Gravação relativa à aquisição e legalização de Jacarés

AUTOR: Binelde Hyrcan
DATA: 2022
TIPOLOGIA: Vídeo
N.º DE INVENTÁRIO: MF.2022.002
N.º DE CATÁLOGO: #056

Memória Descritiva

A partir de “A G I T A T I O N S U R N A T U R E L” (2016), versão inglesa. Texto: Jean Baptiste Gauvin (Jounalista, Paris); Ondine Breud (Professor de Estética, Monaco); Binelde Hyrcan (Artista).

A Falsidade Explicitada

Para não parecer fazer um documentário e manter o carácter autêntico da conversa, utilizei o meu telemóvel. Fui ter com dois veterinários para os interrogar sobre esta história da vacina. Eles forneceram documentos que atestam que é impossível. Para o jacaré se tornar inofensivo, seria necessária uma dose enorme de pentobarbital, uma droga que normalmente pode acalmar um jacaré, mas que o tornaria quase vegetativo. Fui sempre tomado pela geração beat – os escritos de Williams Burroughs fasci- sempre me apanharam.
Assim, o facto de ter encontrado pessoas que me contam histórias que são absolutamente verdadeiras e sem qualquer substância, falou-me. Este vídeo-trabalho tem uma ligação mas não directa porque o contexto não é o mesmo.
Quer as histórias destes jacarés sejam verdadeiras ou falsas, elas solicitam curiosidade e imaginação. Criam imagens de uma força incrível como as escritas em papel por Burroughs. O que é ainda mais preocupante é que já não sabemos onde se situa a fronteira entre a realidade e o reino da crença, entre o facto e a fantasia.

Sobre Binelde Hyrcan

Born in 1982 in Luanda, Binelde Hyrcan spent the first years of his life in Angola. A child during the war, he was profoundly marked by the deaths and massive destruction in the city. The youngest of a family of thirteen children, he soon felt the desire to build walls to shield himself against a world of despair. At the age of ten, he built a giant bicycle from pieces of scrap iron that he found next to his home. Always a peculiar engineer, he also sewed parachutes for dogs and cats… An enfant terrible, yet inventive, the pre- mise of his work was already evident…
In his teens, he went to study in France and it was there that he began his artistic studies. After completing a BA in Nice, he joined the School of Fine Arts in Monaco: the Bosio Pavilion. There, he staged a performance that would make him the talk of every police station across the city. While sitting in a cage he had made himself, he asked passersby to push it, or rather, he ordered them to, because he claimed to be a king. It was a performance about terri- tory and the absurdity of power; when you are a king but in a cage… He later reproduced this performance, entit- led King, in Luanda, Angola, as well as in Maputo, Mo- zambique. This would be his first step towards work that contained as common themes the absurdity of power and mocking of human vanity. He then worked on a series of stuffed chickens that he dressed in human costumes: soldier-chickens under the wing of a king rooster, a queen hen and a judge chicken that led them to death. In front of them, coffins the size of chickens. Also on display was a cosmonaut chicken giving a speech. Delusions of grandeur (art pieces exhibited at the Museum of Contemporary Art in Lisbon, the Museu Colecção Berardo, in the exhibition No Fly Zone, in 2013, as well as in Marseille)… A Napoleon chicken, an orgy of chickens (exhibited in Milan and Monaco, 2014); chickens everywhere and in all positions, always, however, with the intention of ridiculing the power of those who are too
powerful and thereby breaking free. This is Binelde Hyr- can’s quest: in his installations and performances he wants us to reflect on the absurdity represented by political and social customs and attitudes. To this end, he sits on a giant chair in the middle of Luanda, right in front of a state buil- ding, more significantly directly under a somewhat special tree, the one that contains the most birds in the city and hence the largest amount of excrement droppings. One day, for the whole day, Binelde Hyrcan, dressed elegantly, would receive a hail of excrement on his head. He named his performance White Rain; the white rain of bird drop- pings… Everything was filmed and shown at an exhibition in Monaco. A Jack of all trades, Binelde Hyrcan does not stop at performances and installations.
He also took part in the set design of the exhibition Jacques Tati in 2009 at the Cinématographie française; he invented the Moye Chair, a chair based on computer keyboards, in collaboration with Domeau & Perès for Pharell Williams; he has directed many music videos for musicians such as Mathieu Chedid (Le roi des ombres), Tahiti Boys and Jack N’Kanga; he did the set design for a concert of the very popular singer Patrice; he filmed kids in Luanda dreaming of driving a large sedan while sitting in a sand pit on the beach and made a short film about them entitled Cambeck. Binelde Hyrcan is also those little characters who populate canvases, cardboards, wood planks and wine bottles; little characters very simply called Naïve boys. With a big smile on their lips, they are naive about life but wear T-Shirts that speaks volumes about their desires: «Suck me», «Be happy», «I can see you», «Do you think I’m special?»… Desires ever greater, better and blessed. «We will repaint the world,» says Binelde Hyrcan very often.
www.pedropires.pt

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