Intervalo, respiro, pequenos deslocamentos – ações poéticas do Poro

Returning to Poro’s, we understand that it can be observed through the four
basic traits (collaborative work, ethical dimension, political dimension and
virtualities) presented by Simon O’ Sullivan 3 to talk about expanded art:
Collaborative work
It involves a rizomatic, connective and participatory practice. In the
circulation, for example, the “public” distributes the stamped notes because
they are involved in their own daily life. Pass them on or not. But, while they
are taking part, they interact directly in a distributive game. The process of a
passive spectator becoming an active collaborator is related to the change of
the behavior of the subject-citizen, which has been suggested by the work.
The ethical dimension
It is, according to Espinosa, the art of good encounters. In this perspective, the
other word for ethics is experimentation. The bodies are considered in their
potentialities and not for their moral obligations. On the contrary, there is
free fruition, which is not experienced through individual appropriation.
What do you take “back home”? Sensations and changes in your affections.
The political dimension
We found a double critic in Poro’s actions: of the global capitalist order and
individualism; and a strategy to deconstruct the systems of signification.
O’Sullivan says “Political action might be understood here as the affirmation
of the other modes of being, other lifestyles (an affirmation of the body’s
capacity to act and to experiment)” 4 . For example, the intervention called
Contra as palavras de ordem (Against slogans and battlecries) seems to go in
that direction. Simple and clear, the work touches the essence of Poro’s work
– and also of the works of a large part of groups and people that have been
devoted to urban intervention over the last couple of years. The strategy
of displaying posters leaves no doubts about the desire of replacing the
city’s imperative logic by another; one where there is time to contemplate
and disposition to work without any practical objective or commitment
accounted by the perspective of ends and means.
The problems of the urban and everyday life are then incorporated into
the artistic values. Organized as a critical practice, Poro’s works are related,
according to Vera Pallamin´s view, to one of the most important ways
of making urban art post-1990’s. Poro starts artistic investigations about
3. O`SULLIVAN, Simon. “Four Moments/Movements for an Expanded Art Practice
(following Deleuze following Spinoza)”. From: www.simonosullivan.net/writings.html
(Acessed: may. 2009).
4. Idem. Ibidem.
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