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Convidamos a artista visual Daisy Serena para produzir uma série de colagens intituladas “Colagens para o futuro”.  O trabalho foi impulsionado pela apreciação estética das obras do projeto cruzadas com provocações oriundas da ideia de Amor Catastrófico - inspirada na proposição do filósofo afro estadunidense Cornell West , que Luciane Ramos Silva vem pesquisando e que serviu de base para o projeto como um todo. Daisy nos conta: 

We invited the visual artist Daisy Serena to produce a series of collages entitled “Collages for the future”.  The work was driven by the aesthetic appreciation of the project's works crossed with provocations arising from the idea of Catastrophic Love - Inspired by the proposition of the Afro-American philosopher Cornell West, which Luciane Ramos Silva has been researching and which served as the basis for the project as a whole.

Daisy tells us: 


The  series of arts entitled "collages for the future" was made from photographic records that I also took - mostly - of presentations or rehearsals of the shows "Na Fresta da certainty, the dark red" and "BRITA: Red and invisible places to exist", in addition to the initial series of collages  created as the visual identity for the project.

The arts have a characteristic link that unites them, which is the desire to show our corporeality based on their potentialities of life together with a flirtation with speculative fiction and fantastic fiction. It seems important to me to bring new imaginaries mainly to (or from) the black body traversed by coloniality in a violent way and exposed as this were its "most striking feature"; when, in reality, being externally affected by violence does not make it a trait of a body, it is part of a point of its comprehensive history and subjectivity.

Making these collages with this perspective was also appropriating Cornel West's speech, when he says "blues responds to compassion without drinking from the chalice of bitterness", when he says that the black population could have chosen - only - revenge when it was (and continues to be) lynched, but we chose to be the yeast in the bread, we also chose to be with integrity in the places where they are ours, for the dispute, for the power and also to say what is beauty and what is the future in its multiplicity

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