FUI [Was/Went] is a series of 7 performance/installation works presentend as drafts, rehearsals, tests or trials for the building of cross-disciplinary thesis about the trilogy Vou A Tua Casa. Contrary to trilogy, though, all FUI intervetions were held in public places and cultura venues (galleries, theaters, museums, etc.), embracing a wide range of formats: durational performance, installation, text, video, talk, show, theatre performance, exhibition). The project ran throughout 2005 and 2006 in many Portuguese cities/venues/festivals: Casa Conveniente (Lisbon), A8 LAB Festival (Torres Vedras), 7.ª Mostra de Teatro Jovem de Lisboa, Teatro Taborda (Lisbon), Teatro Universitário do Minho (Braga), Water Museum (Lisbon), Biscaínhos Museum (Braga), EIRA (Lisbon), Add Wood Festival, Purex (Lisbon), among others. The document Dogma 2005 was eventually presented for the first time in front of an audience during FUI’s seventh draft, at Teatro Taborda, Lisbon (November 2005).
FUI, draft #1 — “Noite dos Museus”, Reservatório da Patriarcal, Museu da Água, Lisbon, 2005.
FUI, draft #2 — “Arco da Censura Prévia”, Censura Prévia, Braga, 2005.
FUI, draft #3 — Auditório de Bolso do TUM, Teatro Universitário do Minho, Braga, 2005.
FUI, draft #7 — “7.ª Mostra de Teatro Jovem de Lisboa”, Teatro Taborda, Lisbon, 2005.
FUI, torres vedras version — “Festival A8 LAB”, Transforma AC, Torres Vedras, 2005.
FUI, draft #4 [+ #5, + #6] — Casa Conveniente, Lisbon, 2005/06.
FUI, plastic draft — “este é o meu corpo/this is my body”, cur.: Rui Effe, Museu dos Biscainhos, Braga, 2006.
It is still a past tense performance, conjugated only for the public assurance of the following statement: it is more important what happens before the performance happening than the performance itself happening by the time it is conjugated. […] There are still issues to fix. I am sticking my head inside the wolf’s mouth, once and for all. Get bashed. Learn the lesson. Pick up the tab. Do all the corporal penances. At once. Without instalment payment schemes, absolutions or compassions. Without even attempting closing my eyes. No breath holding. No expressive pauses. No International Amnesties. No undersigned petitions. No appeals for clemency. A condemned performance. A dead performance. A presently evaded performance. A no future performance. […]
FUI is the Portuguese past tense conjugation of the verb “to go”, but also of the verb “to be”. It refers to a past that is projected, in the present, to an incognito future. To come and go, in a rush. To take you to another place. It is a heavily dogmatic proposal, empty and prejudiced. Actually, it is much more importante (syn.: interesting) what happens before and the after the performance, than the performance itself happening during that ever so intangible “present time”. This being said, what is the performance for? I went to your house. I was your house. The present is unbearable. And Lisbon is absolutely not a place to be. […]
TORRES VEDRAS VERSION
I went to Torres Vedras in search of people to come and see my performance. In the Park that stands in front of the Hotel, a woman tells me all about her past as trapeze artist, revealing that it is from the rooftops that one can better watch the slots of the city; a very precious tip that leads me to other mysterious nooks. At the Central Café, the man who sells pies, once the pictures and the movies man, shows me the direct link to the cultural and recreative activities offered by the Municipality. At the School’s gym, the Three C’s (Cátia, Carla and Catarina) rehearse the last moves of Shakira’s choreography. I think I got it.
Blank page. I convinced myself that this performance is always about a time before, about the importance of a time before. I invented many. This is a non-existent one. It is about a written time. Suspended. Waiting. Blank page is not a metaphor. Is is actually and bluntly a blank page. That’s it. One never starts from the scratch, there are no tabulae rasae nor bottomless pits. And then Casa Conveniente is everything but a blank page. Casa Conveniente is everything but a metaphor.
I have never been “something-centric” by nature. I used to exhaustedly cut mountains of sheets of paper in little pieces since I remember to be myself. All hours were empty. I put me inside the paper sheets and competed with myself for the grand prize. Then I got interested by television. The one man show was already evident in each playground properly designed to resemble a plateau. I wasn’t told to do thing differently. My body had no specific parts. A non-erogenous body. When I went to school for first time, I acquired a dick. I immediately acknowledged the urge to evade myself from the Jeux sans Frontières and the Eurovision Song Contests before the situation would get any worse. […] I finally discovered all the splendor of my dick when I realized that its public impact was equal to my will to cut paper sheets in little pieces, endlessly. This meta-spirituality of mine turned slowly by slowly into a rambunctious monster! This is the reason why, nowadays, I consider myself a dick-centric.
Due to the terms and conditions concerning nudity adopted by all the video-share social networks (Youtube, Vimeo, etc.), it’s impossible to upload this video. However, many promotional photos, video stills and snapshots can be found here. The art work (a video-installation and a manifest) was commissioned by Rui Effe for the collective exhibition “Este é o meu corpo” [This is my body], held at Museu dos Biscainhos (Braga, Portugal). It features an over-exposed porno-kitschy choreography performed by Rogério Nuno Costa’s genitals while listening to “Hung Up”, by Madonna. The work brings forward a cynical reflexion on the idea of masculinity and the (self-)representation of the Body in contemporary performance art.