Lycanthropy

lic-2
Licantropia
DCP, 27 min, color / bw 
2019
 
Produced by Le Fresnoy-Studio national des arts contemporains
Le Fresnoy-Studio national des arts contemporains est financé par le Ministère de la Culture et de la Communication, la Région Hauts-de-France, avec la participation de la Ville de Tourcoing. les équipements techniques ont été cofinancés par le FEDER (Fonds Européen de Développement Régional) Copyright © Janaina Wagner – Le Fresnoy-Studio national – 2019 tous droits réservés

The film Licantropia is an atonement of the figure of the werewolf, a creature shaped by men-kind as a scapegoat to give contour to cruel acts perpetrated by humanity through the course of history. Narrated by the moon during the course of a night and merging fiction and reality, the film is a collage of 16mm, digital, engravings, text and anonymous testimonies. The werewolf, a hybrid being, operates always “in between”, transitioning around the limits of reality and invention, lie and truth, history and stories : it is an amalgam that merges in one single image the human and the animal, operating as an approachable bridge to investigate civilizing processes of domination through history.

 

Note: In relation to the application of the term “travestido de Dor”, literally translated as “transvested in Pain”, in the poem “Werewolf” (1947) by Décio Pignatari, we would like to express that the application of the poem in the context of the video does not aim to reiterate the use of this term with a transphobic nature. We recognize transvestility in its political, poetic and existential essence. Based on this discussion, we would also like to invite all of you to learn about the existence of Ode and Maria Clara Araujo, among other artists and researchers whose work focuses on the development of such discussions.

THE NAME OF THE SEVENTH SON

By  Guilherme Teixeira

 

The place of one body inside another is funny, don't you think? What? Did you hear that? From Paris to Budapest, something is lost in the Amazon forest, it makes a name for the night and for a tree, it also sleeps, or pretends a domestic sleep that doesn't handle the real intent and impulse of the hand, the claw, the flesh, the night, the bed, of sleep; something of it only exists there – and here is too far away.

 

It was in the hands of a Mexican witch that a hyena took off a face and dressed it during a quinceñera[1], no? Are we canis, hyaenidae[2]? Today, at the beginning of the second decade of the 21st century, I no longer see myself in fear or astonishment, startle or partial fear. I refuse to be awestruck. What? Did you hear that? They've already tried to destroy everything else, don't you think?

 

The species no longer fits me, no longer than that I drift or why: something of them is not afraid, neither am I. No, I don't remember how I got here. I think someone deposited me, out of fear, denying the Indian line of evils who leaked into the world. It's sweet to stand out from the species, don't you think? What? Did you hear that?

 

Erosion: something forgets that mountains only have mass, and water and wind accumulate and circulate the grains they take from it, either to the bottom of the oceans or to the open of our eyes. LES LOUP SON ENTRÉ DANS PARIS – something in the language can't keep up. Today is Thursday and a hole bursts from the use in the morning. Inside of it, half residue, half city, half dark. It's not the first time you given up, don't you think? What? I didn't hear anything.

 

Is it summer already? I don't trust thermometers. I'm afraid of coats and parks today. I don't know the limit of my body heat and today is Thursday and I refuse to look at the sky; it doesn't matter, because the species no longer fits in me, that is, it's not my responsibility for the evolutionary future of our physiology and LES LOUPS SON ENTRÉ DANS PARIS, and something in this town also refuses to erase. The place of the dark is constitutive, don't you think? Do you feel it?

 

Is it summer already? I don't trust thermometers. I'm afraid of coats and parks today. I don't know the limit of my body heat and today is Thursday and I refuse to look at the sky; it doesn't matter, because the species no longer fits in me, that is, it's not my responsibility for the evolutionary future of our physiology and LES LOUPS SON ENTRÉ DANS PARIS, and something in this town also refuses to erase. The place of the dark is constitutive, don't you think? Do you feel it?

 

Cestrum nocturnum[3]. I feel it but I don't see it. I steer through the dark, lamps throwing light on surfaces. But it's not about the hierarchy of the senses, nor about not fitting into a species.

 

Everything is stacking. It was never night.

 

[1] A quinceañera (also fiesta de quinceañera, quince años, fiesta de quince años e quinces) is a celebration of a girl's 15th birthday. It has its cultural roots in Mexico and is widely celebrated by girls across Latin America. The girl celebrating her 15th birthday is a quinceañera.

[2] Canis is a genus of Canidae that includes several species such as wolves, dogs, coyotes and golden jackals. The Hyaenidae family contains four species, related to aardvarks and hyenas.

[3] Cestrum Nocturnum – Scientific name of the flower popularly known as Lady-of-the-Night (a night blooming Brazilian flower).

 

Janaina Wagner (São Paulo, Brazil) works with cinema, photography, scenography, drawing, video and installations, researching the relations of limit, control and contention that human-kind establishes with the world. Currently on a residency at Gasworks (UK) and doing a PhD at Le Fresnoy-Studio National des Arts Contemporains (FR), Wagner participated in several artistic residencies, such as FID Campus – Festival International de Cinéma de Marseille, Bolsa Pampulha, Festival Mondes Possibles – Théâtre Nanterre-Amandiers, Casa Tomada, Anarcademia W139 Amsterdam and NES Skagaströnd. Among the main exhibitions, stand out A natural history of Ruins – Pivô (Brazil), Casa Carioca – MAR Museu de Arte do Rio de Janeiro (Brazil), Ensaio de Tração – Pinacoteca do Estado de São Paulo (Brazil), Simultan Festival XV – Unseen (Romania), 10 ª Semana de Cinema do Rio de Janeiro (Brazil), Bestiário – Centro Cultural São Paulo – CCSP (Brazil), Permanências e Destruições – Torre H (Brazil), 4th EDP in the Arts Award – Tomie Ohtake Institute (Brazil). Janaina lives and works between Paris and São Paulo. 

 

Guilherme Teixeira (São Paulo, Brazil) is a writer, curator and editor. In his research, he addresses enunciations and other names that things demand today. Among the institutions he has worked with are CCSP, Videobrasil and Pro Helvetia, as well as galleries and art consulting offices. Among his curators are PAREDÃO [CCSP], Yesterday Was A Long Day [MARP], O Grande Susto [SPACE], Continuous Noise and Absence and A Immensa Preguiça [both at Sancovsky Gallery], Notes on some dysfunctionality [Homeostasis.Lab ]. Teixeira is also editor of the periodical O TURVO, curator and editor of the “expresso” project, created with the São Paulo Department of Justice, which offers artistic initiation to young inmates from Fundação Casa that are in parole.