PLATAFORMA DE PESQUISA EM CENOGRAFIA EXPANDIDA EM CONTEXTOS PERIFÉRICOS
INVESTIGAÇÃO  DE PROCESSOS DE ENVELHECIMENTO E TRANSFORMAÇÃO DE MATÉRIAS, ESPAÇOS E SITUAÇÕES - REPERTÓRIO
SITUATIONS AND PERFORMANCES IN CONFRONT WITH URBAN EXPERIENCES - REPERTOIRE

POÉTICA(S) DA DESTRUIÇÃO define-se como um eixo de pesquisa artística, uma maneira de perceber a realidade através de seus processos de destruição e reconstrução, que toma a cultura material e sua produção de consumo e descarte como repertório. As estratégias destrutivas, procedimento do sistema capitalista, ao mesmo tempo que incentivam a renovação de espaços, materiais e objetos, numa cenografização mundial genérica que toma tudo como aparência a ser transformada, conformam a paisagem cada vez mais entulhada de materiais efêmeros e precários, que circulam e são descartados diariamente. Caçambas, containers, ruas e terrenos que acumulam coisas comuns de toda ordem; edifícios e casas quaisquer em ruínas, construídos e demolidos num piscar de olhos, além das infindáveis manutenções temporárias dominam a realidade global.
 Ao naturalizar este processo, o invisibilizamos, pois nossa atenção está direcionada ao novo. Por quê, então, insistimos na compreensão da realidade e sua materialidade física como algo definitivo, sólido e acabado, em detrimento da proliferação contínua de espaços provisórios, moventes e fragmentados? Como uma maneira de habitar o mundo, a destruição integra processos de transformação e dá-se no agora. Guerras, crises econômicas e lutas políticas apresentam um mundo em movimento contínuo, instável. Não se trata, porém, de utilizar a destruição sem considerar seu contexto social e político mas, antes, de retirar deles seu próprio argumento, redimensionando-o.
 Assim, entre o estilhaço e a memória, cíclica e contínua, a destruição fascina por sua potência explosiva, mas também é temida quando associada à morte. Sua poética é utilizada para destruir, desconstruir ou desmanchar imagens, imaginários, padrões estabelecidos e comportamentos preconcebidos, oferecendo a possibilidade de ampliação da percepção. Seus processos deixam rastros, vestígios, fragmentos, depoimentos, que geram um campo de associações visuais e poéticas.
POÉTICA(S) DA DESTRUIÇÃO é, portanto, um acervo, um repertório de imagens, videos, performances e obras que apresentam a destruição como linguagem. A poética dá-se não apenas no fazer, mas como conceito, procedimento e método construtivo/criativo. Ela opera através da apropriação provisória do espaço, ligada à performance, e não da lógica figurativa e permanente da arquitetura, privilegiando as ações a partir da experiência do próprio corpo. Articula percursos, derivas, coleta de materiais, intervenções e composições. 

​SCENOGRAPHY, GLOBALIZATION, PERFORMANCE
 
Discussions on the effects of globalization on the field of aesthetics have pointed to "the generalization of the disposable as the most unnoticed sociological phenomenon of the 21st century" (Bourriaud: 2011,79). This situation has led to an overall precariousness, based on commodities and relationships which brief validity has already impregnated our perception. This system, which operates through dissatisfaction, offers built needs on a daily basis, where the desire to acquire a specific value overlaps with the thing itself, generating all types of formats, despite the apparent diversity. The global trends determining consumption have thus produced the emergence of a formal global vocabulary which standardization of imagery equalizes and impoverishes production.
 The destructive strategies, the procedure of the capitalist system, while stimulating the renewal of spaces and objects, in a generic global scenography that takes everything as an appearance to be transformed, compose landscapes that are increasingly cluttered by ephemeral and precarious materials that circulate and are discarded daily. Dumpsters, containers, streets, and empty lots accumulate things of all types; buildings, and houses in rubble, and endless temporary maintenance dominates the overall reality.
 If everything changes rapidly in a vicious cycle, we may consider that we live in immediate environments, regularly constructed and reshaped by styles and trends. These spaces have been taken as real in their materiality, encouraging an understanding of their representation as 'truth.' A paradox is then introduced: if we take the logic of the event/performance as an accelerated reality of cheap materials stuck to adhesive surfaces, it becomes both truth and representation, creating complex layers of understanding the relationship between image, simulacrum, and experience.
By naturalizing this process, we make it invisible, because our attention is directed to the new. Accustomed to hyper-reality, we want values based on consumption and the idea of wealth as a socio-cultural value, especially in colonized countries carrying the dimension of civilized inferiority. Why, then, do we insist on perceiving reality and its materiality as definitive, stable, and finished, to the detriment of the proliferation of temporary, renewable, and fragmented spaces?
 This way, this research seeks to move, from scenography to performance, through a journey that involves the context of the city and its production to examine its discards - perhaps the most real things we have (Jean Baudrillard said in Simulacra and Simulation that "all real is residual") - and find in them ways of elucidating about our way of inhabiting the world, and consequently, of representing it. What imagery do we choose to build individual and collective values? How do we relate forms, materials, and techniques to sociocultural values? What, based on the Brazilian visual-spatial experience, would we have to say? What poetry can emerge from this condition? What kinds of situations does it provoke?

HOW TO CROSS THE DEVASTATED FIELD:
BETWEEN THE SPECTACLE AND ITS RUBBLE

While crossing the artistic, political and economic territories through space, their materiality in constant displacement, and the actions in and /deriving from it, this project proposes the formulation of a praxis called poetic(s) of destruction platform. This expression originated from the observation, registration, relationship, and manipulation of abandoned places and materials. This platform is defined as a centerline of artistic research, a way of perceiving reality through processes of destruction and reconstruction, which takes the material culture and its production of consumption and disposal as a repertoire, giving it new visibility.
This investigation integrates my research How to cross the devastated field: between spectacle and its rubble, under development at the Center of Performing Arts of the University of Sao Paulo, a multidisciplinary platform with the purpose of investigating new instruments and strategies for scenographers and designers. The project coordinates a set of procedures for the creation of devices, performances and shared practices in which the idea of scenography dissolves and becomes a relationship, a perception, an event - an experience about unique situations that mobilizes the body and its crossings.
The platform covers disciplines such as performing arts, visual arts, geography, urbanism, archeology, philosophy, and privileges itineraries, drifts, collection and cataloging actions, and direct experience with different materials and their states. Poetic(s) of destruction operates through the temporary appropriation of space and materials, more linked to performance art than the symbolic and permanent logic of architecture.
In this process, by examining their own body to "find their anthropological dimension in their urban experience", scenographers expand their language and their positions regarding the world, acting, searching, performing, taking their own relationship as a laboratory investigating reality. These practices give rise to hybrid creations that address not only the formal and conceptual relationships that make up the performance/scene, but also the socio-cultural context in which it is embedded, its representation, language, and the way of realization.
In this context, designers are invited to collect disposal of different materials on the streets (such as paper, plastic, fabric and other fragments) to develop ephemeral artistic practices performed as costumes, set design, installations, and interventions, composing poetics of the waste of capitalist system's destructive strategies.
 Discarded and found materials don’t offer broken memories because they are not recognized as a personal category. The general material’s condition – size, color, form, properties, age – challenges designers to explore, to feel, to investigate possibilities to create temporary and unusual situations. The designer crosses materiality and performativity connecting presence and desire, place and context, space and perception, production and critics.   
 The creative method involves recording materials through pictures, collecting, transforming and performing in different areas. Thus, the designer as a performer experiences these processes in his/her own body, bringing others layers of representation, expanding his/her work from an internal perspective.
 In this sense, destruction integrates transformation processes and its taking place now. Therefore, between shrapnel and memory, cyclic and continuous, this poetic, on the one hand, is feared, as it is associated with death and the traumas of humanity, and on the other hand, it is used to deconstruct or dismantle images and imagery, revealing established patterns and preconceived behaviors. The icons of a precarious world - its waste, remains, trash, fragments and everything that is rejected, discarded – all of this seek, based on its condition, a form of existence to deconstruct binary systems like beautiful/ugly, wealth/poverty, male/female, construction/destruction, and so on. Their processes leave traces, vestiges, fragments, testimonials that generate a powerful field of visual and aesthetic associations.
 Moreover, destruction has been investigated in this context as an allegory, a critical demolishing procedure being, at the same time and paradoxically, a natural constitutive element of every living creature, and therefore becoming human. This research, when concentrating directly on the constitutive materiality of language, retreats before the result of the scenographic production, proposes the questioning of the still hegemonic categories of representation, pointing out other possibilities of understanding the relationships among space, form, matter and image, the builders of visuality.