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#11 - MAGAZINE
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Próximo tema/Next issue:
Deadline: 20/02/10
DOISTWO
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EDITORIAL
EDITOR-CHEFE/PUBLISHER Eduardo Burger - [email protected]/PUBLISHER Sandro Bueno - [email protected]/REVISORGeraldo Escudero - [email protected] Feriato - [email protected]
COLABORAÇÃO/COLABORATION
Ale MacedoAna HimesAndreja BudjevacCésar MunhozDan pearlmanDeco VicenteEduardo BurgerFelipe BracelisJeffrey HerreroJener GomesMattia Paco RizziMichelle De lavegaNico PalombaNo klassdesignPilar BerrioRicardo SilvaSoftmachineThiago Carvalho FernandesTimo StammbergerWilly Ollero
AGRADECIMENTOS/THANKS
WOOF’S SOUNDTRACK SPECIAL THANKS: CÉSAR MUNHOZ
CONTATO/[email protected]
COLABORE/SUBMITPara colaborar envie e-mail para:[email protected]
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A WOOF!MAGAZINE é uma publicaçãobimestral do WOOF!STUDIO
São Paulo - SP - Brasilwww.woofmagazine.netwww.woofstudio.com.br
Todos os artigos publicados na revista são de responsabilidade de seus autores. Não refletem necessariamente a opinião dos editores.
É expressamente proibida a reprodução parcial ou total dos textos e das imagens por qualquer meio, sem a nossa prévia autorização.
WOOF!MAGAZINE® é marca registrada.
FOTO
: ED
UA
RDO
BURG
ER
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por Deco Vicente
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E cá estou eu. Olhando para as paredes deste lugar que escolhi dividir com minha velha conhecida. Eu mudei. Ela não. Tem a mesma face disforme e inconfundível de sempre. É a velha tumba deste projeto mal-acabado de nosferatu que quis me tornar. A mesma casa. Mesmíssima. Já sem Helena. Ela não aceita o quanto precisava me libertar dos seus beijos, das manias de arrumação que começavam do nada e principalmente das canjas de galinha feitas prazerosamente às terças sem se importar com a temperatura do outro lado da janela. Por mais que me explicasse, jamais fugiria do rótulo de crápula ansioso em voltar a comer as meninas-cabeça frequentadoras das sessões de arte do cinema da augusta.
Logo eu, que não conseguia sequer dar um oi para qualquer uma que fosse centímetros mais bonita que Elza Soares sem estar devidamente apoiado em álcool. Que tinha vergonha de minhas pernas tortas sem serventia até pra montar em um pangaré raquítico com força para cavalgar apenas poucos metros.
Não era esse o plano. Queria apenas olhar para aqueles olhos profundos, quase deformados de olheiras que não encarava fazia uns 13 anos, desde que a primeira menina surpreendentemente aceitou um sim e matou a era dos nãos eternos, o tom de toda adolescência. Sentir o hálito abafado e pegajoso grudando em meus passos, lembrando a cada momento da finitude que fica mais próxima em um piscar de olhos. Sentir-me vivo ao lado de minhas desobrigações.
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Não Helena, você não entende. Seria mais fácil, eu sei, se arrumasse uma pequena fútil de grandes argolas nas orelhas que servisse para você usar como argumento em conversas satíricas entre seu grupinho de amigas.
Mas não é outra. É a de sempre. Que afugenta a geração valium, mas me impulsiona como se fosse mais um dentre os milhares de caranguejos-ferradura em busca das lascivas fêmeas de seis patas. A que me mostra de verdade. E, por isso mesmo, me impulsiona a mudar.
É clichê, eu sei. Não são seus braços, Helena. Sou eu.
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TUBO DE ENSAIO: INTERIORES MUTANTES E POLIMÓRFICOS
A agência criativa alemã dan pearlman inspira a próxima geração de design de interiores para o showroom, Create Berlin“ e para o Second Life. Desengane-se quem pensar que as Epiphytes são peças de mobiliário. Os protótipos criados pela agência criativa alemã dan pearlman são criaturas híbridas, únicas, de formas poligonais e evolução orgânica.
Umas prolongam-se sobre mesas, sobem pelas paredes ou serpenteiam pelos tetos. Outras estão apenas suavemente dispostas sobre os interiores que as abrigam, cobertas com vegetação, adornando ou funcionalizando o espaço. Surpreendem sempre, quer pela capacidade de brilhar no escuro ou de garantir a sua utilidade de inúmeras formas.
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“Os nossos objetos são como mutantes criados a partir de áreas como a manufatura, o mobiliário e a biologia”, afirma Nicole Srock.Stanley, fundadora e managing director da dan pearlman.Entre as peças criadas para o showroom de apresentação e, em paralelo, para o “Second Life”, contam-se uma TV, colunas de som, candeeiros, vasos, pratos, espelhos e até mesmo um revisteiro.
Criadas com um propósito experimentalista, as possibilidades que se abrem a estas peças são praticamente ilimitadas: possuem a capacidade de permear espaços reais e virtuais através da sua multi-dimensionalidade. O posicionamento destes organismos define a sua funcionalidade e a vontade dos humanos ou dos avatares determinando os parâmetros da sua performance. A (re)produção das peças decide-se on demand. A assimilação inovadora de ambos habitats definiu não só a criação das peças e a sua experiência, mas também o seu desenvolvimento - a
manufatura (artesanato digital) e materialização de organismos binários botânicos.Para o desenvolvimento destes protótipos existiu a preocupação de que fossem variáveis na forma, cor e posicionamento. O candeeiro trepadeira, que ondula sobre as mesas como uma planta rara, é um exemplo do processo, e tem como passo seguinte uma parceria com a Philips. Foi com esta perspectiva que a dan pearlman e a werk5 decidiram adivinhar o futuro do design de interiores e desbravar trilhos inovadores na sua produção: o mobiliário dissolve-se da sua aplicação fixa, imposta, e torna-se ligeiro e flexível, numa correlação entre o design 3d-CAD, a técnica simultânea 5-axis e o material CORIAN. O desenvolvimento do design e a sua experimentação foram cruzados repetidamente, tornando possível a realização em tempo real. “A habitação, a vida e o trabalho estão tornando-se cada vez mais flexíveis e multifuncionais. Com as Epiphytes, queremos acompanhar este desenvolvimento,” garante Nicole Srock.Stanley.
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ABOUT ::DAN PEARLMAN
Na dan pearlman, especialistas em comunicação estratégica, designers, arquitetos e produtores de mídia trabalham juntos para desenhar e conceber o universo ideal de cada marca.Com clientes espalhados por todo o globo, a dan pearlman criou o conceito visual de marcade empresas como a Audi, Lufthansa, BMW, Mini, Montblanc, German Wings, smart, Silhouette, Betty Barclay, Pimkie, Escada e mesmo o Zoo de Hannover.
A área de especialização da dan pearlman é o brand management integrado e multi-funcional. As marcas, tal como os edifícios, são estruturas complexas. Estas apenas podem ser analisadas e geridas com a aplicação de um pensamento multidimensional e interdisciplinar. A dan pearlman dá resposta às necessidades dos seus clientes através de quatro unidades especializadas: strategy, retail, exhibition and media.
CONTACT
Diana Nóbrega [email protected]@gmail.com+49 0176 77 229379
www.danpearlman.com
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COMING SOON
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SÉRVIA - WWW.FLICKR.COM/PHOTOS/ANDREJABUDJEVAC
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Roteiro de RICARDO SILVA
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INT. BAR GLS – NOITE
DÊNIS, sentado no balcão, bebe sozinho, fuma. Bar cheio, movimentado, mesas animadas, alguns casais se beijam.
Música eletrônica ao fundo. Dênis apaga o cigarro. CHICO entra e senta no banco à sua frente.
CHICOOi.
DÊNIS(ainda soltando a fumaça, indiferente)
Oi.
CHICOVocê vem sempre aqui?
DÊNISSe tá a fim de me xavecar, melhor começar com
uma frase melhor. Nada contra, mas essa já tá batida.
CHICODesculpa, mas a frase foi sincera.
É que eu bato ponto aqui e nunca te vi.
DÊNISEntão tá respondida sua pergunta.
Você já me viu aqui antes?
CHICOAcho que não. Se tivesse visto, não teria esquecido.
DÊNISCara, eu não tô legal. Tô de boa sozinho.
Se você não se incomoda.
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CHICOMas é claro que me incomodo.(estende a mão) Prazer. Chico.
DÊNIS(se levantando) Pelo visto, não vou ter paz.
Dênis tira dinheiro do bolso e coloca no balcão, apaga o cigarro, vai sair.
CHICO
(com a mão no ombro de Dênis)Ei, ei, calminha aí, guy.
Eu só queria te conhecer um pouco melhor.Não quero gongar a noite de ninguém.
DÊNIS(senta-se novamente)
Qual o seu nome?
CHICOChico.
DÊNISEntão, Chico, você é um cara superbonito. Em qualquer
outro dia, você não precisaria fazer o mínimo esforço praconseguir o que quer. Mas hoje é um bad hair day.
CHICOOk. Mas acho pretensão você falar por mim. De repente,
eu só tô a fim de bater um papo.
DÊNISConheço esse papo de só bater um papo. Garçon, mais uma
dose.
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CHICO(ao garçon) Mais duas. (volta-se para Dênis). Sim,
eu sou inconveniente e vou te acompanhar na próxima rodada.Não quer me contar por que o dia tá cinza hoje?
DÊNISBrigado, mas pra isso eu já tenho minha terapeuta.
Eu falo pouco, sou de Escorpião.
CHICOÓtimo! Já temos uma coisa em comum. Eu também costumo
Olhar pras estrelas. Sou de Leão.
DÊNISLogo reparei pela juba.
(Os dois começam a rir).
CHICOUm a zero pra mim. Já consegui arrancar um riso do
escorpiano carrancudo. Sabe seu ascendente?
DÊNISÁries, eu acho. Fiz uma vez nesses sites de astrologia.
CHICOHum... Marte é forte no seu mapa.
DÊNISE o que isso quer dizer, Mãe Dinah?
CHICOSei lá. Marte é guerra, é ímpeto, é sexo.
DÊNISPronto. Chegou onde queria desde que sentou aqui na minha
frente.
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CHICONão sou eu que falo isso, são as estrelas. Olhar pro céu
é olhar pra si mesmo, já diria o poeta. (O garçom chega com a garrafa e serve mais uma dose para
Dênis e Chico. Eles agradecem e o garçon sai).
DÊNISGaroto, tenho que confessar, você é engraçado. Diferente,no mínimo. E olha que hoje eu não estou achando graça
em nada.
CHICOMas por quê? Não se leve muito a sério. A vida é curta.
DÊNISEu sei. Você é a segunda pessoa que me fala essa frase hoje.
E justamente hoje eu tive essa nítida sensação de queo tempo passou muito depressa.
Eu olhei pra trás e vi que não dava mais pra voltar.Foi foda!
CHICOHoje? Exatamente hoje?
DÊNISHoje eu quis ter feito tudo diferente. Eu tive vontade
de ter escolhido a estrada certa enquanto eu podia, enquantoainda havia tempo.
CHICOQue estrada? Do é que você tá falando?
DÊNISDa vida, cara. Dessa vida que você tá falando que é curta.
E acredite, mesmo que tenha falado da boca pra fora, ela é. (Dênis acende outro cigarro, dá uma tragada).
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DÊNISVocê fuma?
CHICOAinda não.
(Ficam em silêncio por alguns segundos).
DÊNIS(enquanto solta a fumaça)
Hoje eu perdi meu emprego.Hoje eu perdi meu amor.
CHICOPutz! Hardcore total! Mas o que é que aconteceu?
Perdeu os dois ao mesmo tempo?
DÊNISJá ouviu aquela frase de que desgraça pouca é bobagem? Eu trabalho há vinte anos como diretor de publicidade, tinha ido
gravar um comercial em Porto Alegre e os caras acharam tudo uma merda. Sobrou pra quem? Pro coroão aqui. Me falaram
que eu tava enferrujado. Contrataram uns caras que acabaram de sair da PUC, uns gênios do Youtube, do Twitter, eu nem sei
que porra é essa.
CHICOAcredite, eu também não.
DÊNISEntão é melhor saber pra não se tornar um marginal. O mundo
tá high-tech demais, cara!
CHICOGongaram seu emprego por causa do Twitter? E o bofe?
Como foi que ele gongou?
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DÊNISCheguei em casa e o Fabrício me falou ”eu te amo, mas tô
apaixonado por outro cara, a vida é curta”. Simples e direto. Como se a gente se conhecesse há duas semanas e não há
duas décadas.
CHICODuas décadas? Não! Para! Você tá de brincadeira!
DÊNISBrincadeira? Eu e o Fabrício começamos a ficar quando eu
tinha 23 anos. Pode não parecer porque minhadermatologista é ótima, mas já tenho 43.
CHICOTô Barbie na caixa! Você ficou 20 anos com o cara e levou um
pé na bunda? Puxa! Realmente hoje é um bad hair day!
DÊNISViu como não era tipo? Você acredita que o Fabrício
veio com um papinho de que a gente podia continuar amigos, que eu poderia continuar morando com ele até achar
um lugar melhor.
CHICOFilha da puta!
DÊNISDesgraçado! Como se eu tivesse morado esse tempo todo de
favor, como se a gente não tivesse dividido despesas, amigos, a vida!
CHICOMas pensa pelo lado bom.
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DÊNISQue lado bom? Ele existe?
CHICOVocê tá solteiro, prontinho pra cair na noite! E a suadermatologista é Deus! Quero o telefone dela agora!
DÊNISSem essa, cara! Nunca tive paciência pra esse povinho
pop-cult-descolado!Você sabe que nem me arrependo de ter ficado tanto tempo
com o Fabrício? Eu não tenho muito saco pra esse mundo de neon.
CHICOÉ, desse jeito fica difícil! Pra jogação tem que ter vocação!
Tem que arriscar! A vida tá aí batendo na tua porta!
DÊNISVida. A vida bateu a porta na minha cara, isso sim! Tô sem
prumo, sem vontade de levantar a cabeça! Tô com vontade de desaparecer, de ir pra Índia ou fazer o
caminho de Santiago. (tempo) Não, Santiago, não! Pra Índia que tem muita gente. Fazer aquele caminho sozinho já é
exagero, até porque eu nunca fiquei sozinho.
CHICOQuem é que gosta da solidão? A gente passa a vida inteira
fugindo da solidão.
DÊNISEu falei isso pra minha terapeuta e sabe o que foi que ela me
disse? Que a solidão é boa, que ruim é o desamparo.
CHICOPra mim é tudo a mesma bosta!
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DÊNISEla me disse que é diferente, que você pode aproveitar seu
momento de solidão pra fazer as coisas que você gosta,mas que o desamparo te empurra pro abismo.
CHICOQue porra de abismo é esse?
DÊNISSei lá. Mas ela me falou. E eu fiquei pensando nisso. Nesse
abismo. Acho que é um lugar onde muitas pessoasestão e não se dão conta. A gente nunca olha pro que é feio
porque a gente tem medo de se reconhecer ali. (O telefone de Dênis toca, ele o tira do bolso).
CHICOÉ ele?
(Dênis faz que sim com a cabeça).
CHICOVocê não vai atender?
DÊNISDeixa tocar mais um pouco. Deixa ele se sentir bastante
culpado, pensando que eu me joguei de um viaduto, ou que uma hora dessas, eu tô preso no meio das ferragens do carro.
(O telefone para de tocar).
DÊNISValeu pelo papo, cara. Tô indo nessa.
CHICOMas já? Achei que essa fossa ia render uma boa bebedeira!
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DÊNISFica pra outro dia.
(Dênis se levanta. Deixa mais uma nota no balcão, vai sair).
CHICOEi, não vai deixar nem um telefone?
DÊNISMelhor não. Vamos deixar por conta do destino. Quem sabe um
dia a gente se encontra à beira do abismo?
CHICOÀ beira do abismo, boy, queira ou não queira, estamos prestes a voar. (Dênis vai embora. Em Chico, parado, observando-o).
Corta para
INT. CARRO EM MOVIMENTO – NOITE
Dênis chora compulsivamente enquanto dirige. Trilha sonora: ”Love is Colder Than Death”, The Virgins, que toca no som do carro. No banco do carona, o celular vibra. Focalizar visor que
mostra o nome ‘meu amor’. O carro morre subitamente.
Corta imediatamente para
EXT. RUA DESERTA – NOITE
DÊNIS desceu do carro, chuta a porta do veículo com muita raiva. Pega o celular no banco do carona. Atende.
DÊNISO que é? (tempo) Eu tô péssimo! Como que eu poderia estar?
(tempo) Eu não sei onde eu estou. Eu comecei adirigir sem rumo. Tô numa rua que nunca vi antes. Tô com
fome, frio, medo de ser assaltado! Eu quero morrer! (tempo)
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Eu não sei o nome da rua! Já disse! (tempo) Pera, tem uma placa aqui. Eu vou olhar. (Dênis caminha até a placa).
DÊNISTamoios esquina com Doutor Lino de Moraes Leme. (tempo) Tá. Eu tô te esperando. Liga pro seguro. Chama o guincho.
(Dênis desliga o telefone, senta no capô do carro. CAM abre. Entra trilha sonora: “Love is Colder Than Death”, The Virgins).
FIM
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Stammberger was born in 1980 in Hamburg, he grew up there and in Frankfurt / Main. From 2006 to 2009 he studied at the Ostkreuzschule for Photography / Berlin.
Currently Stammberger works on different conceptual series.
Above all his Underground Landscapes series deserves special mentioning. For this series Stammberger photographs partly with, sometimes without permission, the subway tunnels of cities such as Berlin, New York, Philadelphia, Lisboa or Stockholm.
Stammberger lives and works in Berlin.
CONTACT
Timo StammbergerQuitzowstr. 14610559 BerlinGermany
info [at] timostammberger.comwww.timostammberger.com
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UNDERGROUND LANDSCAPES
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URBAN ARTISTS
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URBAN ARTISTS
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CITY STORIES
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LATE HOURS
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BERLIN NEWSPAPER
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LinguamaraGenoa, IT
www.linguamara.tk
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I was born in Burgos the same year that Naranjito does, the same that ARCO Art Festival celebrates its first edition, that the autobiography of Luis Buñuel “Mi último suspiro” is edited, when Michael Jackson Thriller hit goes our for sell, that Gabriel García Márquez receives the Nobel Prize or that Ingrid Bergman o Grace Kelly past away. After spending fourteen years in a nuns religion school and with a powerful need to cross the walls of Burgos, made me move away to Segovia to study Advertising and Public Relations. It was, the year with I ended up my degree when I was received my very first
camera: a 350D. After a couple of months I moved to live to Madrid. And there, in the jungle, within work and more work, that photo hobby was turning out to, little by little, in my own space, in my own expression and extension of my eyes and my fingers. I´ve contributed for publications such Neo2, Lamono or mU and my works has been published in magazines from Argentina, USA, Colombia, Brasil, Alemania, Australia, Poland or England. Currently I´m maching the photographic works with other personal tasks and with a new artistic side: collages and illustration.
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www.flickr.com/photos/willyollerowww.willydibujando.blogspot.com
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Toulouse, France - noklassdesign.fr
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Bogotá, Colombia - www.pilarberrio.com
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Kovre, Italy - www.flickr.com/softmachine
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Roma, Italia - www.nicopalomba.com
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www.jeffreyherrero.com
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www.carvalho-fernandes.com
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São Paulo, Brasil - www.flickr.com/eduardoburger
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UPCOMING SHOWINGS
Attleboro Arts Museum, Attleboro, MA, July, 2009.Home exhibitions
Monarch Studio in Seattle WA, Sept. – Nov., 2009Full installation: 300 pillows hung with fishing line
Villa Victoria Center for the Arts (formerly known as La Casa de la Cultura / Center for Latino Arts), Boston, MA, Sept. – Oct. 2009Border Crossings exhibition
Jupiter Art GalleryCentralia, WashingtonNov. – Dec., 2009
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Dream House is hundreds of sewn paper pillows made from photocopies of my father’s finely hand drafted architectural drawings. It is about the relationship of dreams to reality. It also deals with the diversity of my family heritage and the experience of being a person of mixed race in modern culture.
My father’s parents were Filipino and Nicaraguan immigrants. His drawings were small oases of relief that helped him cope with the strain of a long journey with Post Traumatic Stress Disorder, a result from his time spent as a combat Marine in the Korean War.
The pillows are also related to my maternal grandmother who epitomized the skill of pragmatism. She was an expert seamstress and made clothes, quilts, curtains, place mats, tablecloths and other material items that were used in the tangible business of daily life. My mother’s side of the family is exclusively white American: Ranchers, Quakers and Wild West homesteaders.
My parents were married in 1963, during the Civil Rights Movement in the US. At that time people were still being arrested as felons, fined, jailed and banished in some states for marrying outside of their race.
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One of my experiences as a person of mixed race is that I have missed sense of connection that comes from belonging to a singular racial group with long practiced traditions seamlessly linking me to my genetic heritage. Racially I am a person divided into parts, and I’ve had no single name for what I am.
Dream House fuses my family lineage into a single image. It represents the experiences surrounding my father’s dream houses, but is also the house of my own self; a complete house of history and belonging.
A further developed installation of Dream House is proposed to exhibit in 2010. It will incorporate video, a 12 year old girl’s figurines, a giant paper dress made with the drawings, and more, amid mass arrangements of stacked, hung and pinned up pillows. The compositions will be reminiscent of architectural pathways and domestic archetypes, creating an elaborate luminous environment of texture and imagery.
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COMING SOON
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PRÓXIMO TEMA - DOISDATA DE ENTREGA - 20/02/2010
ENVIE SEUS TRABALHOS PARA:[email protected]
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