Profil: Diogo da Cruz – Diplom 2016 (EN)

RM:Thank you for the performances yesterday. These time-based series seem to compress a lot of issues that determined the art of the 1960’s. To choose these studies as your final show at the art school means also a reflection on the time spend here?

DDC:In my third performance I refer to Pamela M. Lee’s “Chronophobia: On Time in the Art of the 1960's”. In this book, she describes how we inherited a fear for time from that decade, that lead society into a feeling of endless repetition, a ‘Bad infinity’, where we don’t expected anything really new to come. In art school, the students’ works are usually compared to specific artists, which they should look up and maybe use as a reference. Well, many of those references come from the 60’s, and sometimes we have a feeling that our works look like they could be done in that decade. Of course it is not a general case, but it still shows how that decade defined so much the culture of today, and how close we still are from the ideas of back then.

RM: You won the DAAD price given to students finishing the studies. Did the jury tell you how they came to this decision?

DDC: I performed a little excerpt from the performance of 18h09 during the presentation for the jury. They were interested directly into how the performances activate some interesting relations between my pieces and the book I present within the graduation show. There were also some questions about the flag ‘more is more’.

RM: ‘more is more’ comments directly on the socio-political contingences in Europe. Would you explain how you came to this flag?

DDC: In the book “The gravity of time”, I question the validity of some common structures we take for granted, like the hour system or the calendar. I speculate about possible reforms and defend a general slow down as solution for some of society’s problems. From those ideas, I felt it was necessary to do a reference in the exhibition to the challenges that European Union is facing in the last years. By repeating the stars indefinitely, around the original 12 starts, I want to show that more is more, and that multiplicity can look good as well.

(Interviewer - María Inés Plaza)