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Picture
Scene from chapter 4: O COLONIZADO SUSTENTA O PATRIARCADO. Published in Escamandro (Brazil, 2020).
ANTICORPO. UMA PARÓDIA DO IMPÉRIO RISÍVEL
44 min. US-Portugal 2019-20​. Directed by Patrícia Lino.

ANTICORPO
, a parodical and audiovisual book on the Portuguese colonial discourse, was exhibited for the first time in San Diego on October 17 of 2019. Besides the musical adaption of the texts, the visual process of ANTICORPO consists on collage, cutting, and appropriating or destroying (the meaning) of videos published and advertised ​by Portuguese extreme-right political groups' online channels.

ANTICORPO. UMA PARÓDIA DO IMPÉRIO RISÍVEL will be published in 2021.

​
PAST SCREENINGS
— JULY 10 2020: "De onde venho para onde vou". Txon-Poesia. Mindelo, Cape Verde.
— MAY 8 2020: Global Early Modern Group Annual Conference. University of California, San Diego. US. Cancelled due to COVID-19.
— MAY 9 2020: TXON-POESIA. Festival Internacional de Poesia e Poética do Mindelo. Zero Point Art. Mindelo, Cape Verde. Cancelled due to COVID-19.
— JANUARY 4 2020: CSA A GRALHA — Espaço Social Auto-gerido. Porto, Portugal. 
— DECEMBER 18 2019:  Instituto de Ciências Sociais (ICS), Universidade de Lisboa. Lisboa, Portugal.
— DECEMBER 20 2019: ​Rosa Imunda. Porto, Portugal. 
— OCTOBER 17 2019: San Diego State University. US.
Do blablablá dos discursos enaltecedores do império colonial, da forma exaustiva com que se repete a sua lengalenga, das imagens e histórias que ele produziu, Patrícia Lino criou também uma eficiente arma neutralizadora: um objeto poético. Eu não poderia imaginar melhor forma para esta arma. Explico o porquê.

A imposição da língua portuguesa nas colônias foi uma estratégia consciente de complementar e aprofundar a dominação sobre os povos nativos. João de Barros, o intelectual português do século XVI que melhor defendeu esta ideia, conseguiu convencer o rei a adotá-la com a seguintemáxima: 'A língua caminha junto com o império'.

[​Excerto do posfácio inédito, "Anticorpo", de Luca Argel]​

Most of Lino’s works confront readers/spectators (as well as reviewers) with their own prejudices. Not only does 
Anticorpo defy the idea of a book, and by extension literature, but more importantly it requires an engagement that goes beyond the logos and the solemnity associated with it. Traditionally, parody has been considered an inferior genre, a mere inversion of the original codes whose main aim is to critically tackle an issue through the lens of humor. In this sense, Lino’s playful elaboration does fulfill its purpose: to provoke an unpleasant and corrosive laughter that’s both infuriating and relatable. Perhaps the personal, ludic appropriation and repurposing of archival images is not new in the Lusophone arts, but it is definitely rare within the Portuguese literary field.

[Excerpt of Isaac Giménez's review. Click here to read it]

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