OM|Boîte-en-Valise

Boîte - e n -Valise

O | M

mixed-media assemblage

/ portable museum

- deluxe edition,

individually numbered -

(to Duchamp / Wedekind / Pabst

/ & / beuys - in memoriam -)

containing poster, engraving,

jigsaw puzzle, card, stamp,

double medallion, personal

currency and four (random)

Melgaço´s music records.

Boîte-en-Valise contendo poster, gravura, quebra-cabeça,

cartão, selo, duplo medalhão,

moeda e quatro (aleatórios)

álbuns fonográficos do Artista.

A primeira série (cento e onze combos)

foi integralmente vendida. se encontra,

portanto, temporariamente esgotada.

/ The first series (one hundred and eleven

boxes) was fully sold. is out of stock

Previsões de relançamentos, encomendas e Mais detalhes através do seguinte correio eletrônico:

/ Perspectives of re-launches, orders and More details through the following e-mail:

"Unlike Duchamp's work (box in a suitcase) contained reproductions

of Rrose Sélavy's creations on

other scales (thumbnails of the existing one,) Melgaço preferred

unforeseen and inedited objects

if we observed the pulp of

his career. the brazilian

artist departs punctually from its distinctive monumentality, transtemporality ... with the

aim of exploring the virtues

of the ephemeral/communal.

The perspective at stake here

turns more to Joseph Beuys and prerogatives like ´Every human being is an artist, a freedom being, called to participate in transforming and reshaping the conditions, thinking

and structures that shape

and inform our lives.´

paradoxically, ipso facto, in this is

the contextual i-n-u-s-u-a-l-i-t-y:

the purposeful approach focused on

u-s-u-a-l elements, typically integrated into the everyday life of most people and invaded - with a dose of irony, of course - by Melgacian timbres (its gaze, the initials "O.M.," his serialized face, etc.) signal the power of transformation and reinvention of what is ordinary to e-x-t-r-a-ordinary. Potency that art possesses in an unique way and that, in primacy, disseminates through flows.

intersections. refluxes.

Instead of exposing the sublime and envisioning it as a sort of ascending ´north´(respecting the idiosyncratic tenor thereof,) O.M. exposes a displacement resizing since the mutations that arise from the ´mundane´ itself (represented by the fixtures he purposely chose

to compose this specific œuvre).

Something that must have

its origin in a deeper and expansive

instrumentality of our perceptions.

The Boîte-en-Valise by

Otacílio Melgaço has as one of

the noble (and barbarous) propositions such character of indiscernibility between art and life; which,

if vivified, can be, averse to utopias,

- because he prefers heterotopias -,

a subversive act,

insurrectionary ´AKTion´

in its miraculously contagious & contagious quintessence.

To re-signify our reality is

a fundamental step so that it is not only glimpsed in a new form/

configuration/conformation

but also reconcretized.

{It is not a conundrum yet exuberantly sardonic: Otacílio likes to quote Jean-Luc Nancy, French philosopher, when recites: ´Art is what reminds us that Life is not Art.´ We are faced with a confluent prism of O.M. because, deliberately, the inquiry and

the incitement are brought to the surface: ´What do you do from it?´ What to put inside this organic

´boîte´ (or uterus?} so, after

all, the internal metabolism

(insemination?) remove its - now

transmuted - content and ...?

Inter alia, an outlook that

another philosopher (author and

journalist too) - born in Mondovi

(present-day: Dréan), in french

Algeria -, Albert Camus, had already foreshadowed: ´From Pandora's box, where all the ills of humanity swarmed, the Greeks drew out hope all the others, as the most

dreadful of all. I know no more stirring symbol; for contrary to the general belief, hope equals resignation. And to live is not to resign oneself.´}

Ultimately, it does not matter if

the following words were carved from the mouth of Duchamp or Beuys or Melgaço. They are, even more here and now, an irreproachable

(triadic) inference:

´Art, a desiderian anti-fate.

art, in reality, is this missing link, not the links which exist. It's not what you see that is art; art is the gap. Everything in fact important can be put into

a little suitcase (replete of

missing links and gaps).

I don't believe in art.

I believe in artists.

Every human being is an artist,

a freedom being, called to participate in transforming and reshaping the conditions, thinking and structures that shape and inform our lives.

Can works be made which

are not 'of art´?"

(daphne de sanctis / OM|TEAM)

"´Pandora´, etimologicamente:

´a que tudo possui´;

´a que tudo dá´;

´a que tudo tira´.

Ao dar à luz tal Boîte-en-Valise,

na (iR)realidade, fui levado a imaginar

uma anticaixa, ou, mais corretamente: antijarro (pithos), ou – mantendo

a terminologia d´Machado de Assis -: antiboceta de Pandora.

Não todos os Males, sim todos

os Bens libertados? ambos, por sinal, sempre a se mancomunar...

ademais, verborrágico:

se sob a égide dos tempos atuais,

em vez de - enquanto ´espera, expectação´- a ´esperança´,

a única a permanecer assolada

à fundura de famigerada caixa:

que jaculada do invólucro

também seja!: transcriada

em impertinente perspectiva urgenciosa, regurgitada

À confiança em ex-vind´ouro que

se faz, no inadiável aqui-e-agora,

engendramento me(l)gamaquiavélico

sob a luz dada, cegante e,

ultracontempora(go)nizante

desse mais claro enigma!"

[O.M.]

"The silence of Marcel Duchamp is overrated." (Joseph Beuys)

"The noise of Joseph Beuys is underrated." (Otacílio Melgaço)

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