Exploring sites of past and present future ruin in Rio, identifying at moments with the alienated Monica Viti character from Antonioni's Red Desert, led to the construction of gestures that combine melancholic estrangement with festive and sensual aspects. These gestures themselves seem like future ruins; existential angst is quaint in our context of hyper-connectivity.
Walking a big black balloon across the pedestrian bridge, visually linking Petrobras to the Cathedral suggests an homage to sacred petroleum.
There were many takers for odorless samples of perfumes with names taken from existential philosophy classics such as “Sein + Zeit,” “L'etranger,” “La Nausée,” “ Fear & Trembling...”
In a third action, kicking a partially deflated metallic heart balloon down the street combines references to soccer, sacrifice, and romantic love in a desultory fashion.
Standing on the second story balcony of Largo das Artes, a long blue ribbon wrapped around the neck floated on the tropical breeze gently down to the street, sometimes caressing or annoying a passerby. Occasionally, likely unaware of the ribbon's origins, someone yanked it hard causing it to tighten, threatening strangulation. On other occasions, pedestrians looked up to smile or wave. This simple game explored control/lack of control, sight and touch, near and far.