The PERISKOP MORADAVAGA is an installation made for the art festival „el globo de juan“ at Velha-a-branca that took place in Braga, Portugal on the 6th and 7th of June 2009.
The PERISKOP was designed to occupy the center of the main stair of the building, between the ground floor and the top floor.
The object is made of recycled cardboard and includes different periscope views between the house levels.
Some videos about Moradavaga’s recent works were also shown at the exhibition.
The success of the PERISKOP at the festival was such that the period for visiting was extended until the end of June!
PERISKOP’s current address:
Velha-a-branca
23 Largo da Senhora-a-Branca
Braga 4710, Portugal
Concept and construction: Manfred Eccli, Pedro Cavaco Leitão
Logistics and technical support: Joana Dias Cadima
Music in the videos Miragens and Periskop Berlin: Stefan Sparer, Christian Wohlgemuth
Many thanks to Sr. Marco and colleagues, LaMiRe´
Link festival: el globo de juan
Link velha-a-branca
Tuesday, 9 June 2009
Periskop
Sunday, 7 June 2009
Miragens
First festival of back projections by Moradavaga at Porto (Portugal), 21st of March 2009
Taking advantage of the windows of an empty apartment, Miragens was a back projection party that happened in Porto, Portugal.
It featured works by Baldo Mero, DPpP, Marta Canas, Jorge Lapa, Kazé, Rui Santos Vieira, Rui Baptista, Sérgio Guerra, Eva Sousa, Pedro Cavaco Leitão.
Many thanks to Pedro Durães Leite, Paulo Maia, Miguel Ferraz/IPJ, and all the artists.
Click here to see the video of the event
Monday, 1 June 2009
Antizoo Moradavaga - Noche de luna llena
16 - 19th of July 2008 - Segovia, Spain
Workshop, exhibition and safari with children to discover the city of Segovia in a different way
click here to see the video of the event
We present you the ANTIZOO MORADAVAGA:
A Zoo is a prison for the animals. They’re incarcerated, away from their natural environment, and at the disposal of human beings.
With MORADAVAGA’s ANTIZOO we will identify those “animals-spaces” that surrounds us and are in danger of extinction or that, for one reason or the other, we don’t seem to value at a given time, to liberate them and invest them with a new concept of utility for Segovia, integrating them in the city’s urban tissue. We’ll also be finding “animals-spaces” that have adapted and coexisted with Segovia’s many changes and evolutions throughout history, and that have become protected species.
Together with MORADAVAGA we will create a Natural Park in which children will act as our guides, for only them, with their unpolluted and imaginative vision, will be capable of showing grownups what their eyes have been missing and, because of that, abandoning and letting rot.
This ANTIZOO’s sees the urban territory as a big Natural Park inside of which there are many different species of “animals-spaces”. Here we can find animals in danger of extinction (ruined and abandoned buildings), for which we must find solutions, otherwise they will disappear, parasite animals (like theatres converted into fast food restaurants), protected animals (national and world heritage buildings), etcetera. Our goal is to recover the endangered animals and mime the ones that have been capable of surviving in the city so that they can all find a harmonious future in the urban territory.
Our aim is to make children aware of their own power to transform the urban spaces with their imagination, since tomorrow these spaces will be the ones in which they will carry out their own projects and dreams. We also want for them to identify the different problematics that affect various urban spaces and that they try to come up with imaginative and creative solutions.
What you have in front of your eyes it’s the result of the transforming and imaginative capacity of the children that have participated in this activity.
Welcome to the ANTIZOO!
Os presentamos el ANTIZOO MORADAVAGA:
Un zoo es una cárcel para los animales. Están encerrados, fuera de su entorno y a merced de los seres humanos.
Con el Antizoo MORADAVAGA identificaremos a aquellos animales-espacio que nos rodean y que corren peligro de extinción o, que en ocasiones, no valoramos, para liberarlos y darles un nuevo concepto de útilidad volviendo a intengrarles en el medio urbano de Segovia. Encontraremos, también, animales-espacio que han sabido convivir y mutar hasta formar parte de la ciudad y convertirse en especies protegidas.
Con MORADAVAGA crearemos una reserva natural en la que los niños serán los guias porque sólo ellos, con su visión no viciada e imaginativa, serán capaces de mostrar a los "adultos” lo que sus ojos no llegan a percibir y que paulatinamente han ido abandonando.
La visión de este ANTIZOO es considerar el territorio urbano como una gran reserva natural en el que viven varias especies de “edificios-animales”. Encontraremos animales en vías de extinción para los que si no aportamos soluciones acabarán desapareciendo (edificios colapsados), animales parásitos (cines convertidos en restaurantes de comida rápida) animales protegidos (edificios pertenecientes al patrimonio nacional), etc. Pretendemos recuperar a estos animales y mimar a los que han sabido adaptarse para llevar a ambos a un nuevo futuro en armonía con la urbe.
Nuestra intención es concienciar a los niños del poder que tienen para transformar los espacios urbanos con su imaginación, espacios en los que el día de mañana llevarán a cabo sus proyectos y sueños.También queremos que se identifiquen con una problemática existente en varios espacios urbanos y que aporten soluciones imaginativas y creativas.
Lo que teneis ante vuestros ojos es el resultado de la capacidad tranformadora e imaginativa de los niños que han participado en esta actividad.
! Bienvenidos al ANTIZOO !
Many thanks to Caritas, Klein, ParamotionFilms, Noche de luna llena, Segovia Joven and Rafael Ordorika
Friday, 18 April 2008
Ideas Competition Porto
The aim of the competition was to motivate participants to propose ideas and concepts for a “temporary animation” of one (or more) space(s) of their choice, within the limits of Porto’s District, in the context of an ephemeral event of some kind. Each participant or group could submit as many entries as desired and was asked to present:
- an A6 flyer, that would work as an invitation for a visit to the vacant address in which the proposed activity and/or object would take place, that had to contain the address and a short description of the Project;
- two A3 sheets containing a small text with a short description of the idea and its function, the reasons for the choice of the place, the explanation of the construction aspects and/or the necessary means to implement the Project, and a graphic representation of the proposal making it possible to compare beetween the “before” and the “during”/”after” of the intervention (weather an activity or an object).
For those who were not familiar with the city of Porto, it was possible to find information about some places that could be interesting to work over in the competition’s internet site.
(Here can be some small images of the examples we provided)
Fourteen projects by authors from five countries (Austria, Brazil, Germany, Italy and Portugal) were submitted.
Comprising a wide variety of themes and different levels of complexity the proposals ranged from the most simple of gestures to the most utopian of views.
List of Projects
Uma intervenção com pouco S(A)AL
Sandra Ferreira (Portugal)
Antigo Cinema
Christie Cornelio (Brazil)
“Breaking doors – Climbing walls”
Volkros
Porta – Muro
Christie Cornelio (Brazil)
Time Slot
Daniel Ehrl (Germany)
Terreno e fachada
Christie Cornelio (Brazil)
Casa Oliveira
Manfred Eccli (Italy)
Durchgang - Passage
Viktor Eccli (Italy)
Terreno e Empena
Christie Cornelio (Brazil)
ShineOn – Learning from Las Vegas
José Rodrigues (Portugal)
Cinema Arrábida
Diogo Matos, Nicolás Perfumo, Paulo Moreira (Portugal)
Looping Archidroids Maps in Moradavaga
Paulo Maias de Carvalho (Portugal)
Ficar
Josseline Engeler (Germany)
41 livros, 4 pernas e muitos olhos
Joana Cadima, Bárbara Baptista (Portugal) 
After the period for submission ended, all the proposals saw their way into a catalogue besides being published on the competition’s internet site.
Click here to see the catalogue in pdf-format
Moradavaga would like to thank all the participants as well as all those who helped in the realization of this competition.
Collaborators on the project:
Pedro Durães Leite (Architect)
Diogo Cerveira Paradinha (Architect)
Monday, 14 April 2008
Moradavaga na Fábrica Social
“Moradavaga at Fábrica Social” was a one-day event that took place on the 16th of June 2007, in and around the buildings of an old derelict factory in Porto called Fábrica Social (Social Factory).
With a program that included the viewing and discussion of three short movies by the collective OSU (Ocupa Sensibiliza Utiliza) and a picnic, in addition to the exhibition of the works of the participants in the Ideas Competition launched by Moradavaga in April 2007, only the rain was able to reduce a little bit the success of the event. In spite of the weather, about 50 persons came to the premises of FÁBRICA SOCIAL on the day of the event.
Click here to go to the pictures of the event
Those who were courageous enough to “tackle” the wind and the rain that fell that afternoon were able to wander around the semi-abandoned spaces of the old factory seeing the presented works as well as watching the movies that were screened in an improvised auditorium.
Click here to go to the movie 
Moradavaga would like to express its gratitude to all those who participated and helped in the exhibition as well as to those who resisted to the heavy rain and came to see it!
Sunday, 17 February 2008
Cities of Moradavaga
“Cities of Moradavaga - Temporary use of vacant urban spaces in my city”
Take your pen, camera, sketchbook,... and let´s go!
This year each participant is asked to produce a small article, based on a personal research about examples of temporary use of vacant urban spaces through artistic/cultural/sport/social activities, in his/her own city, mentioning the developers of such activities and providing information about them. A brief history of the way the theme has been dealt with locally would also be welcomed. The article’s format is the author’s responsibility and it can make use of text, images or video, having in mind that it should be suitable to be published online and on paper. The article shall be presented in the author’s own language and also translated to English. The aim is to gather a set of articles that can give a global overview of the theme and publish it in MORADAVAGA’s blog/site. In a second phase, this set of articles may originate an edition on paper and, perhaps, a conference with the participation of all the authors.
For now we would like to fill the world map above with a lot of places which are going to be viewed by the eyes of Moradavaga, so we are waiting for your contribution!
If you have any questions or suggestions, feel free to send us an e-mail!
Contact: moradavaga@gmail.com
Thursday, 14 February 2008
Ficar
Josseline Engeler im Interview zu ihrem Projekt "Ficar"
Die deutsche Kunststudentin Josseline Engeler realisierte ihr Projekt "Ficar" im Zeitraum 2006/ 2007 in Porto. Das Projekt ( mit welchem sie bei "Moradavaga Porto ´07" mitmachte) ist an einer Hausfassade in der Rua Dom Joao IV in Porto zu sehen. Ein Gespräch mit der jungen Künstlerin gibt uns einen tieferen Einblick in ihre Arbeit.
Interview with Josseline Engeler about her project "Ficar"
The german student of Fine Arts Josseline Engeler realised her project "Ficar" during the year 2006/ 2007 in Porto. This project (with which she made part at "Moradavaga Porto ´07") is possible to see on a house facade at the Rua Dom Joao IV in Porto. A conversation with this young artist will give us an deeper overview about her work.
MV - Wie kam die Idee zu deinem Projekt „Ficar“?
JE - Als ich im September 2006 nach Porto kam, um dort für ein Jahr zu studieren, war ich sehr beeindruckt von den mit Azulejos verzierten Fassaden der Häuser. Da mein Studienschwerpunkt im Bereich Keramik liegt, war es für mich besonders schön zu sehen, dass auch heutzutage noch eine keramische Tradition das Bild einer Stadt ganz entscheidend prägt. Doch leider fielen mir auch sehr schnell die Lücken in diesem Stadtbild auf. Sehr viele „Azulejos“ werden entweder gestohlen oder fallen von selber altersschwach auf die Gehsteige. So entstand bereits bevor ich das Haus in der Rua de Dom Joao IV. 617 überhaupt kannte die Idee, diese Lücken mit eigenen Fliesen zu füllen und Street Art in einer ungewöhnlich konstruktiven Form zu betreiben.
MV - What is the origin of the project „Ficar"?
JE - When I came to Porto in September 2006 one of the first things I noticed were the facades with the famous „Azulejos“. As the main interest in my studies is ceramics I was especially pleased to see an old ceramical tradition being mainly involved in creating the townscape. But unfortunately I also became aware of all the gaps in this townscape. Many of the „Azulejos“ had been stolen or were fallen down decrepitely. This was when the idea to fill these gaps with my own tiles and do an unusually constructive street-art-project was coming to my mind, even before I got to know the house in Rua de Dom Joao IV. 617.
MV - Gibt es einen Hintergrund zum Projekt und wer ist darin dargestellt?
JE - Es war ein ausgesprochen glücklicher Zufall, dass an der Fassade des Hauses in der Rua de Dom Joao IV. 617, in das ich später selber einzog, 15 Originalfliesen fehlten. Konkreter wurde das Projekt als ich mich mit den Unterschieden zwischen der traditionellen Bauweise des Hauses und der Beschaffenheit seiner Bewohner auseinandersetzte. Bei den meisten der Hausbewohner handelte es sich nicht um Portugiesen, sondern wie auch in meinem Falle um junge Menschen aus dem europäischen Ausland, die für kurze Zeit zum Studieren oder Arbeiten nach Porto gekommen waren. Ich assoziierte die Veränderung der Stadt, die sich im wahrsten Sinne des Wortes von ihren alten Traditionen lösen muß, mit der Veränderung ihrer Bewohner. So entstand vor dem Hintergrund dieser schnelllebigen und globalisierten Zeit die Idee, das Innen und Außen des Hauses miteinander zu verbinden. Dadurch, dass ich die Bewohner im Stil der Street Art, auf schwarz-weiß reduziert, porträtiert habe, die Fliesen aber dennoch nach alter Tradition von Hand glasiert und gebrannt habe, versuchte ich alt und neu zusammenzuführen und den portugiesischen „Azulejos“ beim Überdauern in eine neue Zeit hinein zu helfen.
MV - Is there a special background to the project and who is it representing?
JE - It was a very lucky chance that there were 15 tiles missing on the facade of the house in Rua de Dom Joao IV. 617, in which I moved in later on. The project assumed concrete forms when I took interest in the differences between the houses' traditional style and the nature of it's inhabitants. Most of the housemembers were young foreigners, who had been coming to Porto to study or do an internship. I associated the transformation of the city, which had to free itself literally from it's old traditions, with the transformation of these young people. In that way the idea of connecting the out- and the inside of the house came into being. By portraiting the people in the street-art's black and white style on the one hand, but glazing and cooking the tiles in the old traditional way on the other hand I tried to bring old and new together and help the portuguese „Azulejos“ surviving into a new time.
MV - In welchem Zeitraum wurden die Fliesen angefertigt?
JE - Angefangen bei der Recherche, der Entwicklung der richtigen Glasur, dem tatsächlichen Anfertigen, dem Bemalen, Brennen und letztendlich Anbringen habe ich ein Jahr lang an dem Projekt gearbeitet.
MV- How long did it take to finish the project?
JE - Beginning with the research, development of glazes, actual production, painting, cooking and finally the fixing on the wall it took me one year to finish the project.
MV - Gab es Schwierigkeiten?
JE - Bei der Entwicklung der Glasur gab es einige Schwierigkeiten, da Schwarz als Glasurfarbe für Azulejos in diesem Ausmaß traditionell nicht angewandt wurde und ich mehrere Anläufe brauchte um die richtige Glasur und die passenden Fliesen zu finden. Einige der Fliesen mussten bis zu 6 Mal gebrannt werden, da die Glasur in den detaillierten Partien der Motive nicht zufriedenstellend deckte. Doch im Großen und Ganzen verlief die Realisation des Projektes gut. Durch die unumgängliche Langsamkeit der keramischen Prozesse, z.B. Glasurentwicklung und Brennvorgänge, habe ich gelernt gründlich und bedacht zu arbeiten.
MV - Were there difficulties?
JE - While developing the glaze there were some difficulties occuring, because black is none of the traditional glaze-colours of „Azulejos“ and it took me some time to find the right ingredients and the right type of tiles. Some of the tiles had to be burnt six times, because detailed parts of the paintings had'nt been covering enough. But all together the project's realisation went very well. According to the unavoidable slowness of ceramical processes I learned about the importance of a thorough and careful way of working.
MV - Wie waren die Reaktionen auf dein Projekt?
JE - Was mich besonders freut ist, dass das Projekt offensichtlich so auffällig ist, dass kaum ein Passant vorübergeht, ohne zumindest kurz den Kopf zu wenden. Grundsätzlich reagierten junge Leute positiv und auch meine Professoren in Deutschland fanden das Projekt sehr interessant und haben mich bestärkt weiterhin in diese Richtung zu arbeiten. Obwohl es auch positive und neugierige Reaktionen von Passanten gibt, scheinen jedoch gerade ältere portugiesische Herrschaften eher irritiert zu sein und sie zum Nachdenken anzuregen.
MV - What are the reactions to your project like?
JE - What really makes me very happy is that the project actually seems to attract as much attention as nearly nobody passes by without turning his head shortly. In general young people react positively to the project and my professors in Germany find the project to be very interesting and supported me to keep on working in this direction. Even though there are loads of positive and curious reactions especially elderly portuguese people seem to be irritated and forced to think about it.
MV - Wie siehst du dein Projekt im Bezug zur portugiesischen „Azulejos“ Tradition?
JE - Die „Azulejos“ Tradition hat mich tief beeindruckt. Gerade als keramische Künstlerin freut es mich Keramik als Bestandteil des Alltags zu erleben. Wie ich oben schon erwähnte, möchte ich diese Tradition durch meine modernere Herangehensweise nicht beleidigen, sondern drücke vielmehr meine Wertschätzung und meinen Respekt gegenüber dieser Tradition aus. Dementsprechend würde ich auch nie vorhandene originale „Azulejos“ durch meine neuartigen Fliesen ersetzen, sondern reagiere immer nur dann, wenn der Verfall bereits stattgefunden hat.
MV - What do you think about the relation between your project and the portuguese tradition of "Azulejos"?
JE - The „Azulejos“ impressed me very deeply. Especially as a ceramical artist it pleases me to see ceramics as a part of everyday's life. As I already said further above, I don't want to offend this tradition with my modern attitude, but to express my appreciation of it. Corresponding to this appreciation I would never replace existing original „Azulejos“ with my modern ones. I only react when dilapidation already took place.
MV - Wird das Projekt weitergehen und wenn ja in welcher Form und wo?
JE - Das Projekt „Ficar“ ist für mich beendet, doch ein neues Projekt befindet sich in der Planung. Ich möchte mich aber diesmal mehr auf die industrielle Fertigung der Azulejos beziehen. Es handelt sich bei den meisten an den Häuserfassaden angebrachten „Azulejos“ ja keineswegs um handbemalte, sondern in alten Fliesenfabriken seriell bedruckte „Azulejos“. Ich beschäftige mich daher gerade mit keramischen Siebdruck und möchte später in dieser Technik hergestellte Fliesen in ganz Porto als Street Art-Projekt immer dort, wo die originalen „Azulejos“ fehlen, einsetzen. So löse mich also konzeptuell von einem einzigen Bestimmungsort, wodurch sich auch die Motivwahl in eine abstraktere und reproduzierbarere Richtung verändern wird.
MV - Will the project be extended? In which way and where would this be?
JE - The project „Ficar“itself is finished, but a new project is already planned. This time I want to refer more to the industrial production of „Azulejos“. Most of the „Azulejos“ on the walls aren't handpainted but printed in the old portuguese tile-fabrics. For this reason I'm working in ceramical silk screen printing now to produce new tiles, which are supposed to be fixed onto the walls of Porto wherever there are original tiles missing. In this way I let go of one single destination for my tiles, which also changes the motives to a more abstract and reproducable direction.
MV - Was hast du aus diesem Projekt persönlich mitgenommen?
JE - Abgesehen von einer tiefen Auseinandersetzung mit einer mir bis dahin fremden Tradition hat mir das Projekt „Ficar“ es ermöglicht, mit meiner Umgebung, den Menschen und aber auch der Stadt selbst auf eine Weise in Kontakt zu treten, die ich vor allem im Hinblick auf die Kürze meines Aufenthaltes als ungewöhnlich intensiv und intim empfunden habe.
MV - How could you personally profit by doing this project?
JE - Apart from a deep examination with a tradition I didn't know until then the project "Ficar" made itpossible for me to get into contact with my environment, the people and of course the city itself in a very intensive and intimate way, that is very unusual especially as I haven't been in Portugal for a long period of time.
MV - Wie siehst du das Projekt Moradavaga, welches grob gesagt versucht mit
interdisziplinären Interventionen temporär in „vagen Orten“ eines Stadt-
Landgefüges einzugreifen?
JE - Gerade in einem Land wie Portugal, in dem es viele dieser „ moradas vagas“ gibt und in dem die Spuren der Vergänglichkeit allgegenwärtig sind, finde ich es wichtig sich mit diesen Orten auseinanderzusetzen und sie wiederzubeleben. Dass dies‘ im Rahmen von „Moradavaga“ auf eine kreative und nicht auf eine industrielle Art und Weise geschieht, freut mich als Künstlerin natürlich besonders. Da ich denke, dass es durchaus auch diese Spuren des Verfalls sind, die den Charme einer Stadt, bzw. eines ganzen Landes prägen, ist ein behutsames Eingreifen in diese Orte, ohne sie zu zerstören, meiner Meinung nach genau der richtige Weg, um eine Verbindung zwischen Vergangenheit, Gegenwart und Zukunft zu schaffen.
MV - What do you think the project "Moradavaga", which is basically trying to intervent temorarily in "vague spaces" of a city- or countrystructure?
JE - Especially in a country like Portugal, which contains a lot of these "moradas vagas" and which is very connected to transitoriness, i think it's important to cope with these places and reanimate them. "Moradavaga" is doing this in a creative and not in an industrial way, which is something that I appreciate. As I think these traces of transitoriness are absolutely important for creating the charme of a city or a whole country this gentle intervention without destruction seems to be exactly the right way to build a connection between past, present and future.
Josseline Engeler, geb. 28.09.1982, seit 2003 Studentin der Freien Kunst an der „Muthesius Hochschule für Kunst und Gestaltung“, Kiel. Seit 2004 Studium in der Fachklasse für Freie Kunst und Keramik bei Professorin Kerstin Abraham. Von September 2006 bis September 2007 Erasmusstipendium an der „Faculdade de Belas Artes do Porto“. Von 2003 bis heute Teilnahme an mehreren Ausstellungen, u.a. "Moradavaga" 2006, Porto.
Josseline Engeler, born 1982/09/28, since 2003 student of Fine Arts at "Muthesius Hochschule für Kunst und Gestaltung", Kiel. Since 2004 masterclass for Fine Arts and Ceramics of Kerstin Abraham. From september 2006 until september 2007 Erasmus-scholarship at "Faculdade de Belas Artes do Porto". Since 2003 until today participation in several exhibitions, f.e. "Moradavaga" 2006, Porto.
Foto: Josseline Engeler
Contact: j.engeler@gmx.de