4pontos |‘Fugas de um dó maior"|Ricardo G. + Sara B. B.

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4Pontos | 2008 - 2016 | Carlos + Jacinta + Ricardo + Sara

4th installation with tubes: ‘Fugas de um dó maior ‘

NOS in D’bandada. 2014 - Sound installation | Building AXA. Porto

materia | reused tubes, recovered from the dismantled Novinco plant

13 Set '14

In 4th tubes intervention was used not as random crazy mesh but as an organized modular structure. As Richard said, ‘minimizing similarities’, and prosing a controlled order, connected centred circle. Every reused tubes, recovered from the dismantled Novinco plastic tubes plant in São Mamede (Porto), was a way of proposing several connected participated social music unit. The music Boxes (Cage mode), plus the mouth and hands provoke a disturbing place of crazy sound miscellanea. Joining people together, coordinating or ‘discoordinating’, mixing and sampling simultaneously, the immersive “participant” visitor would create in this new centre, the playable conductor stream. A structure unit produce a tubes resonance and different tones connecting this amazing chaotic joined freedom.

Carlos Casimiro Costa + Jacinta Costa + Ricardo Gonçalves + Sara Bento Botelho

Acknowledgments:

Cláudia Melo and Daniel Ramos [Axa - Porto Lazer - Porto City Hall]

Jorge Martins and João Sousa [sound]

Lara Plácido [Video]

About 4pontos

The 4Pontos group started its activity in December 2008 and finished in 2016, they were in that time a collective of two teachers from Institute Polytechnic of Bragança and from Institute Polytechnic of Porto. Most of all they pretend to respond to their artistic creativity as a way to be with each other, prolonging and emphasize the idea of friendship and collectiveness.

Their answers, to the several challenges during that time, were consistently motivated by simple concepts such as the idea of exploring mimesis, space, nature, or making a (dis)context surrounding, proposing (dis)organized structures. Consecutive process of exposing different ‘material’, confronting their inner teacher mode and the sense of liberation outside of the uninterrupted academic answers proposed in the pedagogical curriculum´s. The Idea was humbled, reporting and researching about A. Munari and Kandinsky basic design + art, ideas of line and point or being influenced by Soto, Gego or Calder among others, mixing sound, dance plus video.

As Guy Brett says about the magnificent work of Gego and Soto, it is suggested that the process is mainly established by doing and undoing and that,… in this intention the work crosses new cycles and new rhythms. In the rhythm of the lines one does not look for something new, just simplicity in the ways of looking. It was these imbalances, these other modes of seeing, that guided the creative process.

On the one hand, the interventions were intended to be collaborative, a symbiosis between sculpture and image, forming an artistic manifestation, free of conceptual boundaries, merging the re-creation of a space and four different visions.

Sometimes the structures that the group produced abroad and their contamination imposed a virulent work, the strange organism would grow and live confined to that body. In response, the balance between occupy and being occupied, and the words ‘block’ and ‘pass’, ‘show’ and ‘hide’ create this uneasiness of its lines attenuating the internal dimension and monumentality of the several works produced. The spectator should be subtracted from the comfort of the space and be immersed in that dimension, build it up and give it their own meaning.