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Dito e Feito #11 Colectivo Pizz Buin


For this podcast, Pizz Buin proposes to create a sound piece from the recordings made from the work Metapelho, from 2008.

Pizz Buin reflects on the interdependence of discourses in art and the consequent legitimation of any work / action through a discourse of a more or less institutionalizing character. This flow of materials and subjects in constant circulation obeys an apparently defined local and temporal trajectory.

The speeches are, therefore, omnipresent and therefore produced by the various actors of your institution (artists, curators, critics, institutions, museums, academies), presenting several functionalities (decryption, contextualization, hermeticism, historicism, information) and appearing through several formats (printed material, literature, online, conference, live speech, indirect speech).

If the work existed at the same time as its corresponding speeches, both, in fact, do not “materially” share the same space in history. Only now, with some distance,  we can analyze this experience in depth, listening to the details of the current problems and urgencies.

Revisiting this piece today does not mean going back. It means recognizing its relevance, interpolating / interrupting its stabilized state of affairs, making it present and, in doing so, opening up the possibility of contaminating its historical time. To evoke that quality of contemporary that Agamben talks about, and to advance with the possibility of rewriting history, from now on.

Metapelho redux, is the result of material collected from the original performance of Metapelho, in 2008 and that took place at Avenida da Liberdade, 211, with the participation of António Sousa, Celso Martins, D. Sebastião, Filipa Oliveira, Gonçalo Pena, Jorge Martins Rosa , José Miranda Justo, Miguel Borges, Pedro Oliveira and Pedro Proença. Pizz Buin is an artistic collective formed in 2005 in Caldas da Rainha by Rosa Baptista, Irene Loureiro, Vanda Madureira and Sara Santos.

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Pizz Buin is an artistic collective formed by Rosa Baptista, Irene Loureiro, Vanda Madureira and Sara Santos, in 2005, in Caldas da Rainha, in the wake of artistic production and modernist theories, still alive in the specific and institutional context of the art school.
As a result of the new approaches and relevance given to the institutional artistic space, intentionally, this collective also appears inserted in the arts system with the purpose of addressing it.




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