London Art Spot: Patricia Vidal Delgado

Photo of Patricia above is courtesy of professional photographer, Ambra Vernuccio.

Meet Patricia from Portugal who speaks five languages and learned to pole-dance especially for her art: film-making. She’s studied in London, Jerusalem and Lisbon. She’s interned in London, Lisbon and Rio de  Janeiro. She’s held a residency in Morocco and exhibited her work in Stuttgart, Budapest, Zürich and, of course, London and Lisbon. She can’t keep away from London and if you read on below, you’ll find out why.

Patricia’s work reaches an international audience, not just for its movement in the world, but because she explores important subjects that touch people around the world. For this week’s London Art Spot, Patricia delves into the topics that have inspired her film-making, tells us about a new double-screen projection she’s working on and shares a few video stills and clips that she’s made available just for us.

Soundbite – Click to download:  NESIA

LLO:You’re originally from Portugal but have spent quite a lot of time living, studying and working in London. Which aspects of life in this city most influence your creativity and in which way?
PVD: I think that living in London makes me more adventurous in my creative endeavours. You can do anything you want here. For example, when I wanted to learn how to pole-dance for my ‘Monument’ performance-piece, I found that there were over 100 pole-dancing class venues in Central London alone. When I started to become interested in the idea of real-time live animation, after some research I found several London-based artists’ organisations that work with this type of technology. I then liaised with Bruno Martelli at Igloo, in order to talk about possible configurations for an interactive video installation.

LLO: Briefly describe your approach to film – the most important subjects for you to capture, the progression of an idea, etc.
PVD: This depends… It depends on whether I already have an idea in mind before I start shooting, or if I don’t have a definite idea in mind and I’m just shooting for the joy of it. I’m certainly drawn to certain images but at the time that I’m shooting them I won’t know why I’m so attracted to them. I think that part of the process of making art is understanding why, as an artist, you’re so drawn to the images that you keep finding yourself gravitating towards.

LLO: Roland Barthes’ book, A Lover’s Discourse: Fragments has influenced your work Black Sand. Are you often inspired by literature? If so, which other pieces have motivated you to create? What else inspires you?
PVD: I am often inspired by literature. Sometimes I’ll start working on a film and then I’ll read around the themes of the film in order to flesh out my ideas – which is what happened with ‘Black Sand’. Or sometimes I’ll read a book first and find myself profoundly shaken by it. The first time I experienced that was with Jorge Amado’s ‘Dona Flor e Seus Dois Maridos’ (English Title – Dona Flor and Her Two Husbands), when Vadinho says to Dona Flor:

‘Tua mãe é uma velha coroca, não sabe que na vida só vale o amor e a amizade. O resto é tudo pinóia, é tudo presunção, não paga a pena…’
‘Your mother is an old hag, she doesn’t know that love and friendship are the only things that matter in life. The rest is all worthless, its all vanity, its not worth it…’

And this statement really hit me on the head, and whenever I write or make work about love or relationships (i.e Black Sand) I’m torn apart by the hypothesis that, if it IS an absolute truth that love is the only thing that matters in life, then its also true that you can’t live on love alone and, therefore, no matter what choice you make regret is inevitable.

Music often inspires me as well – I’ll listen to a song and it’ll get under my skin and circulate in my blood and it won’t leave me alone until I’ve re-created it in my art. This happened with Clara Nunes’ ‘Ternura Antiga’, which tormented me until I used it in my sound-piece entitled ‘Mermaid’.

LLO: On your website, you write, “Girl with Gun developed from my interest in the psychological and archetypal aspects of the phallic female.” Can you elaborate on this statement and tell us a bit about this film?
PVD: I’ll start with the psychological aspects first – I first came across the figure of the phallic female in Freud’s writings, where he talks about the phallic mother. Prior to the traumatic realisation that sets off the castration complex in the young boy, the child assumes that everyone possesses a set of genitals like his own and so, by inference, believes his mother to possess a phallus as well. Therefore, the phallic female is a product of male fantasy that stems from the young boy’s blissful ignorance of sexual difference.

Lacan also refers to ‘phallic women’ as women that display masculine characteristics and/or behaviour. In Renata Salecl’s writings, she refers to a woman suffering from hysteria as a ‘phallic woman’, because the female hysteric will not accept the terms of her castration. This feeds into feminist theory because 1st wave feminism reclaimed the female hysteric as a figure of female resistance to the patriarchy, precisely because she does not perceive herself as castrated and therefore weak.

In terms of archetypal aspects, Marina Warner has hypothesized that the goddess Athena was the first phallic female, because she was “the defender of father-right (…) the upholder of patriarchy” and was born directly from Zeus’ head. She is a virgin goddess that channels the power of the Phallus, but as an asexual female eunuch she does not ‘desire’ the Phallus and therefore poses no threat of castration.

In ‘Girl with Gun’ I sought to embody the figure of the phallic female in order to play with the psychological signifiers and archetypal guises that make up the many layers of her persona. Ultimately I wanted to explode the dichotomy of the phallic aggressor and the castrated victim, in order to move beyond such insidious politics.

LLO: Which piece are you most proud of at the moment and why?
PVD: The piece I’m most proud of is my video installation, ‘Coming to Term’. In this piece I talk about my father’s illness and death, and although I acknowledge that it is very raw, and somewhat relentless, and sometimes very cruel, I speak from experience when I say that watching a loved one die from cancer is also very cruel and there’s no other way to talk about that situation. The only way that I could accept that loss was to deal with it in my art, and I hope that it helps others that have lost family members to cancer.

LLO: You’ve mastered Portuguese, English, French and Spanish and are working on learning Hebrew as well. What are your thoughts on the effect of language on a film? Is the language it is presented in originally important or is your work easily translated?
PVD: I think that language certainly ‘flavours’ a film, in the sense that it constitutes a cultural signifier in itself, which in turn can convey exoticism or familiarity to the viewer. Exoticism can result in fascination or alienation, but what really interests me is the point where language is pushed beyond the point of signification, once we are in the realm of Julie Kristeva’s semiotic, and one can truly enjoy the jouissance of speech. When I use language in my sound-pieces I’m definitely experimenting with the different rhythms and phonemes particular to Hebrew, Portuguese or English.

I think in some cases, too much is lost in translation – for my film ‘Fonte da Saudade’ I asked a Brazilian actor to perform a voice-over, and the inherent warmth and sensual vowel-sounds of Brazilian Portuguese created the emotional atmosphere of the film. Needless to say, English is not as sexy!

LLO: Which stage of producing a film is usually the most enjoyable – from original idea through working toward a finished project to marketing and sharing your work?
PVD: The most enjoyable bit is when its just me and my camera, traveling and filming, shooting for sheer pleasure.

LLO: Is there a place or object or person specific to London that you would love to incorporate in a future project and why?
PVD: I’ve started collaborating with an artist called Philip Levine and we’re going to make a documentary together about his artistic practice for his upcoming solo show in Summer 2011. Phil is involved in a lot of different activities but his exhibition will focus on his head designs, which are amazing, anyone who is interested should check out his website: www.philsays.com

LLO: Other artists you admire?
PVD: While on residency in Morocco I met an Italian photographer called Ambra Vernuccio who takes the most stunning pictures. Whilst there I also met three highly talented illustrators: Seif Alhasani, Kiboko HachiYon and Raimund Wong. Seif is of Iraqi origin but grew up in Sweden and creates mostly hip, funky-fresh graphic design. Kiboko HachiYon is Kenyan and has his own artist-led collective called ifreecans and makes ultra-groovy designs for everything from murals to T-shirts. Raimund is from Hong Kong and makes beautiful prints from wood-cut blocks and also plays electric guitar in a band called Lord Magpie.

In terms of Slade colleagues, I’ve always admired the work of Michael C. Schuller who was in my year in the Fine Art Media area. Michael is from Nashville and his artistic practice includes photography, illustration, creative writing and book-making.

LLO: What are you working on now?
PVD: I shot two hours’ worth of footage in Morocco and I’m currently thinking about creating a double screen projection with the footage I’ve captured. One side of the screen will play a male voice-over and the other side will play a female voice-over. Its funny that you asked me how often literature inspires me, because I’m currently reading a seminal work in Portuguese feminist literature, ‘Novas Cartas Portuguesas’ (English Title – ‘The Three Marias’), and I’ve long wanted to make a work that deals with the female archetypes manifest in Portuguese culture…

Thanks Patricia!

Check out more of Patricia’s work here: http://www.pvdelgado.com/

For more London Art Spot interviews, click here.

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Listen to a Londoner: Luiz Hara

Listen to a Londoner is a weekly interview with a Londoner – someone who lives in this city, born here or elsewhere. If you want to be interviewed, email littlelondonobservationist@hotmail.co.uk.

Luiz Hara

Luiz’s London Foodie blog is a well known resource for Londoners looking for a range of delicious meal options, light snacks or unbeatable cocktails. He shares some of his favourites for different occasions for this week’s Listen to a Londoner.

LLO: How long have you lived in London? 
LH:
Since 1992, so 18 very happy years!

LLO: Tell us a bit about your blog – The London Foodie. 
LH:
I started ‘The London Foodie’ in 2009 as a platform to express my gastronomic creativity (much suppressed in my current investment banking role) and my opinions on the London restaurants I visit, but most importantly to get to know and meet other London foodies out there.

It’s been a most rewarding project. Through The London Foodie I learnt about some amazing restaurants and supper clubs I wouldn’t otherwise have visited, met some like-minded people, and started The London Cooking Club at my home.

I eat out a lot and write about these experiences at The London Foodie. Readers can find my reviews by the restaurant index, or by cuisine or location.

My aim is to find restaurants serving outstanding food that will not break the bank, exploiting the full range of nationalities and cooking styles on offer in London.

LLO: How did you become so obsessed with food? 
LH:
Food was always part of our family – my parents were restaurateurs for a while, and my mother had her own Italian restaurant for many years in Brazil after their divorce.

My dad was also an accomplished cook, and would rustle up some fine meals for my three siblings and me when he wasn’t taking us out to some of his favourite restaurants in Sao Paulo. Through my dad I learnt a great deal about Japanese, Korean, Portuguese, Syrian and other cuisines from a very early age.

My Japanese grandmother was also a great influence – she lived with us and wound spend her whole day finding the best fish, meat and vegetables in the street markets of Sao Paulo, and cooking the most delicious Japanese-Brazilian meals. When I think of fusion style cuisines I always recall my grandmother.

LLO: You were born in Brazil to Japanese and Italian parents. Where can we find the best Brazilian, Japanese and Italian food in London?
LH: Italian cooking, like Japanese, is all about top quality ingredients and these do not come cheaply. It is impossible to replicate these cuisines in the UK on the cheap, apart from pizza and certain types of pasta. For the best and most affordable pizze in London I would recommend Franco Manca, Rosso Pomodoro and Pizza East. The Riverside Cafe is undoubtedly one of the best Italian restaurants in London but also one of the most expensive.

Other than outstanding Japanese fine dining joints like Nobu and Zuma, an affordable and very authentic Japanese restaurant I love is Asakusa in Mornington Crescent. For top quality sushi without the price tag, Atariya Fishmongers and their small sushi outlet on James Street by Selfridges is also a must.

I have yet to find a good Brazilian restaurant in London. I am however very excited to hear that Jose Barattino of Hotel Emiliano in Sao Paulo will be cooking at Skylon on the Southbank for the Brazilian Festival throughout the summer 2010. The well thought out menu and his cooking showcase the best that Brazil can offer.

LLO: If I only had one night in London and wanted to go off the beaten track, where would you send me to eat and drink?
LH:
There is nothing further from the beaten track than spending an evening eating at one of London’s supper clubs. The opportunity to go into someone’s home, share your table with some interesting Londoners for a fixed donation and bring your own wine is one not to be missed.

There are some amazing supper clubs I would very highly recommend like Fernandez and Leluu in Hackney for great atmosphere and food, Friday Food Club in Blackheath for the best British food in London, Cucina Cinzia in Fulham for really authentic and delicious Tuscan food outside Italy and LexEat! in Shoreditch for their sensational and no-fuss cooking.

LLO: I’m skint, but hungry for something tasty and don’t feel like cooking at home and don’t like chain restaurants. Where should I go?
LH:
There is a misconception that London restaurants are expensive, but due to intense competition and the multitude of cuisines found here, there are some great deals to be had.

I would head to Kingsland Road for some amazing and very affordable Vietnamese food, Song Que and Viet Grill being my favourites.

Along St Giles Street by Centre Point at a place now known as Little Seoul, there is a cluster of excellent value Korean restaurants that will not break the bank. Assa is one of these restaurants, and their lunch special with appetisers, main course and unlimited tea is priced at £5.

For European alternatives, Franco Manca, and its wonderful sourdough base pizza, is also very good value. Also worth a look are the many Turkish and Greek restaurants along Green Lanes with Antepliler being one of the best.

LLO: You just came back from a trip to Vietnam. Where can we get a taste of Vietnamese food in London?
LH:
Kingsland Road, also known as the Pho Mile, would be a good place to start. The best Vietnamese food in London however is not to be found at a restaurant – for a taste of authentic, fine dining Vietnamese cuisine, I would try and secure a space at Fernandez and Leluu for one of their Vietnamese evenings. At £35 for a six-course dinner and BYO, it is also excellent value.

LLO: Best restaurant for vegetarian options in London? 
LH:
My favourite vegetarian restaurant in London is Mildreds on Lexington Street. The quality of ingredients used is always high, it is reasonably priced and with a casual and cosy feel about it which I like very much.

LLO: My boyfriend and I want to go out for a romantic dinner followed by drinks. Where would you send us?
LH:
Skylon, on the first floor of The Royal Festival Hall, is one of the most romantic and glamorous restaurants in London. Chef Jose Barattino is serving 2 & 3 course menus priced at £22 & £25 respectively. The views of the Thames are fantastic and the cocktails second to none.

I would then go for a leisurely stroll along the Southbank towards the Oxo Tower, and up to the top floor for a glass of Champagne at the Oxo Tower Bar.

LLO: What’s the best restaurant in your postcode?
LH:
I live in Islington N1. My favourite restaurant in this neighbourhood is Ottolenghi on Upper Street. I love the style of cooking, a mix of Italian and Palestinian – it is packed with exotic flavours and made from the freshest, best quality ingredients. I also love the big, beautiful platters of food on display, the concept of sharing tables and the opportunity to eat and share many small dishes.

Thanks Luiz!

For more Listen to a Londoner posts, click here.

Vhils Scratches a Face for Spitalfields

There are certain artists whose work is always instantly recognizable and Portuguese artist Vhils is one of them.  I saw this one behind Brick Lane and Hanbury Street, near the back entrance to the Sunday Up Market (which, by the way, is brilliant if you haven’t been. More on that in a later entry…)

In an interview with Michael Slenske, Vhils explained his art of scratching into the surface: “It’s a process of trying to reflect upon our own layers. Its aim is not to come up with solutions but to conduct research, to confront systems, materials, processes, elements, to create friction and confront the individual with the process, with the system: an active critical process that stems from the same environment upon which it aims to reflect.”