laurie anderson 2

EXPOSIo
EXHIBITION

I in u
eu em tu

laurie anderson

I in u
eu em tu

e x p os i o
exhibition

2
Centro cultural banco do brasil | Rio de Janeiro
28.03 > 26.06 | 2011

laurie anderson

Centro cultural banco do brasil | So Paulo

12.10 > 26.12 | 2010

I in u
eu em tu
Mag+ rede cultural | 2011

Realizao

Ministrio
da Cultura
Plataforma para performance, instalao
Performance platform, installation | CCBB SP, 2010

I in U / eu em tu / Laurie Anderson

I in U / eu em tu / Laurie Anderson

O Centro Cultural Banco do Brasil traz, pela primeira vez

ao Brasil, a obra de uma das mais importantes artistas
da cena contempornea internacional, a norte-americana
Laurie Anderson.

The Centro Cultural Banco do Brasil brings the work of

Laurie Anderson to Brazil for the first time. One of the most
important artists on the international contemporary art
scene, Laurie Anderson presents her retrospective exhibition entitled I IN U / EU EM TU.

A mostra I IN U / EU EM TU faz uma retrospectiva dos quarenta anos da carreira da artista, incluindo as suas mais
instigantes realizaes, entre instalaes (bidimensionais e
tridimensionais), fotografias, desenhos, vdeos, msicas e
documentaes de performances, alm de um conjunto de
filmes. Os aspectos sensoriais e expressionistas do trabalho
de Anderson esto enraizado em sua forte fundao conceitual e tal combinao produz uma poderosa nova forma.
Com essa iniciativa, o CCBB oferece ao pblico o contato e
a aproximao com a arte contempornea, proporcionando
a oportunidade de presenciar ao vivo uma performance da
artista e de conferir trabalhos inditos de sua autoria.
Centro Cultural Banco do Brasil

Covering works from her forty year career as a multi media artist, the exhibition includes her most challenging
works from installations (two and three dimensional), photographs, drawings, videos, songs, recordings of performances as well as a collection of films. The sensuous and
expressionist aspects of Andersons work are grounded in
her strong conceptual basis and the combination produces
a powerful new form.
With this initiative, The CCBB offers to the public, not only
her retrospective but also her live performances and current
works-in-progress.
Centro Cultural Banco do Brasil

11

hi st r ias

STOR IES

Eu em Tu um show de histrias. Qual a cara de uma histria?

Como uma artista que tem trabalhado principalmente com performances ao vivo, gosto do fato de histrias serem invisveis. Por
outro lado, eu s vezes me utilizo de vrios meios para cont-las.
Eu em Tu uma coleo de histrias, em muitas formas diferentes:
msica, escultura, instrumentos, filme, eletrnicos e invenes.
Em 1978, eu estava sentada na minha escrivaninha escrevendo uma histria numa mquina de escrever eltrica. Pausei por
um momento e li o que havia escrito. Era horrvel. Desencorajada, coloquei a cabea nas mos e as mos sobre os ouvidos e
deixei-me ficar. De repente, me dei conta de que estava ouvindo
um murmrio alto e complicado com muitas nuances belssimas.
Era o som do motor da mquina de escrever eltrica e o som fazia com que a superfcie da mesa vibrasse e todos esses sons
viajavam atravs dos ossos em meus braos at dentro da minha
cabea. E eu pensei: isso! Construirei uma mesa cantante.
Constru a mesa no poro do Museu de Arte Moderna em Nova
Iorque. Usei materiais das lojas de equipamentos eletrnicos usados do meu bairro. Meu assistente, Bob Bielecki concebeu a forma como o som viajava desde a fonte (um gravador de cassetes)
atravs de um dispositivo que comprimia o som e o enviava por
uma haste de metal at a superfcie da mesa e da atravs dos
braos dos ouvintes. Era como instalar poderosos fones de ouvido, com a diferena de que neste caso no havia fios. O corpo era
o condutor. A mesa foi exposta no Salo de Projetos do MoMA
como The Handphone Table.
Uma das coisas que eu mais gostava sobre a mesa que o ouvinte se sentava na mesma posio que eu estava quando pensei
sobre este trabalho: a cabea abaixada e as mos sobre os ouvidos num gesto entre pensativo e deprimido. s vezes, penso que
as melhores ideias surgem quando voc est realmente desencorajado e no h nada a fazer a no ser comear do zero.
Os sons que fiz para a mesa instrumentos de percusso, tempestades, vozes e melodias foram espalhados radicalmente
direita e esquerda em amplo estreo. Os sons lentamente mudavam de lugar, viajando at a cabea. Dediquei a mesa a um dos
meus poetas favoritos, George Herbert, um poeta metafsico da
Inglaterra do sculo 17, que escreveu um poema de amor msica. Um dos versos diz: Agora eu em voc sem nenhum movimento do corpo. Adoro este verso porque ele descreve como a

I in U is a show about stories. What does a story look like? As

an artist working mostly in live performance, I love the fact
that stories are invisible. On the other hand, I sometimes use
various media to tell them. I in U is a collection of stories in
lots of different forms: music, sculpture, instruments, film,
electronics, and inventions.
In 1978 I was sitting at my desk writing a story on an electric
typewriter. I paused for a moment to read what I had written.
It was horrible. Discouraged, I put my head in my hands and
my hands over my ears and just sat there. Suddenly I realized
that I was hearing a loud and complicated humming with lots of
beautiful overtones. It was the sound of the motor in the electric
typewriter and the sound was making the surface of table vibrate and these sounds were traveling through the bones in my
arms and up into my head. And I thought, Thats it! Ill build a
singing table.
I built the table in the basement of the Museum of Modern Art
in New York. I used materials from the second hand electronics
stores in my neighborhood. My collaborator
Bob Bielecki designed
the way the sound traveled from the source (a
cassette tape recorder)
through a driver which
compressed the sound
and sent it up a metal rod, through the surface of the table and
up through the arms of the listener. It was like putting on powerful headphones except there were no wires. The body was
the conductor. The table was exhibited in the Projects Room at
MoMA as The Handphone Table.
One of the things I liked best about the table was that the
listener was sitting in the same position I was when I thought
of the table: head bowed and hands over the ears in a gesture
somewhere between thoughtfulness and depression. Sometimes I think that best ideas come when youre really discouraged and theres nothing left to do except start over.
The sounds I made for the table- bass instruments, storms,
voices and melodies- were panned extremely left and right in
wide stereo. The sounds would slowly change places, traveling
through the head. I dedicated the table to one of my favorite
poets George Herbert, a seventeenth century English metaphysical love poet, who wrote a love poem to music. One of
the lines was, Now I in you without a body move. I loved this

13

msica e a linguagem podem literalmente entrar no corpo, transformar a pessoa, fazer com que voc dance, e prosseguir. Como
disse William S. Burroughs: A linguagem um vrus.
Trabalhar para esta exposio foi para mim uma grande experincia. Fora a alegria de reunir trabalhos dos ltimos quarenta anos
e tentar contar uma longa histria com estas coisas, tambm foi
excitante poder mostrar o ambiente fsico de uma performance, a
multi-imagem Iluso. Isso algo que eu sonhava em fazer h anos
e pela primeira vez de fato aconteceu. Afinal de contas, a maior
parte destes trabalhos foi feita para o palco locais escuros com
repentinas luzes e tempos dramticos. Portanto, foi um verdadeiro
desafio adapt-los para o espao neutro e bem iluminado do museu e para um modo completamente diferente e mais expandido
de experimentar o tempo.
Por fim, foi muito divertido fazer desenhos, diagramas e pinturas
na parede. Eu sempre quis saber o que influencia os artistas, ento s vezes construo um grande painel como parte da exposio,
uma lousa de agradecimentos. So listas de nomes, pequenos esboos de pessoas e ideias que me influenciaram no processo de
montar a exposio. Em Eu em Tu, os desenhos ficaram maiores
e mais complexos. Eles transbordaram a lousa e subiram as paredes. Alguns se assemelhavam a enormes tiras de quadrinhos com
pequenas histrias de performances. Outros eram mais abstratos,
ou predominantemente palavras. Literalmente, eu no podia parar. Talvez agora, depois de quarenta anos, simplesmente existam
pessoas demais para agradecer.
Quero especialmente agradecer Marcello Dantas por me encorajar a criar esta exposio e ao CCBB por prover um espao de
exposio to dramtico e democrtico. E, claro, quero agradecer
ao time de designers, arquitetos, pintores e montadores que realizaram esta exposio.

line because it described how music and language can literally

enter your body, change you, make you dance, then move on.
Like William S. Burroughs said, Language is a virus.
Working on this exhibition has been a great experience for
me. Aside from the fun of assembling work from the past forty
years and trying to tell a long story with these things, it has
also been exciting to be able to show a physical set from a
performance, the multi image Delusion. This is something I
have dreamed of doing for years and this is the first time it
actually worked. After all, most of this work was made for the
stage- dark places with sudden dramatic lights and timing. So
it was a real challenge to adapt them to the neutral well lit
museum space and the completely different more expansive
way of experiencing time.
And last, it was the greatest fun making drawings, diagrams
and paintings on the wall. I always love to know what influences artists, so sometimes I make a big chart as part of the
exhibition, a chalkboard of thank yous and acknowledgements. It is lists of names, little sketches of people and ideas
that influenced me in the making of an exhibition. In I in U the
drawings got bigger and more complex. They overflowed the
chalkboard and spilled onto the walls. Some were like huge
comic strips with short stories from performances. Others
were more abstract, or mostly words. I just literally couldnt
stop. Maybe now after forty years there are just too many
people to thank.
I want especially to thank Marcello Dantas for encouraging
me to make this show and to CCBB for providing such a dramatic and populist exhibition space. And of course thanks to
the team of designers and architects and painters and builders
who realized this show.

E m Trn s i to

In Transit

Laur ie A nder so n e a m o dupla do t em po

Laurie Anderson and the two-way road of time

Marcello Dantas

Marcello Dantas

Transitoriedade, o estado de movimento permanente, destinado a

nunca chegar, sempre em deslocamento. Transitoriedade de espao, de tempo, de suporte, de origem, de destino. Laurie Anderson
a grande artista da transitoriedade em nosso tempo.
L e c, aquilo e isso, quando uma definio cercava sua criatividade, ela imediatamente j se colocava em outro terreno. Laurie Anderson criou uma categoria para si mesma, uma categoria
definvel como o estado de permanente mutao. Sua arte se
transforma em diferentes mdias com a mesma suavidade com
que sua voz muda de tons. Mas Laurie , na verdade, uma criadora da mais ancestral forma de arte, uma contadora de histrias.
Sua maneira de comentar o cotidiano, de questionar o que
tido como certo, de despertar conscincia combinada com sua
forma de criar um sentimento de conforto transitrio em que s
vezes nos faz sentir aconchegados em uma nuvem, sem entender
a queda que est iminente.
Conheci Laurie Anderson h mais de vinte anos, quando trabalhei com ela em Nova Iorque, preparando sua primeira vinda ao
Brasil, em 1989, para a performance Talk Normal. Laurie, no auge
de sua criatividade, ensinou-me muito sobre como misturar a vida
na arte e a arte na vida. Que essas coisas eram indissociveis, e
que a linha de fronteira na verdade no existia. Tudo se contamina.
Para coroar essa maneira de ver o mundo, em 2007 Laurie foi
agraciada com o Prmio Gish pela sua notvel contribuio para
a beleza do mundo e pelo prazer e compreenso da vida pela humanidade. Uma afirmao rara nos tempos de hoje.
Contaminao um signo para entender a diversificada obra
de Laurie Anderson. Formada em Artes Visuais e Escultura, ela
enveredou por uma carreira na performance, na msica, na literatura, no cinema, no vdeo, na arte pblica, nas novas mdias e
nas instalaes de grande porte. Suas ideias sempre encontram
um refgio em outra mdia depois que Laurie deixa naturalmente
que se contaminem. Algo que parecia ser objeto discurso, e o
discurso a essncia do seu objeto. Trabalhar com tecnologia
em si uma condio transitria; tecnologia a cincia aplicada ao
conhecimento circunstancial de uma tcnica. Laurie usou muito a
linguagem da tecnologia para expressar sua potica.

Transitoriety; a state of permanent movement, destined to never

arrive, in constant displacement. Transitoriety of space, time, support, origin, destination. Laurie Anderson is the great artist of transitoriety in our times.
Here and there, this and that, when a definition surrounded her
creativity, she immediately placed herself in another terrain. Laurie
Anderson created a category for herself, a category able to be defined as a state of permanent mutation. Her art is transformed in
different mediums with the same suavity that her voice changes
pitches. But Laurie is, truly speaking, an artist of the most ancestral form of art; she is a storyteller.
Her way of commenting daily life, of questioning that which is
taken for granted, of awakening our awareness is combined with
her ability to create a feeling of transitory comfort in which at
times she makes us feel enveloped by a cloud, unaware of the
imminent fall.
I met Laurie Anderson over twenty years ago, when I worked
with her in New York preparing her first visit to Brazil, in 1989, to
present her performance Talk Normal. Laurie, at the peak of her
creativity, taught me a lot about how to mix life into art and art into
life: that these things were indissoluble and there is truly no borderline between them. Everything is mutually contaminated. To
crown this way of perceiving life, in 2007 Laurie was the recipient
of the Gish Prize for her outstanding contribution to the beauty of
the world and to mankinds enjoyment and understanding of life.
A rare statement nowadays.
Contamination is the sign for the understanding Laurie Andersons diversified work. Graduated in Visual Arts and Sculpture,
she developed a career in the performing arts, music, literature,
cinema, video, public art, new medias and large size installations.
Her ideas always find a refuge in another medium when Laurie
naturally allows them to contaminate each other. Something that
appears to be an object becomes discourse; and discourse is
the essence of her object. To work with technology is in itself a
transitory condition; technology is science applied to the circumstantial recognition of a technique. Laurie has used the language
of technology to express her poetics.

Laurie Anderson coloca-se no mundo para experimentar, para

questionar e principalmente para causar dvidas e fazer perguntas. Sua obra suscita reflexes e incorpora uma ampla camada
de referncias decodificadas na sua essncia para criar pontes
com o amplo pblico que nas ltimas quatro dcadas ela vem
conquistando. Desde sua primeira performance com os patins de
gelo congelados, Laurie posicionou-se na sua condio de ente
em permanente transformao, de estado transiente.
Transitoriedade tambm nos traz a ideia de deslocamento, lugar,
que algo recorrente em sua obra, um lugar por onde se passa,
mas no se permanece. Das montanhas e ilhas do Japo em Hidden inside mountains, os Estados Unidos como lugar e como
signo em United States, homeland e Home of the brave, das ruas
e praas de Sevilha em Carmen, do Tibet de sua meditao e at
seus voos panormicos de asa-delta no Rio de Janeiro, sua obra
capta de forma singular o esprito nmade de nossos tempos.
Paradoxo essencial da sua criao que, apesar de sua linguagem e expresso serem essencialmentetransitrias, seu maior
fundamento so suas histrias. E histrias so as coisas mais
permanentes que possumos. A capacidade que temos de repetir, recontar e proliferar as mesmas histrias atravs do tempo
o que nos d um sentido de permanncia e origem. Laurie trabalha muito bem esse contraste entre o que contamos e como o
contamos. Entre o que sempre ser e o que no mais, assim
que dito.
Eu sempre quis fazer uma exposio com Laurie, mas foi s
em 2008, quando nos reencontramos no Brasil, que ela me instigou a tocar esse projeto adiante. Minha admirao por ela s
aumentou, pela maneira insegura, verdadeira, cheia de dvidas
e incertezas que mostra como ela vive intensamente o processo
com que se envolve. E revela sua fascinante curiosidade por tudo
e por todos de quem se aproxima. A senha da sua sintonia com
o mundo est na sua atenciosa observao de tudo e de todos.

Laurie Anderson stands in the world in order to experiment, to

question and, above all, to generate doubts and raise questions.
Her work inspires reflections and embodies a broad range of decoded references in its essence of creating bridges to the large
public that she has been conquering throughout the last four decades. Since her first performance with frozen ice skates, Laurie
took a stance in her condition of a being in permanent transformation, in a transient state.
Transitoriety also brings up the idea of displacement. Place is a
recurrent element in her work, a territory of passage, where one
does not remain. From Japans mountains and islands in Hidden
Inside Mountains, United States as a place and as a sign in United
States, Homeland and Home of the Brave, Sevilles streets and
plazas in Carmen, the Tibet of her meditation and even her panoramic hang glider flights in Rio de Janeiro, her work captures in a
unique way the nomad spirit of our times.
An essential paradox of her creation is that, in spite of the transitoriness of her language and expression, her major fundament is
her stories. And stories are the most permanent things we have.
Our ability to repeat, recount and multiply the very same stories
throughout time grants us a sense of permanence and origin.
Laurie works quite well this contrast between that which we narrate and how we do it; between that which will always be and that
which is no longer there as soon as it is said.
Ive always wanted to present an exhibition of Laurie, but it was
only in 2008, when we met again in Brazil, that she encouraged
me to follow this project through. The admiration I have for her
only increased with the insecure, true, full of doubts and uncertainties manner with which she intensely lives the processes she is
involved with; and reveals her fascinating curiosity for everything
and everyone who comes near her. The password for her tuning
with the world is found in her attentive observation of everything
and everyone.

19

agora
eu em tu
sem mover o corpo
A Mesa Handphone um trabalho
baseado em conduo ssea. Canes em ondas graves estereofnicas so amplificadas e transmitidas
atravs de conversores de energia.
Estes sons so enviados por eixos
de metal que esto em contato com
a superfcie da mesa. O ouvinte posiciona seus cotovelos nestes pontos e suas mos sobre as orelhas.
O som viaja ao longo da mesa, dos
braos e da cabea do ouvinte.

Handphone Table
Mesa de madeira, eletrnicos embutidos
Wooden table with built-in electronics | CCBB SP, 2010

21

now
i in you
without
a body move
The Handphone Table is a work based on bone conduction. Stereo low-frequency songs are amplified and
fed through transducers. These sounds are pushed up
metal shafts which make contact with the table surface.
The listener places his elbows on these points and his
hands over his ears. The sound travels through the table
and the listeners arms and into the head.

Visitante ouvindo a obra Handphone Table

A visitor listening to the Handphone Table

23

Handphone Table
Mesa de madeira, eletrnicos embutidos
Wooden table with built-in electronics | CCBB SP, 2010

25

THE NEW MACHINES 2010

Escultura de pssaro falante com altofalantes, eletrnicos e suporte metlico
Electronic talking bird sculpture with built
in speakers, electronics and metal stand

27

PAPAGAIO

PARROT

Sua voz. Sua voz parecia uma velha

bomba enferrujada que enviava as
palavras muito, muito lentamente
por uma longa tubulao... E quando
chegavam sua boca aberta, as
palavras emergiam como fios enferrujados. Fios que permaneceram por
demasiado tempo sob a terra mida.
Tenho visto drages de novo. Sim,
verdade...
No gosto de dar nem um dlar a
uma mulher nua. praxe minha.
Ento pode atirar em mim. assim
que eu vejo as coisas. Talvez a pilha
esteja acabando.
Aqui, deixe-me tirar este lpis da
minha boca.
Beleza em todas as suas formas...
Engraado como o dio tambm
pode ser uma coisa bela. Quando
afiado como uma faca. Duro
como um diamante. Perfeito.
E quando morremos, nossos
corpos se transformam em diamantes... Para xcaras de ch...
No apenas para giz e carbono.
Demasiadas pessoas esto tomando Prozac. isso o que eu
acho. Essa falsa alegria que est
por toda parte agora est realmente me colocando pra baixo...
Engraado como machos humanos podem ficar to excitados
pela pornografia. Quando eles
veem uma foto... Pode at ser
em preto e branco... Eles podem
se excitar. simplesmente um
caso de vista ruim? debilidade
mental? Ou so suas imaginaes extraordinrias?
L l ri l l

Her voice. Her voice was like

an old rusty pump that sent
the words very very slowly up
a long pipe... and then when
they got to her open mouth the
words came out like rusty wire.
Wire that had been in the cold
clay for a long time.
Ive been seeing dragons again.
Yes its true......
I dont like giving a nude woman a dollar. Its just my policy.
So shoot me. Thats just the
way I see it. Maybe the batteries are running low.
Here, let me take this pencil out
of my mouth.
Beauty in all its forms.... Funny
how hatred can also be a beautiful thing. When its as sharp as
a knife. As hard as a diamond.
Perfect.
And when we die, our bodies
turn to diamonds... to teacups... Not just to chalk and
carbon..
Too many people are taking
Prozac. Thats what I think.
This fake cheeriness thats
everywhere now is really getting me down...
Funny how human males can
get so excited by pornography.
When they see a picture.... it
can even be black and white...
they can get excited. Is this
simply a case of poor eyesight?
Is it feeblemindedness. Or is it
their amazing imaginations?
Twideldee dee... twideldee
dum......

29

Desenhos para o cenrio da performance

Songs and Stories for Moby Dick
Drawing for set of Songs and Stories for
Moby Dick performance | 1999

Mudanas Formas Suas.... Alguns

gua calada
envenenamento ... ... formigueiro
entende recm - nascido coberto formigas
... formigueiro.
Vivendo ...
Inglaterra
.
.
Digo!
convencer SEU !
entende No Acho .
Mquina No Tenha ainda inventado
Termina Ruptura reparao

. Voz

.
,
Uma Voz mandou
enferrujada Bomba palavra
lentamente
1000 ...
Snakes viro Aberta
palavras Sairam enferrujado Como micron. Linha
,
RUB
.

E SE morremos, nossos corpos

...

esto xcara Diamond-- ...

... O

.... , , carvo

. Muitas pessoas tam-

bm tomam Prozac. . Que Penso

. Ento, Que tranquilidade

Eu tenho depresso ....
. engraado pessoas
podem Ser Muito animado
. Imagem exibida Quando

O...
....
O

... ...W
...

Voce ... -

O- ...

31

Desenhos das animaes da performance Delusion

Drawing from animation in Delusion performance | 2010

33

Desenhos na parede,instalao
Wall drawings installation | CCBB SP, 2010

35

Instalao com textos Text installation | CCBB SP, 2010

Aqui vai minha teoria sobre pontuao. Ao invs de um ponto final no fim de cada sentena,
deveria haver um pequeno relgio indicando quanto tempo foi gasto ao escrever a sentena.

Aqueles dias. Todos aqueles dias. Para que servem os dias?

Para nos despertar. Para colocar entre as noites sem fim.

37

These days. All these days. What are days for?

To wake us up. To put between the endless nights.

39

Existe um livro chamado Sum Latin, que significa

Eu sou, e que mostra ilustraes de quarenta vidas aps a morte. E em um deles voc chega nessas plancies desertas. H prdios bombardeados, tiros de metralhadora, terroristas brandindo rifles passeiam em caminhonetes pick up cobertas de lama.

Theres a book called Sum Latin for I am and

it pictures forty different afterlives. And in one of
them you arrive on these deserted plains. There
are bombed out buildings, machine gun fire, terrorists waving rifles ride around in mud covered
pick-up trucks.

Worms, pintura na parede de uma histria de Delusion

Wall painting of Worms a story from Delusion | CCBB SP, 2010

Agora, sem um corpo, me mudo para dentro de ti

George Herbert, poeta metafsico ingls do sculo XVII

41

The afterlife has become an enormous battleground for religious

wars that go on for all eternity. Newcomers are being recruited to
boot camps. Small fires burn in the darkness.
In another afterlife you die and when you arrive there you find
that your creators are actually very small, very stupid purple
worms. You have to talk very slowly to them. Occasionally draw
a picture.
Now when you die the worms crowd around clamoring, What
is the answer? Why are we here ? Why do we live?
Of course since you just died seconds ago youre really disoriented and unable to come up with anything but they keep screaming,
Why are we here? What are we doing here? Then you notice
quite a few of them are crying. And theyre crying because they
think we know the answers and that they are too stupid to understand us. We the recent arrivals just lie there blinking, huh?

A vida aps a morte se transformou em um enorme campo

de batalha para guerras religiosas que se prolongam por toda
a eternidade. Novatos esto sendo recrutados para campos de
treinamento. Pequenas fogueiras queimam na escurido.
Em outra vida aps a morte, voc morre e quando chega ali
descobre que seus criadores so na realidade muito pequenos,
pequenos vermes roxosmuito estpidos. Voc precisa falar bem
devagar com eles. Ocasionalmente fazer um desenho.
Quando voc morre, os vermes se aglomeram sua volta clamando Qual a resposta? Por que estamos aqui? Por que vivemos?.
Claro que, como voc acaba de morrer h segundos, voc est
verdadeiramente desorientado e incapaz de inventar alguma coisa, mas eles continuam gritando: Por que estamos aqui? O que
estamos fazendo aqui?. A voc percebe que muitos deles esto
chorando. E eles esto chorando porque eles acreditam que ns
sabemos as respostas e que eles so estpidos demais para nos
entender. Ns, os recm-chegados, apenas ficamos deitados ali,
piscando, h?

Detalhe da pintura de parede Worms uma histria de Delusion

Detail of wall painting of Worms, a story from Delusion | CCBB SP, 2010

Now I in u without a body move

George Herbert, english metaphysical poet from the 17 th century

43

Eu quero te contar uma histria sobre uma histria. sobre um

mtodo que usei por quase toda a minha vida para me convencer a
continuar. E um sistema motivacional, de forma que, se eu fizesse isso ou aquilo, ganharia esse ou aquele prmio ou recompensa.
Basicamente o sistema da cenoura e do burro. Quando passa por
ele, voc pendura uma cenoura na frente do burro. Voc mantm
a cenoura ali e o burro vai indo, de uma coisa a outra. E isso funcionou muito bem na maior parte da minha vida. Ningum nunca
viu o mecanismo ou pareceu perceber como realmente acontecia.
E a em algum dia, sem nenhuma razo e assim simplesmente,
o meu burro morreu. Fiquei ali encarando-o. Ele parecia empalhado. Ele tinha um sorrisinho tolo na cara. Eu o cutuquei com meu
p. Nada. Os prmios, as promessas, todo o sistema tinha parado
de funcionar. Eu olhei em volta. O p estava se assentando na
estrada. Eu estava ali segurando essa cenoura velha. Eu podia ver
algumas moscas ao longe.
E a algumas palavras meio que flutuaram para dentro da minha
mente em forma de pergunta, e a pergunta era de um livro de
Herman Melville, e a questo era: O que do homem se ele vive
mais do que a durao da vida de seu deus? H alguns meses meu
professor me mostrou algo. Ele disse: Eu vou tocar um som e eu
quero que voc siga esse som com a sua mente. Pronta?.
A ele disse: vou fazer isso mais uma vez.
Dessa vez no siga com a sua mente.
I want to tell you a story about a story. Its about a method Ive
used most of my life to push myself, convince myself, to go on.
And its a motivational system so that if I did this or that thing,
then Id get this or that prize or reward. Basically its the carrot and
the donkey system.
You hang the carrot in front of the donkey and the donkey just
keeps on trudging from one thing to another, one project to another, no matter what.
And this worked really well for most of my life. No one saw the
mechanism or seemed to notice how it actually worked.
And then one day for no reason at all and just like that my
donkey died.
I stood there staring at him. He looked stuffed. He had a foolish
little smile on his face. I shoved him a little with my foot. Nothing.
The prizes, the promises, the whole system had stopped working.
I looked around. The dust was settling on the road. I could see
some flies off in the distance.

45

And then some words came sort of drifting into my mind in the
form of a question and the question was from a book by Herman
Melville and the question was: What is man if he outlives the lifetime of his god?
A few months ago my teacher showed me something. He said
Im going to play a sound and I want you to follow this sound with
your mind. Ready?
Then he said, Im going to do this one more time.
This time dont follow it with your mind.
Pintura de parede de uma histria de Delusion
Wall painting of a story from Delusion | CCBB SP, 2010

47

In my dream I am your customer

Pintura de parede Wall painting | CCBB SP, 2010

49

Na Segunda Guerra Mundial, mensagens eram enviadas em

cdigo usando poemas para criptografia. Essa coleo de sonhos usa Eu em tu sem um movimento do corpo como sua
senha criptografada.
In World War II messages were sent in code using poems for
encryption. This collection of my dreams uses I in you without
a body move as its encryption key code.
Dream book 2010
Papel, madeira, ventiladores, eletrnicos. Uma coleo de sonhos foi
criptografada usando a frase Eu em tu sem um movimento do corpo
Paper, wood, fans, electronics. A collection of dreams were encrypted
using the phrase Now I in You without a body move

Estou em meu corpo da forma como a maior parte das pessoas est em seu carro.

I am in my body the way most people are in their cars.

51

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Language is a virus from outer space.

53

LISTENING WALL 2010

Componentes eletrnicos e udio em loop
Electronic components and audio loop

Aqui vai minha teoria sobre pontuao. Ao invs de um ponto final no fim de cada sentena,

deveria haver um pequeno relgio indicando quanto tempo foi gasto ao escrever a sentena.

55

Travesseiro #1

Voc sabe quando, s vezes, voc escuta

algum gritando e entra por um ouvido
e sai por outro.
E s vezes, quando voc escuta algum
gritando, o grito penetra no meio da
sua cabea e fica l para sempre.
Pillow #1

You know sometimes when you hear

someone screaming it goes in one ear
and out the other.
And sometimes when you hear someone
screaming it goes right into the middle
of your head and stays there forever.

Escutando a obra Talking Pillow

Listening to the Talking Pillow

Heres my theory of punctuation. Instead of a period at the end of each sentence there

shoud be a tiny clock that shows you how long it took you to write that sentence.

57

Fui ao cinema e vi um cachorro de dez metros de altura.

Esse cachorro era inteiramente feito de luz. E ele preenchia a tela toda. E seus olhos eram longos corredores.
Ele tinha esses longos, profundos olhos de corredores.

Eu queria voc... E eu te procurava...

Mas eu no conseguia te encontrar.
Eu queria voc... E eu te procurei o dia
todo... Mas eu no consegui te achar...
No consegui encontrar voc....
Lrio branco
Que filme de Fassbinder esse?
Um homem com apenas um brao entra numa
floricultura e diz: Que flor expressa que os dias
passam e apenas continuam a passar incessantemente em direo ao futuro? Que os dias passam
sem parar, incessantemente nos puxando para o
futuro?. E a florista diz: Lrios brancos.

Voc caminha
Voc caminha e nem sempre
percebe isso, mas voc est sempre
caindo. Em cada passo, voc cai
um pouco para frente e ento se
segura antes da queda.
Uma e outra vez voc est caindo
e se segura antes da queda.
E desta forma que voc pode
caminhar e cair ao mesmo tempo.

I went to the movies and I saw a dog thirty feet

high. And this dog was made entirely of light.
And he filled up the whole screen. And his eyes
were long hallways. He had those long, echoing,
hallway eyes.

I wanted you . . . And I was

looking for you . . . But I couldnt
find you. I wanted you . . . And I
was looking for you all day ... But
I couldnt find you . . . I couldnt
find you . . .
White Lily
What Fassbinder film is it?
A one armed man comes into a flower shop
and he says,What flower expresses days go by
and they just keep going by endlessly pulling
you into the future? Days go by endlessly. Endlessly pulling you into the future?And the
florist says, White Lily.

Youre Walking
Youre walking and you dont always realize it but
youre always falling. With each step you fall forwards
slightly and then catch yourself from falling.
Over and over youre falling and then catching yourself from falling. And this is how you can be walking
and falling at the same time.

59

I dreamed I was a dog in a dog show and my

father came to the dog show and he said,
Thats a really good dog. I like that dog.
Pintura de parede de Dog Show, uma histria de Delusion
Wall painting of Dog Show, a story from Delusion | CCBB SP, 2010

61

Na Srie Sonho Institucional, eu decidi dormir em vrios lugares

pblicos para ver se o lugar influenciava meus sonhos. Escolhi lugares como banheiros pblicos, um banco de parque, uma biblioteca
pblica. Tentava ficar o mais cansada possvel, e ento dormia.
Originalmente, eu quis fazer isso porque estava interessada em tabus. Dormir em lugares pblicos no aconselhvel, embora no
seja ilegal; parece violar um contrato social tcito que requer conscincia. Pessoas que esto inconscientes evidentemente esto
muito vulnerveis. Tambm eu achei que esses lugares pblicos
seriam muito desconfortveis e que havia uma grande probabilidade de esse desconforto influenciar meus sonhos.
In Institutional Dream Series I decided to sleep in various public
places to see if the place would influence my dreams. I chose
places like public bathrooms, a park bench, the public library. I
would try to get as tired as possible and then fall asleep.
Initially I wanted to do this because I was interested in taboos. Public sleeping is discouraged although not illegal; it seems to violate an
unspoken social contract that requires awareness. People who are
unconscious are obviously very vulnerable. Also I thought that these
public places would be pretty uncomfortable and that there was
a good chance this discomfort would influence the dreams I had.
Coney Island, 14 de janeiro de 1973
Deito-me perto da gua, cuja mar est baixa. Faz um frio de rachar e a areia
est mida. Coloco meu suter de gola alta sobre meu rosto. Depois de
alguns minutos, comeo a relaxar e a perder a conscincia. Estou tentando
dormir em diferentes lugares pblicos para ver se o lugar pode impactar ou
controlar meus sonhos. Neste momento, esta parece ser uma ideia maluca.
Posso escutar a mar subindo. A gua comea a cobrir meus ps gelados.
No tenho certeza se estou dormindo ou se estou acordada, ento mantenho
meus olhos cerrados. Depois de algumas horas, escuto um zumbido forte se
aproximando. Parece que uma onda gigante se aproxima do litoral. Levantome e comeo a correr. Um enorme helicptero sobrevoa o local.

INSTITUTIONAL DREAM SERIES 1972-73

Srie de fotografias preto e branco com texto
Series of black and white photographs with text

Coney Island January 14, 1973

I lie down near the water which is at low tide. It is bitterly cold and the sand
is damp. I pull my turtleneck sweater over my face. After several minutes I
begin to relax and lose consciousness. I am trying to sleep indifferent public
places to see if the place can color or control my dreams. At the moment this
seems like a crazy idea. I can hear the tide coming in. The water is beginning
to cover my frozen feet. Im not sure whether Im asleep or awake so I keep
my eyes shut tight. After a couple of hours I hear a loud rushing drone. It
sounds like giant wave is rolling toward shore. I jump up and start to run. A
large helicopter is hovering directly overhead.

63

Porto de South Street | Beliche Lettie G.

Howard, 10 de dezembro de 1972
Deito-me no beliche e sonho com um deserto branco no qual cada planta est rotulada
com letras minsculas.
South Street Seaport | The Lettie G.
Howard starboard berth December 10, 1972
I lie down in the starboard berth and dream
about a white desert in which every plant
was labeled in tiny writing.

Banheiro feminino | Biblioteca

Schermerhorn, Universidade de Columbia,
3 de abril de 1972
Deito-me no sof de onde posso ver as
mulheres entrando e saindo do banheiro,
coloco meu caderno sobre o rosto e minhas
lentes de contato sob a lngua. Sonho que
a biblioteca um mercado a cu aberto e
todas as estantes so bancadas cheias de
vegetais.
Womens Bathroom | Schermerhorn
Library, Columbia University April 3, 1972
I lie down on the couch where I can see the
women coming in and out of the bathroom,
I put a notebook over my face and place my
contact lenses under my tongue. I dream
that the library is an open air market and all
the stacks are stalls stocked with vegetables.

Instalao de Institutional Dream Series

Installation of Institutional Dream Series
CCBB SP, 2010

Tribunal de Justia, planto noturno

100 Centre Street, 29 de dezembro de 1972
O primeiro caso roubo e assalto. O tribunal barulhento e est cheio de gente.
Descanso a cabea encostada numa parede que cobre todo o comprimento da sala.
Lentamente comeo a cochilar.
Tenho a impresso de que nuvens ou sombras escuras cruzam o salo bem abaixo
do teto. Quando acordo, percebo que essa
sensao produzida pelo bon que estou
usando e que, com o menear peridico da
minha cabea, alternadamente esconde e
revela as fortes luzes penduradas perto do
teto. Acordo justamente quando o juiz est
confiscando nossa cmera. Voc evidentemente sabe que chantagem contra a
lei, ele diz. Mas ele apenas faz o espetculo de tirar o filme da mquina para logo
depois nos devolver.
Night Court
100 Centre Street, December 29, 1972
The first case up is Robbery and Assault.
The courtroom is noisy and full of people.
I rest my head against a wall running the
length of the courtroom. I drift off slowly.
I have the impression that dark shadows or
clouds are scudding across the courtroom
just below the ceiling. When I wake up I
realize this sensation is produced by the
peaked cap I am wearing which, with me
heads periodic bobbing, alternately obscures and reveals the bright lights which
hang near the ceiling. I wake up just as
the judge is confiscating our camera. You
understand of course blackmail is illegal,
he is saying. But he only makes a show of
taking the film out of the camera and then
hands it back.

65

Duetos no Gelo
Apresentado em 1975 em Nova Iorque e Gnova.
Peas para violino previamente gravadas tocavam
por meio de um amplificador dentro do violino. Ao
mesmo tempo, o violino era tocado ao vivo. A pea
pr-gravada estava em loop, sem um comeo ou um
fim. Eu precisava de um mecanismo para medir o
tempo, uma forma de expressar durao. Ento calcei um par de patins de gelo com lminas congeladas
em blocos de gelo de forma que, quando o gelo derretia e eu perdia o equilbrio, o concerto terminava.
Algumas vezes, em Gnova, eu parava de tocar
por um momento e fazia uma homenagem no meu
italiano rudimentar s pessoas que estavam me escutando de p. Eu dizia que tocava aquelas msicas
em memria da minha av, porque no dia em que ela
morreu eu caminhei sobre um lago congelado. Havia
muitos patos grasnando e batendo as asas. Cheguei
muito perto deles e eles no voaram para longe. Ento eu percebi que eles no podiam se mover porque
suas patas haviam congelado numa nova camada de
gelo. Um homem que me escutou contar essa histria comeou a explicar aos recm-chegados: Ela
est tocando esta msica porque um dia ela e sua
av ficaram congeladas juntas num lago.

Duets on Ice Genova Genoa 1975

67

Duets On Ice
Presented in 1975 in New York and Genoa.
Pre-recorded violin pieces were played through a
speaker inside the violin. The violin was simultaneously played live. The pre-recorded piece was a
loop, it didnt have a beginning or an end. I needed
a timing mechanism, a way to express duration. So
I wore a pair of ice skates with their blades frozen
into blocks of ice so that when the ice melted and I
lost my balance the concert was over.
Sometimes in Genoa I would stop playing for a
moment and make a dedication in my beginners
Italian to the people who were standing around
and listening. I said that I was playing these songs
in memory of my grandmother because on the
day she died I walked out onto a frozen lake; there
were a lot of ducks honking and flapping their
wings. I got very close to them and they didnt fly
away. Then I saw that they couldnt move because
their feet had been frozen into the new layer of
ice. One man who heard me tell this story was explaining to newcomers, Shes playing this music
because once she and her grandmother were frozen
together in a lake.

Duets on Ice 1975

Brooklyn, NY
2 Avenida Second Avenue, Manhattan
Porta Soprano, Genova, Itlia Genoa, Italy

Instalao de Duets on Ice

Installation of Duets on Ice | CCBB SP, 2010

69

Esboos para a Performance As: If

Sketches for As:If, Performance | 1974

SELF PLAYING VIOLIN 2010

Violino com alto-falante e eletrnicos | prova do artista
Violin with built in speaker and electronics | artist proof

Performance As: If
As:If performance | 1974

71

Performance na abertura da mostra, 12 de outubro

Performance at opening, October 12 | CCBB SP, 2010

73

Instalao de patins de gelo e vdeo da performance realizada em 12 de outubro

Installation of skates and video of performance on Oct 12 | CCBB SP, 2010

75

DIGITAL VIOLIN 1984

Pintura de parede de texto de Delusion
Wall painting of text from Delusion | CCBB SP, 2010

Violino eletrnico
Electronic violin

75

NEON VIOLIN 1982

NEON BOW 1980

Acrlico e neon
Plexiglass and neon

Arco de violino, tubo fluorescente Violin bow, florescent tube

Tocando Neon Bow, Estados Unidos Pt. 2

Performing with Neon Bow, United States Pt. 2 | 1983

77

VIOPHONOGRAPH 2010
Violino com arco giratrio, estilete e alto-falantes
Violin with turntable and bow with stylus and speaker

Era um antigo vaso japons, cheio de ranhuras.

Ranhuras no muito profundas, mas por todo o vaso.
Parecia uma daquelas lanternas de papel dobrveis.
Era um experimento. O vaso foi colocado numa plataforma giratria e posto para girar. Uma agulha foi
colocada na ranhura. Uma agulha de vitrola. Estavam esperando para ouvir a voz do oleiro moldando
o vaso 2000 anos atrs. Tinham a esperana de que
os sons do oleiro tivessem de alguma forma ficado
impregnados no barro mido. E permanecido l,
intactos, presos nas dobras da argila. O vaso girou e
girou, como um disco sendo tocado na terceira dimenso. Girava. Eles escutavam. Alguns ouviram um
dialeto japons indiscernvel,
veloz e grave. Alguns ouviram rudos estridentes. A
agulha escavava o vaso.
A agulha ficava cega.
To cientfico assim.
Cada vez mais cega
e cientfica. Mais
cega E mais
cientfica.

79

Tocando o viophonograph
Playing the viophonograph | 1976

It was an ancient Japanese pot,

incised with grooves. Thin-ridged
grooves. Grooves all around it. It
looked like one of those collapsible
paper lanterns. It was an experiment.
The pot was placed on a turntable
and the turntable began to revolve.
A needle was set into the groove. A
stereo needle. They were waiting to
hear the voice of the potter potting
the pot 2,000 years ago. They were
hoping the sounds of the potter had
somehow been embedded into the
wet clay. And stayed there, intact,
clinging to the ridges of the clay. The
pot turned around and around, like a
record being treadled into the third
dimension. It turned. They listened.
They were listening. Some of them
heard an unidentifiable Japanese
dialect, rapid and high. Some of
them heard high-pitched static. The
needle dug into the pot. The needle
was getting blunt. More and more
blunt. It was that scientific. Blunter
and scientific. More blunt . . . and
more scientific.

81

TAPE BOW VIOLIN 2010

Violino com arco mecnico
Violin with mechanical bow

Esboo para Tape Bow Violin

Sketch for Tape Bow Violin | 1978
Instalao de Tape Bow Violin
Installation of Tape Bow Violin | CCBB SP, 2010

83

Tape Bow Trio, The Kitchen, NY, 1978

Partituras de Tape Bow

para Born, Never Asked
Tape Bow Scores for
Born, Never Asked | 1980

85

TALKING STICK 1998

Instrumento de alumnio cilndrico com componentes eletrnicos e controles
Cylindrical aluminum instrument with electronics and controllers

Tocando Talking Stick em Songs and Stories for Moby Dick

Playing Talking Stick in Songs and Stories for Moby Dick | 1999

87

Tilt 1994

Hearring 1997

Caixa de msica eletrnica - dueto para duas vozes. O ouvinte pode

acessar parte do dueto, inclinando o nvel para a esquerda ou direita.

Brinco eletrnico sonoro. Fabricado

em uma edio da Revista Parkett

Electronic music box - duet for two voices.The listener can access
part of the duet by tilting the level to the left or right.

Electronic earring with sound. Made in

an edition for Parkett Magazine.

89

BOWL AND BLADE 2010

Arco de metal, lmina de serra, acrlico e eletrnicos. Sons e msicas so conduzidos atravs de um
basto de vidro da base at a lmina de serra e a
tigela, que atua como um alto-falante enfatizando
harmnicos.
Metal bowl, saw blade, plexiglas rod and electronics.
Sounds and music are driven up a glass rod from the
base to the saw blade and bowl which act as speakers emphasizing harmonics.

91

93

1 Self Portrait at the age of 5

Autorretrato com 5 anos de idade
2 Autorretrato com cmera
Self portrait with camera | 1988
3 Absent in the Present | 1975
Olhando no espelho lateralmente
Srie de fotografias
Looking into the mirror sideways
Photographic series

95

1
6

97

11

12

13

10

1 Fotografia de divulgao
Press photograph, Paris | 1987
2 Performance com mscara de
lentes em Home of The Brave
Performing with Lens Mask in
Home of the Brave | 1984
3 Como Sharkey em
Home of the Brave
As Sharkey in Home
of the Brave | 1984
4 Mutao em um gorila para
o vdeo Human Face
Mutating into a gorilla for
Human Face video
5 Retrato por Annie Liebovitz
Portrait by Annie Liebovitz | 1989
6 Clone em What You Mean We?
As Clone in What You Mean We? | 1986

7 Como Unprocessed Clone

em What You Mean We?
As Unprocessed Clone in
What You Mean We? | 1986
8 Como uma marionete em
Estados Unidos Pt. 4
As a marionette in United
States Pt. 4 | 1983
9 Autorretrato
Self Portrait | 1970
10 Como uma ex-patriota em Roma
As an expatriot in Rome | 1979
11 Fotografia de divulgao
Press photograph | 1984
12 Performing in Mister Heartbreak
Performing in Mister Heartbreak | 1984
13 Como comentarista de televiso
As TV commentator | 1985

99

Instalao da parede de cronologia

Chronology wall installation | CCBB SP, 2010

101

Dispositivos de escuta para a instalao da parede de cronologia

Listening devices for chronology wall installation | CCBB SP, 2010

103

LAURI E ANDERSON

LAUR IE ANDERSON

Laurie Anderson uma das mais reconhecidas e ousadas pioneiras artsticas dos Estados Unidos. Conhecida principalmente
por suas apresentaes multimdia, ela tem assumido uma gama
variada de papis que incluem os de artista visual, compositora,
poeta, fotgrafa, cineasta, experimentadora de eletrnicos, vocalista e instrumentista.
O Superman inaugurou a carreira musical de Anderson em 1980,
chegando ao segundo lugar nas principais paradas pop da Inglaterra e mais tarde aparecendo em Big Science, o primeiro de seus
sete lbuns pela Warner Brothers. Outros lbuns de Anderson
incluem Mister Heartbreak, United States Live, Strange Angels,
Bright Red e a trilha sonora do seu longa-metragem Home of the
Brave. Uma caixa de luxo da sua produo pela Warner Brothers,
Talk Normal, foi lanada no outono de 2000 em Rhino/Warner Archives. Em 2001, Anderson lanou seu primeiro lbum pela Nonesuch Records, intitulado Life on a String, seguido por Live in
New York, gravado no Town Hall na cidade de Nova Iorque em
setembro de 2001, e lanado em maio de 2002.
Anderson fez diversas turns pelos Estados Unidos e no exterior
com shows que vo desde simples apresentaes performticas
da palavra falada a elaborados eventos multimdia. Entre seus trabalhos principais, esto United States I-V (1983), Empty Places (1990),
The Nerve Bible (1995) e Songs and Stories for Moby Dick, uma
performance em teatro baseada no romance de Herman Melville.
Songs and Stories for Moby Dick viajou pelo mundo entre 1999 e
2000. No outono de 2001, Anderson viajou pelos Estados Unidos e
Europa com uma banda, executando msicas de Life on a String.
Ela tem tambm apresentado muitos trabalhos solo, incluindo
Happiness, lanado em 2001 e apresentado em turns internacionais at a primavera de 2003.

Laurie Anderson is one of Americas most reknowned and

daring creative pioneers. Known primarily for her multimedia presentations, she has cast herself in roles as varied as
visual artist, composer, poet, photographer, filmmaker, electronics whiz, vocalist, and instrumentalist.
O Superman launched Andersons recording career in 1980,
rising to number two on the British pop charts and subsequently appearing on Big Science, the first of her seven albums on the Warner Brothers label. Other record releases include Mister Heartbreak, United States Live, Strange Angels,
Bright Red, and the soundtrack to her feature film Home of
the Brave. A deluxe box set of her Warner Brothers output,
Talk Normal, was released in the fall of 2000 on Rhino/Warner
Archives. In 2001, Anderson released her first record for Nonesuch Records, entitled Life on a String, which was followed by
Live in New York, recorded at Town Hall in New York City in
September 2001, and released in May 2002.
Anderson has toured the United States and internationally
numerous times with shows ranging from simple spoken
word performances to elaborate multimedia events. Major works include United States I-V (1983), Empty Places
(1990), The Nerve Bible (1995), and Songs and Stories for
Moby Dick, a multimedia stage performance based on the
novel by Herman Melville. Songs and Stories for Moby Dick
toured internationally throughout 1999 and 2000. In the fall
of 2001, Anderson toured the United States and Europe
with a band, performing music from Life on a String. She
has also presented many solo works, including Happiness,
which premiered in 2001 and toured internationally through
Spring 2003.

105

Anderson publicou seis livros. Textos de performances solo de

Anderson aparecem no livro Extreme Exposure, editado por Jo
Bonney. Anderson tambm escreveu a entrada de Nova Iorque
para a Enciclopdia Britnica e, em 2006, a editora Edition 7L
publicou o livro de desenhos de sonhos de Anderson, denominado Night Life.
O trabalho visual de Laurie Anderson tem sido exibido nos principais museus da Europa e dos Estados Unidos. Em 2003, o Muse
dArt Contemporain de Lyon, na Frana, produziu uma retrospectiva itinerante do seu trabalho, intitulada The Record of the Time:
Sound in the Work of Laurie Anderson [O registro do tempo: o
som no trabalho de Laurie Anderson]. Esta retrospectiva incluiu
instalao, udio, instrumentos, vdeo e objetos de arte, e cobriu a
carreira de Anderson desde a dcada de 1970 at seus trabalhos
mais recentes. A exposio prosseguiu em turn internacional de
2003 a 2005. Como artista visual, Anderson representada pela
galeria Sean Kelly em Nova Iorque, onde sua exposio The Waters Reglitterized foi inaugurada em setembro de 2005. Em 2008,
o Museum of Modern Art adquiriu seu Self-Playing Violin, que fez
parte da exposio Making Music no outono de 2008.
Como compositora, Anderson contribuiu com msicas para filmes de Wim Wenders e Jonathan Demme; peas de dana para
Bill T. Jones, Trisha Brown, Molissa Fenley; e com uma partitura
para a produo teatral Far Side of the Moon, de Robert Lepage.
Ela tambm criou peas para o National Public Radio, a BBC e
a Expo 92 em Sevilha. Em 1997, ela foi curadora do Meltdown
Festival no Royal Festival Hall em Londres, de duas semanas
de durao. Seu trabalho orquestral mais recente Songs for
Amelia Earhart, apresentado pela primeira vez no Carnegie Hall
em fevereiro de 2000 e executado pela American Composers Orchestra. Mais tarde, a pea viajou pela Europa com a Orquestra
de Cmera de Stuttgart sob a regncia de Dennis Russell Davies.

Anderson has published six books. Text from Andersons

solo performances appears in the book Extreme Exposure,
edited by Jo Bonney. Anderson has also written the entry
for New York for the Encyclopedia Brittanica and in 2006,
Edition 7L published Andersons book of dream drawings
entitled Night Life.
Laurie Andersons visual work has been presented in major
museums throughout the United States and Europe. In 2003,
The Muse Art Contemporain of Lyon in France produced a
touring retrospective of her work, entitled The Record of the
Time: Sound in the Work of Laurie Anderson. This retrospective included installation, audio, instruments, video and art
objects and spans Andersons career from the 1970s to her
most current works. It continued to tour internationally from
2003 to 2005. As a visual artist, Anderson is represented by
the Sean Kelly Gallery in New York where her exhibition, The
Waters Reglitterized, opened in September 2005. In 2008, the
Museum of Modern Art acquired her Self-Playing Violin which
was featured in the Making Music exhibition in Fall 2008.
As a composer, Anderson has contributed music to films by
Wim Wenders and Jonathan Demme; dance pieces by Bill T.
Jones, Trisha Brown, Molissa Fenley, and a score for Robert
LePages theater production, Far Side of the Moon. She has
created pieces for National Public Radio, The BBC, and Expo
92 in Seville. In 1997 she curated the two-week Meltdown
Festival at Royal Festival Hall in London. Her most recent orchestra work Songs for Amelia Earhart. premiered at Carnegie
Hall in February 2000 performed by the American Composers
Orchestra and later toured Europe with the Stuttgart Chamber
Orchestra conducted by Dennis Russell Davies. The piece was
performed as part of the Groningen Festival honoring Laurie
Anderson in Fall 2008 with the Noord Nederlands Orkest.

107

Esta mesma pea foi executada pela Noord Nederlands Orkest

durante o Groningen Festival em honra a Laurie Anderson no
outono de 2008.
Reconhecida internacionalmente como lder e pioneira no uso da
tecnologia nas artes, Anderson colaborou com o Interval Research
Corporation, um laboratrio de pesquisa e desenvolvimento de
novos instrumentos criativos, incluindo o Talking Stick. Ela criou
a sequncia introdutria do primeiro segmento do especial do
PBS (Public Broadcasting Service), Art 21, uma srie sobre arte no
sculo 21. Suas premiaes incluem o Prmio Tenco de composio, em San Remo, Itlia, em 2001, e o prmio Deutsche Schallplatten por Life on a String, tambm em 2001, alm de bolsas da
Guggenheim Foundation e do National Endowment for the Arts.
Recentemente, ela colaborou com Bran Ferren, da Applied Minds,
Inc., para criar uma pea que participou da exposio The Third
Mind, no Museu Guggenheim de Nova Iorque no inverno de 2009.
Em 2002, Anderson foi indicada para ser a primeira artista em residncia na NASA, uma experincia que culminou com sua performance solo itinerante The End of the Moon, em 2004. Projetos recentes incluem uma srie de instalaes audiovisuais e um filme
em alta definio, Hidden Inside Mountains, criado para a World
Expo 2005 em Aichi, no Japo. Em 2007, ela recebeu o prestigiado Dorothy e Lillian Gish Prize pela excelncia de sua contribuio
para as artes. Em 2008, ela completou uma turn internacional
com a pea performtica Homeland, que foi lanada como lbum
pela Nonesuch Records em junho de 2010 e aclamada pela crtica.
A mais nova performance solo de Anderson, Delusion, estreou
nas Olimpadas de Inverno de Vancouver no incio de 2010, estrelou recentemente o BAM Next Wave Festival em Nova Iorque e
continua em turn internacional. Em outubro de 2010, Anderson
inaugurou uma grande mostra intitulada I in U no CCBB de So
Paulo. Laurie Anderson vive e trabalha na cidade de Nova Iorque.

Recognized worldwide as a groundbreaking leader in the

use of technology in the arts, Anderson collaborated with
Interval Research Corporation, a research and development
laboratory founded by Paul Allen and David Liddle, in the
exploration of new creative tools, including the Talking Stick.
She created the introduction sequence for the first segment
of the PBS special Art 21, a series about Art in the 21st century. Her awards include the 2001 Tenco Prize for Songwriting in San Remo, Italy and the 2001 Deutsche Schallplatten
prize for Life On A String as well as grants from the Guggenheim Foundation and the National Endowment for the
Arts. She recently collaborated with Bran Ferren of Applied
Minds, Inc to create an artwork that was displayed in The
Third Mind exhibition at the Guggenheim Museum in New
York in Winter 2009.
In 2002, Anderson was appointed the first artist-in-residence of NASA, an experience which culminated in her 2004
touring solo performance The End of the Moon. Recent projects include a series of audio-visual installations and a high
definition film, Hidden Inside Mountains, created for World
Expo 2005 in Aichi, Japan. In 2007 she received the prestigious Dorothy and Lillian Gish Prize for her outstanding contribution to the arts. In 2008 she completed a two-year worldwide tour of her performance piece, Homeland, which was
released as an album on Nonesuch Records in June, 2010
to critical acclaim. Andersons newest solo performance
Delusion debuted at the Vancouver Winter Olympics in early
2010, recently headlined the BAM Next Wave Festival in New
York and continues to tour internationally. In October, 2010,
Anderson opened a major new artwork exhibition entitled
I in U at the CCBB in So Paulo, Brazil. Laurie Anderson lives
and works in New York City.

109

No Psiquiatra

At the Shrinks

Algum tempo atrs, eu passei um perodo frequentando uma psiquiatra. Eu chegava ao seu consultrio por volta das oito da manh
e me sentava. Ela se sentava num canto e num dos seus lados
havia uma janela e no outro um espelho. E ela podia perceber pelos sutis movimentos dos meus olhos se eu estava olhando para
ela, pela janela ou para o espelho. Eu olhava muito para o espelho,
e uma das coisas que percebi que nas segundas ele estava perfeitamente limpo e claro, mas quando chegava sexta-feira estava
coberto com marcas de lbios. Esse processo foi no comeo surpreendente, mas depois eu gradualmente me acostumei com isso
e eventualmente passei a depender dele.
Ento um dia, casualmente, eu disse: como as marcas labiais
que aparecem no seu espelho. Ela olhou para o espelho e disse:
Que marcas? . E eu percebi que, em razo da maneira como o
sol entrava pela janela e banhava o espelho, ela no podia v-las.
Ento eu disse: Por que voc no se levanta e se senta na minha
cadeira? Voc poder v-las daqui. Ento ela se levantou e eu nunca a tinha visto fora de sua cadeira antes, e ela veio e se sentou na
minha cadeira e disse: Oh! Marcas de lbios!.
A prxima vez que eu estive com ela foi tambm a ltima. Ela disse que descobriu que sua filha de doze anos entrava no consultrio
durante a semana e beijava o espelho, e que a empregada vinha
durante o fim de semana e limpava as marcas. E eu percebi que
ns estvamos enxergando as coisas de pontos de vistas literalmente to diferentes que eu nunca mais precisei v-la de novo.

A while ago I spent some time seeing a psychiatrist and Id get

to her office about eight in the morning and sit down. She was
sitting in a corner and on one side of her was a window and on
the other side a mirror. And she could tell by slight movements
of my eyes whether I was looking at her or out the window or at
the mirror. And I looked at the mirror a lot and one of the things I
noticed was that on Mondays it was perfectly clean and clear but
by Fridays it was covered with lip marks. And this was a process
that was surprising at first and then gradually I got used to it and
eventually I started to depend on it.
Then one day, in passing, I said, Its like the lip marks that appear on your mirror. And she looked at the mirror and said, What
lip marks? And I realized that because of the way the sun was
coming in through the window and hitting the mirror that she
couldnt see them. So I said, Why dont you get up and sit in my
chair? You can see them from here So she got up and I had never
seen her out of her chair before and she came and sat in my chair
and she said, Oh! Lip marks!
The next time I saw her was the last time. She said that shed
discovered that her twelve year old daughter had been coming
into her office during the week and kissing the mirror and that the
maid would come in over the weekend and wash off the marks.
And I realized that we were seeing things from such literally different points of view that Id never have to see her again.

Vdeo projeo sobre figura pequena de argila com adio

Video projection onto small clay figure with audio | 1975

Vdeo projeo sobre figura pequena de argila com adio

Video projection onto small clay figure with audio | 1996

111

Voc sabe que Alexandre, o Grande,

no foi morto em batalha na Macednia como todo mundo acha. Na
verdade, ele foi capturado durante a
batalha por uma enorme tribo de homens amarelos e obrigado a lutar em
seu exrcito como escravo. Trinta
anos se passaram e finalmente seus
captores, que puderam perceber o
grande soldado que ele era, decidiram recompens-lo. E deram-lhe um
saco de moedas de ouro e Alexandre
pegou uma das moedas e a olhou e
viu seu rosto impresso nela. E disse:
Essa moeda do tempo em que eu
era Alexandre, o Grande.

GOLD 1995
Vdeo e argila
Video and clay

Fragmento de vdeo de Gold

Video still from Gold

You know Alexander the Great wasnt

killed at the battle at Macedon like
everybody thinks he was. In fact, he
was captured during the battle by a
huge tribe of yellow men and forced
to fight in their army as a slave. Thirty
years went by and finally his captors,
who could see what a great fighter
he was, decided to pay him. And
they gave him a bag of gold coins
and Alexander took one of the gold
coins and looked at it and on it was
his own picture. And he said, This
was from the time when I was Alexander the great.

113

And when the tears fall

from both my eyes
They fall from my left
eye because I love you
And they fall from my
right eye because
I cannot bear you.

Pintura de parede de texto de Delusion

Wall painting of text from Delusion
CCBB SP, 2010

115

Videoprojeo de Song for

Lines/Songs for Waves
Video projection from Song for
Lines/Songs for Waves | 1977

Instalao de videoprojeo de Song for Lines/Songs for Waves

Installation of video projection from Song for Lines/Songs for Waves | 1977

117

Imagens de Drum Dance

de Home of the Brave
Images from Drum Dance,
Home of the Brave | 1986

Desenho para Drum Suit, fabricado com almofadas eletrnicas

Drawing for Drum Suit, made from electronic pads

Instalao Drum Dance,

de Home of the Brave
Installation of Drum Dance, from
Home of the Brave | CCBB, 1986,

119

Anderson tocando o Bodysynth Anderson Playing the Bodysynth, 1993

Instrumento usado na performance Stories from the Nerve Bible. Esta srie de
sensores foi controlada pela flexo dos msculos das mos e braos.
Instrument used in Stories from the Nerve Bible performance.This series of sensors was controlled by flexing the muscles of the hands and arms.

Anderson com Headlight Glasses Anderson Wearing Headlight Glasses |1983

Fotografia de United States,1-4 na Academia de Msica do Brooklyn, NY
Photograph from United States, 1-4 at Brooklyn Academy of Music, Brooklyn, NY

Cassette in Mouth 1978

Anderson demonstra uma cano para a boca e pequeno alto-falante movido a
bateria no qual a dinmica e o fraseado de uma gravao de violino so controlados pela abertura e fechamento da boca.
Anderson demonstrates a song for mouth and small battery-powered speaker in
which the dynamics and phrasing of a violin recording are controlled by opening
and closing the mouth.

Projection Dress 1975

Filme e slides foram projetados neste vestido
Film and slides were projected onto this dress

121

Instalao de videoprojeo de Delusion

Installation of video projection from Delusion | 2010

123

Performance de United
States Pt. 1, Carnegie
Hall, Nova Iorque
Performance of United
States Pt. 1, Carnegie
Hall, NY | 1979

Esboo para teatro flutuante

Sketch for the floating theater | 1996

Esboo para performance

Sketches for performance | 1974

Esboo para a
performance United
States Pt.4
Sketch for performance
for United States
Pt. 4 | 1983
Esboo para projeo hologrfica
Sketch for holographic
projection | 1979

Esboo para Closed Circuits

Sketch for Closed Circuits | 1980

125

1 Esboo para United States Pt. 3

Sketch for United States Pt. 3 | 1983
2 Esboo para o carpete vermelho, United States Pt. 4
Sketch for the red carpet, United States Pt. 4 | 1983
3/4 Esboo para Moby Dick
Sketches for Moby Dick | 1999
5 Esboo para Singing Purse
Sketch for Singing Purse | 1974
6 Esboo para Tornado, Histrias de Nerve Bible
Sketch for Tornado, Stories from the Nerve Bible | 1992

127

Uma sala com msicas, performances, peas de rdio e partituras para dana
A room with songs, performances, radio pieces and dance scores | CCBB SP, 2010

Msicas lyrics
A Curious Phenomenon

Drums

Animals

English

Another Day in America

Excellent Birds

Art and Illusion

Falling

Baby Doll

False Documents

Bagpipe Solo

Far Side of the Moon

Beautiful Pea Green Boat

Fininish Farmers

Beautiful Red Dress

Fireworks

Beginning French

Flow

Big Science

For a Large and Changing Room

Big Science Reprise

For Eletronic Dogs

Blue Day (Strange Perfumes)

Four, Three, Twoo, One

Blue Lagoon

Frames for the Pictures

Bodies in Motion

Freefall

Born, Never Asked

From the Air

Bright Red

Going Somewhere

Broken

Gravitys Angel

Cartoon Song

Here With You

Cello Solo

Hey ah

City Song

Hiawatha

Classified

Hothead (La Langue dAmour)

Closed Circuits

House of Blues

John Lilly

Love Among the Sailors

Coolsville

I Brought Wood to Your Corral

Kokoku

Love is a Bird

Credit Racket

I Dreamed I Had to Take a Test...

Language Is a Virus

Mach 20

Dance of Eletricity

If You Cant Talk About It- Point to It (for

Language Is a Vrus - William S. Burroughs

Maria Teresa Teresa Maria

Dark Angel

Reverend Ike)

Language of the Future

Monkeys Paw

Dark Time in the Revolution

In Our Sleep

Langue DAmour

Muddy River

Democratic Way

It Tango

Late Show

My Compensation

Difficult Listening Hour

It Was Up in the Mountains

Let X=X

My Eyes

Dog Show

Its Not the Bullet That Kills You

Life On A Sting

My Right Eye

Down in Soho

Jane Fonda

Lightining Out for the Territories

Neon Duet (For Violin and Neon Bow)

Dr. Miller

Jimi Hendrix Cover

Looking for You

New Jersey Turnpike

Dropping The Pencil

Jimmy Carter

Lost Art of Conversation

New York Social Life

129

VDEOs e filmes
VIDEOs and films
Night Flight From Houston

Smoke Rings

The Stranger

Beautiful Red Dress

Night In Baghdad

So Happy Birthday

The Rotowhirl

Sharkeys Day

Nina Simone

Someone Elses Dream

The Ugly One With the Jewels

O Superman

O Superman

Song for Two Jims

The Visitors

Language is a Vrus

O Superman (For Massenet)

Speak My Language

Thinking of You

Life on a String

Odd Objects (for Light-in-mouth)

Speechless

Three Expedience No.2

The End of The Moon

On The Way to Jerusalm

Statue of Liberty

Three Expediences

Moby Dick

One Beautufil Evening

Steven Weed

Three Songs for Paper, Film and Vdeo

Music for Dogs

One White Whale

Stiff Neck

Three Walking Songs

Delusion

Only an Expert

Strange Angels

(for Tape Bow Violin)

PSA Jerryrigging

Over the River

Strike

Tightrope

PSA Military Research

Pictures of It (for Acoustic Tape Bow)

Structuralist Filmmaking

Time and a Half

PSA National Anthem

Pieces and Parts

Sweaters

Time to GO

PSA National Debt

Poison

Talk Normal

Transitory Life

PSA Television

Private Proporty

Talkshow

Unlike Van Gogh

PSA Women & Money

Progress

Telephone Song

Vdeo Rock

Human Face

Puppet Motel

The Beginning of Memory

Violin

Hidden Inside Mountains

Radar

The Big Top

Violin Solo

Home of the Brave

Ramon

The Cultural Ambassador

Violin Walk

Carmen

Red Map

The Day the Devil

Voices on Tape

What You Mean We?

Reverb

The Dream Before

Walk the Dog

Rising Sun

The End of the World

Walking and Falling

Running Dogs

The Geopgraphic North Pole

Washington Street

Same Time Tomorrow

The Healing Horn

Weve Got Four Big Clocks and Theyre

Sax Duet

The Hollywood Strangler

All Ticking

Sax Solo (For Tape Bow VIolin)

The Island Where I Come From

White Lily

Say Hello

The Lake

White Lily

Say What You Mean

The Mailmans Nightmare

Wildebeasts

Say What You MEan (Backwards)

The Mysterious Jim

Word of Mouth

Sharkeys Day

The Ouija Board

World Without End

Sharkeys Night

The Puppet Motel

Yankee See

Slip Away

The Salesman

You Didnt Mean What You Said

Small Voice (for Speaker-in-Mouth)

The Soul Is A Bird

Youve Got to Have Leaders

131

Instalao com textos Text installation | CCBB SP, 2010

Paradise is exactly like where you are right now only much, much better

133

Patrocnio Sponsorship
Banco do Brasil

Realizao Realization
Centro Cultural Banco do Brasil

Curadoria Curator

Traduo Translation

Marcello Dantas

Renato Rezende

Produo Production

Reviso Revision

Magnetoscpio Produes

Duda Costa

Produo executiva
Executive production

Legendagem Subtitles

Angela Magdalena

Produlz

Arquitetura Architecture

Cenografia e pintura
Carpenters and painters

Jeanine Menezes

Artos Engenharia

Gerente de produo
Production manager

Despachante aduaneiro
Custom release

Eugene Tsai

Waiver Logistic

Coordenador de produo
Production coordinator

Equipe tcnica Technicians

Brad Hampton

Videodesign e edio
Video design and editing
Amy Khoshbin

Tcnico e consultor tcnico

Installation technical coordination
Ben Rubin

Iram Gomes
Mauro Cesar da Silva
Marcelo de Oliveira Ramos

Apoio montagem e produo

Assembly support and production
Bruno Quental
Daniele Carvalho
Felipe Carvalho
Jorge Jargia

Design grfico e produo

Graphic design and production

Assessoria jurdica Legal advice

19 Design | Heloisa Faria

Elisa Janowitzer
Andr Castro

Seguro Insurance

Olivieri & Associados

JMS

Assistente de desenvolvimento
Desenvolviment assistant

Transporte Brasil Brasil shipping

Karin Kauffmann

Transporte internacional
International shipping

Compilao de texto e edio

Text compilation and editing
Alex Kauffman

Contabilista accountant
Andrew Zimmerman

Design e fabricao de obras

Design and works fabrication

A Alternativa

Dietl

Apoio administrativo Brasil

Brazil administration support
Ademir Polanske
Adma Sara
Drio Francisco

Marty Chafkin, Bob Bielecki

Agradecimentos
Acknowledgements

Iluminao Lighting

Fundao Armando Alvares Penteado

Sean Kelly Gallery

Dalton Camargos

Assessoria de imprensa
Press officer
Marcele Rocha

Neste sonho estou num programa de

auditrio. Amei seu novo livro!, diz o
apresentador. No escrevi livro algum,
mas tento entrar na onda. Acho que tem
as palavras baba de co no ttulo, no ?
O apresentador se surpreende por eu no
saber o ttulo do meu prprio livro.
In this dream Im on a talk show. Love
your new book! says the host. I havent
written a book but I try go along with this
anyway. I think it has the words dog
drool in the title, doesnt it? The host is
surprised that I dont seem to know the
title of my own book.

135

obras e x p ostas Exhibited Works

INSTITUTIONAL DREAM SERIES

1972-73 | Srie de fotografias
preto e branco com texto
Series of B&W photographs with text
AT THE SHRINKS 1975/97
Videoprojeo e argila | prova do artista
Video projection and clay | artist proof
DUETS ON ICE 1975
Srie de fotografias | prova do artista
Photograph series | artist proof

HEARRING 1997
Placa de circuito de lato/cobre
e alto-falantes
Brass/copper circuit board and
loudspeaker

BOWL AND BLADE 2010

Arco de metal, lmina
de serra, acrlico e eletrnicos
Metal bowl, saw blade,
plexiglas rod and electronics

LISTENING WALL 2010

Componentes eletrnicos,
udio em loop
Electronic components,
audio loop

BLOOD FOUNTAIN 1997

Vdeo projetado e papel
Video projected and paper

TILT 2010
Nvel de metal com
alto-falantes e eletrnicos
Aluminum level with speakers
and electronics

LIGHT IN AUGUST 2010

Livro impresso personalizado
Custom printed book

PUPPET MOTEL 1997

Projeo CD-ROM
CD-ROM Projection

NEWSPAPER WEAVINGS
Julho July 3, 2010
Jornais entrelaados
Newspaper woven

SONGS FOR LINES 1977

Esta performance consiste em
10 sons nos quais msica e imagem
so igualmente importantes
This performance consists of 10
songs in which music and image
are equally important

TALKING STICK 1998

Instrumento de alumnio
cilndrico com componentes
eletrnicos e controles
Cylindrical aluminum instrument
with electronics and controllers

NEON BOW 1980

Arco de violino, tubo fluorescente
Violin Bow, florescent tube

NIGHT LIFE 2005

Desenhos digitais e texto
Digital drawings and text

NEON VIOLIN 1982

Acrlico e neon
Plexiglass and neon

SELF PLAYING VIOLIN 2010

Violino com alto-falante e
eletrnicos | prova do artista
Violin with built in speaker and
electronics | artist proof

HANDPHONETABLE 2010
Madeira e eletrnicos | prova do
artista
Wood and eletronics | artist proof

TAPE BOW VIOLIN 2010

Violino com arco mecnico
Violin with mechanical bow

TALKING PILLOW 2010

Travesseiro e eletrnicos
Pillow and electronics

VIOPHONOGRAPH 2010
Violino com arco giratrio,
estilete e alto-falantes
Violin with turntable and
bow with stylus and speaker

HANDBOOK 2010
Livro da artista com textos
escritos mo em portugus
Artist bookwith handwritten
Portuguese text

DIGITAL VIOLIN 1984

Violino eletrnico
Electronic violin
DRUM DANCE 1986
Trechos do vdeo Home of the Brave
Excecpts from Home of the Brave
GOLD 1995
Vdeo e argila
Video and clay

NEWSPAPER WEAVINGS
Julho July 17, 2010
Jornais entrelaados
Newspaper woven
SYDNEY SAILS 2010
Videoprojeo e papel
Video projection and paper

DREAM BOOK 2010

Livro de sonhos em cdigo
eletrnico, ventiladores e madeira
Book of dreams incode,
electronics, fans and wood

SCENES FROM DELUSION 2010

Performance ao vivo
com filme e msica
Alive performance with
film and music
THE NEW MACHINES 2010
Escultura de pssaro falante
com alto-falantes, eletrnicos e
suporte metlico
Electronic talking bird sculpture
with built in speakers, electronics
and metal stand

137

Crditos fotogrficos Photographs credits

p. 4/5, 16/17, 18, 20/21, 22/23, 24/25, 30/31, 32/33, 34/35, 36/37,
38/39, 40, 41/42, 45, 46/47, 54/55, 56/57, 68/69, 70/71, 72, 73, 74,
75-2, 81-2, 88/89, 90/91, 98/99, 100/101, 112/113, 120/121, 126/127,
130/131, 133 Dimitri Lee | p. 50/51, 52 Marcello Dantas | p. 58, 64
Geraldine Pontius | p. 67, 78, 82 Bob Bielecki | p. 118 1 - Bob Bielecki
2 - Lynn Goldsmith | 3 - Bob Bielecki | p. 119 | Bib George | p. 122 Unknown
p. 66, 72, 76/77, 81, 82, 86/87, 110-1, 111 Amy Khoshbin | p. 62, 74, 75,
85, 114/115, 116, 120/121 foto de divulgao press photo | p. 92/93
Autorretratos Self portraits Laurie Anderson | p. 94 1 - Lynn Goldsmith
2 - John Lindley | 3 - John Lindley | p. 95 4, 5 - foto de divulgao press photo
| 6, 7 - fragmentos de vdeo video stills | p. 96 9 - Lynn Goldsmith | 10 - Laurie
Anderson | 11 - Jacqueline Burckhardt | p. 97 12 - Lynn Goldsmith | 13 - foto
de divulgao press photo | 14 - fragmentos de vdeo video still | p. 80, 87,
108/109, 114, 112-2, 111-3 Laurie Anderson | p. 117 fragmentos do filme
Home of the Brave film stills from Home of the Brave John Lindley dp
capa cover | lombada spine Lou Reed | 4a capa back cover Dimitri Lee

CIP-BRASIL. CATALOGAO-NA-FONTE
SINDICATO NACIONAL DOS EDITORES DE LIVROS, RJ

A561i
v.2
Anderson, Laurie, 1947 I in u = Eu em tu, volume 2/ curadoria Marcello Dantas ; traduo Renato
Rezende. - Santana do Parnaba, SP : Mag Mais Rede Cultural, 2011.
3v. : il. ; 17cm
Catlogo da exposio realizada no Centro Cultural Banco do Brasil
de So Paulo de 12/10 26/12 de 2010 e no Centro Cultural Banco do Brasil
do Rio de Janeiro de 28/03 26/06 de 2011
Texto em portugus e ingls
Contedo: v.1. Histria = Stories - v.2. Exposio = Exhibition - v.3.
Instalao = Installation
ISBN 978-85-60169-07-8 (v.2) - 978-85-60169-05-4 (Obra completa)
1. Anderson, Laurie, 1947- - Exposies - Catlogos. 2. Arte moderna Sc. XX - Estados Unidos - Exposies - Catlogos. 3. Multimdia (Arte). I.
Dantas, Marcello, 1968- II. Ttulo.
11-1220. CDD: 709.73
CDU: 7.036(73)
02.03.11 03.03.11 024876

ISBN 978-85-60169-07-8

livro 2

9 788560 169078

livro 3

ISBN 978-85-60169-08-5

9 788560 169085

ISBN 978-85-60169-05-4

luva

9 788560 169054

Realizao

Ministrio
da Cultura