C&AL: Your paths in art are varied, and include dance, performance, video, visual arts. What brought you to the work, Repertory N.2?
Wallace Ferreira: My story began in my father’s dreams. He was my first and greatest life reference in art. Very early on, his passion for dance solidified within me the certainty that it was possible for my body to establish affective relationships through art. In my family, every encounter involves dance, so this path was made before I even understood it as a career. I studied different styles of dance for many years, I don’t remember stopping once since the day I started. Today my wish, as an artist, is that my work reflects my stories. I want to project other fictions that do not negotiate my existence and, along that path, bring me closer to allies, to conjure up these lifeboats.
David Pontes: I have trained in dance, not academia, since I was eight years old. In academia, dance has been divorced from the visual arts. My solo work in art began with my two-year stay in Portugal, a difficult experience that allowed for other things to happen. It was a painful time, due to the distance and the experience of being a foreigner and its implications with racism in Portugal. At the same time, I was very intrigued and focused on key ideas for my work, especially raciality and choreography.
C&AL: Who excites you and makes you think about art?
DP: There are two people who have been very important to what we’ve been developing with the Repertory series: Denise Ferreira da Silva and André Lepecki. I emphasize the idea of time developed by Denise, based on Marx and other authors, of the black body existing outside of time. This work is critical of the Marxist idea of primitive capital accumulation, according to which slavery loses importance in the diffuse transition from the pre-capital era to de facto capitalism. From Marx’s perspective on time, when capital accumulation dominates, the black body is irrelevant and therefore outside that time. André Lepecki’s ideas also dialogue with the work, mainly in the relationship between choreography and the ground beneath us, through repeated steps. The idea is not to establish pure opposition to “movement that doesn’t stop”, but to think of this movement effectively as self-defense for our bodies.
C&AL: What experiences or memories guide your work for Frestas – Art Triennial 2020/2021?
DP: Denise Ferreira da Silva and André Lepecki prop up the idea we developed for a choreography of self-defense. The objective is to create space for other procedures to emerge, with the power to escape the elasticity of the art market. At the Triennial, we presented the video of Repertory nº 2 – a choice that is well-suited to pandemic protocols. It is traversed by conversations we had with Thiago de Paula Souza, who follows our work closely, especially my research.