“Memoryhouse” is an ongoing series of small and durational poetic narratives and installations that reflect our projected realities and notions of movement as stillness. During the course of the performance, I concede to, interfere with, and change my reality by meddling with my seemingly instinctive area of perception and cultural camouflage. I tell an audience (physical or virtual) that my boundaries on a spectrum are universal constants of the human race. This project is about the state of grace of our lives and where it lies within time given and time taken.
Images from four iterations between 2018-2019 (ongoing)
Before Language I
Before Language is an endurance performance that takes into consideration the system of language and behavior, combined with interpretation and intervention, and reconstitutes the room the artist occupies.
One could say that the beginning of language was that of onomatopoetic rhythms and cadence phrasing, which being an unwritten language at first, lived primarily as a sound to be understood rather than as a symbol of meaning. This work takes into consideration the system of language and behavior, combined with interpretation and intervention, and reconstitutes the room the artist occupies. It’s a continuation of a previous project titled Autopsychography where the artist translated the poem Autopsicografia by Fernando Pessoa in five different languages, and it was re-translated back to its original, Portuguese. This new iteration of the work adds twelve new language translations of the poem, along with a period of substantial study of the continuity of anthropological investigation of the man before language and communication. The artist uses her perception of the definition of language as myth and the facts of the mind that manifest itself into matter.
Before Language II
Durational Performance will take place in the three weeks of residency at Shoebox Projects. Open to the public 7 hours a day for three weeks.
The installation included but not limited to: video, sound, movement, painting and sculpture.
Antunes regularly creates performances for alternative spaces and focuses on site-responsive performances responding to both the history of the site, as well as to the immediate landscape and engaging the audience directly in the concerns of the work, to create an experience that is both visceral and intellectual. She incorporates a broad range of media, and often engages all the senses
PS.: This is an ongoing series. First iteration was developed at Gamli Skóli Arthouse, an artist residency in the center of an Icelandic Fjord, Hrísey and performed at Kaktus Gallery in Reikjavik and Seaborg building, Iceland.
Uma performance / exposição ocorrendo em um espaço e tempo pausados por suas conseqüências impraticáveis.
Between What We See And What We Say
A multidisciplinary collaboration between Galia Linn and Amanda Maciel Antunes. Installed at the sanctuary at Blue Roof Studios (Linn’s Studio). A series of performance by the artists and guests activated the space.
45min. A Performance for an abstract audience. Depicting the artist as his own audience and
becoming the unworldly idealist of his reality.
Theme: The context of reality as a lens by which we identify and understand ourselves. We
experience reality in a series of different locations. Changes in physical distance dictate the
mechanics of our relationships with ourselves.
Exploring these questions:
How does the perceived permanence or temporality of our location affect us? What man can
pretend to know the riddle of another’s mind?
In a sequence of live drawings and movements I’ll respond to sound experiments and a video
installation projected onto a blank canvas — I would like to explore the interest in the
anatomy of human curiosity. I am excavating the visual and emotional tropes of my explored
landscapes. I want to test the limits of response when the mundane and unexpected coexist. I
want to know how we perceive reality and its relationship to our collective memory.
Don Quixote // Until Death It's All Living
A Center In A Table
A Center In a Table (ONGOING)
2018-2019 (7 DINNERS SO FAR)
A Potluck Dinner with artist Amanda Maciel Antunes and our collective memories.
Guests are invited to bring a dish to share that they can talk about and this dish of choice should represent a past memory that you are sharing with other guests. These memories will be video/sound recorded, so you have to be open to that. This is a private dinner, only confirmed guests can participate. It’s part of a series of video memories the artist is making for an on-going narrative performance piece titled Memoryhouse.
These are photograph prints of digital photos from my personal instagram taken during my travels between my homeland Brazil and currentland USA, printed and stitched as a new memory composition.
Mandacarú is an endurance performance film shot with a single drone during a 24h period in four deserts in Southern California, extending from Coachella Valley to the Mexicali desert, blurring the lines between borders. The work suggests an unhurried emotion portraying the artist caught up in the irrationality of being an immigrant caught up in the paradox of having limited capacity to triumph in transient moments; deliberately drawing parallels to disorientation and shifting between solace and isolation. The artist’s costume is a parachute, having acquired significance through much use, and is an object of safe landing. The sound is a distorted reference to a Brazilian lullaby, titled “O Xote das Meninas” meaning The Xote for Girls (en. “Xote” a Brazilian music genre and common type of dancing) which is sung to/by young girls as a metaphor for sexual awakening and puberty.
Mandacarú, 11min. 2017
Film/Performance/Voiceover Amanda Maciel Antunes
Drone Pilot Erik Graham
Film upon request.
Constructed and Painted parachute fabric, scrim and video installation at Nous Tous Gallery in Chinatown, LA. 2017.
When We Speak Of Generation
45min performance. DTLA. The Mine Artspace.
“From her very flesh and blood and from the constant cycles of filling and emptying the red vase of her belly, a woman understands physically, emotionally and spiritually that zeniths fades and expire, and what is left is reborn in unexpected ways and by inspired means, only to fall back to nothing, and yet be reconciled again in full glory.”