‘World Building is a Collective Enterprise’ is a film project initiated during time in residence at Capacete, in Rio de Janeiro.
It was filmed over weekends spending time with a community of young dancers who rehearse KPOP (South Korean Pop Music) dance covers using the windows of the Museum of Modern Art, Rio, as mirrors. Following rehearsal, periods of hanging out, preparation, competition, and care, the project focusses on the act of building of a community as a generative space of resistance through elective assembly and shared interest.
In a political moment in Brazil which is deeply dangerous to be queer, female, black, poor, or trans, this community are consciously acting to build a space to exist in public, producing a high visibility presence for oppressed minorities.
I spent weekends with these groups, recording rehearsals, moments of care, and conversations about the nature of their community and their reflections on their collective creative practice as an act of resistance.
This was a practice of sharing time, understanding the conditions of producing community, the mechanics of their practice, and witnessing the relational construct by which they repurpose the museum, the infrastructure of nation-building
modernism, and through processes of making and remaking images – using their bodies to re-produce images from globalised popular culture, produce an idealised image of a world and community of care.
Thinking through recursive stages of image-making embedded in bodies through repetition, on bodies through application of makeup, and of bodies facilitated through the camera, ‘World Building…’ is a film installation on the applications of collective practice creating spaces of care, resistance, and survival. Re-coding publics in the city and tracelessly repurposing public space.
Focussing on moments of casual hanging out, rigorous practice of routines, and preparation of one another for performances, the film work stages the act of rehearsal as the conjuring up of a desired world within the confines of the present.
sol archer 2019