Funes’ condition contrasts with [Everything passes except the past], an international workshop about the politics of memory, promoted by the Goethe-Institut, which took place over a few days of September at Culturgest in Lisbon, in tandem with the cinema programme, Re imagining the post-colonial archive. Unlike Funes' condition this event was about reflecting on the relationship between remembering and forgetting the past.
Through the territories of Brazilian northeast where he comes from and never cease to return, to the streets of São Paulo, London, Paris, Naples or a little village in Andaluzia, the artist is always moving. Not more as a traveler then exiled or immigrant, Ícaro Lira does not celebrates nomadism, but is interested in transfigurations – political, economical
and social, but also on intimate ones – brought by these circulations. Starting from his trips, which are above all meetings, he brings back objects: wood pieces, stones, pictures, trash, administrative documents, press articles, but also audio interviews and personal notes. So many traces with unique stories that, juxtaposed and on a set, became a weave of fragile meaning and open to interpretation.
Through the territories of Brazilian northeast where he comes from and never cease to return, to the streets of São Paulo, London, Paris, Naples or a little village in Andaluzia, the artist is always moving. Not more as a traveler then exiled or immigrant, Ícaro Lira does not celebrates nomadism, but is interested in transfigurations – political, economical
and social, but also on intimate ones – brought by these circulations. Starting from his trips, which are above all meetings, he brings back objects: wood pieces, stones, pictures, trash, administrative documents, press articles, but also audio interviews and personal notes. So many traces with unique stories that, juxtaposed and on a set, became a weave of fragile meaning and open to interpretation.
Funes’ condition contrasts with [Everything passes except the past], an international workshop about the politics of memory, promoted by the Goethe-Institut, which took place over a few days of September at Culturgest in Lisbon, in tandem with the cinema programme, Re imagining the post-colonial archive. Unlike Funes' condition this event was about reflecting on the relationship between remembering and forgetting the past. 
Through the territories of Brazilian northeast where he comes from and never cease to return, to the streets of São Paulo, London, Paris, Naples or a little village in Andaluzia, the artist is always moving. Not more as a traveler then exiled or immigrant, Ícaro Lira does not celebrates nomadism, but is interested in transfigurations – political, economical
and social, but also on intimate ones – brought by these circulations. Starting from his trips, which are above all meetings, he brings back objects: wood pieces, stones, pictures, trash, administrative documents, press articles, but also audio interviews and personal notes. So many traces with unique stories that, juxtaposed and on a set, became a weave of fragile meaning and open to interpretation. 
