project image
Ricardo Garlet

first performed on June 23, 2020
Artist's house
performed once in 2020


Chapecó & Santa Maria, Brazil


Connections via the internet network, which is necessary as a form of contact between people, marked the moment of production of the performance “Picturação.” The poetic process of this work involved three phases: the creation of glasses that provide a mediated experience of perception of reality; the installation of an installation with different materials that he had at home; and, also, the participation of my body as a means of the pictorial process mediated with live transmission. The public live performance was held on June 23, 2020, at 23:59 via YouTube, on the artist’s channel, with access through the link released in advance.

I built the installation with different materials, such as fabric, paint and technological resources connected in a network through the internet. The fabric, evoking canvas as a support for painting, connects with the tradition of Western art. The yellow pigment, pictorial material par excellence, brings to the project a symbolic character of color, as well as the potential to be a plastic metaphor and conceptual material. The video capture projection technologies were networked through a videoconference at Google Meet, transmitted in the stream format on Youtube with the OBS Studio application.

In this space built by physical and virtual materialities, in which the audience was present through the live transmission on Youtube, I performed the performance “Picturação.” The work took place as an act that touches the blind painting, done uninterruptedly throughout the entire area of the fabric, recording the movement with a camera attached to the body that was transmitted to a tablet fixed on the glasses.

In this research performance, I intend to recover the subjectivity and chance of painting, also present in other artists’ processes, as well as in the poetic operation carried out by the Japanese artist Tomie Ohtake (1913–2015) in the series “Pinturas Cegas” (1959–1962). I propose in “Picturação” a certain technological blindness as a condition of the pictorial act.

The precariousness of the system, resulting from the passage of the image through different devices and programs, plus the instability of transmission, produces an image with specific visual qualities, which, when questioning the efficiency of the technology, produces the visuality of the video. In this perspective, “Picturação” shows a process of languages in circuit, constituted by an inseparable system, where the particularity is found in the transversality between the installation montage and its activation via pictorial performance.