Pedro Neves Marques WORKSCVExhibitions
   

The Tigris Expedition (1978), consists of a rethorical proposal composed of a weekly reading of the artist’s proposal by the artist or actors; three channel video from “The Tigris Expedition” documentary; tables with pages from the book “The Tigris Expedition; in Search of Our Beginnings” .

The oral presentation of the proposal happens weekly / daily alongside the installation.

This piece is still work in progress.

The piece as proposal takes at its core the Tigris Expedition lead by anthropologist Thor Heyerdahl in 1978. The expedition had as main purpose the construction of a reed ship according to Sumerian models dating from 5000 years ago and its navigation through the Persian Gulf and Indic Ocean in search of ancient commercial routes between Sumer, the Hindus Valley and Egypt. After five months of voyage and on not being allowed to follow further into the Red Sea due to conflicts in the Horn of Africa, the expedition met its end on the shores of Djibouti by way of burning the ship as protest against the conflicts and international interests in the region.

Topics invoked in the proposal are: exemplarity • simbolism resistence • relation • space-time dislocations • time-travel • life • aesthetics • art • ‘this is art’ • ‘I will not make this art‘ • typologies of art.

 
   
   
 
   
 
The Tigris Expedition (1978), 2009, weekly presentation/reading by the artist or actors; three channel video from footage of “The Tigris expedition” documentary, vhs transfered
to dv, 7’16’’; tables with fragments from the book “The Tigris expedition; in search of our Beginnings”, ed. 1980 installation shot at “A camel is a horse designed by a commitee”, Fondazione Claudio Buziol, Venice (2009)
photographs by Moira ricci

 
 
   
 
   
 
The Tigris Expedition (1978), 2009, three channel video from footage of “The Tigris expedition” documentary, vhs transfered to dv, 7’16’’, no sound

 
 
   
 
The Tigris Expedition (1978), 2009, fragments from the book “The Tigris expedition; in search of our Beginnings”, ed. 1980; wooden tables; glass; focus theatre lights (not
present in Venice installation); coloured plexiglass panels (not present in Venice installation)
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