​In contrast to the great majority of artistic and cultural projects that, by force of circumstance, the functioning of the rules related to the policies and mechanisms of fomentation, the conditions imposed by edicts formatted according to an action plan and a previously defined chronogram, RAZIZR follows.

 

RAZIZR is not a conventional project, it is a creative process that is not conditioned to a modus operandi that presupposes adaptation to the fiscal year of some eventual sponsor and/or any other bureaucratic instrument of accountability, which totally transforms and transvalues the posture of all the creators involved.

 

The goal here is not the creation of a final product, even though there is the possibility of selling works generated in this process. The goal is to interfere in the production of subjectivities. The market is not a force of nature, and the world already has too many products.

 

The creative process began in mid-2013 from the need of Paloma (creator and co-creator of [razizr] ) to explore the poetic and sensory impact from the contact with urban roots. 

 

For those who have the word as their first craft, flirting with urban roots, surrounded by the concreteness of the city is part of an attempt to escape from verbiage and connect with elements beyond and beyond the verb. 

 

A surrender to the desire to intuitively navigate to meet other aesthetic possibilities that walk in the opposite direction of the coarsening of sensibilities. 

 

Between 2014 and 2017, actors, dancers and performers began to integrate RAZIZR and the process of developing creative laboratories in public places was started, after all, it is in public spaces where the roots that support this process are literally planted, inserted although they do not seem to enjoy the proper visibility. 

 

Urban trees seem to attract attention only when they fall tragically (due to poor conservation and/or, as the newspapers like to lie - so as not to hold us responsible for our incompetence in terms of management - because of "the rains"), causing disturbances in the apathetic and anesthetized daily life of our cities.

 

In 2019, after going through a series of experimentations and accumulating a

considerable material (images and videos), Casa da Luz (SP), was the first cultural space to host a videoinstallation with part of the material produced over all these years of creative process. See some images below, in the album that can also be accessed via Instagram.

 

After a long hiatus caused by the pandemic, we are still in the process of looking for new possibilities of presentation and continuity for the development of this creative process...

 

There are no products. There are nests and there are fruits, as taught by the trees with which we interact.

 

Credits:

 

Creation and conception: Paloma Klisys

Images and video: Paloma Klisys

 

Co-creators: Flávia Spinard, Glaucus Noia, João Pirahy, and Iratan Gomes.