March 3 – 25, 2021
max wíllà morais
presentation (from mudança/to change series), 2020
Camera: max wíllà morais and her mother Elenice Guarani
Featuring: Elenice Guarani and visible and invisible things
Selected by Tiago de Abreu Pinto
— Is it about nature? — leaning forward.
— It can be — nodding calmly.
— But, it has more to do with to show, to hide — with a pause — rastejante.
— Crawling — with a head nod — And, this sort of mask — pointing — is to you part of a family of things and clothing, right?
— Yes. And, it’s a way to show and to hide — winking.
— Which occur simultaneously — with expectation.
— Yes. There are things — amiably — that we don’t see that are before what we see.
— And, the things we don’t see before the ones we do see have to do with apparitions.
With a specific apparition. An apparition — rolling her eyes up and
closing them — that I was having and that someone touched me.
— Bringing you — pointing to her — back to what we all see — gesticulating to the both of them.
— Yes, from a state or place I was but for some reason I wasn’t protected there, from that specific stimuli.
— From the touch — cracking fingers.
— From that contact.
— You were revealed.
— Unveiled. And, the mask, you are mentioning, is for that purpose: protection.
— It permits you to not get so exposed.
— I believe so. And, it was something that was accompanying me. It protected me, yes.
— It was… Now, I see. It was accompanying you as your family.
— And — agreeing with a head nod — a member of my family, my sanguinial family, films me. She films me and I film her.
— So, to show and to hide are being seen…
— … and this thing is being activated, it comes to being through your mother…
— That’s it.
— and then I wonder what it is showing and hiding in this context.
— It marks the time of appearance of this contact…
— Of whom?
— These two families — holding up the hands.
— To show, to hide rastejante…
— Yes, and my mother.
— So, the relation between this object being (that is To show, to hide rastejante) and the human being (that is your mother)…
— She treats it with care, don’t you see?
— Yeah, when she caresses its hair.
— And, it’s a short period of encounter.
— That suddenly vanishes when you start painting her face…
— What happens with the papers we see…
She gazes down reading on the table some charcoal legend: we see how the change distributes itself.
— … they’ve turned themselves into drawings.
— The words disappeared?
— Yes. And, it marks the change of our home.
— The words on charcoal.
— What happened?
It’s all about the change. I did it to register a change we were going
through. Our home was changing. Structurally, speaking.
— That’s why her face can’t be seen in its entirety.
Since the change is also associated with the face, our identity, the
way people see us and identify us and in a way access us. Cara (face)
and Casa (home).
— How to see in our homes and on our faces the change.
— How I’m being seen by her and how I see her.
She shows the paper: how we, things, bichos and bichas, appear and disappear.
— And, suddenly it has to do with ‘bicha’ in portuguese…
— That pejoratively means something like sissie and for me etymologically a non-binary critter, beast or animal.
— Not just that. It means larva, reptile, worm, leech…
— When will it change? — sad looking eyes.
— How to see or, better, perceive the change?
— When it appears and disappears.
— But, you asked me about the mask that suddenly vanishes…
— Yes, I did. When you start painting her face. Why? — murmuring.
Because then I’m adorning her. I’m enchanting with her. She becomes the
enchanted. It’s a preparation for the spell — almost whispering.
— Which spell?
— The enchantment and the chant here are the same. They are both visible and invisible.
— It’s all elliptical.