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Arts & Communication Female Body at 8 Biennial Sea Salon
th

across different bodies of water, adding a dynamic layer proposed the immersion of the observer in a geovirtual
to the narrative. Integral to the essence of “Plus Ultra” is experience (Figure 1).
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the deliberate use of the artist’s own body as a unique and A camera records aspects of Oriana’s rowing that escape
expressive instrument, further enhancing the depth and her direct vision, such as the back of her head with its
resonance of this artistic endeavor. hair, the strained muscles of her back, and the motion of

2. Plus Ultra: Esthetic-political connections, her arms as she handles the oars. This repetitive exercise
takes on a fixed, almost silent form, except when disrupted
body, and subjectivity by the contrasting elements of changing landscape and
Oriana Duarte, a native of Campina Grande, Paraíba, body. Over time, the evolving relationship between
has been a presence in the art scene since the 1990s. Her landscape and body shifts the observer’s perspective:
artworks incorporate subjects such as the body, landscape, now, she becomes both the boat and the rower, focused
subjectivity, and experimental elements. The practice of on the present moment without clear sight of the future,
self-expression and the exploration of corporeal limits persistently moving forward.
serve as pivotal aspects in comprehending her artistic In documenting the constant flow of rowing in urban
trajectory. Her journey is characterized by contemplative waters through video, its trajectory gradually forms
reflections that aim to forge connections between life, art, and shares new landscapes of Vitória Bay. This action is
and the urban environment. complemented by footage of the performance conducted
Her poetics are laden with a constant exchange in Recife, as well as various photographs emphasizing the
between her body and the public sphere. Installations, proximity of the performer’s body to the environment. The
drawings, video, photography, and performance are editing process allowed the audience to reconfigure the
part of Oriana’s artistic repertoire, and her works engage scenery, including through the perception of varying angles
in a strong dialog with each other. If we quickly look and daylight conditions. It represents an accumulative
back at previous works, such as “Playground” (1995), operation, where past waters will intertwine with the new,
“A coisa em si” (1997, available at https://enciclopedia. in a process of continuous permanence of the artwork.
itaucultural.org.br/pessoa27038/oriana-duarte [last As the artist suggests, from this proposition emerged the
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accessed at: March 26, 2024]), and “Dos Heteróclitos: idea of visually connecting distant territories. Oriana also
enquanto campo de ação” (2002, available at: https://eba. underscores the significance of the location for the actions,
ufmg.br/colecaolivrodeartista/?p=4990 [last accessed at: particularly because it requires specific infrastructure from
March 26, 2024]), we will witness how potent the fusion rowing clubs for its realization. In the setting of Espírito
of her body with the geographical space is. This fusion Santo, the performance took place at the Saldanha da
narrates possibilities of reconsidering the exchange Gama Rowing Club (Figure 2), and the video was launched
between interior and exterior, high and low, proportional on December 19, 2008, at the Rowing Garage.
and disproportional, as well as a return to origins. Oriana Duarte, by proposing to the audience a visual
In “Plus Ultra,” these facets come to the forefront, narrative that involves interaction with different bodies of
especially when contemplating the intricate interplay of water, achieved using collages and overlays, encourages
the body, oar, and city in the crafting of an expressiveness them to imagine themselves in her position. The primary
tethered to philosophical themes drawn from Michel
Foucault’s works, notably “Ethics, Sexuality, and Politics”
(2006). This piece delves into the historical narrative of
Western sexuality in relation to ethics and the formation of
subjects. The Latin phrase “Plus Ultra,” signifying “further
beyond,” initially conceived as a performance involving
rowing along the Capibaribe River, coursing through the
city of Recife, was meticulously documented in videos and
unfolded into a tapestry of drawings, photos, and texts.
According to the artist, the intention was to “provoke
the emergence of inspiring metaphors of the body-
environment relationship”. 4,p.353 Subsequently, the project
gained dimension and was continued in different waters
of Brazil, including those of Vitória Bay. In this context,
the work translated into a set of artistic operations that Figure 1. Oriana Duarte, Plus Ultra, Vitória Bay, 2008

Volume 2 Issue 4 (2024) 3 doi: 10.36922/ac.3023