAGAON MUSEUM
and CENTER FOR ARTS & CULTURE
Directed by Roshan Mishra KTM NP
In colaboration with #
Directed by Filipe Garcia, PRT PT
& NexUs Cultural Center
Directed by Ashmina Ranjit, KTM NP
‘Public Art, the object artist vs subject creativity, teorie and praxis’
Curatorship by Filipe Garcia & Co Curatorship by Koshal Hamal
Presentation & Workshop by Filipe Garcia
Documentation by Ana Marques, Filipe Garcia & Koshal Hamal
Colaboration by Kunti Shree, Usha Sharma, Raju Giri, Pramila Lama
Workshop Sinopse by Filipe Garcia #
This curatorial project for the public space aims to develop tools and contents that can foster the observation of the process of consciousness in the relation between the ‘object artist’ and the ‘creative subject’, in orther to questioning Ethically and Aesthetically the implications in the relationship between Culture and Society, Religion and Science, Art and Spirituality, so that one can intuit beyond the small perceptions, a whole series of small possible places and not places that sublimate themselves in the way of the realization of the paradox that is the present co creation.
Co Creative Connections is a (in)dependent & (in)ter nacional project of Curatorship that aims to develop thought in action for the present moment, in order to questioning Ethically and Aesthetically the implications in the relationship between; Culture and Society, Religion and Science, Art and Spirituality, so that one can intuit beyond the small perceptions, a whole series of small possible places and not places that sublimate themselves in the way of the realization of the paradox that is the present co creation.
Understanding Public Art By Usha Sharma #
Public art project entitled ‘Public Art, The ‘object artist’ and the ‘suject creativity’, teorie and praxis’, was held in Nexus Cultural Center from April 3 to april 5 in collaboration with Lalitkala Campus and Kathmandu Triennale. The main objectives of public art project was to explore relation between “object artist” and “creative subjects”. The “object artist” here represented the physical entity of the artist, the conscious and subconscious mind. It also tried to create a bridge between spirituality that we all search for, cultural connections and art at the same time created link between them. Consciously or sub consciously we all are finding spirituality within ourselves and beyond. Through this project it became possible to understand art through holistic approach, Sometimes to understand art external detachment is necessary and knowing the inner self becomes more important.
The three day long workshop was lead by artists Filipe Garcia and Koshal Hamal. Each day focused on different aspects of public art. The first day participants took a tour around Patan in search of objects scattered on gullies and streets. Represented as creative objects to inner understanding, these objects were merely some garbage stocked and ignored but in creative approach these objects caught attention and were meaningful. Ordinary yet extraordinary these random objects dumped, unnoticed but eye-catching, were collected in little bags later displayed, created some exciting narratives. How each individual had stories to tell, in a way showcased their level of creativity. These stories sometimes seemed to reflect the spiritual understanding of individuals that they seem to be unaware of. The exploration of first day became surprise discovery of the link that we all search between art and spirituality. At the same time it also brought together the idea that how artists can be urban archeologists, representing the co-relation between art and urban life. The survey and installation focused on the thought that the process of creating art can be simple yet magnificent.
In the second day again the artists became urban archeologists but this time they weren’t looking for objects that can later be subjected as art. It became spontaneous way of creating art that could relate to the space and moment. Experiments done on this were important to understand relation between art and public space. It was quite obvious that out of the box initiatives were important to develop art that could hold an unique representation of art in public space .It can be concluded that sometimes public art can be time specific and site specific and the afterlife of public art remains unknown if not taken care of and there is nobody to take responsibility to curate public art.
In the third day the participants were exploring the public space but this time they were using their own body as a means of art to create performances. But there seemed to be a slight hesitation for many to detach them from surrounding and solely connect to themselves.
Madhav Poudel final year sculptor student showcased his performance art by wrapping his head by plastic. He suggested that the semi transparent plastic represented the ignorance of us, everyone who have blind inclination towards superstitions. We believe in the unseen but are neglecting things that can be seen directly by our eyes. Hence, the semi transparent plastic was used as a tool to represent our semi conscious ignorant mind. Deepen Shrestha performed in mid of the busy road amongst vehicles passing by. He sat there reading book unaffected by the threats of being hit by vehicles and obvious accident. Performance art can be so strong that sometimes the body is detached from surrounding. Raju Giri through his performance raised voices for pollution. He stood in public space with a bunch of masks and asked people passing by to put masks on him thus relaying message that how our lives in the city are affected by air pollution.
However, filipe Garcia just performed a simple task of clapping his hands. He was later joined by every participant of the workshop and there was group clapping. The viewers were amazed and remained in a confused state as groups of artist were clapping in public space. Indifferent to other participant he only used his body to express performance. His performance showcased that how something in individual can be meaningless and clumsy. But when there is unity the same meaningless entity can be more powerful. His performance manifested that demonstration of meaningful and strong form of art can be successful only if sometimes we connect to our inner self and detach from materialism.