Mapa Estórico
Tracing paper, marker, ceramics. 2015
120 x 100 cm

Fig. A
Photo print, pencil on passpartout. 2015
60 x 40 cm

Reenacted Garden (1913)
Unfired clay, 2015
variable dimensions

La Villa de Veraneo (excerpt)
Text on wall, 2015
226 x 156 cm each

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Exactly one year after the construction of the Villa was finished, Señor del Valle climbed up its marble staircase, aimless. After staring at the sea from the balcony on the upper floor of the house (for what he considered to be no longer than ten minutes), he slowly walked to the garden and wandered around the plants, which every year bravely survived the scalding Spanish Summer. 

On that sunny afternoon, Señor del Valle wasn’t able to tame his thoughts. They freely landed on every detail of the villa he designed, from the leaves carved on the balustrade at the main entrance, to the flower pattern he chose for the bathroom tiles on the second floor. The idea of the garden being eternalized on the architectural structure of the Villa was very pleasing to him. ‘At last something that the seasons cannot change’, he thought, as the Prime Minister Eduardo Dato declared neutrality in the war that had just erupted in Europe. 

Eloy Martínez del Valle, now half asleep and fantasizing about the atemporal reality he built behind ornamented metal gates was laying on his back right in the middle of the garden, where he could see both the branches of the trees and the leaves he ordered to be carved next to the terrace.

 

The Island of Vera Cruz
Installation with objects, unfired clay, ceramics, acrylic paint on fabric. 2015
Variable Dimensions

The palace was covered with ivy leaves
Marble, 2015
155 x 70 x 15 cm

Fifteen Novels on Exactitude

Atlases, 2015

Rover (A New Balance)
Marble, 2014
120 x 90 x 25 cm

The Queen of Grapes and the Monument
(an Illustrated Lexicon of Immigration in 1954)

Video, 2015
4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

  • 3

    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

  • 4

    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

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    The Queen of Grapes and the Monument
    (an Illustrated Lexicon of Immigration in 1954)

    Video, 2015
    4'55

The Queen of Grapes was chosen every other year among the most beautiful women of the region. 

During festivities that took place on the first days of the new reign, the former Queen passed the crown to her elected successor. 
On those days, the people in the area were invited to celebrate the harvest of the grapes which would be then turned into wine. 

During the festivities of 1954, under the reign of Maria Elisa Eberle, a monument was inaugurated in honor of the founders of the city. 
It was named as

the Monument to the Immigrant

The present lexicon is built upon footage of this occasion. A time of queens and grapes, when Europeans were casted in bronze as immigrants, in the south of Brazil.

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**All video and sound material courtesy of Arquivo Histórico Municipal João Spadari Adami

Satelights Highlands 
Installation with ceramics, print on fabric, objects, projected text. 2015

Topography of Two (a love letter excerpt)
Inkjet print on paper, 2015

Immigration Office

Immigration Office is a long term project by Lucas Odahara, Camila Riveros, Daniela Reina Tellez, Paula Hurtado Otero and Zhe Wang starting in April 2014. 

It's a space, but mainly a discussion. A platform ran by non-european artists who keep on producing art in Europe while their visa does not expire.


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Lakes of Titan (Saturn's Story) 
Publication, 50 copies. 2015

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    Lakes of Titan (Saturn's Story) 
    Publication, 50 copies. 2015

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    Lakes of Titan (Saturn's Story) 
    Publication, 50 copies. 2015

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    Lakes of Titan (Saturn's Story) 
    Publication, 50 copies. 2015

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    Lakes of Titan (Saturn's Story) 
    Publication, 50 copies. 2015

Titan's Magic Island 
Aluminium. 2014

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    Titan's Magic Island 
    Aluminium. 2014

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    Titan's Magic Island 
    Aluminium. 2014

IMAGE 01 (Olaus Magnus, Carta Marina 16th Century)

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    IMAGE 01 (Olaus Magnus, Carta Marina 16th Century)

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    IMAGE 02 (Caspar David Friedrich, The Stages of Life)

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    GIF (Rosetta Stone)

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    IMAGE 03

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    IMAGE 04 (mapa das capitanias hereditárias)

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    IMAGE 07

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    IMAGE 08 (surface of Mars)

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    IMAGE 09 (photo from Rover on Mars)

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IMAGERY OF PLACES THAT NO ONE HAS EVER BEEN; BUT WE ARE ALL DYING TO CONQUER 
Lecture, 2015 

(Performed at the University of Arts of Bremen, January 2015)




Good evening. 

First of all excuse my use of the English language.

This is the reason why I’ve decided to share with you also my speech in written form. These words on the projection are my personal notes, a score to be followed by myself on my private screen. And for tonight I sort of wrote them on a fashion in which sounds maybe as if they were written spontaneously. I hope that it is slightly more entertaining. (cross arms)

I thought this was also a way we diminish the misunderstandings between my accent and our knowledge of this foreign common language. 

I’m talking tonight about a kind of image that triggers in me an amplified feeling of space and which I call it as 
Imagery of places that no one has ever been - but we are all dying to conquer. 

This kind of image for me is special because it’s made from far away, from the distance, and that distance is what allows desire and the will of conquering, the will of finding such a place, (pause) to come to life. 

I find that image sometimes as a place I inhabit when daydreaming, or a fantastic landscape described on a well written book, or on photoshopped images of a far away deserted holiday destination. Or even on images taken from satellites of landscapes on different planets. 

What all of them have in common is that they make me wonder if maybe that place actually exists, if they are pure fiction or reality. And if I could actually walk (hand gesture) on those lands. And when I start wondering that, I realize that I can host most of my mythologies, my fears and desires on this image of a place no one else has ever been but that I’m dying to conquer for myself.

**VIDEO

Take the idea for example of a deserted island, a spot on earth that no man has yet set their feet. 
It is there, where no one has ever been that we find a most precious dream, the dream of casting oneself away from whatever we have around us, of starting anew, of recreating everything from scratch. 
Such a place is also the proof that something exists outside our own existence, and that there lies the original, the pure. 

I was taught for example to believe that there are no unknown deserted islands on earth anymore. that every piece of the Earth is there, written on a map somewhere. That means that I would never find Andromeda chained to her rock, or Zeus hiding from his father Chronus, or Atlantis, or an eternal lover which can only exist on such a place. 

I feel like we are in times when human kind has been efficient enough over the last decades to make every corner of the earth visible (or at least that’s a feeling we’ve grown used to over the last decades). That we can find everyplace on a map, (pause - thinking) or that everyplace that is to be found is on a map. and that everyplace that is already on a map is already found. (smile)

Last year, for example, at the time of the disappearance of the malaysian airlines flight, I was very surprised with the terrifying feeling which most of the people around me had. And on how the news was talking about it as something unimaginable on the fact that an airplane could go missing somewhere on the ocean and no human being could tell exactly where. 

And I realized then that this common fear that spread around us was due to the fact that the myth of a completely and constantly over-watched (hand gesture) earth, was disrupted. I mean, If there was a huge plane completely missing somewhere on Earth, that means that there were places not being watched, or even maybe places no one has ever been. 

**IMAGE 01

After the Malaysian airlines mysterious disaster It was as if we were immediately brought again to a moment in time where blank zones on a map existed. Missing parts of a reality that happens without any of our presence as human kind. Like on this map here, (point to the map) the carta marina from the 16th century where Olaus Magnus draws the nordic countries and also all the sea monsters around. (gaze away) Because you see, this is what happens, when we are aware of the existence of this kind of place, that we know there is no human being around and it sort of has a life on its own, it’s there that mythology can grow wild. It is on those blank zones on a map, that we immediately start to project OUR sea monsters. OUR fears and desires. OUR fantastic theories of what may have happened to a missing plane. 

**IMAGE 02

And it is those blank zones on a map that make us navigate across unknown waters in order to find the images that we created. To caress the soul of the explorer within us and conquer these places. 

The amount of energy that we as human beings invest in reaching those places that no one has ever been before is incredible. 

**GIF
**IMAGE 03

The explorer is that who by playing with words, symbols and objects on top of a wooden desk creates places, new places that exist between the image that brought him to the new lands and the reality he found there. And it is a rewarding feeling the creation of the first images of the places that until then no one has ever been. (the following sentences slower now) To be the first to step on the stone. The first to set the flag. The first to name it. The first to build its images.

**IMAGE 04

I’m sure also that what I’m saying has something to do with the colonial past of my country of origin, and how we are the colonized and the colonizers at the same time. 
How I grew up filled with great stories of great navigation endeavors from my portuguese ancestors, and at the same time great stories of a greater time when my indigenous ancestors lived in a land without a map of itself, when all there was were blank zones.
And even on another instance, how my Japanese ancestors found their way through the ocean’s sea monsters in order to conquer a piece of the promised land to plant cotton. 

It’s haunted by the combination of all the hope and promises of a new land that no one has ever been, together with the nostalgia of an era where mythology could run free above an unmapped land that I prefer to look up beyond the foreseeable sky where satellites send images full of blank zones,

**IMAGES 5-20 (take your time, pass them slowly while speaking)

because there we can still find images of places no one has ever been but that we are all dying to conquer. Those machines that we release out on the cosmos gives us a glimpse of an untouched topography. Of an unsolved image. Of an open field.

This is where the curse of the explorer arises in me and I can’t help but producing images from this new land which may host my most precious mythologies. And I feel great pleasure in making myself present, in colonizing it, in naming these places, turning them into objects of their own representation, having their existence as pure images made by machines that still allows the romantic distance to exist.
These objects I make them fit inside a living room, a gallery, so I can then dream of inhabiting these images of places no one has ever been. And as cartography, I can finally feel their existence and borders, I can plan a conquest. 

I can play the role of the explorer, the colonizer, the white man on my own deserted territory, bringing to my wooden desk images and human projections, hoping that down here I can conquer them with words, sculptures and desires.

and create then new topographies, cartography of places no one has ever been but that I AM conquering.

**LAST IMAGE (21). pause. enlarge map. look at the map.

Lucas Odahara

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