Voices

Breastfeeding.
JEN, 2020
A running list of foods, tips, techniques that help or are supposed to help (according to my Chinese Medicine doctor) me manage and care for my own chronic stomach issues.
GILLIAN CHAN, Oct 8 2021
Círculo Gestação
Amanda Midori . Site-specific, 2010 . São Paulo, Brasil
“Gestation Circle” is a site-specific created by Amanda Midori in 2010, where plants are cultivated on nine trunks that have their own stories and at the same time compose a common narrative: the disposal of materials in nature. The cultivation of plants is recorded on video for 12 weeks, reporting the interactions and integrations that are established between them and the environment in which they are located: the parking lot of the Art Institute of Unesp, in the Barra Funda neighborhood of São Paulo (BR). The daily care required, so that the life cultivated there remains, contrasts with the region of the city, which is surrounded by machines that provide the place with environmental, sound and visual pollution, and has a different time from that of the people who pass through it. The project has four places of action: Substrate, Plow, Seeding and Cultivation. In the context of Voicing Care – Documenting Care, I share two short videos related to the places of action Seeding and Cultivation.
Círculo Gestação
Amanda Midori . Site-specific, 2010 . São Paulo, Brasil
//Seeding. The being creates its world when interacting with the environment, but it is its own structure, not the environment, that will determine what such interaction will entail. The being exists in your own choices. The being constantly chooses to relate to this or that interaction and it is from this that she/he/it creates her/his/its world and own life. Gestation Circle has several beings. It is the change of perspective that transforms the environment into being and the being into the environment. To sow is to hope that from the seed a being of interaction is born. To sow is to enable something to be.
Círculo Gestação
Amanda Midori . Site-specific, 2010 . São Paulo, Brasil
//Cultivation. Cultivating is caring. The aspect of care implies relating to things at the level of intimacy, feeling them inside and welcoming them, giving peace and respecting them, thus creating a joint dance that can be experienced. Caring is respecting the time of each being; seek to understand how it relates to the outside, in order to allow such interactions to feed into the perpetuation of one’s own being.

Sites of care: peeking into homes around the world.
(I asked my friends living in different countries to send me photos of their homes. I was essentially collecting environments where unpaid care happens.)
TERESA FELDMANN, +

Document of my dining table.
NATSUMI, 2021
Kitchen play.
JEN, 2021

My sky is often dramatic, it compels me to stop and gaze,
it challenges me to question my thoughts and allows the eyes to adjust to change. FRANCISCA, 2021
Frame from “Speculative Fiction: Practicing Collectively”
Back and Forth Collective (Mei Homma, Natsumi Sakomoto, and Asako Taki), Jennifer Clarke, Fionn Duffy, Sarah McWhinney, full version 2021
Confort food.
FRANCISCA, 2021
O fragmento de um diálogo entre Ernesto de Sousa e Almada Negreiros dá o mote para uma conceptualização sobre o arquivo enquanto discurso e enquanto rizoma de memórias. O arquivo como um plano simultaneamente integrante e transversal à tradição e ao esquecimento, um paradoxo, impossível de se definir na totalidade e inevitavelmente presente. O arquivo como facilitador de diálogos permanentes entre a possibilidade do presente e o futuro do passado. O arquivo como um espaço de poder. O arquivo como um caminho do desejo. Um espaço de abertura ao outro e ao mundo. A tautologia. Retornamos a Arkhé, origem e princípio, para começar. Encontramos uma constelação de significados que desconstruímos e destruímos para lhe re-conceptualizarmos os significantes. E começamos. Rompemos a nossa familiaridade com o mundo, cedemos ao estado de admiração e descobrimos o eidos do discurso. E começamos. Aceitamos a pró-vocação e nasce uma nova utopia. E começamos. Talvez compreendamos a chave.
FRANCISCA, 2020
[exerpt of a visual essay published in Imagens&Arquivos: Fotografias e Filmes, ICNOVA Books]
94th birthday in 2021.
MICHIKO

Graveyards fascinate me. Since my childhood, tidying graves, raking leaves, planting flowers, painting fences etc have been among my favourite activities. Most of these ancestors I never had the chance to meet. But I definitely feel connected and my tiny contribution to their existence is caring for the piece of land they rest under.
TERESA FELDMANN, +
I carefully made this chocolate cake for my family. I know they like it, so I keep making it every now and then 🙂
TERESA FELDMANN, +
I pick my own wild blueberries. I do this by hand which is time-consuming but doesn’t harm the plants. If you buy wild berries then chances are these have been picked with a machine which razes off the tops together with leaves and branches. Sometimes I see large-scale damage on the forest floor. I put the raw berries in my yoghurt bowl and eat for breakfast. But sometimes I also make a blueberry cheesecake to share with my family.
TERESA FELDMANN, +
I guard my cherry tree and red currant bushes. During the fruit-bearing season this means I’m competing against birds (and sometimes wasps) to get these berries in MY belly. I water the plants generously around that time too.
TERESA FELDMANN, +
Being present. Finding the time.
(Me and my parents)
TERESA FELDMANN, +
両親ともに要介護１になったときです、三鉄にのって海がみたいとのリクエストで三陸鉄道に乗車しました、ふたりでずっとはしゃいで海をみていました
北村美和子
のみまちがえのないように、薬の管理です
北村美和子
歩行器になってすっかりあるけなくなったのでさんぽが日課
北村美和子
かいごのかえりみち
北村美和子
北村美和子
Still from Tran Anh Hung’s “The Scent of Green Papaya” (1993).
The women in the film, although from different social classes, are all heavily burdened by domestic labour. Men have disengaged, escaped into their own (artistic) world, unbothered by the stress of making ends meet. Women can only rely on each other for comfort and solidarity.
TERESA FELDMANN, +
My project Bank of Care seeks to visibilise unpaid care, account for the work done, and (somehow) reward the caregiver. These snaking program window stacks represent data if we were to collect data on daily chores performed in the home.
TERESA FELDMANN, 2020 +
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