{"id":1152,"date":"2018-01-09T18:57:56","date_gmt":"2018-01-09T18:57:56","guid":{"rendered":"http:\/\/taiskoshino.com\/?page_id=1152"},"modified":"2024-09-18T15:08:08","modified_gmt":"2024-09-18T15:08:08","slug":"ainda-ontem","status":"publish","type":"page","link":"https:\/\/taiskoshino.com\/en\/ainda-ontem\/","title":{"rendered":"ainda ontem"},"content":{"rendered":"

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<< back\/voltar<\/b><\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.2″]<\/p>\n

sobre\/about<\/a><\/strong><\/strong><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ module_alignment=”center”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.2″]<\/p>\n

ainda ontem<\/strong><\/p>\n

[\/et_pb_text][et_pb_text _builder_version=”4.4.2″][\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”3.25″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” module_alignment=”center”][et_pb_column type=”4_4″ _builder_version=”3.25″ custom_padding=”|||” custom_padding__hover=”|||”][et_pb_text _builder_version=”4.4.2″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” hover_enabled=”0″]<\/p>\n

Cole\u00e7\u00e3o Des.gr\u00e1fica\/2017, Museu da Imagem e do Som de S\u00e3o Paulo, S\u00e3o Paulo, Brasil, 2017<\/strong>
66 p\u00e1ginas<\/strong>
20×28.5cm<\/strong><\/p>\n

 <\/p>\n

“Ao longo das minhas reflex\u00f5es sobre Ainda Ontem<\/em>, demonstrei como Koshino estrutura uma narrativa de utopia queer, na qual justap\u00f5e g\u00eanero, ra\u00e7a, desejo e geografia, para navegar por uma hist\u00f3ria tanto de rejei\u00e7\u00e3o queer quanto de suas afilia\u00e7\u00f5es \u00e0 di\u00e1spora japonesa no Brasil. Koshino brinca com as fronteiras formais do meio dos quadrinhos, experimentando com sua materialidade; dessa forma, convida o leitor a seguir as linhas do desenho, a desviar-se dos caminhos retos e a parar na temporalidade turbulenta do que \u00e9 intermedi\u00e1rio, provocada pela rejei\u00e7\u00e3o, perda e utopia.”<\/p>\n

Andrea Arambur\u00fa Villavisencio, Gestos de utop\u00eda “queer”: La est\u00e9tica “queer” de la di\u00e1spora japonesa brasile\u00f1a en “Ainda ontem” (2017) de Ta\u00eds Koshino<\/a><\/p>\n

Uma decis\u00e3o sem poss\u00edveis escolha, os dias permanecem o mesmo, ainda ontem parecia diferente. Esse quadrinho foi selecionado pela convocat\u00f3ria Des.gr\u00e1fica de 2017, realizada pelo Museu de Imagem e som de S\u00e3o Paulo (MIS\/SP). Foram impressas 50 c\u00f3pias com capa dura em serigrafia.
Em um universo dist\u00f3pico, as crian\u00e7as nascem e par e, como ritual de passagem para o mundo adulto, cada uma deve escolher uma cor. O que pode acontecer se o par n\u00e3o chegar a um acordo e um deles n\u00e3o consegue seguir em frente? A protagonista continua vivendo em sua mem\u00f3ria mais afetuosa mas agora est\u00e1 sozinhe. As p\u00e1ginas s\u00e3o compostas por fotos de jornal ampliedas cobertas por tinta acr\u00edlica onde o desenho foi colocado. As fotos foram retiradas de um jornal nipo-brasileiro que meus av\u00f3s assinavam e ap\u00f3s a morte deles, o jornal continuou chegando na casa dos meus pais, foi dif\u00edcil cancelar a assinatura. As p\u00e1ginas s\u00e3o pain\u00e9is sem requadros, a leitura da narrativa segue as linhas do desenho. Esses dois aspectos criam um ritmo parecido uma confus\u00e3o mental ou uma mem\u00f3ria estranha.<\/p>\n

dispon\u00edvel pt\/en<\/a><\/p>\n

\n

Cole\u00e7\u00e3o Des.gr\u00e1fica\/2017, Museu da Imagem e do Som de S\u00e3o Paulo, S\u00e3o Paulo, Brazil, 2017<\/strong>
66 pages<\/strong>
20×28.5cm<\/strong><\/p>\n

“Throughout my reflections on Ainda Ontem<\/em>, I have demonstrated how Koshino frames a narrative of queer utopia in which gender, race, desire, and geography are juxtaposed to navigate a story of both queer rejection and affiliations with the Japanese diaspora in Brazil. Koshino plays with the formal boundaries of the comic medium, experimenting with its materiality; in this way, they invite the reader to follow the lines of the drawing, to stray from straight paths, and to pause in the turbulent temporality of the in-between, provoked by rejection, loss, and utopia.”<\/p>\n

Andrea Arambur\u00fa Villavisencio, Gestos de utop\u00eda “queer”: La est\u00e9tica “queer” de la di\u00e1spora japonesa brasile\u00f1a en “Ainda ontem” (2017) de Ta\u00eds Koshino<\/a><\/p>\n

A decision without possible choices, the days remain the same, still yesterday seemed different. This comic was selected by the Des.gr\u00e1fica open call in 2017, promoted by Museum of Image and Sound of S\u00e3o Paulo (MIS\/SP). It was printed 50 copies with hardcover. In a dystopic universe, the children are born in pair and they must choose a color to go to the adult’s word. What can happen if a pair doesn’t come to an agreement and one of them can’t make through? Our protagonist keeps living the same day in their* favorite memory but now they* is alone. The pages are composed of newspaper’s photographies amplified covered with a spot of white ink where the drawing is placed. I collected these photos from a Brazilian-Japanese newspaper that my grandparents subscribed and after they died it kept arriving at my parent’s house, it was a hard task to unsubscribe. All the pages are splash pages without line frames, the narrative must be read as the drawing leads the eye. Bofh aspects create a flow that is similar to a confused or misplaced memory.
*the pronouns are in the third person plural because the characters have no gender.<\/p>\n

available pt\/en<\/a><\/p>\n

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