pasargada, pasargada (2017-?)

pasargada, pasargada

2017 – ?. Delfina Foundation, London.

Quando o verde dos teus olhos

Se espalhar na plantação
Eu te asseguro não chore não, viu
Que eu voltarei, viu
Meu coração


(excerpt from Asa Branca, song written by Luiz Gonzaga and Humberto Teixeira in 1947 and re-recorded by Caetano Veloso in London, 1971)


I ́m Brazilian, granddaughter of Japanese immigrants. 1971, year I ́ve born, Caetano Veloso recorded a LP, Caetano Veloso, with seven songs – most of them in English, a foreign language he did not master – while exiled in London due to military dictatorship in Brazil.

From encounters with Caetano Veloso, my wish is to work affectively on a new aesthetic grammar through research on Persian cultural heritage from British perspectives and its potential crossings with some Brazilian and Japanese post-colonial issues, especially on art field.

From Caetano Veloso (1971) album booklet:

A French saint once said that it is as dangerous for a writer to try a new language as it is for a believer to try a new religion: he can lose his soul.

Caetano adopted English for the lyrics on this album to convey his first impressions of living in a foreign country. The songs serve as a two-way mirror, focusing thoughts and memories of home and absent friends and reflecting his reaction to a new but friendly environment.

Listen to the album here.


Is there room for imagination nowadays? Are there other ways to perceive the world? Are there alternative ways of being in the world through artistic experience?

Could we invent (or rescue) more ludic, poetic, sensitive, silent and (why not) amateur approaches to deal with those issues with people at large?

What does political reinvention really would mean from the perspective(s) of art? How could art best contribute to that reinvention?


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so-so eng?