PACAP 1 Curated by Curadoria PATRÍCIA PORTELA Open Pacap 1 - My voice for the voiceless 3-9 Nov. 2017 CONFERENCES Conferences will run in english. Free admission. 4 NOV. | 14h- 18h Faculty of Fine Arts of the University of Lisbon | Small Auditorium CONFERENCE “My voice for the voiceless” Conference Opening by Patrícia Portela – The artist as a ghost writer of society Speakers: Nicolas Fernando De Warren (Penn State College of Liberal Arts, USA – KULeuven, BE) - The Pity of Painting and the Theatre of Cruelty: Warburg, Artaud, Deleuze Fernando Matos de Oliveira (UC/TAGV, PT) - Text, word, subtitle ________________________________ 8 NOV. 2017 | 18h30 Casa Fernando Pessoa CONFERENCE "Poetry and stupidty, 3 idiotic approaches to literature, the world and Fernando Pessoa." … To know how to say goodbye with a dumb sadness to all of this. (Fernando Assis Pacheco) Miguel Cardoso Intelligence, sure, but not right away I want to suggest that poetry may well prove inteligent, but only after being dumb, and only if, when it gets there, intelligence is something other than itself. I want to defend that which is stupid in poetry, that is, its particular form of being senseless, insensitive to the call of reason, its way of taking dumb paths and dumbly clinging to dumb things, and not being available for understanding – not because it is not understood, or does not make itself understood, but rather because it refuses to understand. Poetry is not a right-thinking, well thought-out thing. At the very least, it calls for the postponement of intelligence, as St Augustine asked of chastity. Nicolas Fernando de Warren Stupidity and the Aesthetics of Abdication "Today the world belongs only to the stupid, the insensitive and the agitated," said once Fernando Pessoa. By analyzing these three types - the stupid, the insensitive, the agitated, Nicolas de Warren will entertain the idea that what is most astonishing about stupidity is its intelligence (again, Pessoa's insight), and will wonder whether an aesthetics of abdication would (should?) resemble a "life of standing eternal by a window" listening to the "patter of rain" while gazing at the paleness of air, "grey with yellow in its sadness", in a Pessoan "metaphysical anguish". While managing her own stupidity, Patrícia Portela, will ask questions and dialogue with the philosopher and the poet, balancing herself between racionality and reasonableness, between madness and sanity, between a head in a sky and both feet on the ground. Biographies Fernando Matos Oliveira teaches at the Faculty of Arts, University of Coimbra. He holds a Ph.D. in Portuguese Literature. He is Director of the University Theatre (TAGV) since 2011. He is the Director of the BA Program on Art Studies, and he has published articles and books on theatre, performance, fiction, and poetry. He is the author of O Destino da Mimese e a Voz do Palco: O Teatro Português Moderno (1997) [The Fate of Mimesis and the Voice of the Stage: Modern Portuguese Theatre] and ofTeatralidades. 12 Percursos pelo Território do Espectáculo (2003) [Theatricalities. 12 Journeys through the Territory of the Spectacle]. He edited Antologia Poética (1998) and Escritos sobre Teatro(2001) by António Pedro. He edited Volume 4 of the journal Sinais de Cena, and co-edited (with Maria Helena Santana) two volumes of essays on melodramatic culture in the modern and contemporary periods, an ongoing project of the Centre for Portuguese Literature: O Melodrama (I), 1995, and O Melodrama (II): Texto, Imagem, Som, 2010. 1. Teatralidades. 12 Percursos pelo Território do Espectáculo, Braga/Coimbra, Angelus Novus, 2003. 2. «Poesia e Conhecimento» In: Poemas Escolhidos/Poèmes Choisis, Vasco Graça Moura, Grinalda de Ouro das Noites de Poesia de Struga / Couronne d’Or des soirées de poésie de Struga, Ed. Struga Poetry Evenings, 2004, pp. 20-60. 3. «Redenção e Disciplinaridade nos Estudos Performativos», In: Sinais de Cena, Nº 4, 2005, pp. 9-17. 4. «Regressão, Androginia e Misoginia no Surrealismo Português», In: Pedro Serra (org.),Modernismo & Primitivismo, Coimbra, CLP, 2006, pp. 101-124. 5. Poesia e Metromania. Inscrições Setecentistas (1750-1820), Dissertação de doutoramento, Faculdade de Letras da Universidade de Coimbra, 2008. Miguel Cardoso (1976-) lives and works in Lisbon. Teaches and translates, being its most recent translation Cartas contra a Firmamento, of Sean Bonney (Douda Correria, 2016). In addition to scattered texts, in periodicals and anthologies, he published six poetry books: Que se diga que vi como a faca corta (Mariposa Azual, 2010), Pleno Emprego (Douda Correria, 2013), Os engenhos necessários (&etc, 2014), Fruta Feia (Douda Correria, 2014), À Barbárie seguem-se os estendais (&etc, 2015), Víveres (Tinta-da-China, 2016) and Mais de mil anos (Douda Correria, 2017). "His books are animals that are difficult to imprison in the cage of a text. By nature, they resist the exercise of critical domestication and even more of paraphrasing. You have to go there, look at them from the front, read the poem burning on the page " said José Mário Silva one day. Nicolas de Warren studied philosophy in Paris, Heidelberg and Boston, and obtained his PhD from Boston University in 2001. Since 2012, he holds a BOF/ZAP Professorship in the Center for Phenomenology and Continental Philosophy / Husserl Archives at KU Leuven. He has published widely on topics in phenomenology, aesthetics, history of philosophy and political philosophy, and is the author of Husserl and the Promise of Time: Subjectivity in Transcendental Phenomenology, Cambridge University Press, 2009. His most recent publications include an essay on Merleau-Ponty's aesthetics (Journal of the British Society for Phenomenology) and an essay on time and forgiveness (Oxford Handbook of Contemporary Phenomenology). He is also an editor of the book series Contributions to Phenomenology. He is currently writing a book on the unforgivable. Patrícia Portela is a writer and performance maker born in 1974, living between Belgium and Portugal. She studied set and costume design in Lisbon and in Utrecht, film in Ebeltoft, Denmark, and Philosophy in Leuven, Belgium. Since 2003 she has worked on her own performances and installations in collaboration with international artists. She has achieved national and international recognition for her unusual work and is considered one of the most daring artists and innovative writers of her generation. She won the Revelation Prize in 1994 for her creative work in performance and cinema, the Prize Teatro na Década for T5 in 1999, the Gulbenkian Foundation Prize Madalena de Azeredo Perdigão for the performance Flatland I in 2004 and was one of the 5 finalists of the Sonae Media Art Prize 2015 with her installation Parasomnia, amongst other prizes. She has been invited to participate in the prestigious International Writing Program (IWP) at the University of Iowa in 2013, and was the first literary resident in Berlin in 2016. She is the author of several novels and short stories, and is a chronicle writer for the prestigious Jornal de Letras and coffeepaste online since 2017. Faculty of Fine Arts of the University of Lisbon Largo da Academia Nacional de Belas Artes 14, 1200-005 Lisboa http://www.belasartes.ulisboa.pt/en/ Casa Fernando Pessoa Rua Coelho da Rocha 16, 1250-088 Lisboa http://casafernandopessoa.cm-lisboa.pt/ http://www.forumdanca.pt/pacap/index.html
