Kissing The Sun, Touching The Moon, Mixing The Waters

Written By Water, Luxembourg Pavilion, 58th International Art Exhibition, La Biennale di Venezia

Isolation Days (March 16 - Mai 10, 2020) #1-56

Le processus créatif est l'hospitalité de l'œuvre. Le processus créatif est l'hospitalité de l'œuvre.

Written by Water – Publication

L’écriture est un geste d’incertitude. L’écriture est un geste d’incertitude. L’écriture est un geste d’incertitude.

Left to Their Own Fate (Odyssey)

Mappa Mundi – Contemporary Cartographies

His hand takes part in the language. He refers to the fluidity of writing, an ink that is transparent yet full of stories.

Dossier Gestes d’écriture – Press

Left to Their Own Fate (Odyssey) – Photographs

Remember What Is Missing (The Infinite House)

Cycle lunaire (1–30 août, 2019) #1–30

The Unknown in Suspense (Crystal Moon Blocks)

Miracles Are Hidden Secrets #1–2

Miracles Are Hidden Secrets – Photographs

As Close as Possible to the Sun

Wandering With the Horizon at Your Fingertips

Sequence of a Forgotten Moment

Kissing the Sun, Touching the Moon, Mixing the Waters

This territory of possibilities, where erasure leads to the greatest openness, where imperceptibility meets immensity,

Hoping for possibilities, at every instant
Christophe Gallois

The sea does not write, at least visibly it gives us no sign to read, no text to decode, no story to peruse or consult.

Reading what was never written
Thierry Davila

A thunderstorm. Night. Water runs down the walls, onto the windowsills, it runs from the roofs, down the façades

Written by Water – Film series

Written by Water – Photographic series

Left to Their Own Fate (Odyssey) – Film

Left to Their Own Fate (Odyssey) – Action

A miniature world (...) lying in the palm of an outstretched hand, carefully rolled up, plucked from a transparent tube.

In Praise of Vagabond Energy
Hélène Guenin

A Permanent Sea Inside Us (Blind Reading)

Reading and travelling. These two acts may well proceed from the same way of moving, of being able to

Marco Godinho’s installations have a direct, simple appeal that expresses itself independent of their content’s complexity.

Inventing the Language of a Country Without Exile
Béatrice Josse

And if our life were nothing but a long journey? A sort of peregrination “in endless search of an elsewhere, a place to briefly

Sharing Intensities
Paul di Felice

Le monde nomade de Mr Godinho
Keong-A Song

Un feu permanent à l'intérieur de nous

Notes sur cette terre qui respire le feu (Ascension des pentes)

Notes sur cette terre qui respire le feu (Messages à l’autre)

Notes sur cette terre qui respire le feu (Geste d’offrande)

Notes sur cette terre qui respire le feu (Exercice de méditation)

Biennale de Lyon 2017 – Mondes flottants

"It is no longer we who cross the land, the border, the sea; they are the ones who cross us"

« Ce n’est plus nous qui traversons la terre, la frontière, la mer ; ce sont elles qui nous traversent »
Interview by Sally Bonn

Lunar Cycle (April 1-29, 2018) #1-29

Every Day a Poem Disappears Into the Universe

The Unknown in Suspense (Crystal Moon Blocks)

The Unknown in Suspense (Video)

Remember What Is Missing (Taipei Air Force Base) – Film

Remember what is missing (Taipei Air Force Base) – Photographs

« Je crois que ma patrie... mon capital c’est d’être apatride. C’est ce qui me pousse à continuer. C’est ce qui fait que dès que je suis quelque part, je suis très curieux, je deviens tout de suite un viennois, un français, un allemand. J’ai passé un an en Amérique, et j’ai tout de suite lu des livres en anglais. Je n’ai pas vraiment de patrie. »

The Memory of the stateless ghosts
Caroline Cros

The Memory Of The Stateless Ghosts

A Permanent Wind Inside Us / Lettre-océan

Notes sur cette terre qui respire le feu

I misteri delle origini della vita

The Mediterranean Sea as a Suspended Territory

Going South Is Not the Same as Going North /
Going North Is Not the Same as Going South, 2016–2017

Going South Is Not the Same as Going North /
Going North Is Not the Same as Going South, 2016

Left to Their Own Fate (Os Lusíadas)

but even if I cannot see the sun

Still a Blind Light in an Endless Night

Tenho em mim todos os sonhos do mundo

ET (Le dernier dialogue possible) / ST (The last possible dialogue)

Et (Le dernier dialogue possible) – Film

Tentative d'une carte pour l'oubli

Invisible More Visible More Invisible #3

Invisible More Visible More Invisible #2

Invisible More Visible More Invisible #3

The Infinite House (House Number)

History Revisited (Memory Hole)

History Revisited (Loose Associations)

Blind Memory (The Eyes of the Tiger)

Invisible More Visible More Invisible

Invisible More Visible More Invisible #2

In girum imus nocte et consumimu igni

Departure (Destiny of rupture)

Invisible More Visible More Invisible #1

Du temps perdu à la recherche du temps #1

Portugal Agora – À propos des lieux d’origine & Aide-mémoire, système appui idées

Rythme vital (7 propositions de déambulation quotidienne)

At This Moment I Have Time / I Have Time At This Moment

The Unknown in Suspense (Crystal Moon Blocks)

2018

Works

The Unknown in Suspense (Crystal Moon Blocks), 2018
Crystal moon blocks, newspapers, time, wooden platform, daily performance
Duration and dimensions variable

Set on the floor like paperweights on a pile of local newspapers – renewed daily – two crescent moon-shaped magnifying glasses seem to question the world’s future through everyday events. These crystal objects are modeled on the divination tools called moon blocks, or jiaobei, used in pairs in prophetic rituals in traditional Chinese temples and shrines, often along with fortune sticks. Supplicants toss the red-painted wooden crescents on the floor like dice to obtain Yes or No answers to questions put to the gods. The video that accompanies the installation shows these objects being used in temple ceremonies in Taipei, Taiwan. By reproducing in crystal the jiaobei he brought back from Taipei, the artist operates a cultural shift, invoking the divinatory arts practiced in the Western world.