DOIS- MEAREWE (belote+kimura-lemoine) @dare dare

DOIS (Fernando Belote & kimura byol lemoine) invites the public to MEAREWE an in-situ, evolutive and participative installation from Dec. 15, 2021 to March, 24^th, 2022 at parc Cunégonde (Métro Lionel-Groulx) as part of Dare Dare program.

Both artists of the duet DOIS (two in Portuguese), Fernando Belote and kimura byol lemoine are from queer communities in their native country.

They are looking at how written language can carry decolonial qualities by virtue of interventions that are commonly understood as survival strategies shaping the communication process. Corporeal reminiscences of traumatic experiences, transgenerational oral performances and community-enclosed codification were revived to honor the knowledge that anonymously composed the landscape of queer communities in Brazil and Korea.

While kimura-lemoine evokes performatic aspects of language by bringing in attention to Korean queer words and adapt Shinto ritual gesture, Belote works on a semiological research that look at Pajubá and Yoruba languages.

Belote uses the act of translation eliminates elements (elements that have political, cultural and personal importance) Brazilian queer vocabulary in a way to honor its Pajubá and Yoruba ancestrality and contribution to Brazilian queer vocabulary.

kimura-lemoine reconnects with translation of Korean daily queer life as a sub community while ze came out living back to zer birthland in Korea (1993-2006). Ze learned how to navigate ‘saferly’ in a society that is very homophobic due to extremist Christian religious believes (52 %) and mixing with what shinto visually appeal to zer imagination of connecting and honoring our queer ancestors.

Description:

The MEAREWE installation is a 100 day long, participative and in progress experience between the duo artists and the public involvement. It will be divided and linked at the same time into spaces/spots;

• at the entrance of the parc, on your left, the ‘secret’ tree where you can murmur your secret(s) in the cracks of the tree skin, as we do in Asian;
• on your right, a big tree will welcome you to write your wishes on rice paper which you will fold and attach/nod to the cord place on the ‘body’ of the tree;
• Behind the big trees, an orange container where phrases in Pajubá will be placed on the door; and on the side, QR codes will appeared to listen to audio tracks
• On the back of the parc, there a line of younger trees that will be linked to one another with a cord where will be Korean queer words written on colored fabrics hanged as laundry.

References

Shinto practice is an adapted interpretation of the diasporic asianness of kimura-lemoine, as a wish to integrate in zer art practice, as zer coming closer age to death.

The tree of secrets is a secret release that take reference in Asian culture. The last scene of the well-known film ‘In the mood of love, Wong Kar-Wai, is part of the struggling lives of many queers in the world. And this tree

Pajubá and Yoruba are…

Catharsis is present in both of what inhabits the body, a language that only a specific community can understand). Juxtaposition of seemingly different artist, seemingly different culture, seemingly different connections, but that in fact as points in common.

Both practices involve the performance of language (gesture/eloquence) (further develop) and are modes of resistance.

Interaction: The concept of how opacity (opaque) plays on audience interpretation of the work, what are the things that remains unattainable? elaborate introspection vs community to show that personal content is present in both practices although they are community based.

-subsection: How a Sense of community is present in both.

These two distinct cultural-linguistic phenomena were juxtaposed as a common ground of resistance, which allowed the artists not only to create a safe space for the catharsis of traumatic experiences but also reveal the basis of their dissident identities.

Moreover, the artwork echoes from DOIS desire to position themselves as hybrid or miscigenized subjects. (revise)

Always looking at race as a problematic social construct, DOIS are compelled to embrace their colorful ancestralities and assume the conflictual nature of their mixed backgrounds. Here it is important to mention that in both artists’ life trajectory there have been a break from family ties also in order to preserve a cultural connection that otherwise would have been repressed and white-washed.