We invite the independent institution Solar dos Abacaxis from Rio de Janeiro, Brazil to share part of their experience throughout these 8 years, an anniversary that we celebrate together with them. . . long life to projects that call for and support other sensibilities from art.
“(…)I live the dream that I want to dream.
I Walk between desires and materializations,
in an eternal dance of hope(…)”
– Carlos Drummond de Andrade, “Sonho de Vida”
We are the waterfall Caixa da Mãe D’água, in Rio de Janeiro. The vegetation around us dances to the rhythm of chants and drums. Those who are present settle on the stones and some of them immerse their feet in the water
The next instant we are seated in the sand of the Arpoador beach, as the sun sets over the Kalunga line. On the sand, an object made of clay and straw from the coast is being made in a state of peaceful silence. The atmosphere is intruded by the sound of the waves that crashing onto the sand and the distant noise of other people on the beach
Further to the front, there is a boat embedded on the sand on which drawings of the Kalunga are projected. A fishing net dangles a curtain of colorful threads, while next to it the flame of a torch, with its bright orange fire, roars and adds new colors to a copper sky.
Now we are on the stone floor of a garden that is part of a rundown house located in the neighborhood of Cosme Velho, where it all began. Under the mango three from which red croche figures hang, we witness the wind and the smothered December breeze that goes through its leaves.
The transit on this place is defined by an oscillating chronology
We move forward and inside a garage made out of stone arches, what seems like a large ruin can be seen – sand is accumulated in the ground in an orderly fashion, its mounds are mixed with small objects that seem to be from another time. Everything seems to have been placed centuries ago.
We leave the garage and enter the house. The wooden floor creaks under our movements, we continue moving: the wall at the back has been possessed by a large painting of red tones, its composition is built around the patterns of the Brazilian flag.
We go outside, and on the inside of the garage there is a black and white flag made out of portugueese stones embedded on the floor, over which a eucalyptus trunk is suspended. It seems like at any moment the trunk will fall on the mirror that is just below, but it won’t.
These dream-like passages are, happily, real memories of different experiences made by Solar dos Abacaxis throughout these years of activities. Beyond their emotional ties, what this memories have in common is the fact that they all come from works that are or once were experiences, installations, actions and fresh new objects that were commissioned by this institution and developed in sincere closeness with each of the artists1.
In consequence, this are dreams that were made collectively.
There is a lot more that could be said of the transformative, expansive and innovating potential of the ideas dreamed by these artists. Avoiding any pretense of romanticism, at the end of the day artistic practices are, above all, work. However, we commit ourselves to the belief that dream and desire are (or should be) a fundamental and irreplaceable part of work. In the development of the commissioned artworks we can find a certain gap that brings us closer to the ideas that were carefully dreamed -some of them new, some that were already thought of repeatedly, some that were condemned as impossible, and some build from our provocations and proposals, there are even those typical of the radicality of the experiences in our acting spaces.
As an institution, we have compromised with the carrying out of artworks commissioned for the pleasure that those experiences can bring, working as a starting point for explorations, radicality, investigation and growth
Fortunately we collaborate with these ideas –in the vast range of their extraordinary differences– so they can become a reality, either as objects of this world, or as experiences for, and with our community. It’s with happiness that we can say this is not the end, because in this path of desire and realization, we will certainly work with a lot more.
 The memories in the previous paragraphs were evoked from the works of: Elton Panamby, Azizi Cypriano, Castiel Vitorino Brasileiro, Ernesto Neto, Anna Bella Geiger, Marcela Cantuária and Jaime Lauriano, respectively.
Alex Ungprateeb Flynn
Ongoing 35 Bienal de Sao Paulo, Coreografías de lo imposible Brazil