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francisca marques architecture and urban planning art direction project management

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Hysteria Motion Within MilhĂľes de Festa 018 MilhĂľes de Festa 017 EU Antehm Rework Maria Alberina 016 Moto Wear

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HYSTERIA

Processes for Artistic Creation

Cultural promotion Collective composition research

Porto, Pt 2019

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HYSTERIA

Processes for Artistic Creation

HYSTERIA is a public cultural program that promotes direct contact between the public and recognized women musicians invited to explore technical, creative and critical processes for collective improvised music composition. The program is strucutred in a serie of four bymestral Contact Times, each one led by two artists in residency in Porto for four days. Guided by one of the four thematic lines that the program addresses they collaborate in a sound fragment with a group of 15 participants defined by open call. Hysteria oscillates between two structuring axes - to focus the programming on women artists and to study the potential of the proximity of the public to the creative process in order to question and expand the formats in which the encounter between these poles take place. Its’ object is alive, pulsating, malleable and permeable to the interpellation of those who are part of the process – it is questions, uncertainties, knowledge and learning – and not a final concretized object. Herein lies its value. The project was granted15000€ by Porto City hall program Criatório, dedicated to foster the work of creatives within the city.

Cultural promotion Collective composition research

It counts with the support of 3 important strucutres of the cities cutlural fabric: -Teatro do Bolhão theater and performance school and Sonoscopia cultural associaton as hosting instituions -Lovers and Lollypops independent music label as financial maneger. The way the artists and the participiants decide to approach the theme is completly free, as are the set-ups of the contact time regardin timetables, break lenghts, frequency, etc. The four thematic lines act as specific angles to reach a further understanding of the current position of women in different spectrums of music making and serve as the curatorial motto to bring the two artists together. #1 SPEECH ORGAN With Ana Deus and Heloise Tunstall-Behrens, explores the speech organ as an instrument and the voice as the sound inherent in its manipulation where words and lyrcs are confronted with abstract sounds and vocal textures. #2 TECHNIQUE AS LANGUAGE With Marlene Ribeiro and Valentina Magaletti, observes the details inherent to the construction of technical skills for the mastery of a musical instrument where intuition and training are pondered as complementary strategies.

Porto, Pt 2019

# 3 PERFORMANCE AS PRACTICE With Natalie Sharp and Marta Ângela , explores the “live” dimension of a music performance and the conscious construction of the space where things happen where tuning to the generated circumstance are fundamental. # 4 THE WARMTH ELECTRONIC approaches electronic music to study emotional relations between man and machine to understand how to shape electronic sound environments in which human sensations and emotions are projected. With Adriana Sá and Anna Homler

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HYSTERIA

Processes for Artistic Creation

Cultural promotion Collective composition research

Porto, Pt 2019

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HYSTERIA

Processes for artistic creation

Cultural promotion Collective composition research

Porto, Pt 2019

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MOTION WITHIN

Performance Collective composition research Urban thinking

Barcelos, Pt 2018

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MOTION WITHIN Motion Within is performative intervention made for the festival Milhões de Festa. It happened withing a specific non-planned set of cricuntances, each step informing the next until its’ happening. First, the ideia of a car, moving, with sound, bringing the crowds’ attention from the set frame off the stage onto a moving line along the festivals’ space. We took a car that was about to be dismantled, used the gas it had left on the deposit to power it and re-shaped it by cutting it up. A sound piece where 19 women came together to rehearse a improvised vocal fragment within a planned progression they all defined together - from hummmming - to harmonies, notes, imitations, invented language_never real words_ towards a despotic scream scenery in a path that aims a state of exhaustion. A set of guidelines were defined _ listen to what another one is doing, and maybe copy it to give it strength or make a bass sound to support it _ stop and listen _ become oblivious but present _ use the eye as bridges between us and the outside _ scream to extort _ scream to content. Masks were made by wrapping white cloth around our faces and paint over them _a strategy to reset our identity and remove it from the viewers perception of the performance. After the performance, the car was left on the festival field for the public to graffiti on and use as a seating area.

Performance Collective composition research Urban thinking

Barcelos, Pt 2018

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MOTION WITHIN

Performance Collective composition research Urban thinking

Barcelos, Pt 2018

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MOTION WITHIN Thoughts between performance and urbanism Statement 1 A past that was a future (car, fordism, man, industry, pollution, capitalism, desillusion) and a present moment that with the help of women nature aims towards a sustainable future. 19 women free and united appropriate a car showing acceptance with its the current state of being but without resignation. These women use their individual voices to collectively set a new state of motion. An organic surrealist picture that goes beyond reason. Reason, as the primary state for urban planning, sets us in a constrained collective space by ideias and makings that leave little room for unreasonable actions. Where do emotions fit in the urban realm? Statement2 What the image of the moving car brings into urban planning is the same as the ideia of “breaking the fifth wall” brings into stage planning and performed live music. The fifth wall translates to me in a very visual way. In a stage set up it is the surface that separates the artists from the public_ it can be the front of the stage, defined by the difference of hight between the musicians and the public, a set of protection grids, security people facing the audience or that 1/2 meters of conventional distance left between the performers and the public when they are both on the same level. Breaking the fifth wall can then be seen as transposing, in either direction, any of this barriers. In this sense, stage diving and stage

Performance Collective composition research Urban thinking invasion can be placed within the origin of breaking the fifth wall. Both seen as an act of transgression but of performative§ character it is a strategy to make two sides of the same spectacle concretize the act of coming together. Still nowadays when a performer takes space among the crowd or when people from the crowd are called up to the stage there is a sense of exhilaration and excitement_ the question I pose is if this transposition, and its ability to provoque strong emotive reactions, can be placed and used in architecture and urban planning to make the urban realm a place for excitement and emotive engagement between all sides of its production. Statement 4 In Motion Within, the moving car can be seen as an element of disruption between the static experience of the concerts performed in a the stage/ public relation. From moving from point A to point B, it requires the viewers to move at the passe it sets, thus slowing it down, making the bodies walk with a focal point. As a viewer, we can choose to be still in space and let the car move in and out off/ into our sight or keep a set frame of the moving image for which we have to move with it _ to get a set frame you need to move _ if you stay still the action moves. This displacement rehearses and puts in focus the choice of the viewer and the freedom it has to perceive both the space and the performative action. What it claims, as an urban ideal, is the ability of choice of perception of the planned elements_ contrary to super imposed ideas that planners embedded in the shapes and

Barcelos, Pt 2018

structures they design_ and a freedom to explore and engage with urban systems. We are all living in them, is there a way for us not to feel estranged while doing it and to claim some sense of belonging? Statement 5 The principle of all previous statements is emotion as system of power. Statement 6 The power of emotion is the ultimate place for dismantling systems of representation and perception as to foster new relationships and dialogues between makers and users and a more fair and equal space of representation of diference. Statement 7 This argument follows the ideias of Unitary Urbanism expressed in Constant Nieuwenhuys’ “New Babylon”, Guy Debords’ Theory of Derivé, Umberto Ecos “The Open Work”, Walter Benjamins’ “Fragments on Perception”, Luz Valderramas’s “Arquitectura y mirada, proyecto y distancia – construcción y movimiento de una coherencia aventurosa”, Hannah Arendit; “Vita Activa”, Raumlabor “Acting in Public”, among others, as an attempt to follow their work against the passivity of the capitalist economic spectacle expressed in urban spaces.

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MOTION WITHIN

Performance Collective composition research Urban thinking

Barcelos, Pt 2018

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MILHĂ•ES DE FESTA 018

Stage design, building and installation Project management

Barcelos, Pt 2018

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MILHĂ•ES DE FESTA 018

Stage design, building and installation Project management

Milhþes de Festa is a music festival dedicated to expanding the references of musical culture in Portugal. It approaches it’s programming with a willingness to challenge the audience varying within different genres and styles. This attitude is implanted to the stage design thinking. Every year, we plan to gather more conditions to make more radical ideais feasble. For the time being, we manage economic and human resources within our best abilities to push the image of the stages a bit further and rethink some givens. To plan a music festival setup with a low budget and an experimental attitude is both challenging and liberating. The biggest challenges go from gathering resources and materials to build, managing expectations and intense production within a short time frame, alongside managing the budget and teams of hired stage-hands and volunteers. For the 2018 edition we wanted work with Metal as our main material. To get it, we made a partnership with Artworks, an organization dedicated to the production of artistic work and support for the arts and culture set in an industrail metal factory. Besides supporting us with the production of the mains stage piece, we were given free access the waste produce in the factory and built ourselves the entrance portic to the festival field and the background for two smaller stages. We were allowed to work on the premisses, alongside the factory workers and with access to all tools we might need.

Barcelos, Pt 2018

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MILHĂ•ES DE FESTA 018

Stage design, building and installation Project management

Barcelos, Pt 2018

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MILHĂ•ES DE FESTA 017

Stage design, building and installation Project management

Barcelos, Pt 2017

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MILHÕES DE FESTA 017

Stage design, building and installation Project management

The triangle has been the festivals’ sign since its’ origin and for the celebration of Milhões de Festa 10 year anniversary we decided to make it the center piece of the main stage. The design scheme starts with rethinking the use of lights in rock concerts settings _ spirals, all colours at the same time, flashes, permanent turning beams_ into a more contained set up that the features the performers _ and still keeping the visual enhancement lighting brings to a live show. Together with light technician and operator Rui Barbosa, the design is based on rethinking the position of the pre-set light machinery rented by the festival every year in order to produce the desired effect without overloading the budget with renting new material. All fabric was bought from leftovers of the textile industr existing in the area priced by kg and was then reused in the festivals’ promoter future events. The scaffold structer was negotiated to be included in the stage renting fee. A scaffold structure is installed at the back of the stage to receive 12 led lights shaping the triangle and 2 surfaces of white mesh fabric with 2 hole sizes_ wider in the front and narrower in the back_ so light is captured with different levels of transparency, giving depth to the installation. Light projectors are installed along the scaffold structure in order to allow a chromatic play between the surfaces and the triangle and along the sides and front of the stage to counterpoint against the light effect.

Barcelos, Pt 2017

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EU ANTHEM REWORK

Research Ethimology Politics

2018 - ongoing

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EU ANTHEM REWORK The Rework of the European Anthem is an ideia that stroke me when I was thinking of what sort of action could be taken to foster the engagement of young generations with the upcoming European Elections. As a strategy, I thought of the cultural symbols that generally represent countries _Flags and Anthems _ and wondered if there was value to the ideia of appropriating and express them within the context of the what the EU aims to represents and, due to current political tendencies, can be jeopardise. Both flags and anthems are extremely powerful systems of collective identity representation and they should be aligned with contemporary society modes of feeling and living. I believe that, despite being a beautiful composition, “Ode to Joy”, composed by a man embedded in a society and time span whith toher avlues at its’ core, is a sterile representation of what the EU youth feels and is moved by. What I envision is a platform that gathers composers/ sound artists/ musicians/ DJS from the EU with access to for front technology, working together to push this Anthem into the future we believe the EU is able to foster. The main goal would be to work with women, trans, inter and non-binary artists since all national/ union anthems have been always composed by man. Underlining this intenion, the rework also questions the ideia of equal representation of all members, not mirrored in the current

Research Ethimology Politics political framework, but possibbly done so the totems of the EU representation. The project will be structured in diverse lines of action as to comprehend an interdisciplinary think-thank, making the rework of the anthem, in a first stand, a platform for thinking of the values the EU culturally holds and are fundamental to integrate in the symbols that represent it. Each line of action will be intersectionally developed: Line of action 1_ lyrical content Line of action 2_ informed values Line of action 3_ composition Lyrical content As a first approach to the process, I developed further the first line of action, by taking all the national anthems of each European Union memeber in alphabic order and removing from its lyrics all references to different patterns of patriarchy, mationalist, religious identifiers, keeping references to natural, geographic features. All anthem are wrote in English, by recouring to online translations, as a first step into understanding the lyrics. In this simplified and intuitive process, I realized the process could beneifit, for instances, from the insght of speciallists in ethimology and linguistcs, thus underlining the ideia of the rework by a collective creative strucure informed by scientifc knowledge.

2018 - ongoing

Schengen Anthem (could this be a title?) 1st idea

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IT MAKES TO ME NO SENSE THAT THE EU ANTHEM IS A COMPOSITION MADE WHEN THERE WAS NO EU THE EU ANTHEM SHOULD BE CREATED FROM THE IDENTITY OF EACH OF THE COUNTRIES THAT INTEGRATE IT. BY TAKING EACH OF THIS COUNTRIES NATIONAL ANTHEMS AND ELIMINATING ALL THE REFERENCES OF MEN CONSTRUCTED STRUCTURES WE ARE LEFT WITH A RETUNR TO EARTH AND NATURE AND THUS A POSSIBLE WAY FOR THE EU TO COME. Line of Action 1 _ Lyrics Rework _____________ _____________ _____________ _____________ _____________ _____________ Austria Land of mountains, land by the river _ KEEP REFERENCES TO GEOGRAPHICAL FEATURES REGARDING NATURE
 Land of fields, land of cathedrals, _ REMOVE REFERENCES TO RELIGION
 Land of hammers, with a promising future! _ REMOVE REFERENCES TO EXPECTATIONS OF SUCCESS 
 Home to great daughters and sons, _ REMOVE REFERENCES TO GENDER
 A nation highly blessed with beauty, _ REMOVE REFERENCES TO RELIGION
 Much-praised Austria, _ REMOVE NATIONALISTIC PRAISE 
 Much-praised Austria! _ REMOVE NATIONALISTIC PRAISE
 Strongly feuded for, fiercely hard-fought for, _ REMOVE REFERENCES TO RIVALRY 
 You lie in the middle of the continent _ REMOVE REFERENCES TO GEOGRAPHICAL SPECIFICS
 Like a strong heart, _ KEEP REFERENCES TO EMPOWERMENT OF HUMAN FEATURES
 Since the early days of the ancestors thou hast _ REMOVE REFERENCES TO ANCESTORY
 Borne the burden of a high mission, _ REMOVE REFERENCES TO BURDEN
 Much-tried Austria, _ REMOVE NATIONALISTIC PRAISE
 Much-tried Austria. _ REMOVE NATIONALISTIC PRAISE
 
 Bravely towards the new ages _ REMOVE REFERENCES TO EXPECTATIONS OF BEHAVIOUR 
 See us striding, free, and faithful, _ REMOVE REFERENCES TO EXPECTATIONS OF BEHAVIOUR
 Assiduous and full of hope, _ REMOVE REFERENCES TO EXPECTATIONS OF BEHAVIOUR
 Unified, let us in jolly choirs _ KEEP REFERENCES TO ACTS OF POSITIVE COLLECTIVE ACTION
 Pledge allegiance to thee, Homeland _ REMOVE REFERENCES TO EXPECTATIONS OF BEHAVIOUR
 Much-beloved Austria, _ REMOVE NATIONALISTIC PRAISE
 Much-beloved Austria. _ REMOVE NATIONALISTIC PRAISE

Belgium O beloved Belgium, sacred land of our fathers, _REMOVE NATIONALISTIC PRAISE AND REFERENCES TO RELIGION AND PATRIARCHY Our heart and soul are dedicated to you. _REMOVE REFERENCES TO EXPECTATIONS OF DEVOTION Our strength and the blood of our veins we offer, _REMOVE REFERENCES TO EXPECTATIONS OF DEVOTION Be our goal, in work and battle. _REMOVE REFERENCES TO EXPECTATIONS OF SUCESS AND Prosper, O country, in unbreakable unity,  _REMOVE REFERENCES TO EXPECTATIONS OF SUCESS Always be yourself and free. _ KEEP REFERENCES TO EMPOWERMENT OF POSITIVE IDEAS ABOUT THE COLLECTIVE BEING Trust in the word that, undaunted, you can speak:   For King, for Freedom and for Law.  _REMOVE REFERENCES TO MONARCHY AND SYSTEMS OF SOCIETY STRUCTURE For King, for Freedom and for Law. _REMOVE REFERENCES TO MONARCHY AND SYSTEMS OF SOCIETY STRUCTURE

Proud Balkan Mountains, _ REMOVE PROJECTION OF HUMAN FEELINGS TOWARDS NATURE AND GIVEN NAME, KEEP REFERENCE TO next to it the Danube sparkles, _ REMOVE the sun shines over Thrace, and blazes over Pirin. _ KEEP REFERENCES TO GEOGRAPHICAL FEATURES Dear Motherland, _ REMOVE DEAR 
 you are heaven on earth, _ KEEP EXALTATION TO NATURE FEATURES
 your beauty, your loveliness, _KEEP EXALTATION TO NATURE FEATURES
 ah, they are boundless. _KEEP CLASSIFICATION OF NATURE FEATURES
 Bulgarian brothers, let's go _ REMOVE REFERENCES TO NATIONALISTIC WAYS OF AFFILIATION
 to the Balkan. _ REMOVE REFERENCES TO INTENTION OF OCCUPATION
 There a heroic battle is approaching, _ REMOVE REFERENCES TO BATTLES
 for freedom, justice. _ REMOVE REFERENCES TO EXPECTATION OF VALUES Croatia Our Beautiful Homeland _ KEEP EXALTATION _ REMOVE REFERENCES TO POSSESSION Beautiful is our homeland, _ REMOVE REFERENCES TO POSSESSION O so fearless, o so gracious,  _ REMOVE ADJECTIVES RELATED TO EXPECTATION OF BEHAVIOUR Our fathers' ancient glory, _ REMOVE REFERENCES TO PATRIARCHY ACHIEVEMENTS May God bless you, live forever! _ REMOVE REFERENCES TO RELIGION


MARIA ALBERTINA 016

House refrubrishment

Porto, Pt 2016

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MARIA ALBERTINA 016 To rebuilt something that is already standing is always a problematic about the confrontation between preservation and modern substitution, fundamentally, between old and new. The decision to not only keep these details but to showcase them as they were first built, is an atempte to continue the spacial and material narrative that the house tells us, preserving what is in good shape and adding a tail to the house tale to adapt it to it’s upcoming tenant. The stone sink, doors, staircase, roofing structure and wood beams are kept untreated as some of the partition walls and the skylight are left unfinished, showcasing traditional constructing techniques and materials. The project consists of the negotiation between respecting the accumulative process, and its consequent traces, natural to different inhabitations in the same place by different people along time cycles of use and disuse, and the need for comfort.

House refrubrishment

Porto, Pt 2016

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Moto Wear

OOO (object oriented ontology) approach to visual culture

Visual Research

2016- 2018

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Moto Wear

OOO (object oriented ontology) approach to visual culture Once in a lecture by Thimothy Morton my perception about objects changed. I realized we look at objects and reveal them but while we are not looking, are how are this objects describing themselves? Are they part of communities? This thinking does not aim to suddenly see objects in an animated, personified way, but to elaborate some understanding on the relation humans have to things. Organized in the format of an Instagram account @moto.ear visually maps a descriptive relation between objects in the same category _ covered bikes. In a collective making visual scheme, built by users submission of covered bikes they found in the street, it traces the way people relate to a specific action in different ways while building, at the same time, arevealing the narratives that coverred bikes have in them selfs.

Visual Research

2016- 2018

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instagram.com/franciscarmarquess franciscarmarques@gmail.com +351 910630602

thank you!

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Profile for Francisca Marques

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