Not Our Cup of Tea [a stroll down memory lane]
Raimundas Malašauskas and Gabriel Lester propose a backwards journey

In response to the invitation to conceive a performative event – much like previous events, where Malašauskas invited Lester to join forces in staging such things as a sequence of speeches, weeklong improvised performances or to present a series of variety shows – the idea to reflect on these past events as an event of the present was born. As such an occasion as a journey trough time, where memories, people and places are reviewed, revisited and reintroduced into the present.

The term memory lane, subject of lyrics, narratives, journalism, film and television formats, is defined as a path that can be traveled along to revisit former times. This principle is the basis of the suggestion that a voyage in reverse can provide insight and content to the present or even the future. Simultaneously, the format of moving back to arrive in front or even beyond is a way to re-construct and re-live certain history by unfolding in reverse. Along this imaginary path the past events recalled by Malašauskas and Lester will be resurrected and become manifest in a format of a staged event where various media and invited guests will shape the backwards journey.

Spanning almost ten years, from the last stage of the 2001 Tour de France in Paris, passing half the globe and ending at the nearest possible memory in Brazil (which could be only a few nanoseconds before recollection) the reintroduction of the past will present itself as a assortment of remembered essentials along the path that is traveled a step back at a time.

2007 – Malašauskas and Lester enjoying the taste of sweet memories in the garden of Loris Gréaud

In the framework of the project Not Our Cup of Tea [a stroll down memory lane] Raimundas Malašauskas and Gabriel Lester will invite artist involved to a backwards journey. At the Sao Paulo biennial, several local people and artist present for the biennial exhibition will be re-invited. Also several artists will be invited to travel to Brazil in order to partake in the performances.

Dearest lady of whom I know so much up-close but so little from afar, indeed, there has been such a limited distance between us, ever since I moved in, that to be quite honest, I do not know your full complexion, nor the look in your eyes or the posture of your physique. Who, you might ask yourself, could be at once so close and so intimate, yet not know my face, the gaze in my eyes or the characteristics of my figure? Well, as I mentioned, I moved in some time ago, and this might be the best hint to give, since I quite literally moved in a fortnight ago.

It was a dreadful night, when the wind plucked me from my evening supper and carried me away over the tops of trees and the roofs of houses. The world below me, as I flew, blown by the wind, was a dark and cold place and I had not only lost my appetite due to the way the air travel had crunched my stomach, I was about to say goodbye to my dear life, knowing for sure, that soon I would be flung dead against a wall, tree trunk or some similar solid surface. But to my surprise, fate dealt me a different card, and I was sucked by a friendly draft into the room where you lay asleep. By sheer miracle, indeed, I landed in your beard, that has ever since harbored me from further flight, as well as provided me with primary needs and, oh lucky me, a wonderful array of spectacle, as I have been sitting front-row to your performances, may it be from the point of view of your own perspective, rather than that of the spectators who so generously come to see and admire you. So this is, as you may surely understand, my good reason for writing this letter. Here I am- please don’t scratch – high up on your chin, comfortably housed between the many warm and soft hairs that so gracefully decorate your jaw.

There is the phenomenon of the flea in the ear, a position many a dear cousin of mine has occupied and performed with the utmost sense of duty. And there is the lice in the hide, I believe common in the Northern countries, where a hide is logically important in keeping one warm, that even lice hide inside, as comfortable parasites of both warmth and the blood of its barer. Adding to this tradition, is my own present occupation, as a bug in the beard. What lovely turn of luck, I dare say, that I, mere bug, have become the fortunate inhabitant of such an excellent and furthermore famous and beloved beard! And impatiently I wait every day’s moments where countless people admire my habitat as a phenomenon worth crowding around. It is much like the privilege of living in a castle which attracts the attention of people from all over the world, marveling at its architecture and idyllic setting. And for this spectacle of magnificence, and my sheer blessing, for inhabiting this very same subject of admiration, set onto, what must be a wonderful face on top of what promises to be a admirable body, I have to thank not only the cosmic grace of God, but you dear lady – thank you.

Kind regards from the bug in your beard.

[text written for a performance of Chiara Fumai. Picture: Chiara Fumai as Annie Jones]

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1. Misterioso dramatico – P. Fauchey – 1918
2. Allegro vigoroso (Duels, Sword-fights, Struggles, etc.) – J. S. Zamecnik – 1923
3. Allegro agitato (for disputes and excitement) – J. E. Andino – 1919
4. Blue beard and Fatima: the king’s bal masque – T. Bendix, Theo – 1899
5. Allegro infernale – M. Aborn & M. Baron – 1921
6. A general utility theme (May be used in love scenes, farewells, idyllic scenes, fairy or child scenes, solemn occasions, festivals, rejoicings, or general mirth and happiness. May also be used for waltz scenes) – J.C. Breil – 1917
7. Moon glow – J. F. Barth – 1918
8. Misterioso (stealth, horror, dark scenes) – J. S. Zamecnik – 1919
9. Mysterious nights: valse dramatique – S. M. Berg – 1919
10. Orgies of the spirits (From Oriental Suite) – A. Il’yinsky – 1917
11. Recuerdo – E. Soro – 1924
12. Storm music (Storm at sea, Thunderstorm, etc. – J. S. Zamecnik) – 1919
13. The conquette – A. E. Johnstone – 1912
14. Visione: notturno – R. Avena – 1920
15. The confession (sorrowful emotion) – J. S. Zamecnik – 1922
16. Agitato no. 37 (for fights and riots) – J. E. Andino – 1917

All the compositions of silent movie scores on this cd have been selected by Gabriel Lester in collaboration with the Lincoln Center for Performing Arts, New York Public Library.

All songs were played and arranged by Adonis Gonzales.