How did the idea for Coin Operated come about? Did it start from a specific image or moment?
Jonas Lopes: The image of a man riding a horse is deeply rooted in our collective imagination — it appears in statues, paintings, and public monuments, often symbolizing power. This animal has played many roles in our society: as a war companion, a labor force, a tool for entertainment, and even in the pornography industry. There is also a contrast between the power such an image can convey to something seemingly innocent, such as a child’s toy, a rocking horse, or a carousel, which only comes to life when you insert a coin. Coin Operated was born from this singular association between childhood, the animal, and money. While we were thinking about this idea, we were invited by BoCA – Biennial of Contemporary Arts to create a performance for the National Coach Museum in Lisbon. In this museum, also a testimony to the capital power associated with horses, became the perfect context to develop Coin Operated. The performance is activated by the insertion of a one-euro coin, it only comes to life when both mechanical horses are in motion. This simple gesture, carried out by the spectators themselves, triggers a journey through the many symbolic roles assigned to the horse, from domestication to exploitation. Ultimately, Coin Operated explores that fusion between man and animal, united in a single figure.
The audience is invited to trigger the performance by inserting a coin. This puts the spectators at the heart of the show itself. How did you conceive this interaction, and what kind of reaction do you hope to elicit in the audience?
J.P: There is a clear statement at the heart of this gesture: in our society, money and capital are what drives the world. This mechanism exists even in the simplest of actions, like a child playing on a carousel or a rocking horse. As for the audience’s reactions, sometimes there is even a kind of race to be the first to insert a coin, which leads to a subtle negotiation among the spectators. Some people share nothing more than a glance or a laugh. It’s a moment of hesitation that gradually fades as the performance unfolds.
The show is designed for non-traditional spaces. How does this format influence the performance?
J.P: Coin Operated was created in 2019, and since then, it has been presented in a wide variety of spaces, from a church in Spoleto to one of the liveliest nightclubs in Lisbon. These spaces have a profound influence on the reaction of the audience. For example, in an art gallery, responses tend to be more contained, whereas in more informal or bohemian settings, they are livelier and more spontaneous. Regardless of the country or context, the performance seems to resonate with audiences, even if the way they express that connection shifts from one venue to another.
You have been creating together since 2011. How would you define your collaboration?
J.P: Our collaboration brings together two very different creative worlds that are nonetheless constantly inspired and energised by each other. We share a strong affinity for surrealism, the absurd, and humour. Music is also a central element in our creations. After fourteen years of creating together, especially in duets like Coin Operated, we’ve developed what could be called a sort of “performative telepathy,” a form of communication that exists far beyond words.