VERBATIM-ish :: Henrique Fagundes

04.03.22 [raw single sided transcription]


{"jobName":"hfinterview2022","accountId":"608603032802","results":{"transcripts":[{"transcript":"that's cool. Yeah. Thank you. Yeah. No, no, no. Yeah. This year we had like and an unusual carnival because all parties were private instead of public parties because of Covid and I said a lot of parties. But I actually just keep on studying for my master's thesis defense and or hanging out with my friends here in my hometown. Yeah. Yeah. Yeah. I am. I'm doing my master jesus in visual arts here on And no. Yeah. I talk about virtual reality and augmented reality. And actually yesterday was my defense, my security defense. Actually the defense you have before the act, the actual defense. And it was great. Yeah. You Yeah. Yeah. Thank you. Mm hmm. Yeah. Uh Yeah. Yeah. So I started working with New York City in 2020. I had an invitation or collective exodus division called hyper chancel. And they they saw on uh physical installation of mine. And they invited me to transform the installation in a virtual one. And I never did anything like that. I've been working with treaty for about eight years. And but I never worked on the manner. And so they did that documentation. And it was really, really interesting. Uh and since then I've been working solo early with virtual reality and element reality. It made a shift in my whole process of working. And for the past almost two years I've been thinking all my thoughts, my creative process. I think about how can I can I use new york city to exhibit a specific work. So I have like now I'm working in the in my first individual exhibition i for my residency program. And yeah, tropical original fiction was like this first approach to what was possible and in the platform. But for me was my first thought in virtual reality. Like my my first approach, actually. And yeah, interesting you say about the hidden room because I thought everyone we'll look after it. And then one year after talking to Don into in that showcase, I realized It was no one. So Yeah, exactly. Yeah. Yeah. I made that video in 2020, the same year. I started working with New York City and is actually quite, quite fun that you reach it because I had almost forgot about it. And it was like um how how can I explain I for a year and a half, Like to 2000 and 2019, I studied a lot about my so the state where I live in brazil about the history, the formation of the state is uh the southernmost state in brazil. And it has major conflicts, border conflict, military conflict. And sometimes we're part of the Portuguese empire. Sometimes we're part of the spanish empire. So there's a lot of history. Yeah, a lot of colonial memories and colonial symbols that are in embedded in our society and our thinking. And they are like hidden. They are not clear to everyone's reading about. And I've thought to myself, well, this those that does affect my reality does affect how I perceived this environment. And you have all these old imperial buildings, all military references, all these faces in the statutes that you don't know what they did or what were their their importance. You know the stuff. So I did a research and got to know I already knew a bit but I got to dig in really deep in my state's history and yeah. Yeah. I grow I grew up here and my family has a history of moving on between these conflicts. My I'm staying my grand grandfather and then this conflict had a major impact on our lives and how we live and yeah that was my investigation investigation. And so picks some translated uh code of arms. Yeah. It is about speaking the symbols and playing with them um creating new symbols that Reference the more actual history than the fictional one. You know what I mean? Yeah. Yeah. Yeah. Yeah. There's a fiction. Yeah. There's a fiction of this identity. Like and then I played with this fiction and created new symbols. And but I don't think something is about I take oh some major symbols of the state's flag and with the symbols I create new ones. And I talked about this historic context and it's fiction and this is major conflicts Why using these three D objects. Uh and with the help of argumentative reality. Two people experience experiment with the symbols and create an interaction with the symbols. So it was really, really fun to see people using them and engaging with the project. And so yeah, that was the most fun of it. Actually. The video is that yeah, the video, the video is a bonus to or you could say like a a context. Yeah. For all this interaction. So I this this artwork was part of public public prize and, and so I could get a more major audience and we are we are instagram using the three d filter from Instagram I could important and use and used then in instagram and people could use send their their photo to me. They're they're big wearing the filters. I could show you some pics. I guess I have this. It just it doesn't mean it. Yes. Um mm hmm. Yeah. People I think people already had perceived that that hidden, hidden meaning inside is uh, symbols and but they didn't have like a form to express it. So I guess creating his work, it was a bridge between you realizing something and seeing an expression of something, you know. Yeah, I think, yeah. But I guess what was surprising it was that people already knew about it. I already knew already felt it, you know, because it's embedded in your Yeah, it's embedded in our reality in, you know, our monuments, statues and it's everywhere at the time I was living in the capital of this state called portal agree or it could could translate happy part. And yeah, so Puerto is in bed with these symbols and statues and monuments and now I live in other cities and metropolitan metropolitan area and uh where I where I grew up actually. And then I started creating a new work. But yeah, we can talk about this later. I'll wait. I'll wait if you have more questions because there's a lot of money. Mhm. Yeah. I think that the symbols should exist, but not where there they exist, not in the public space. I think they should exist. I can and uh and that kind of information away or, you know, a museum of this is where the people that screw you up in the past. These were the slave owners, the colonialists, the killers. Because yeah, and I think they should exist but elsewhere. And yeah, I could see it. I remember reading about this one advertising of cigarettes uh for from marlborough I think. And then from the eighties or the nine, I think the eighties is actually actually, it's a paper by I don't I won't remember his name, Fernando Hernandez Fernando Hernandez, I think. And he talked about like his realization, his absurdism of how cigarette advert advertisement were made in the past. So, yeah, I could see I could see a bridge between it's more like a mhm hiding the truth between something. Yeah, yeah, yeah, yeah, yeah. I think I could talk about a little more uh furthermore, but this these processes of ah like you you asked me how, how I think this historical figures, figures should be, where the place they they should be. And that remember me of a Watchman series. I don't know if you had to watch The Watchmen. Yeah. Yeah. But it's good. It's good. And there's a similar, a similar process in watchmen where the the main character, she has access to all the her family history and there's a museum kind of thing. I think it's worth to watch only because of this. Like it's fun. It's funny when you're writing some fictional uh, some fictional thing and then that fictional content actually referred to something that could be part of your reality or should be part of your reality. Yeah. Yeah. Mm hmm. Yeah. Yeah. So I can start talking about it if you want. I will, can you able my screen share? Yeah, that's okay. Yeah. Yeah. Um, so I said to you that I've moved from this capital city, uh, back to my hometown. Yeah. Yeah. We made uh, I think one of the first workshops we did, I was I was experimenting with it. So yeah, how can I tell you without taking a lot of time. I grew up here in Canada was is a city called Canola. It's a poor city metropolitan area. You call, you could call para ferric area of this capital and all of my life. I was heading my interest to the capital, My cute, my cultural, my subjective interest and then with when I was 16 or 17 I started studying in the capital and I went to the capital all day and I spent I would spend all my day there and then I would take the subway to home but I wouldn't be living in this hometown. I would I would be, I would not be experiencing the living of this hometown. I was just sleeping in my bed and then waking up taking the subway going to this capital. Yeah, so with the pandemic I had to move back because of financial issues and other events in my life. And I really started to live this experience of candles of this city and I realized with thinking about but hasn't fixed on uh this work we're talking about that I was referencing something uh yeah inflicted a lot of subjective violence and within my myself but I wanted to shift my interested my interests and my interests instead of talking about something uh bad, I wanted to do a homage to my hometown like creating recreating an affection with my hometown. So I created this album, entered the reality filter called Laguna Fatto translating will be affectionate place. I actually started to building a new york city exhibition but then I had to stop because of other things. So yeah um this was a major shift in my poetics where I started to look and not not not in only my poetics, it was a major shift in my life because I started to recognize myself more. I ci how can I say in english, I almost mm hmm I had like a Hi agen eyes, is that the word? I will? I will Gosh, It's hard to explain in english. But you could say I was some some someone they're lost its its body, its bonds and it's roots. Yeah. And Yeah. Yeah. Exactly. Yeah. So this is like the animation of the filter. You can you can access from my instagram profile and this is the the street in front of my house where this house you could, if you could take a look at the window, you will see this this wall. Yeah. And this is like I a conceptual sequel to Brazil Dixon and I want to keep creating in this manner. But because of the my residency and the other projects I had to take a break. But I immensely love this work and it means a lot. I don't know, I want to happen. Oh, I lost you for a moment. Sorry. Yeah. I think it was my connection. Um what what, what what I was saying? Yeah. So this relates to what I see of the future. Yeah. You you were asking me as an artist. I stopped creating and our babies, my internet is kind of unstable. But you can warn me when I freeze. Oh, what? Uh So I When I was in graduate school and when I was in my early 20's and I was ah talking about major political paradigm. Sorry and trying to study and talk about something that was really more than I could do and not saying that I didn't do it, but now I look more to myself and more to my community and more to my surroundings. Shoot talk about and shoes my team. So in my residency in new york city, I'm creating ah exhibition based on the I recreate my family into a possible dystopian slashes utopian future. I could show you a little bit, a little glimpse if you want to see. I have some images I think if I open new york city now more connection. Yeah. Yeah, I have some images here. Uh Here let me share again. Uh huh. Okay. Mhm. Yeah. So I'm creating two environments of the future of brazil of what I imagine of the future and in the future there is a future called non fungible person. So if you're rich and if you're from elite, you could purchase purchase poor dissident and people can have to set out their digital bodies in order to survive. So I'm creating this. So this is a digital avatar of myself. I'm creating this narrative where I I had to sell my body but I could I managed to preserve my family, my family is copies and it's like uh this is uh images of the the future. Yeah And so like this is a scan of my grandfather. This is uh, one of myself. Um, yeah, so I have this all like five or six cans of my family heads or bus and yeah, yeah, yeah. Yeah. My, I guess um, my, my, my mother and my father, Yeah. This is something we can discuss. Uh, my family comes for a working class background, like my sisters, my grandfather here that you're seeing and he's actually Alive and he has 93 years old and he came from the countryside. He doesn't know how to read properly. He worked all his life in the field and all of my grandfather's grandparents worked in that way and then came to the metropolitan and periphery area of the capital to try to build a more prosperous future for their family. So in the history, uh, my my parents came, my mother and my father and there my mother is a, was a teacher now she's retired and my father is like and all working class operate very, he operates trains, he drives strings. And so sometimes it's difficult, it's hard to manage to communicate something to them because I have some major shift of reality of like entering the university, entering uh, my entry, I'm the first one, completing my, my, my my masters. So I'm trying to create a bridge between myself and then and trying to realize how, yeah, how is that? It's not just my history, my history is entangled. It's related to my grandfather, my grandmother. So it's all a line that started with my grand grandparents fleeing for this, fleeing because of these conflicts of Imperial Portugal and Spain in spain imperial brazil and then my grandparents and then my parents and then myself and myself as a person that she works with. Hello, virtual reality augmented reality is and I don't know if you know her. Uh what was the last part you heard Alice Alice Swanson? Yeah, yeah. Alice has an interesting, interesting, interesting phrase where she talks about how she tries to great works for the ancestors of the future and I relate to it uh like very much ah yeah, yeah, yeah. So I think my my personal role as an artist for the future is trying to preserve that and trying to preserve little things the main news. And it was hard, it is hard for me to keep up being an the artist Being for a working class working class background. I have to work 2, 3 jobs while being an artist. Okay, since my, since since I was 17, I all I slowly worked within my field. But I see I look at my privileged peers and you know, we know that artists abroad, the majority have come from a privileged background and looking at it. I see how they approach their work and how their work is a priority. And when my work is my priority. Uh sometimes I cannot make it my priority. And this is hard. Yeah. Living is my priority. Yeah that's right. And yeah that's exactly it's living in my priority is my priority as it was the priority of my grandparents and my parents. So I hope so. I hope so. Yeah. An example I can give you is like Myself trying to relate with things like the metaverse uh internet 3.0 and at these these crypto discussions while trying to feed myself and live in the present, all these future discussions. For me it's kind of hard to relate and and I think what I'm doing and other peers of mine, what their colleagues are doing is trying to stay in the present, focusing the discussion in the present and to try to build a better future. Um So I think artists should be into discussions of how we can manage to build a more decentralized and more um democratic Elrod reality and more. But at at the same time we have to learn our money. We have it's like we have to be in this discussion but it's hard. Yeah it becomes a price. Yeah. Yeah. And by the end of the month luckily we'll be able to experience it. Mhm. Yeah we can put uh we can put like uh a link to it, you could put a yeah or QR QR scan you can put a car skin and leave. Yeah we can get yeah. Yeah I took a look. Yeah. Yeah. Yeah. Yeah. I could go to but I I think I want to thank you and thanks for your time. I think I'm cracking it up again.