[pt] Onde andará Hilda Hilst? Leitura crítica de Cantares do sem nome e de partida, discute a relação do adeus encenado nos poemas do seu último livro de poemas inéditos publicados com o efetivo gesto de anunciar a interrupção de mais de quarenta anos de publicações contínuas. Fundados e erguidos sob o signo da despedida, estes poemas demarcam a matriz da poesia ocidental, seu contexto histórico, como território para alianças e transgressões éticas e estéticas. Subvertendo a ausência que funda e mobiliza a criação de textos nas tradições em questão, a Lírica Trovadoresca e a Fábula Mística, Hilda Hilst constrói esta ausência. A partir da ausência construída pelos poemas de Cantares do sem nome e de partida, pelo anúncio do fim de novas publicações, um deslocamento de lugar enunciativo da autora deflagra na cena cultural um espaço paradoxal: fechado e aberto (fechado na medida em que define a obra como acabada, aberto na medida em que a autora pode se referir a sua atividade de escritora e à sua obra com a distância crítica do passado). Este novo espaço criado, propício à emergência de vozes políticas, ao mesmo tempo em que viabiliza a circulação deste texto e também dos outros textos de Hilda Hilst (até então pouco conhecidos pelo público leitor não especializado por conta do tipo de distribuição mercadológica que tiveram), também coloca em questão os critérios de seleção e distribuição do mercado editorial. / [en] Where is Hilda Hilst? Critical reading of Cantares do sem nome e de partida, discusses the relation of farewell staged in poems of her last book of inedited poems published with the effective gesture to announce the interruption of more than forty years of continuous publications. Founded and built under the sign of parting, these poems delineate the matrix of occidental poetry, its historical context, as a territory for alliances and for ethical and aesthetic transgressions. Subverting the absence that establishes and mobilizes the creation of texts in the traditions in question, the Troubadours lyric and the Mystics fable, Hilda Hilst constructs this absence. From the absence built by the poems of the Cantares do sem nome e de partida, and starting at the announcement of the end of new publications, a shift of the author s place of enunciation in the cultural scene triggers a paradoxical space: closed and opened (closed in the measure where she defines her work as finished, opened in the extent where the author can mention its activity of writer and its literary pursuits with in the critical distance of the past). This new space created, propitious to emergency of politics voices, at the same time it allows the circulation of this text and also from other texts by Hilda Hilst (until then barely unknown by non-specialist readers on account of the type of marketing distribution that they had), also it places in question the criteria of election and distribution of the publishing market.

I have embarked on a journey (that will never end) to explore color. Inspired by Maggie Nelson’s blunt and anecdotal ways of writing about the color blue (2017), I have searched for more aspects of color than I intuitively knew before.  What do I want with color? How much color is needed to make an effect? How do you combine theory with intuition? What approaches are there when working with color, and which to choose? What sort of knowledge is color and how do we create qualitative discussions about and with it? Will I ever be satisfied?  The questions are asked in the context of renewing the interior of building 21, Smedjan or Smälten in Lövholmen. Its name Smälten comes from its industrial history as a smelter, producing resin in paint and varnishing products for Wilhems Beckers between 1944-1973. While Lövholmen is facing a lot of changes, the area has plenty of housing plans but fewer plans for cultural needs or activities.  The city of Stockholm released a report in 2019 stating that we lack modern contemporary dance stages. Since Smälten is situated just next to Färgfabriken I think it well suited to serve as an extended cultural meeting point, providing a new platform for artistic expression and social interaction. A space to be shared for cultural activities that hold an audience, such as lectures, performances, art gatherings, film screenings or a contemporary dance stage.    This project is about a journey of exploring color, but also the programming of a modern contemporary stage while renewing and taking care of a building from within, a building enriched with an industrial history.