Evru

Arnaldo Antunes

Image © Evru, Letter to the Universe, 2017
Photography: Oficina de disseny

Arnaldo Antunes

knowledge

know
where
to put your hands
(not in your pockets)
where to
guide the gaze
what to look at
and what look
(threatening
or
pleading
sweet
or
defiant
looking on
the target
from afar
or
examining
the microbe
in the microscope)
to throw out, in
silence
or saying something
knowing what
to say
when, how
and for
whom too
in what tone
of voice
(enigmatic
or
curious
soft
or
malicious
hinting at
something
quite apart
or
ironically
stating
the obvious)
and even
what gesture
to end the phrase
with
(fluctuating or
sinking deep
drawing out
a long arch
and then
picking it up
or gathering
from the air
the latent
fruit
of the very next
moment
overflowing
inundating
the table
and the papers
on
the table
or stuck back
in the throat
like air
in the
lung sac)
knowing
exactly
what to do
for what reasons
when raising
the glass
to your lips
and even
what point
to twist them
later
into a quick
smile
just enough
to seem
natural
and be
natural
or be
seeming
only what
it really is
rightly knowing
the time
to lie
and how much
(if only
to omit
one fact
or shut up
or invent
another
in its place)
give in
or not give in
to desire
light another
cigarette or not
take or not take
he next
step
choose
the next
word
or decide
to say nothing
it’s a lot
for just one
(amputated
multitude)
person
imagine then
thinking
of the reverse
inverse
of the disuniverse
see
the thing
all
inside
and out
from bow to stern
palpate
the pulp
on the skin
feel the entrails
the clothes
as well
and still
be just fine
it’s too much
even
for a god
if there is
a god
confronting
its condition
or even
sticking
your neck
and head
into the ground
like an
ostrich
or
(a man with
) a (
a)
howitzer
.

Evru


Evru (Evrugo Mental State, 2001). On 23 February, 2001, Zush disappeared during his retrospective exhibition Zush. Tecura, MACBA. His disappearance paved the way for the birth of Evru, which he defined as ArtCieMist, a combination of artist, scientist and mystic. Formerly known as Zush (1968–2001) and Albert Porta (1946–1968), he began in the world of art with the dealer René Metras, and since then his work has been seen in important museums, including MoMA (New York), the Centre Pompidou (Paris), MNCARS (Madrid), MACBA (Barcelona), the Guggenheim (New York) and the Ye Um Foundation (Seoul), amongst others. He has participated in several group exhibitions, including New Images from Spain (1980), at the Guggenheim New York, and Magiciens de la terre (1989), at the Centre Pompidou. Since 1995 he has created numerous digital pieces, publishing the interactive CD-ROM PsicoManualDigital, and initiated the digital painting programme TECURA, which he has continued to develop since.

Arnaldo Antunes


Arnaldo Antunes (Sao Paulo, 1960) is a musician, poet and visual artist. From 1982 to 1992 he was a member of the rock band Titãs, one of the most important Brazilian groups of the 1980s. He was a singer and composer for Titãs and participated in the recording of seven records. He was the composer of greatest hits like “Bichos e escrotos”, “Comida”, “O quê”, “Família”, “Miséria” and “O pulso”, together with other writers. After leaving the band, he began his career as a singer, composer, poet and video artist. His best-known records, books and works include Nome [Name] (1993), Ninguém [Nobody] (1995), 2 ou + corpos no mesmo espaço [2 or + bodies in the same space] (1997), Um som [A Sound] (1998), O corpo [The Body] (2000) and Palavra desordem [Word Clutter] (2002). In 2002 he recorded the CD Tribalistas with Marisa Monte and Carlinhos Brown, which won a Latin Grammy. He is one of the best-known contemporary Brazilian poets, heir to the concrete poetry movement of Haroldo de Campos and Décio Pignatari. As a performer, lyricist and composer he has collaborated with many performers and musicians, like Laurie Anderson, David Byrne and Ryuichi Sakamoto. His experimental work moves between the avant-garde and popular culture.
Photography: Oficina de disseny