In the Metalogue Series, begun in 2015, Fernanda Eugenio and Ana Dinger collect situated performance-conversations, experimenting different degrees of audience’s participation. As any usual conversation, metalogues are unrepeatable and ungovernable. They bear the risk of the encounter because their paths, means and tones emerge in their own doing. Unlike usual conversations, metalogues recover an operation proposed by Gregory Bateson: the commitment to make the conversation materialise what is being talked about. In the metalogue, the attempt is to perform with concepts or, if possible, to perform the concepts, performing intensive modes of thinking-in-relation.


The effort is of presentation and not of representation, in the sense of overcoming, through use, tensions such as structure vs. matter and form vs. content. The question-problem to be handled is usually suggested by a host event. The work is, above all, to prepare the conditions for the encounter and that preparatory work (often also already metalogic) consists of mapping the neighbourhoods of the problem and proposing tools, materials, formats or interfaces to be used. The metalogue inhabits different territories, each time resulting in a singular object. It is a programme that recurs without relapsing, which is another way of saying that the procedure is repeated, though its materialisation differs. By rehearsing a perspectivist operative mode, the metalogue traverses the landscape of the problem using the tactic of the gift: the problem gains a body through receiving and reciprocating each position-taking. The metalogue is continued until the inaugural question is reformulated, by extension, into one or more questions. Metalogues result in objects as varied as a slide show battle, a live-written article, a lecture without speech, a game of cards or an invitation-mechanism proposing a set of tasks to be performed in a square.


Past editions:

• Metalogue # 1 - the modes of the situation (Athens, September 2015);

• Metalogue #2 - the artist-ethnographer & the ethnographer-artist (Lisbon, November 2015);

• Metalogue #3 - the modes of surface (Porto, April 2016);

• Metalogue #4 - stories & geographies of performance (Lisbon, July 2016)

• Metalogue #5 - the modes of the public (Curitiba, November 2017)

• Metalogue # 6 –  the Irreparable (Porto and Lisbon, December 2019)


Metalogues are created according to a logic often attributed to happenings: to be presented only once, in the situation that originally triggers and welcomes them. The emergent materiality of some of the metalogues has, however, led to the possibilities of re-enactment and/or autonomization of the artefacts resulting from some editions (when the potential for unfolding becomes evident and the work calls for continuation).

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Fernanda Eugenio, 2018

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