in practice
Zero-Impact or Can We Still Imagine a Future?
With Lígia Soares, Henrique Frazão
2 — 6 july 2024 | Centro Ciência Viva do Alviela (Alcanena), Portugal
2024

In the next edition of Na Prática, Lígia Soares and Henrique Frazão invite us to look at the political impact of art-making and activism by bringing together different ways of thinking and acting in the world. Looking into the symbolic, literal, aesthetic and social dimension that an artistic gesture or a protest action take on, we will seek to explore perspectives and approaches that reinforce the political value of both practices around common causes. We will also pay attention to the way in which contexts define how our actions are interpreted — how the same discourse is received by different audiences on different occasions. Do artistic gesture and protest action carry or oppose each other? What do we really have in common that we can share?

With the idea of zero-impact as a motto to reflect on the impact of our actions, we will begin by recognising the erosion to which this expression has been subjected by the neoliberal narrative, which has pushed the solution of climate change onto individual consumption habits. From the point of view of artistic creation, there may not be a more mundane motivation than the desire to stir up collective will. Lígia Soares’ practice has taken this basic aspiration to the letter, to the point of creating works that are almost exclusively dedicated to making spectators feel uncomfortable with their passive status, or to making them parrot phrases they don’t identify with in order to feel to what extent they are led to repeat what has become consensual, or to singing a song in chorus in order to become involved in a group despite, for example, talking about the insurmountable singularities of love or to simply ‘cancelling out’ the presence of the actors so that they realise that if they want something to happen, they will have to do it themselves, repeating that if they want something to happen, they will have to do it themselves, repeating, ad nauseam that, if we want something to happen, we will have to do it ourselves, and repeating that if you want something to happen, you will have to do it yourself. The question is how to find ways to circumvent the rules of the market, which absorb the meaning of all discourse within their logic of taste, and increase action? By engaging people?

We will take advantage of Na Prática’s immersive regime to let these questions live, take their time and follow various paths, resorting to a series of practices dictated by our curiosity, our body, either individually or collectively, and in contact with the other, with the ground we walk on and with the territory around us. A key question will sound in our ears: Who hasn’t lost heart yet? We can answer that question: climate activists. Retreating to this place where we can analyse the real meaning of our actions, do we still dare to imagine a future?



PRATICAL INFORMATION

Participants: Artists, researchers and students from all disciplinary areas, or anyone interested in collaborative practices or activism.

Maximum of participants: 12

Applications: Until May 31st



The sessions will be held in Portuguese, and in English, if needed.



Application fee
100 € (10% discount for FLUL students)*

Includes all the activities, accommodation (in dormitory), meals and insurance. Does not include traveling expenses.

Every year, we offer a scholarship to the IN PRACTICE – Summer School to one person from each of the partner schools:

— Students of the Program in Theater Studies or Researchers at the Center for Theater Studies at FLUL

— Students at the Master’s in Choreographic Creation and Professional Practices at the Superior School of Dance

— Students of the Theater’s and Fine Art’s Courses at ESAD.CR – Superior School of Arts and Design, Caldas da Rainha

*If this is your case, please fill in the fields on the form marked with ✤



Registration mode

The interested people must fill this form (CLICK HERE).

The applications will be analyzed and there will be a selection, considering the diversity and relevance of the profile of the participants int the constitution of a workgroup and in the development of the proposed issues.

PROGRAMME
Tuesday, July 2nd

Morning
First impact: Welcoming the participants.

Lunch break

Afternoon
Taking stock: What are our intentions, how do we declare them? Analysis of synopses of artistic projects and activist manifestos.

Wednesday, July 3rd

Morning
Tension: Links between discourse and practice, fiction and reality. Walking along the margins in view of falling.

Lunch break

Afternoon
Bounce: Ways in which the systems can expel or absorb discourse/action. Forays into the forest.

Thursday, July 4th

Morning
Expansion: Matters of perception. Between urgency and long-term impact. Watching films that explore consciousness and alienation.

Lunch break

Afternoon
Contraction: How to travel in time and how to stop time. Sharing personal and artistic experiences and strategies.

Friday, July 5th

Morning
Collision: Between the performative gesture and the activist gesture. Recreating artistic and activist practices based on their modus operandi.

Lunch break

Afternoon
Reverberation: The contamination and the responsibility of the global. Talking as we sink. River beach action.

Proliferation: How can we take our gestures further? Debate in a public space. Citizen's meeting.

Saturday, July 6th

Morning
Shards: Time to do things we didn't know were going to be impactful.

Lunch break
Artists
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Lígia Soares
Lígia Soares

Portuguese choreographer and playwright based in Lisbon. She studied dance, but since 1999 her work has moved between the disciplines of dance, theatre and performance. Her work has been presented nationally and internationally (Portugal, Brazil, Germany, France, Norway, Holland, Belgium, Serbia, Croatia, among others). Between 2001 and 2014 she was the artistic director of Máquina Agradável. She has also developed various programming contexts with other artists such as Demimonde or Face-a-Face. Following works such as “Romance” (2015), “O Ato da Primavera” (2017), “Turning Backs” (2016), “Jogo de Lençóis” (2019) she continues her research into scenic devices that include the presence of the spectator as a constituent element of the show’s dramaturgy, incorporating or replacing the role of the performer. She is a mentor in several stage writing programmes and regularly collaborates as a dramaturge in dance and theatre projects. The plays “Romance”, “Cinderela”, “Civilização”, “Memorial” and “A Minha Vitória Como Ginasta de Alta Competição” are published by Douda Correria. She was awarded the DGLAB artistic and literary creation grant in 2020.

Henrique Frazão
Henrique Frazão

Henrique Frazão is a Portuguese artist and climate activist.
The fear of amnesia led him, from an early age, to want to record and save much of what he saw, learnt, thought and felt. In this sense, photography has played an increasingly important role, being seen as a means of immortalising concepts.
Since 2017 he has been developing a time capsule in which he intends to exhaustively archive sequentially recorded images. The clash with climate science data in 2018 made him see this project as even more urgent. In recent years he has been preparing an ambitious project called Voyager Ø, which was launched at Burning Man 2023.
The world as we know it will disappear in a few decades.
Let some memory remain.

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