the N project brings to the stage an artistic manifesto capable of conjuring an alchemical encounter between music, cinema, literature, photography, and theater. the album is an event — a passage, a detour, a crack in the fabric of time. even amidst the challenges of producing original cultural compositions, this EP of experimental instrumental music emerges as a rare artistic spell in contemporary times: a crossing through the spiral of time.

the album is an invitation to the dilation of time. 

this, then, is the beginning of the manifesto.

do you have time?

in the Middle Ages, Saturn — god of time — was portrayed as an old man carrying a sickle and an hourglass. with due shifts of meaning, this manifesto seeks to walk that slow path against time, to reduce the velocity of destiny. to be clear: the manifesto truly longs to delay the hours. It wants to run slowly. it wants to annihilate urgency. it aims to preserve life at any cost, even knowing that death is certain.

life has never been as fleeting as it is today.

nothing promises duration.

nothing promises permanence.

thus, the manifesto throws its letters against a screen. there is a mystical instinct in the words — to form quilombos, to forge a new grammar capable of surviving the chronological action of the Roman god. perhaps the main desire is to combat hyperactivity and the accelerated pace of life, bringing together artists to create and reveal a work that longs for the end, for the void, for nothingness — for it is art.

the manifesto invites those who come into contact with the music and videos to absent themselves, even if only briefly. it wishes to quote Freud, Kafka, and Byung-Chul Han — but who are they compared to an orixá who kills a bird today with the stone thrown yesterday? there is, in this attempt, a capacity to traverse time — where everything ends and begins again.

the manifesto carries the color of Saturn’s sickle: sometimes plowing the earth, sometimes cutting the thread, sometimes turning the hourglass, sometimes creating a pause — a harbinger of the end, then. the six original tracks within this act are enchanted by multi-instrumentalist João Minatti, who drew inspiration from social crossroads embittered by the frenzy of the virtual world and the fatigue born of massive exposure to isolating stimuli. by offering them to the listeners of his time as a synesthetic creation, Minatti gestures toward this cyclical transit, where the artistic experience evokes the human ability to create rites of passage — access channels and contact with the sensitive. the manifesto understands itself as one more way of tearing openings in the structure of minutes.

the music videos are cinematic records, captured with analog cameras and special lenses that add meaningful and stunning textures, as well as stylized symbols. the images were filmed between Florianópolis and Brusque, the perimeter of the project’s team. the performance space houses eight musicians, with a central screen waiting for the projection of the videos. the artists remain still, gazing at the entrance of the audience before beginning. there, the bodies of the musicians and their instruments rehearse waiting, delay, the mismatch between formality and the passage of spectators in front of the stage. paradoxically, their presence communicates the unspeakable and the inexorable action of time. it is a desire to traverse the verb, where everything ends 

and begins again.

it can be said, then, that the performance uses elements of video art, photography and graphics, dramaturgy, and music to operate within the ordinary passage of time over the span of one hour. the manifesto, as contained in the album N, promotes a union of languages with the intention of suspending the time of the encounter — so that it may come to an end,

and begins again.

author: everton girardi