Letters to Imagine Some Ends to This World 

Oh Practice my Practice. My interstellar cloud of dust. My infinite chain of pro-research sparkles, improvised across proliferating Immaterial Encounters of the Fourth Kind, into the eventification of every-little-thing. You’ve been a close friend these last years. We’ve shared on-the-go meals and sleepless nights; slept exhausted, agitated, delirious, sometimes half-dead in each other’s arms. Oh Practice my Practice: my everything. I am at your feet. Devoted, I confess: I haven’t been producing many art and fiction works lately. Not many academic pieces of writing either. Yet we both know (since you have become flesh of my flesh): I work without end, and sleep the least I can. I don’t even really dislike it. YAY. Liberated from work in order to work more, to work harder – as it stands in that short text by Moten and Harney (2015) that we’ve read together time and again.

Oh Practice my Practice. I don’t think I have told you this yet, but it’s time: I am lost. Many things in my life, many strands of studying, thinking and making art – all those things that once seemed to offer a promise of ‘profanation’ (in the Agambian sense) and some sense of displacement from male-artist subjectivities, hegemonic historical narratives and representations – seem to have, to a huge extent, morphed into the dominant model of artistic and knowledge production. I am not sure that anything I do will ever be able to challenge the current economies (the current economy of attention included, or most of all). Oh Practice my Practice. What exactly have we been doing together? I hope you forgive me for having so many doubts about our relationship, after all these years.

Paula Caspão (PT/FR)

Writing artist, Paula is a postdoctoral research fellow (FCT) and guest lecturer at the University of Lisbon, Centre for Theatre Studies (CET / FLUL), and an associate researcher at the Institute for Contemporary History (IHC-UNL). Her current research tackles the ecologies, poetics, and gestures implicated in the specific practices and (im)material labour that constitute the Museum, the Archive, and History making at large. Having worked extensively on procedures of contamination between choreographic, documental, and theoretical practices, Paula has been presenting work across Europe, Australia, and the USA since 2005. She is the author of Relations On Paper (2013), editor of The Page As a Dancing Site (2014) and Pièces Assemblées (2017). She holds a PhD in Philosophy (epistemology and aesthetics) from the University of Paris-10, and was a Visiting Scholar at the Tisch School of the Arts, Performance Studies / New York University (2018).

Paula Caspão (PT/FR)

Escritora e artista, Paula é investigadora de pós-doutoramento (FCT) e docente convidada no Centro de Estudos de Teatro da Universidade de Lisboa (CET/FLUL); é investigadora associada no Centro de História Contemporânea, Universidade Nova de Lisboa (IHC/UNL). Actualmente investiga os gestos, as ecologias e as poéticas implicadas nas práticas específicas e nas formas de trabalho (i)material que constituem o museu, o arquivo e o fazer histórico. Explorando procedimentos de contaminação entre as práticas coreográficas e as práticas teóricas e/ou documentais, o seu trabalho tem sido apresentado através da Europa, Austrália e EUA desde 2005. É autora de Relations On Paper (2013), editora de The Page As a Dancing Site (2014) e Pièces Assemblées (2017). Doutorada em Filosofia (epistemologia e estética) pela universidade de Paris-10, foi Visiting Scholar na Tisch School of the Arts, Performance Studies / New York University (2018).

+ info: Paula Caspão | UNFINISHED

Artwork © Jani Nummela