NO TITLE is a laboratory that raises questions about behaviors acquired along the process of human socialization, as well as the reaction impulses coming from that same process. We will try to unveil and transform these impulses and behaviors into many other possibilities of living together, opening horizons of possibility without excluding the potential of individuality and solitude.
For five days we will meet Vânia Rovisco. Each day a new exchange, a new experience, a new sharing – with no titles and no forced finishing. We will not create anything, trying to eradicate ideas of usefulness and effectiveness from our several practices and to re-set the concepts of time and of meeting.
For five days we will meet Vânia Rovisco, installing ourselves between brackets stolen from chronological time, between shadow and shade. We will leap into a creative process in which the mass of the body (our body) will be the starting point, and the flesh (our flesh) will point the way.
For five days we will meet Vânia Rovisco, taking part in her research practice for a new performance, “Sem título de ninguém/ No title of nobody”. And we will pursue a possibility of work which doesn’t divide body, talk, dance and thought.
Vânia Rovisco distinguishes herself as a performative visual artist since 2008. She places her body in the art gallery where she then further expands her work to other mediums – through live installations, lights or video. From 2001 to 2007 she was the interpreter of choreographer Meg Stuart/Damaged Goods. From 2012 and 2015, she collaborated in curatorial terms with the Museum Arpad Szenes Vieira da Silva. In 2013 she debuted the solo The Archaic, Looking Out, The Night Knight and in 2014 she staged Silos de carros e estradas giratórias for 10 men. Currently she gives workshops, does movement direction and continues her work as an interpreter. She is co-founder of Aktuelle Architektur der Kultur –AADK art platform, and her latest project Reacting to Time – Portugueses na Performance deals with the archiving and transmission of works from the late 60’s. She was invited to curate and course-manage the Advanced Creation Program in Performing Arts (PACAP3) at Fórum Dança.