{"id":7237,"date":"2025-07-15T10:06:56","date_gmt":"2025-07-15T10:06:56","guid":{"rendered":"https:\/\/antecamara-galeria.pt\/tuuui-trrrrrrrrrrrrrrrrrrr-theres-no-place-called-home\/"},"modified":"2025-07-15T10:44:29","modified_gmt":"2025-07-15T10:44:29","slug":"tuuui-trrrrrrrrrrrrrrrrrrr-theres-no-place-called-home","status":"publish","type":"post","link":"https:\/\/antecamara-galeria.pt\/en\/tuuui-trrrrrrrrrrrrrrrrrrr-theres-no-place-called-home\/","title":{"rendered":"Tuuui trrrrrrrrrrrrrrrrrrr &#8211; There&#8217;s No Place Called Home"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><div class=\"templatera_shortcode\"><style type=\"text\/css\" data-type=\"vc_shortcodes-custom-css\">.vc_custom_1737657677248{border-color: #000000 !important;}.vc_custom_1738173009023{padding-bottom: 60px !important;}.vc_custom_1737647661645{margin-bottom: -1.4vw !important;}.vc_custom_1737647647658{margin-bottom: -30px !important;}.vc_custom_1737717350576{margin-left: -30px !important;padding-top: 80px !important;padding-bottom: 20px !important;}.vc_custom_1737651750490{border-top-width: 3px !important;border-top-style: solid !important;border-color: #000000 !important;}<\/style><div      class=\"vc_row wpb_row section vc_row-fluid  h1_titulo_container vc_custom_1737657677248\" style=' text-align:left;'><div class=\" full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  vc_custom_1737647661645\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p style=\"text-align: right;\">18.07.2025 \u2192 04.10.2025<\/p>\n\n\t\t<\/div> \n\t<\/div> \n\t<div class=\"wpb_text_column wpb_content_element \">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h1 style=\"text-align: right;\">Tuuui trrrrrrrrrrrrrrrrrrr &#8211; There&#8217;s No Place Called Home<\/h1>\n\n\t\t<\/div> \n\t<\/div> \n\t<div class=\"wpb_text_column wpb_content_element  ac_artista vc_custom_1737647647658\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p style=\"text-align: right;\"><a href=\"https:\/\/antecamara-galeria.pt\/en\/james-webb\/\">James Webb<\/a><\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><div      class=\"vc_row wpb_row section vc_row-fluid  ac_container_content\" style=' text-align:left;'><div class=\" full_section_inner clearfix\"><div class=\"ac_single_podcast_player wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  ac_expo_galeria\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t            <div class=\"flexslider \">\n            <ul class=\"slides\">\n                                    <li>\n                        <a href=\"https:\/\/antecamara-galeria.pt\/wp-content\/uploads\/2025\/07\/PRINCIPAL-SITE.jpg\" data-lightbox=\"slider-gallery\" data-title=\"\">\n                            <img decoding=\"async\" src=\"https:\/\/antecamara-galeria.pt\/wp-content\/uploads\/2025\/07\/PRINCIPAL-SITE.jpg\" alt=\"\">\n                        <\/a>\n                    <\/li>\n                                                                                            <\/ul>\n        <\/div>\n        \n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><div      class=\"vc_row wpb_row section vc_row-fluid  ac_container_content\" style=' text-align:left;'><div class=\" full_section_inner clearfix\"><div class=\"ac_single_podcast_player wpb_column vc_column_container vc_col-sm-3\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  podcast_post_image\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/antecamara-galeria.pt\/wp-content\/uploads\/2025\/07\/RS_PUB_JAMES-WEBB.jpg\" alt=\"Tuuui trrrrrrrrrrrrrrrrrrr &#8211; There&#8217;s No Place Called Home\" class=\"post-featured-image\">\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><div class=\"ac_single_podcast_info wpb_column vc_column_container vc_col-sm-9\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div class=\"vc_acf vc_txt_align_left field_679213a31b05b\"><p><em>Tuuui trrrrrrrrrrrrrrrrr,<\/em> by James Webb (1975, Kimberley, South Africa), operates as two chapters in the same story\u2014<em>There\u2019s No Place Called Home (Bel\u00e9m, Lisbon)<\/em> (2025) and <em>Learning from Birds<\/em> (2025). Most stories have, at least, a main character, a setting, and a time. The main character of this story is the song of a Woodland Kingfisher (<em>Halcyon senegalensis)<\/em>, native to African regions south of the Sahara. The setting from which the birdsong can be heard is a <em>Corynocarpus<\/em>, a tree native of New Guinea, Australia, New Caledonia, Vanuatu, and New Zealand located in the gardens of the MAC\/CCB \u2014 Museu de Arte Contempor\u00e2nea e Centro de Arquitetura (Museum of Contemporary Art and Architecture Centre), in Bel\u00e9m, Lisbon. The other setting of the story is the space of Radio-Gallery Antec\u00e2mara, in the Bairro das Col\u00f3nias (Colonies\u2019 Neighbourhood), in Lisbon, from which the same bird calls can be heard. The time of the story is now, 2025, as well as the colonial times that remain in the public spaces of today.<\/p>\n<p><em>There\u2019s No Place Called Home (Bel\u00e9m, Lisbon)<\/em> (2025) is the latest iteration of the series <em>There\u2019s No Place Called Home <\/em>(2004\u2013). An ongoing intervention with twenty years of existence and approximately sixty unique versions, it always follows the same methodology: once a tree is selected, the song of a foreign bird\u2014one that would never be found in that location\u2014is chosen to be broadcast from audio speakers concealed in that tree. Birds and trees have a symbiotic relationship, where each benefit from the other: birds help disperse seeds, contributing to tree reproduction and biodiversity; trees, in turn, provide birds with shelter, nesting sites, and food (Faustino et al, 2024).<a href=\"#_ftn1\" name=\"_ftnref1\">[1]<\/a> The species of trees that can be found everywhere in the planet are deeply rooted in colonial legacies. In (dis)placing a foreign birdsong in a tree, James Webb is highlighting these colonial legacies.<\/p>\n<p>European countries have extracted resources from their natural environments as a way of showing their imperial power, for economic profit, as well as for aesthetic reasons, to showcase \u201cexotic\u201d plants in environments where they would never grow. At the same time, European plants were intentionally introduced into colonised regions mostly for food production and survival, but also for \u201caesthetic and nostalgic reasons\u201d (Crosby, 2004 in Lenzner et al, 2022:1724).<a href=\"#_ftn2\" name=\"_ftnref2\">[2]<\/a> After colonialism, the reorganisation of global trade intensified and accelerated the introduction of alien species worldwide (Lenzner et al, 2022:1723).<a href=\"#_ftn3\" name=\"_ftnref3\">[3]<\/a> The extraction and displacement of trees disrupt these natural ecosystems, impacting bird and tree populations, and ultimately humans: when a tree is placed in a foreign location, it will attract other species of birds, which in turn will respond differently to the environment.<\/p>\n<p>The birdsong in the Lisbon iteration of <em>There\u2019s No Place Called Home<\/em> is planted in two settings charged with colonial legacies. The neighbourhood of Bel\u00e9m, where MAC\/CCB is located, is filled with monuments celebrating the colonial and imperial times of Portugal: Pra\u00e7a do Imp\u00e9rio (Imperial Square); Bel\u00e9m Tower; Jer\u00f3nimos Monastery; Monument to the Discoveries; Bel\u00e9m Palace; and the Monument to the Overseas Fighters. In turn, the practices of colonialism embedded in the landscape are visible not only in the species of plants that can be found in all public parts of these monuments but also in the Tropical Botanical Gardens (formerly named Colonial Gardens), with more than 600 foreign species. On the website, the description of the Gardens reads: \u201cWith a strong educational vocation, with a view to exploring former colonies, especially in Africa, [the Garden]\u00a0was considered an indispensable basis for teaching because a live example is essential for the demonstration to be rigorously scientific and educational\u201d (2025).<a href=\"#_ftn4\" name=\"_ftnref4\">[4]<\/a> The use of the term \u201cexploring\u201d in the contexts of colonialism and imperialism is telling.<\/p>\n<p>The second chapter of James Webb\u2019s project, at Radio-Gallery Antec\u00e2mara, is situated in the former Bairro das Col\u00f3nias (Colonies\u2019 Neighbourhood), composed of streets named Angola, Guin\u00e9, Pr\u00edncipe Island, S. Tom\u00e9 Island, Macao, Mozambique, Timor, and Zaire, after former Portuguese colonies. Both urban sites represent an idealised Portuguese national identity after the end of the colonial empire. As Ana Balona de Oliveira reminds, these sites echo \u201cthe grand narrative of the so-called discoveries continues to deny the violent histories and memories of slavery and colonialism. This denialist narrative \u2026 remains deeply embedded in celebratory monuments, many of which were built under the aegis of the Estado Novo dictatorial regime (1926\u201374), while others have been erected much more recently\u201d (2022:229).<a href=\"#_ftn5\" name=\"_ftnref5\">[5]<\/a><\/p>\n<p>The incongruous vocalisations of the Woodland Kingfisher are transmitted into Radio-Gallery Antec\u00e2mara via an online camera through which they meet the recorded sounds of the natural environment where this species would normally be found. Somehow, in this room, the foreign bird is put back into its habitat. Webb does not intend this to be a seamless transition; he is calling attention to the glitch. Birds are a source of inspiration for humans, possibly because they symbolise, above all, freedom, which is something that both humans and non-humans have been deprived of beyond colonial times. Today, the area where Radio-Gallery Antec\u00e2mara is located is inhabited by more than 45% of the international residents of Lisbon. This neighbourhood has been historically portrayed as a territory of migrants, associated with crime and poverty, a portrait that segregates and marginalises its inhabitants. As such, it embodies the colonial processes that continue to marginalise diasporic communities today, with the ongoing and growing gentrification processes. Inside the gallery, the Woodland Kingfisher becomes a sonorous metaphor for Willem Flusser\u2019s notion of freedom, which he sees possible through the homelessness of the migrant (2003).<a href=\"#_ftn6\" name=\"_ftnref6\">[6]<\/a> As the title of James Webb\u2019s series says, \u201cThere\u2019s no place called home.\u201d<\/p>\n<p>Accompanying the recordings, <em>Learning from Birds <\/em>(2025), displayed on one of the walls of the gallery, consists of a collection of photographs, quotes, poems, songs, drawings, and other bits of inspiration drawn from how we live with and learn from birds. These sampled and remixed materials translate James Webb\u2019s curiosity and profound approach to sourcing and collecting not only sounds but also images, texts, and most notably questions from different disciplinary areas and sources, reminiscent of the research methods of social scientists but also with the strangeness of mystics.<\/p>\n<p>The vast repertoire of birdsong and their settings in the series <em>There\u2019s No Place Called Home<\/em> invokes complex interconnections between human and non-human species as well as between different times and places. Our ancestors observed birds to divine changing weather, tune into their calls as safety alarms against predators in the area, and\u2014like us\u2014project their fantasies of flight and freedom onto them. Rather than Rachel Carson\u2019s vision of a silent world without birdsong and diversity of species (1962),<a href=\"#_ftn7\" name=\"_ftnref7\">[7]<\/a> the poetic and political messages contained in <em>There\u2019s No Place Called Home<\/em> leaves us wondering about the coexistence of past and present as well as of humans and non-humans, and how such coexistence may help us speculate pluralistic futures.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Text and curatorship by Lu\u00edsa Santos\u00a0<\/strong><br \/>\n<strong>Project in collaboration with MAC\/CCB<\/p>\n<p>Collaboration with CIEBA-FBAUL in the context of Institution(ing)s, a project coordinated by the CECC &#8211; Faculty of Human Sciences of the Portuguese Catholic University.<br \/>\n<\/strong><\/p>\n<\/div>\n\t<div class=\"wpb_text_column wpb_content_element \">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<p>+ About <a href=\"https:\/\/antecamara-galeria.pt\/en\/james-webb\/\">James Webb<\/a><\/p>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><div      class=\"vc_row wpb_row section vc_row-fluid  ac_titulo_do_mesmo_programa vc_custom_1738173009023\" style=' text-align:left;'><div class=\" full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\"><div      class=\"vc_row wpb_row section vc_row-fluid vc_inner \" style=' text-align:left;'><div class=\" full_section_inner clearfix\"><div class=\"wpb_column vc_column_container vc_col-sm-12\"><div class=\"vc_column-inner\"><div class=\"wpb_wrapper\">\n\t<div class=\"wpb_text_column wpb_content_element  ac_custom_grid_titulo vc_custom_1737717350576\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<h3 style=\"text-align: left;\">Other Exibitions<\/h3>\n\n\t\t<\/div> \n\t<\/div> \n\t<div class=\"wpb_text_column wpb_content_element  ac_grid_loja vc_custom_1737651750490\">\n\t\t<div class=\"wpb_wrapper\">\n\t\t\t<div id=\"ac_custom_expo_grid\"><\/div><button id=\"load-more-expo\" data-page=\"1\">+<\/button>\n\n\t\t<\/div> \n\t<\/div> <\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"18.07.2025 \u2192 04.10.2025 Tuuui trrrrrrrrrrrrrrrrrrr &#8211; There&#8217;s No Place Called Home James Webb Tuuui trrrrrrrrrrrrrrrrr, by James Webb (1975, Kimberley, South Africa), operates as two chapters in the same story\u2014There\u2019s No Place Called Home (Bel\u00e9m, Lisbon) (2025) and Learning from Birds (2025). Most stories have,...","protected":false},"author":2,"featured_media":7232,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[162],"tags":[],"class_list":["post-7237","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pagina-de-exposicao-passada-en","artistas-expostos-james-webb"],"acf":[],"_links":{"self":[{"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/posts\/7237","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/comments?post=7237"}],"version-history":[{"count":1,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/posts\/7237\/revisions"}],"predecessor-version":[{"id":7238,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/posts\/7237\/revisions\/7238"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/media\/7232"}],"wp:attachment":[{"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/media?parent=7237"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/categories?post=7237"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/antecamara-galeria.pt\/en\/wp-json\/wp\/v2\/tags?post=7237"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}