Costs and fees

 

All participants must pay a fixed participation fee of R$ 6.000 (approximately U$2.400 / Euros 2.000 per year), to be paid in two instalments (please see the application for more information). This fee corresponds to 15% of the total cost of running the program. The other 85% of the program costs will be dealt with on a case-by-case basis requiring that candidates, together with CAPACETE, apply to foundations and institutions in their home country for funding. In our 2015 program all participants received the 85% grants and 3 received a 100% full grant.

The total cost of running the program is R$ 40.000 (approximately U$ 17.000 / Euros 13.000) per participant. CAPACETE and its supporters are granting 85% of these costs (R$ 34.000). This cost does not include housing, food, transportation or other expenses that may be incurred by participants.

It is the intention of CAPACETE to find financing for the cost of the program for all participants through fellowships from foundations, governments, and the private sector. CAPACETE will work with each selected candidate to find the best financial solution for their participation in the program on a need-base system. While this financial assistance cannot be guaranteed, it is our ambition to help each and every accepted candidate to be financed for the remaining 85% of the program fees.

CAPACETE will offer 2 to 3 grants to applicants who do not have access to scholarships and other financial aid through national and international institutions or private donors. These grants will not cover the fixed participation fee of R$ 6.000 (approximately U$2.400 / Euros 2.000 per year)*. These fees will remain the responsibility of the grantees.

*Although in our 2015 program we had 4 grants covering 100% of the fee, we ask the candidate not to consider this as an option as decisions on these situations do vary a lot.

CAPACETE may offer opportunities for up to 15 hours a week of paid work to interested participants to help them finance their stay in Rio de Janeiro. In 2015 we are collaborating* with Antônio Dias, Ernesto Neto, Tiago Carneiro da Cunha, Daniel Steegmann, Galleria Nara Roesler Rio de Janeiro and Arto Lindsay. More opportunities are being organized. These will include paid internships with local artists and institutions. Participants can rent a living space in our structure (private or shared room and not available for all) or may find their own accommodation (see application form). All participants will also be asked to dedicate 8 hours a week to the maintenance of the space (library, program planning, planting, cooking, cleaning etc.).

*at the moment when we are launching this new open call, these were the names involved in the program! It is to be noticed that this prgram can not garantee a job while you are here.

 


Activities

 

The program is designed as a fluid and adaptive platform of exchange between the participants and the lecturers and advisors. The program will offer 9 seminars given by 9 lecturers from different backgrounds. Seminars will extend from 3 days to up to 5 days duration. Each lecturer will also do a public talk open to the main public. In addition, different talks, presentations and events will be organized throughout the year with other guest lecturers.

One of the ambitions of our program is to have each yearly program culminate in a collective project, designed by the participants, one that can take on any number of forms (presentation, performance, publication, exhibition, seminar etc.). However, in keeping with the participative logic of our project, rather than frame this as a requirement, we prefer to conceive of it as a potential whose actualization will be decided by the participants themselves.

Participants are also encouraged to develop individual projects. Use of the facilities of CAPACETE resort office and exhibition space and other infrastructure will be made available for such projects, and contact with local institutions and agents will also be facilitated. The program will organize trips to different sites of interests in accordance with the selected group of participants (walks, seminars in different sites); and for this, will collaborate with similar organizations in Brazil and South America.

Studio visits with local and visiting professionals, as well as visits to the studios of local artists will also be organized. It is important to note that CAPACETE is not a studio-based program. Work facilities are available and can be organized on a case-by-case basis, but designated workspaces are not automatically provided for each participant.

Travels will be organized once the group is composed and must take into account the general program of the year. Example : study trip to Minas Gerais, a project that is part of the lecture of Carla Zaccagnini ; a trip to another country in latin america ) should be carried forward as finances allow ) etc.

Our residency place in the Copan building in Sao Paulo, will be of full advantage for participants on their visits to Sao Paulo and also should provoke different forms of collaboration with professionals in this city.

 


Participants

 

Participants
CAPACETE operates at the para-academic level and applications for the program are free and open for applicants of any age that are active in the cultural field from all over the world. Priority, however, will be given to researchers in beginning of their career. It is not imperative that applicants possess a BFA or MFA for eligibility, but a consistent dedication to their own research is required. Candidates can have an educational background or interest in different disciplines (anthropology, choreography, dance, etc.) nevertheless it is important that the applicants understand the program directives. It should be noted that this program inherits and transforms sixteen years of activities of CAPACETE entertainment. Thus, in order to have a better understanding of CAPACETE, we recommend that you look at the attached document in order to understand this background and context.

CAPACETE brings together professionals from different backgrounds that are fully invested in their practice of choice. Therefore, we require the participant to give full dedication to the program’s overall activities.
Participants of the 2015 program are:
Caroline Valansi (BRAZIL),
Daniel Jablonski (BRAZIL),
Giseli Vasconcelos (BRAZIL),
Lucas Sargentelli (BRAZIL),
Joen Vedel (DENAMARK),
Adeline Lepine (FRENCH),
Oliver Bulas (GERMAN),
Tanja Baudoin (HOLAND),
Félix Luna (MEXICO),
Andrew de Freitas (NEW ZEALAND),
Komarova Asia (RUSSIA),
Refilwe N Nkomo (SOUTH AFRICA),
Maricruz Alarcon (CHILE)


Objectives

 

CAPACETE launches the second edition of its yearly program in the city of Rio de Janeiro, Brazil, for up to 12 international participants dedicated to research and practice in the arts and critical thought. It will start its second edition in March 2016. Thought is action.

Vision
Our globalized contexts are structured by an unequal social distribution of labour and wealth, increasingly moulded by speculative market-based economics. Many of today’s cultural manifestations are large-scale events that are too often either directed at a generic public or a restricted elite. This reduces and neutralizes the concrete ethical and political reach of art, as well as its potential for fostering discussion and inspiring other ways of working, thinking, relating, and living.
Our intention is to build situations and develop strategies that provide a concrete and actual alternative to this state of affairs. Our program is designed to reflect the cross-disciplinary character of contemporary aesthetic practices, by working with artists and thinkers whose endeavours articulate the theoretical world with artistic presentations in several formats and dynamics and for different audiences. By challenging the actual state of culture, economy and education, our primary function will embrace self-organized, artist-run, participatory and collaborative modes of action as a fundamental part of the content and structure of its activities.
Such initiatives can only be developed over time, by means of the simultaneous activation and advancement of various forms of exchange, distribution, and production. Our intention is to remain responsive and fluid throughout this process, adjusting our strategies, tactics, and aims as we develop. An integral aim of our program is to continually expand our platform of exchange, by bringing in new participants and interlocutors, fostering relationships with different institutions and organizations, as well as by deepening our ties and relationships with established collaborators.
CAPACETE acts at the intersection of various social and professional fields, thus requiring the selected participants to fully embrace an open and “horizontal” dialogue, and to actively engage in program activities by instigating projects that can in turn act as platforms for disseminating information, promoting active responses, and generating public debate.

Context
Brazil’s paradoxical reality has been moulded by colonial power structures, as can be seen in its asymmetrical class structure, regular incidents of state violence, and in its unexamined logic of unrestrained exploitation and profit, all of which were reinforced by two military dictatorships in the 20th century and more recently by Latin-style neo-liberalism. Constantly undergoing economic changes and political transformations, the government’s predilection for short- term cultural policies added to a lack of investment in cultural institutions, has generated a fragile cultural context. Meanwhile, corporations have been actively investing in and dominating the cultural landscape, motivated in large part by tax deduction policies and federal laws (cf. Lei Rouanet, 1995). This has generated high-profile venture and publicity but very little in the way of productive and continuous critical and political discussion, hence weakening an already fragile cultural context. In a country that has one of the highest wealth concentrations in the world, this has contributed to accentuate and maintain socio-cultural disparities.
One perverse result of a weak cultural scenario is the isolation of autonomous cultural producers and authors who, despite having a strong and important practice, cannot find the means to articulate their research and knowledge with other practices, actors and systems. CAPACETE intends to operate on a micro-scale, raising different modes of representation and production by means of intimate connections. Its cross-disciplinary approach aims to challenge and reinvigorate the actual Brazilian context and give it a different visibility, by creating actual alternatives to the existing cultural networks and formats. Working on a small scale is an essential part of our endeavour, as was also the case with the Capacete Entertainment Residency Program. In that sense, CAPACETE can be seen as the continuation and reactivation of practices and strategies developed by its former residency program, both designed to thicken socio-political and cultural practices by providing an active ground for discussion, debate, and cultural reflection.

Facilities
CAPACETE has its own infrastructure: a house located in the neighbourhood of Glória, Rio de Janeiro, which consists of a fully equipped apartment for visiting contributors, a library (in different languages), a small flexible multi-purpose exhibition space, a lecture room, multi-purpose rooms, a garden, 2 fully-equipped kitchens (one in open air for bigger events). CAPACETE also co-runs a hotel-like structure where many professionals have been hosted during their visit to Rio de Janeiro. This structure will stay in close contact with CAPACETE and provide support for its activities.
Program Aims
+ To build on the legacy of 16 years of activity by the CAPACETE entertainments international residency program within a different program and structure;
+ To contribute to the local context by providing an educational research program of public interest for national and international young practitioners;
+ To foster new modes of operation and instigate a collective sensibility;
+ To rethink modes of production in an accelerated society;
+ To shape different labour relations based on conviviality and exchange;
+ To promote cross-disciplinary research within the different spheres of the social, establishing a forum for continuous public debate and exchange related to contemporary aesthetical practices and socio-political issues;
+ To establish and maintain a specialized archive and database on local and international cultural practices, including publications, dossiers, exhibitions, seminars and a website;
+ To create an environment that is accessible to participants from different economical backgrounds by helping finance their living expenses and participation in the program;
+ To interact with the local art context and community;
+ To collaborate with other similar national and international initiatives;
+ To operate in a sustainable and environmentally-conscious manner, and foster awareness by means of specific events, such as seminars, events, use of eco-friendly technologies, etc.;

Program
12 participants will be selected for the program. Our aim is to reserve 4 positions for Brazilians, 4 for South Americans, and 4 for the rest of the world. The duration of the program is 10 months, from the 1st of March to the 16th of December, with a one-month break in August during the Olympic games, which will be held in Rio de Janeiro.
The program is designed as a fluid and adaptive platform of exchange between the participants and the lecturers and advisors. The program will offer 9 seminars given by 9 lecturers from different backgrounds. Seminars will extend from 3 days to up to 5 days duration. Each lecturer will also do a public talk open to the main public. In addition, different talks, presentations and events will be organized throughout the year with other guest lecturers.
One of the ambitions of our program is to have each yearly program culminate in a collective project, designed by the participants, one that can take on any number of forms (presentation, performance, publication, exhibition, seminar etc.). However, in keeping with the participative logic of our project, rather than frame this as a requirement, we prefer to conceive of it as a potential whose actualization will be decided by the participants themselves.
Participants are also encouraged to develop individual projects. Use of the facilities of CAPACETE resort office and exhibition space and other infrastructure will be made available for such projects, and contact with local institutions and agents will also be facilitated. The program will organize trips to different sites of interests in accordance with the selected group of participants (walks, seminars in different sites); and for this, will collaborate with similar organizations in Brazil and South America.
Studio visits with local and visiting professionals, as well as visits to the studios of local artists will also be organized. It is important to note that CAPACETE is not a studio-based program. Work facilities are available and can be organized on a case-by-case basis, but designated workspaces are not automatically provided for each participant.


Agenda 2015

 

The 2015 program is constituted mainly by:

1 – 10 lectures of 3 to 5 days each closed to the group of selected participants;

2 – 1 talk/presentation/performance each wednesday night at 19:00 by invited professionals. We shal lhave about 35 guests;

3 – The program also includes studio visits to local artists, trips to São Paulo and other cities and may also include another trip south american country (if finances of the participants allow);

4 – A final project that shall be discussed with the group along the year;

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The lectures for 2015 are (closed to the participants and dates can have changes):

PC1-1

16/17 of March with Pedro de Niemeyer Cesarino

Humanity, person and multiplicity
The seminar will reflect upon the variations and tranformations of the notion of “human” in different onthological refrains, focusing on the problens of concepts such as multiplicity, conexion, neighborhood relationship, limit and becoming. I will present specific cases provenient from ethnographical studies about different societies taken as tradicional and non-Eastern. These cases will be articulated with reflections produced about the hipercapitalist capitalis context. I aim to, in other words, offer elements to the understending of specific configurations of body and person involved in different status of mankind and its respective regimes of creativity and expression.

Pedro de Niemeyer Cesarino has graduated from the Universidade de São Paulo and has his máster and PhD in social ontropology through Museu Nacional/ UFRJ. He researches indian etnology (with emphasis on studies of shamanism and cosmology), oral traditions, translation and anthropology of art. Was Assistant Professor of Anthropology in the Department of Art History of Art at the Federal University of São Paulo. He is currently professor in the Department of Anthropology, University of São Paulo, in the field of Anthropology of Expressive Forms. He is the author of “Oniska – poetic shamanism in Amazonia” (São Paulo, Prospect, 2011) and “When the earth stopped talking” – Marubo corners of the mythology (Editora 34, 2013), and numerous articles published in professional journals. In recent years, also published literary texts and works of drama.

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amilcar_02

12-17 of April – Amilcar Packer

Guided conversations – compose a mediational space – through clinical and philosophical and poetical perspectives – that tangent the curatorial – excuses to let time go – together – for a few days – contradicting – and insisting – in provisional states – and digesthétics – skin of thinking – ethics of existence.

Amilcar Packer was born in Santiago de Chile in 1974 and moved to Brazil in 1982. Degree in Philosophy by the University of São Paulo, is finishing a Master in Clinical Psychology by the Center for the Study of Subjectivity of the PUC São Paulo. Packer develops a practice that reconfigures the semantic fields of objects, architectures and human bodies through actions and interventions, photographies, videos, installations, and presentations in various formats establishing relational fields, which seek to subvert the normative grammars of social spaces and historical mechanisms of power. Its activities aim to neutralize dominant discourses, and contribute to uninstall oppression devices that are crystallized in the cultural distribution of the sensible – with its correlate segregation of space -; in the sedimentation of power structures – and its naturalization in language; and in social and socializing behavioral standards – and its politics of homogenization of subjectivities.
Packer collaborates regularly with artist-run and autonomous intiatives such as Como_clube, Casa do Povo and CAPACETE, where, between the years of 2011 and 2013, he co-directed the international artistic research residency program. Taking the arts as a less hierarchical activity and privileged field for developping ethical experimentations, his activities are extended to discursive formats, classes and workshops, meetings and conversations, lunches and tours that establish spaces and provisional states for collective dynamics, where predominate building horizontality, critical debate, mutual learning and coexistence. In recent years, he participated in educational programs as Städelschule, Frankfurt , Germany, 2013; PIESP – Porgrama Independente da Escola São Paulo, 2013; Centro de Investigaciones Artisticas, Buenos Aires, Argentina, 2013; History Matter CCA – Lagos, Nigeria in 2012; Universidade de Verão, Rio de Janeiro, 2012 and 2013; New Choreographers, CCSP, 2010; the Harbor School, Beta Local in San Juan , Puerto Rico , in 2011; On Reason and Emotion, Sydney Biennial 2004 educational programs – Hobart School of the Arts, Launceston School of the Arts, Tasmania, Autrália, 2004

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Jorge Menna Barreto

May – Jorge Menna Barreto

Food activism, agroecology and site-specific practices are among the issues to be discussed and practiced in a colaborative and imersive 7-day workshop in the country side of Rio de Janeiro.
Jorge Menna Barreto – Artist, translator, professor, educator and critic. MFA and PHD in Fine Arts from the University of São Paulo, Brazil. Presently doing a post-doctoral research at UDESC on the relationship between agroecology and site-specific practices in art.

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Beginning of june – Daniela Castro & Anne Szefer Karlsen

The course address the impact that Neoliberalism has had on the social production of space and on artistic production. From an investigation about the political and economical transformations that influenced significant spatial changes in the last decades, we will show the mechanisms by which the city became the stage for the instrumentalization of culture in the age of financial capital.
The instrumentalization of culture as a symbiotic relationship with economy was a construction of the hegemonic power, one designated  as a response to the crisis of the world “stagflation” at the end of the 70s and beginning of the 80s.  This response culminated in the delegation of financial capital to the private sphere for the elaboration of public policies oriented towards establish the social and aesthetical contours of the city and of the arts.
Since the 80s, we have seen bureacucratic administration of the city move from the public sector to current models of private-public partnerships of urban enterpreneurism. In the arts system as well, the decline of state funding and the growing influence of corporate sponsorship (either directly or by means tax subsidies) have spread thoroughout the production, dissemination, and reception of contemporary art. The workshop will focus on the mechanisms by which this symbiotic relationship between economy and culture “naturalizes” the power exerted by the interests of private capital as an agent who defines the landscape of social life.

Daniela Castro (Brasil, 1976) Daniela Castro (1976, Brazil) is a writer and curator based in  São Paulo. Castro graduated in Art History from University of Toronto (2003/Canada). She has been awarded study grants and residency fellowships at the University of Hong Kong (2002/China), Peggy Guggenheim Collection Museum (2005/Italy), the Art Gallery of York University (2007/Canada), Hordaland Kunstsenter in (2010/Norway) and IASPIS (2010/Sweden). Conceived and curated the *Recombining Territories, *an itinerant and interchanging exhibition that’s travelled seven capitals of Brazil (2006-2010). Co-curated with Jochen Volz *The Spiral and the Square: exercises on translatability *at Bonniers Konsthall, Stockholm, which interchanged and travelled to Trondheim and Kristiansand, both in Norway (2011-12). Curated *A Radically Condensed History of Post-Industrial Life LADO A/LADO B*, an exhibition in LP format for the “Impossible Show” at El Spacio, Madrid (2010-11). Curated *Lights Out, *the inaugural exhibition at the Museum of Image and Sound – MIS (2008/São Paulo). She’s been publishing widely in national and international art publications, and taught workshops on art writing and curatorial practices throughout Brazil.  Published her first book, co-authored with Fabio Morais, titled *ARTE E MUNDO APÓS A CRISE DAS UTOPIAS, assim mesmo, em CAIXA ALTA e sem notas de roda-pé *(Florianópolis: Par(ent)esis Art Book Publisher, 2010)

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Ricardo Basbaum

Final de Junho – Ricardo Basbaum

The production of the artist: conversations and exercises on the production of oneself as an artist
This workshop proposes to raise a collective conversation and discussion about some of the traces and topics that constitute the “image of the contemporary artist” – and also, through a series of written exercises, bring the problem of “how one produces oneself as an artist” as a matter of practice. The departure point is the comprehension that the contemporary system of art is a complex composition of several layers of mediation that needs to be experienced by whoever intends to make a move in such a territory; this is a consequence, by one side, of the 1960s ‘dematerialization’ of the art practice, and, by other, of the so-called ‘globalization’ process typical from the new economic world order which emerged since the 1980s. Among so many different layers of institutional and relational protocols, where can be located the artist and the artwork, subject and object of the sensorial and conceptual experience? The workshop is organized around a pre-prepaired set of problems that encompass some of the aspects involved in the contemporary art practice – from the practitioners’ point of view, specially the artist: the context, the proposition, the group, the historical and critical discourses, the curatorial knowledge, etc. What is generated from this is a conversation about how one produces oneself as an artist in face of the local/global context. For each topic, a specific bibliography is assigned. The dynamics includes the reading and discussion of texts, but also that each of the participants writes in direct relation to each of the themes: the texts are then collectively read and discussed at each meeting. Therefore, writing and reading are meant to be taken as practical exercises on the “production of oneself as contemporary artist” at a specif location and context.

Ricardo Basbaum (São Paulo, Brazil 1961). Lives and works in Rio de Janeiro. He is an artist and writer, investigating art as an intermediating device and platform for the articulation between sensorial experience, sociability and language. Since the late 1980s, he has been nurturing a vocabulary specific to his work, applying it in a particular way to each new project. His work was recently included at Something in Space Escapes our Attempts at Surveying (Kunstverein Stuttgart, 2014), the 30º São Paulo Biennalle (2012), Garden of Learning (Busan, 2012) and Counter-Production (Generali, Viena, 2012), among other events. Exhibited at documenta 12 (2007). Recent solo-projects include re-projecting (london) (The Showroom, London,2013). An athology of his diagrams was presented at the Centro Galego de Arte Contemporánea, Spain (diagrams, 2013). He is the author of Manual do artista-etc (Azougue, 2013) and Além da pureza visual (Zouk, 2007) and contributed to Materialität der Diagramme – Kunst und Theorie (edited by Susanne Leeb, b_books, 2012). Professor at the Instituto de Artes, Universidade do Estado do Rio de Janeiro. Worked as Visiting Professor at the University of Chicago (2013).

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andrea fraser

End of August – Andrea Fraser

Andrea will lead a 4 day workshop focused on a range of psychoanalytic approaches to group relations, art engagement, and performance. The workshop will include a discussion of readings that will be provided; experiential self-study of group process; performance exercises; and group discussions of projects by participants applying various methods.

Andrea Fraser is a Los Angeles-based artist whose work has been identified with performance, feminism, context art and institutional critique. She was a founding member of the feminist performance group The V-Girls (1986-1996), the project-based artist initiative Parasite (1997-1998) and the cooperative art gallery Orchard (2005-2008). Her books include A Society of Taste, Kunstverein München, 1993; Report, EA-Generali Foundation, 1995; Andrea Fraser: Works 1985-2003, DuMont Buchverlag, 2003; Museum Highlights: The Writings of Andrea Fraser, MIT Press, 2005; and Texts, Scripts, Transcripts, Museum Ludwig Köln, 2013. The Museum Ludwig Köln presented a retrospective of her work in 2013 in conjunction with her receipt of the Wolfgang Hahn Prize. She is Professor of New Genres in the Department of Art at the University of California, Los Angeles and visiting faculty at the Whitney Independent Study Program.

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Bik van der Pol

Septembero – Bik van der Pol

Proposition for reclaiming a space

This seminar concerns the ability and responsibility of artists to be in charge of their own ‘context’, in terms of both production and presentation. The broader aim concerns the urgent question if and where art may be of service in producing a public sphere, also in the political sense of that term. Our hypothesis is that the increasing privatisation of public property, as well as the increasing use of private date for public ‘good’ under neoliberalist developments has lead to the loss of a somehow meaningful public space.

Our concern is that if this loss coincides with the loss of the position of the artwork in the eye of the public, how then can art as public space be disclosed-or somehow be useful- for its political potential. In a world where the value of art is challenged, it is timely to reinvest in its place in society. For a society to be, encounters have to happen, and in order to experience the potentiality of space to become public, its conditions have to be created to prepare the ground for an encounter to occur.

We embrace the qualities intrinsic to artistic practice, as a means to disclose – make public – what is at stake in public space. The issue of public space has long been articulated in close connection to democracy, and many theorists have argued that when democracy is under threat, so is public space. The discussion of public issues is therefore not exclusively of this time, but all the more relevant in light of the current increase of private ownership and privatization of public space.

With the term ‘public space’ we refer to any site of potential conflict over rights, information, relations, and objects – a space that requires articulation, so that a community can be formed, called to order, and enter the order of the political. ‘Publicness’ does not manifest itself in spatial matters only. In fact, recent debates over forms of common property such as knowledge and culture show that public space is to be understood in the broadest terms possible – as that which holds the fabric of experience-as-community together. Threatened by forms or acts of exclusion, privileged access, and disinformation, these sites of public property are just as precarious as natural resources, and need to be rearticulated time and again. However, if the economic paradigm forces us to retreat from the realm of publicness, then what is the public issue?

The model of the dialogue, understood as a constant negotiation between citizens in any form, will be investigated on its potential to establish and articulate collective space.

 

Bik Van der Pol work collectively since 1995. They live and work in Rotterdam.
Website: www.bikvanderpol.net <http://www.bikvanderpol.net/>
Bik Van der Pol explore the potential of art to produce and transmit knowledge. Their working method is based on co-operation and research methods of how to activate situations as to create a platform for various kinds of communicative activities.
solo shows and projects (selection):
Between a Rock and a Hard Place, Sudbury, Canada (2012);
Accumulate, Collect, Show, new work for Frieze Projects, Frieze Art Fair, London; Musagetes Foundation, Sudbury (2011)
Are you really sure a floor can’t also be a ceiling? ENEL Award 2010, MACRO museum, Rome (2010)
It isn’t what it used to be and will never be again, CCA Glasgow (2009)
I’ve got something in my eye, Marie Louise Hessel Museum/CCS Bard, Annandale-on-Hudson, NY; Plug In 28, Pay Attention, Act 1, 2, 3, Van Abbe Museum, Eindhoven (2008)
Issuefighters, INSA Art Space, Seoul (2007). Workshopproject and publication (entitled +82, appeared feb.2007); Fly Me To The Moon, Rijksmuseum, Amsterdam (2007)
Secession, Vienna (2005)
Nomads in Residence/No.19, a mobile workspace for artists, Utrecht (2003, with Korteknie Stuhlmacher architects)

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Carla Zaccagnini

October– Carla Zaccagnini

Between 1993 and 1998 I worked in an educational travel agency that was called at, that time, “Pagu”. The agency had to change its name due to a complaint filed by Patricia Galvão’s heirs. In my work I used to guide 7th grade students through the historical cities of Minas Gerais: Ouro Preto, Mariana, Congonhas, Tiradentes, and other ones. Abandoned when the gold-mining industry came to an end, these cities mantained most of their urban structure, the buildings and the characteristic objects of XVIII and XIX century society and culture. I feel that these buildings and objects now have an ambivalent status, between that of an art work, an architectural monument, and a hsitorical document.
We used to have enriching conversations amongst the group of historians and the students that accompanied me on these trips. We discussed the pendulum-like dynamic of testimonies from the past, as well as the social function of the arts, the definitive role of the observer, certain conceptions of Brazilian art, and the structure of our contemporary society. It makes me think then that it is maybe by means of a certain distancing that we can gain a perspective on the past, one that might help us see things clearly. Maybe, on the other hand, it can be by a certain kind of “dive” in those places that clues from this history can be perceived, a history that somehow still acts upon us and appears everywhere, surrounding us. Or perhaps, such perspectives were engendered by the fact that our group of people drifted through these places for several days, focusing on thinking about what these places inspired in us.
I propose that we make this journey together.

Carla Zaccagnini (Buenos Aires, 1973 – Lives in São Paulo and Malmö) is an artist and writer with a Master in Poéticas Visuais at Escola de Comunicação e Artes, Universidade de São Paulo. She is currently a grantee of the KfW Stiftung at Kunstlerhaus Bethanien Program (Berlim, 2013-14). She took part in the following group exhibitions 9th Shanghai Biennale (Xangai, 2012), 2nde Biennale de Benin (Cotonou, 2012), Planos de Fuga, uma exposição em obras (CCBB-SP, 2012),Modelos para Armar: Pensar Latinoamérica desde la colección MUSAC (Leon, Espanha, 2010) and28a Bienal de São Paulo (2008), among others. Recent solo shows include Pelas Bordas (Galeria Vermelho, São Paulo, 2013),Plano de falla (Ignacio Liprandi, Buenos Aires, 2011), Imposible pero necesario(Galeria Joan Prats, Barcelona, 2010) and no. it is opposition. (Art Galery of York University, Toronto, 2008). Her work has been featured in Cream 3 (London: Phaidon Press, 2003), Contemporary Art Brazil(Thames and Hudson, London 2012) and Art Cities of the Future, 21st-Century Avant-Gardes (London: Phaidon Press, 2013)and is currently represented by Galeria Vermelho (São Paulo) and Joan Prats (Barcelona).

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Christoph Keller

Cristoph Keller

Hydrology for Artists – An Archeology and Futurology of Hydroelectric Interventions in the Tropical Landscape
The workshop will investigate methods and technologies of hydroelectric industries and their long-term effects on the tropical landscape, climate and bio-diversity in Brazil and South America.
It will offer an introduction into a fictitious “Hydrology for Artists”, assembling basic information and methodologies in the field of hydrology, climatology, energy supply and demand and the technology of hydroelectric plants. The complex situation of bio-diversity and climatology in the greater Amazonian basin will be examined as well as the history of energy extraction through industrial undertakings in the tropical landscape. We will invite guest speakers ranging from scientists to mentors of indigenous rights, watch films and analyze material related to the topic.
The aim is to enable the participants to contribute to the public debate around the topic and mediate it with artistic means and from an arts perspective.
In his installations frequently resembling experimental configurations, German artist Christoph Keller uses the discursive possibilities of art to investigate the themes of science and its utopias. The Cloudbuster-Projects (since 2003) involve reenactments of Wilhelm Reich’s experiments for influencing the atmosphere with orgon energy. In Encyclopaedia Cinematographica (2001) and Archives as Objects as Monuments (2000), Keller focuses upon the archeology of scientific film, the impossibility of objective documentation, and the problem of the archival urge to bring order to comprehensive knowledge. In spite of all methodological objectivity, a selective and deliberate design is always at work here. In Expedition-Bus and Shaman-Travel (2002), a mirrored camping bus for research trips, the ethnographic viewpoint of science is exposed as a projection of its own culture. The viewer is drawn into the installation and becomes a field investigator, for Keller is ultimately concerned with linking the methods and procedures of scientific work with a spatial but also psychological-physical experiencing of art.

Keller is often working on themes at the frontiers of science, such as the connection between hypnosis and cinematography in Hypnosis-Film-Project (2007) or Visiting a Contemporary Art Museum under Hypnosis (2006) for which he studied and experimentally applied hypnotic methods: The Mesmer Room (2006). In The Chemtrails Phenomenon (2006) and The Whole Earth (2007), the theme is conspiracy theories in the Internet, which as “scientific constructs” are likewise expressions of a certain state of consciousness in society. In his work-cycle on Inverse Observatories (since 2007) Keller reverses the view: It is not the universe that is observed, but rather the observation itself. In 2008 he also founded an interdisciplinary research group for the representation of altered states in the arts at the Art-University of Bern. Leading to the very boundaries of language is the video-installation Interpreters (2008) in which simultaneous translators translate in two directions while reflecting on their work. The video Verbal/ Nonverbal (2010) shows a number of test subjects in front of a neutral white background inhaling a hallucinogenic gas and hence speaking about their experiences.
Christoph Keller first studied mathematics, physics and hydrology, before continuing his studies at the art academy in Berlin and in Cologne. His works are present in many international exhibitions like the Lyon Biennial (2011), Klimakapseln, Museum für Kunst und Gewerbe, Hamburg (2010), the Bienal del Fin del Mundo, Argentina (2009), Bienal do Mercosul, Porto Alegre, Brazil (2009), Dreamtime, Musé des Abattoirs in Toulouse (2009), Artfocus Jerusalem (2008), Made in Germany in Hannover (2007) or the solo-exhibition Observatorium in the Kunstverein Braunschweig (2008) or LIAF Lofoten (2011). Æther – between cosmology and consciousness (2011) at Centre Georges Pompidou in Paris was his first artistic and curatorial-project in an institutional context.
He received several awards and grants for his work like the Ars Viva-Preis for art and science, the P.S.1 studio-grant in New York, Residences Internationales aux Recollets, Paris, BM Suma in Istanbul and Capacete in Sao Paulo, Brazil. Christoph Kelller is based in Berlin. Currently he is teaching as guest professor for media art at the Hochschule für Gestaltung in Karlsruhe, as well as at the visual art department of the Haute école d’art et de design in Geneva.

 

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Suely Rolink

End of november/december – Suely Rolnik

How to dribble the colonial unconscious?
Walking along a Mobius strip with Lygia Clark, some Tupinambá Indians and a few Frenchmen, Suely Rolnik will seek to bring to light and mobilize a political consciousness anchored in the production in thought, desire, and subjectivity. Politics of this sort were directly repressed by Occidental Europe in all of the cultures that were subjected to it (including those within its geographical boundaries) during the colonial period and its offshoots. This repression constituted the fundamental micropolitical operation of colonization.

The productive politics we propose is nowadays on the path to its actualization, injecting its corporeal knowledge into the logocentric veins of the Occidental modernity in crisis. Such a return of the repressed in the exercise of the thought relies on its strength and craftiness in order to dribble the Colonial Unconscious, one that still structures subjectivity and structures the play of desire in our time. Is it not the irruption of precisely such a return of the repressed that we see manifesting itself in the various movements that have been filling the streets and squares of cities worldwide? If that is the case, one should keep in mind that the task at hand is indefinite, and in need of constant renewal and attention.

Suely Rolnik / Psychoanalyst, is an art and culture critic and curator. Professor at PUC – SP in Postgraduate Clinical Psychology , and faculty member of the Program of Studies Independientes ( PEI ) at the Museo d’ Art Contemporani Barcelona ( MACBA ). Conducted the project “Obra-Acontecimento”, 65 films that research the memory effects of the poetics of Lygia Clark in the body of the respondents ( a version of the file containing 20 interviews and a booklet was chosen by the Art Forum in the top 10 projects art 2011 and received the first prize of the Brazilian Graphic Design Biennial 2013 ). She was co-curator of the exhibition with C. Diserens “Somos o molde. As you fit the breath . Lygia Clark, da obra ao acontecimento” ( Musée de Beaux Arts de Nantes , 2005 and Pinacoteca do Estado de São Paulo , 2006). Was a founder of the network  The South Conceptualisms (currently composed of 50 researchers from across the continent ); was member of the jury of the Premio Casa de las Americas (Havana , 2014 ) and currently is a member of the advisory board of the 31st São Paulo Biennial taking place from 06 /09 to 09/ 12 2014 . Author of the books “Geopolítica da cafetinagem”. Four essays on the pathology of the present ( SP , N – 1 , 2014; press) , Archive Mania ( dOCUMENTA 13 , 2011) , Anthropophagie Zombie ( Paris, 2012) , Sentimental Cartography . Contemporary transformations of desire ( SP 1989; . 6th ed southern fringes , 2014 ) . and co – authored with Felix Guattari , Micropolitics . Cartographies of desire ( SP 1986; . 11th ed 2011) , published in 7 countries . Author of over 200 papers published in several languages ​​.

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helmut

All year round – Helmut Batista
Solvitur ambulando/ It is solved by walking
Is a 10 month workshop with discussions arround questions of acceleration and reduction of production.

Helmut Batista (Rio de Janeiro 1964) studied opera at ESAT/France and worked at the opera of Viena. In 1998 funds CAPACETE, a non profit organization think tank for contemporary investigation. Has produced and organized innumerable talks, presentations, seminars and exhibitions in Brazil and internationally. As an artists, until 1997, he has exhibited at Gallery Schipper, Air de Paris, Massimo de Carlo, Von Senger among others. In 2013 curated an exhibition intitled “CAPACETE” at Portikus in Frankfurt.

 


Pedagogical team

The tutors are (visiting tutors along the whole year): Leandro Nerefuh e Helmut Batista (bios are at the end of this page, please scroll down)

The conferencist for 2016 are:


andrea fraser
Andrea Fraser
Andrea will lead a 4 day workshop focused on a range of psychoanalytic approaches to group relations, art engagement, and performance. The workshop will include a discussion of readings that will be provided; experiential self-study of group process; performance exercises; and group discussions of projects by participants applying various methods.
Andrea Fraser is a Los Angeles-based artist whose work has been identified with performance, feminism, context art and institutional critique. She was a founding member of the feminist performance group The V-Girls (1986-1996), the project-based artist initiative Parasite (1997-1998) and the cooperative art gallery Orchard (2005-2008). Her books include A Society of Taste, Kunstverein München, 1993; Report, EA-Generali Foundation, 1995; Andrea Fraser: Works 1985-2003, DuMont Buchverlag, 2003; Museum Highlights: The Writings of Andrea Fraser, MIT Press, 2005; and Texts, Scripts, Transcripts, Museum Ludwig Köln, 2013. The Museum Ludwig Köln presented a retrospective of her work in 2013 in conjunction with her receipt of the Wolfgang Hahn Prize. She is Professor of New Genres in the Department of Art at the University of California, Los Angeles and visiting faculty at the Whitney Independent Study Program.
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Suely Rolink

Suely Rolnik
How to dribble the colonial unconscious?
Walking along a Mobius strip with Lygia Clark, some Tupinambá Indians and a few Frenchmen, Suely Rolnik will seek to bring to light and mobilize a political consciousness anchored in the production in thought, desire, and subjectivity. Politics of this sort were directly repressed by Occidental Europe in all of the cultures that were subjected to it (including those within its geographical boundaries) during the colonial period and its offshoots. This repression constituted the fundamental micropolitical operation of colonization.

The productive politics we propose is nowadays on the path to its actualization, injecting its corporeal knowledge into the logocentric veins of the Occidental modernity in crisis. Such a return of the repressed in the exercise of the thought relies on its strength and craftiness in order to dribble the Colonial Unconscious, one that still structures subjectivity and structures the play of desire in our time. Is it not the irruption of precisely such a return of the repressed that we see manifesting itself in the various movements that have been filling the streets and squares of cities worldwide? If that is the case, one should keep in mind that the task at hand is indefinite, and in need of constant renewal and attention.
Suely Rolnik / Psychoanalyst, is an art and culture critic and curator. Professor at PUC – SP in Postgraduate Clinical Psychology , and faculty member of the Program of Studies Independientes ( PEI ) at the Museo d’ Art Contemporani Barcelona ( MACBA ). Conducted the project “Obra-Acontecimento”, 65 films that research the memory effects of the poetics of Lygia Clark in the body of the respondents ( a version of the file containing 20 interviews and a booklet was chosen by the Art Forum in the top 10 projects art 2011 and received the first prize of the Brazilian Graphic Design Biennial 2013 ). She was co-curator of the exhibition with C. Diserens “Somos o molde. As you fit the breath . Lygia Clark, da obra ao acontecimento” ( Musée de Beaux Arts de Nantes , 2005 and Pinacoteca do Estado de São Paulo , 2006). Was a founder of the network  The South Conceptualisms (currently composed of 50 researchers from across the continent ); was member of the jury of the Premio Casa de las Americas (Havana , 2014 ) and currently is a member of the advisory board of the 31st São Paulo Biennial taking place from 06 /09 to 09/ 12 2014 . Author of the books “Geopolítica da cafetinagem”. Four essays on the pathology of the present ( SP , N – 1 , 2014; press) , Archive Mania ( dOCUMENTA 13 , 2011) , Anthropophagie Zombie ( Paris, 2012) , Sentimental Cartography . Contemporary transformations of desire ( SP 1989; . 6th ed southern fringes , 2014 ) . and co – authored with Felix Guattari , Micropolitics . Cartographies of desire ( SP 1986; . 11th ed 2011) , published in 7 countries . Author of over 200 papers published in several languages ​​.
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Carla Zaccagnini

Carla Zaccagnini
Between 1993 and 1998 I worked in an educational travel agency that was called at, that time, “Pagu”. The agency had to change its name due to a complaint filed by Patricia Galvão’s heirs. In my work I used to guide 7th grade students through the historical cities of Minas Gerais: Ouro Preto, Mariana, Congonhas, Tiradentes, and other ones. Abandoned when the gold-mining industry came to an end, these cities mantained most of their urban structure, the buildings and the characteristic objects of XVIII and XIX century society and culture. I feel that these buildings and objects now have an ambivalent status, between that of an art work, an architectural monument, and a hsitorical document.
We used to have enriching conversations amongst the group of historians and the students that accompanied me on these trips. We discussed the pendulum-like dynamic of testimonies from the past, as well as the social function of the arts, the definitive role of the observer, certain conceptions of Brazilian art, and the structure of our contemporary society. It makes me think then that it is maybe by means of a certain distancing that we can gain a perspective on the past, one that might help us see things clearly. Maybe, on the other hand, it can be by a certain kind of “dive” in those places that clues from this history can be perceived, a history that somehow still acts upon us and appears everywhere, surrounding us. Or perhaps, such perspectives were engendered by the fact that our group of people drifted through these places for several days, focusing on thinking about what these places inspired in us.
I propose that we make this journey together.
 Carla Zaccagnini (Buenos Aires, 1973 – Lives in São Paulo and Malmö) is an artist and writer with a Master in Poéticas Visuais at Escola de Comunicação e Artes, Universidade de São Paulo. She is currently a grantee of the KfW Stiftung at Kunstlerhaus Bethanien Program (Berlim, 2013-14). She took part in the following group exhibitions 9th Shanghai Biennale (Xangai, 2012), 2nde Biennale de Benin (Cotonou, 2012), Planos de Fuga, uma exposição em obras (CCBB-SP, 2012),Modelos para Armar: Pensar Latinoamérica desde la colección MUSAC (Leon, Espanha, 2010) and28a Bienal de São Paulo (2008), among others. Recent solo shows include Pelas Bordas (Galeria Vermelho, São Paulo, 2013),Plano de falla (Ignacio Liprandi, Buenos Aires, 2011), Imposible pero necesario(Galeria Joan Prats, Barcelona, 2010) and no. it is opposition. (Art Galery of York University, Toronto, 2008). Her work has been featured in Cream 3 (London: Phaidon Press, 2003), Contemporary Art Brazil(Thames and Hudson, London 2012) and Art Cities of the Future, 21st-Century Avant-Gardes (London: Phaidon Press, 2013)and is currently represented by Galeria Vermelho (São Paulo) and Joan Prats (Barcelona).
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daniela

Daniela Castro & Anne Szefer Karlsen
The course address the impact that Neoliberalism has had on the social production of space and on artistic production. From an investigation about the political and economical transformations that influenced significant spatial changes in the last decades, we will show the mechanisms by which the city became the stage for the instrumentalization of culture in the age of financial capital.
The instrumentalization of culture as a symbiotic relationship with economy was a construction of the hegemonic power, one designated  as a response to the crisis of the world “stagflation” at the end of the 70s and beginning of the 80s.  This response culminated in the delegation of financial capital to the private sphere for the elaboration of public policies oriented towards establish the social and aesthetical contours of the city and of the arts.
Since the 80s, we have seen bureacucratic administration of the city move from the public sector to current models of private-public partnerships of urban enterpreneurism. In the arts system as well, the decline of state funding and the growing influence of corporate sponsorship (either directly or by means tax subsidies) have spread thoroughout the production, dissemination, and reception of contemporary art. The workshop will focus on the mechanisms by which this symbiotic relationship between economy and culture “naturalizes” the power exerted by the interests of private capital as an agent who defines the landscape of social life.
Daniela Castro (Brasil, 1976) Daniela Castro (1976, Brazil) is a writer and curator based in  São Paulo. Castro graduated in Art History from University of Toronto (2003/Canada). She has been awarded study grants and residency fellowships at the University of Hong Kong (2002/China), Peggy Guggenheim Collection Museum (2005/Italy), the Art Gallery of York University (2007/Canada), Hordaland Kunstsenter in (2010/Norway) and IASPIS (2010/Sweden). Conceived and curated the *Recombining Territories, *an itinerant and interchanging exhibition that’s travelled seven capitals of Brazil (2006-2010). Co-curated with Jochen Volz *The Spiral and the Square: exercises on translatability *at Bonniers Konsthall, Stockholm, which interchanged and travelled to Trondheim and Kristiansand, both in Norway (2011-12). Curated *A Radically Condensed History of Post-Industrial Life LADO A/LADO B*, an exhibition in LP format for the “Impossible Show” at El Spacio, Madrid (2010-11). Curated *Lights Out, *the inaugural exhibition at the Museum of Image and Sound – MIS (2008/São Paulo). She’s been publishing widely in national and international art publications, and taught workshops on art writing and curatorial practices throughout Brazil.  Published her first book, co-authored with Fabio Morais, titled *ARTE E MUNDO APÓS A CRISE DAS UTOPIAS, assim mesmo, em CAIXA ALTA e sem notas de roda-pé *(Florianópolis: Par(ent)esis Art Book Publisher, 2010)
&
Anne Szefer Karlsen
Anne Szefer KarlsenNorway (2008-14). In addition to series of exhibitions and seminars for the Hordaland Art Centre, as well as further developing its residency programme, she has curated exhibitions for other art spaces and is teaching/lecturing in formal and informal education. Exhibitions curated and publication projects edited by Szefer Karlsen will generally host an international roster of artists and other contributors. Szefer Karlsen is curator for Skulpturbiennalen 2015 (The Sculpture Biennale 2015), and was curator for Lofoten International Art Festival – LIAF 2013 (with Bassam el Baroni and Eva González-Sancho) titled Just what is it that makes today so familiar, so uneasy?, September 2013 and created the project The Transmitter Show – Words At a Distance; 10 radio plays by artists and writers published in book form and recorded for radio, with philosopher and writer Aaron Schuster for Performa 13. She acted as Associate Curator for Biennale Bénin 2012 (Artistic Director Abdellah Karroum). She is series editor for Dublett and has edited Collected art criticisms by Erlend Hammer (Ctrl+Z Publishing, 2008), co-edited Lokalisert/Localised with Arne Skaug Olsen and Morten Kvamme (Ctrl+Z Publishing, 2009) and Self-Organised with Stine Hebert (Open Editions/Hordaland Art Centre 2013). She has conceived of several seminars and lecture series, and her interests are in artistic and curatorial collaborations as well as developing the language that surrounds art productionsof today, linguistically, spatially and structurally. She has taken on a number of positions of trust within the Norwegian art context and is increasingly invited to speak on contemporary art at home as well as internationally.

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Bik van der Pol

Bik van der Pol
Proposition for reclaiming a space
This seminar concerns the ability and responsibility of artists to be in charge of their own ‘context’, in terms of both production and presentation. The broader aim concerns the urgent question if and where art may be of service in producing a public sphere, also in the political sense of that term. Our hypothesis is that the increasing privatisation of public property, as well as the increasing use of private date for public ‘good’ under neoliberalist developments has lead to the loss of a somehow meaningful public space.
Our concern is that if this loss coincides with the loss of the position of the artwork in the eye of the public, how then can art as public space be disclosed-or somehow be useful- for its political potential. In a world where the value of art is challenged, it is timely to reinvest in its place in society. For a society to be, encounters have to happen, and in order to experience the potentiality of space to become public, its conditions have to be created to prepare the ground for an encounter to occur.
We embrace the qualities intrinsic to artistic practice, as a means to disclose – make public – what is at stake in public space. The issue of public space has long been articulated in close connection to democracy, and many theorists have argued that when democracy is under threat, so is public space. The discussion of public issues is therefore not exclusively of this time, but all the more relevant in light of the current increase of private ownership and privatization of public space.
With the term ‘public space’ we refer to any site of potential conflict over rights, information, relations, and objects – a space that requires articulation, so that a community can be formed, called to order, and enter the order of the political. ‘Publicness’ does not manifest itself in spatial matters only. In fact, recent debates over forms of common property such as knowledge and culture show that public space is to be understood in the broadest terms possible – as that which holds the fabric of experience-as-community together. Threatened by forms or acts of exclusion, privileged access, and disinformation, these sites of public property are just as precarious as natural resources, and need to be rearticulated time and again. However, if the economic paradigm forces us to retreat from the realm of publicness, then what is the public issue?
The model of the dialogue, understood as a constant negotiation between citizens in any form, will be investigated on its potential to establish and articulate collective space.

Bik Van der Pol work collectively since 1995. They live and work in Rotterdam.
 Website: www.bikvanderpol.net <http://www.bikvanderpol.net/>
Bik Van der Pol explore the potential of art to produce and transmit knowledge. Their working method is based on co-operation and research methods of how to activate situations as to create a platform for various kinds of communicative activities.

solo shows and projects (selection):
 Between a Rock and a Hard Place, Sudbury, Canada (2012);
 Accumulate, Collect, Show, new work for Frieze Projects, Frieze Art Fair, London; Musagetes Foundation, Sudbury (2011)
 Are you really sure a floor can’t also be a ceiling? ENEL Award 2010, MACRO museum, Rome (2010)
 It isn’t what it used to be and will never be again, CCA Glasgow (2009)
 I’ve got something in my eye, Marie Louise Hessel Museum/CCS Bard, Annandale-on-Hudson, NY; Plug In 28, Pay Attention, Act 1, 2, 3, Van Abbe Museum, Eindhoven (2008)
 Issuefighters, INSA Art Space, Seoul (2007). Workshopproject and publication (entitled +82, appeared feb.2007); Fly Me To The Moon, Rijksmuseum, Amsterdam (2007)
 Secession, Vienna (2005)
 Nomads in Residence/No.19, a mobile workspace for artists, Utrecht (2003, with Korteknie Stuhlmacher architects)
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Jorge Menna Barreto

Jorge Menna Barreto
Food activism, agroecology and site-specific practices are among the issues to be discussed and practiced in a colaborative and imersive 7-day workshop in the country side of Rio de Janeiro.
 Jorge Menna Barreto – Artist, translator, professor, educator and critic. MFA and PHD in Fine Arts from the University of São Paulo, Brazil. Presently doing a post-doctoral research at UDESC on the relationship between agroecology and site-specific practices in art.
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PC1-1

Pedro de Niemeyer Cesarino
Humanity, person and multiplicity
The seminar will reflect upon the variations and tranformations of the notion of “human” in different onthological refrains, focusing on the problens of concepts such as multiplicity, conexion, neighborhood relationship, limit and becoming. I will present specific cases provenient from ethnographical studies about different societies taken as tradicional and non-Eastern. These cases will be articulated with reflections produced about the hipercapitalist capitalis context. I aim to, in other words, offer elements to the understending of specific configurations of body and person involved in different status of mankind and its respective regimes of creativity and expression.
 Pedro de Niemeyer Cesarino has graduated from the Universidade de São Paulo and has his máster and PhD in social ontropology through Museu Nacional/ UFRJ. He researches indian etnology (with emphasis on studies of shamanism and cosmology), oral traditions, translation and anthropology of art. Was Assistant Professor of Anthropology in the Department of Art History of Art at the Federal University of São Paulo. He is currently professor in the Department of Anthropology, University of São Paulo, in the field of Anthropology of Expressive Forms. He is the author of “Oniska – poetic shamanism in Amazonia” (São Paulo, Prospect, 2011) and “When the earth stopped talking” – Marubo corners of the mythology (Editora 34, 2013), and numerous articles published in professional journals. In recent years, also published literary texts and works of drama.
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Ricardo Basbaum

Ricardo Basbaum
The production of the artist: conversations and exercises on the production of oneself as an artist
This workshop proposes to raise a collective conversation and discussion about some of the traces and topics that constitute the “image of the contemporary artist” – and also, through a series of written exercises, bring the problem of “how one produces oneself as an artist” as a matter of practice. The departure point is the comprehension that the contemporary system of art is a complex composition of several layers of mediation that needs to be experienced by whoever intends to make a move in such a territory; this is a consequence, by one side, of the 1960s ‘dematerialization’ of the art practice, and, by other, of the so-called ‘globalization’ process typical from the new economic world order which emerged since the 1980s. Among so many different layers of institutional and relational protocols, where can be located the artist and the artwork, subject and object of the sensorial and conceptual experience? The workshop is organized around a pre-prepaired set of problems that encompass some of the aspects involved in the contemporary art practice – from the practitioners’ point of view, specially the artist: the context, the proposition, the group, the historical and critical discourses, the curatorial knowledge, etc. What is generated from this is a conversation about how one produces oneself as an artist in face of the local/global context. For each topic, a specific bibliography is assigned. The dynamics includes the reading and discussion of texts, but also that each of the participants writes in direct relation to each of the themes: the texts are then collectively read and discussed at each meeting. Therefore, writing and reading are meant to be taken as practical exercises on the “production of oneself as contemporary artist” at a specif location and context.
 Ricardo Basbaum (São Paulo, Brazil 1961). Lives and works in Rio de Janeiro. He is an artist and writer, investigating art as an intermediating device and platform for the articulation between sensorial experience, sociability and language. Since the late 1980s, he has been nurturing a vocabulary specific to his work, applying it in a particular way to each new project. His work was recently included at Something in Space Escapes our Attempts at Surveying (Kunstverein Stuttgart, 2014), the 30º São Paulo Biennalle (2012), Garden of Learning (Busan, 2012) and Counter-Production (Generali, Viena, 2012), among other events. Exhibited at documenta 12 (2007). Recent solo-projects include re-projecting (london) (The Showroom, London,2013). An athology of his diagrams was presented at the Centro Galego de Arte Contemporánea, Spain (diagrams, 2013). He is the author of Manual do artista-etc (Azougue, 2013) and Além da pureza visual (Zouk, 2007) and contributed to Materialität der Diagramme – Kunst und Theorie (edited by Susanne Leeb, b_books, 2012). Professor at the Instituto de Artes, Universidade do Estado do Rio de Janeiro. Worked as Visiting Professor at the University of Chicago (2013).
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Christoph Keller

Cristoph Keller

Anarcheology and Futurology of the Tropical Landscape – Hydrology for Artists
The workshop will offer an introduction into a fictitious “Hydrology for Artists”, assembling information and methodologies in the field of climatology, energy supply and demand, as well as an archeology of hydroelectric plants in South-America.

Christoph Keller is based in Berlin. He worked as a hydrologist before becoming and artist. Currently he teaches at the visual art department of the Haute école d’art et de design in Geneva.

In his installations and films frequently resembling experimental configurations he uses the discursive possibilities of art to investigate the themes of science and its utopias. The Cloudbuster-Projects (since 2003) involve reenactments of Wilhelm Reich’s experiments for influencing the atmosphere with orgon energy. In Encyclopaedia Cinematographica (2001) and Archives as Objects as Monuments (2000), Keller focuses upon the archeology of scientific film, the impossibility of objective documentation, and the problem of the archival urge to bring order to comprehensive knowledge.

His works are present in many international exhibitions like the Lyon Biennial (2011), LIAF Lofoten (2011) Bienal do Mercosul, Porto Alegre, Brazil (2009), the Bienal del Fin del Mundo, Argentina (2009), the first Berlin Biennial (1998), or the solo-exhibition Observatorium in the Kunstverein Braunschweig (2008). Æther – between cosmology and consciousness (2011) at Centre Georges Pompidou in Paris was his first large scale artistic and curatorial-project in an institutional context.
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helmut

Helmut Batista (tutor and lector)
Solvitur ambulando/ It is solved by walking
Is a 10 month workshop with discussions arround questions of acceleration and reduction of production.
Helmut Batista (Rio de Janeiro 1964) studied opera at ESAT/France and worked at the opera of Viena. In 1998 funds CAPACETE, a non profit organization think tank for contemporary investigation. Has produced and organized innumerable talks, presentations, seminars and exhibitions in Brazil and internationally. As an artists, until 1997, he has exhibited at Gallery Schipper, Air de Paris, Massimo de Carlo, Von Senger among others. In 2013 curated an exhibition intitled “CAPACETE” at Portikus in Frankfurt.
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amilcar

Amilcar Packer (tutor and lector)
Guided conversations – compose a mediational space – through clinical and philosophical and poetical perspectives – that tangent the curatorial – excuses to let time go – together – for a few days – contradicting – and insisting – in provisional states – and digesthétics – skin of thinking – ethics of existence.
Amilcar Packer was born in Santiago de Chile in 1974 and moved to Brazil in 1982. Degree in Philosophy by the University of São Paulo, is finishing a Master in Clinical Psychology by the Center for the Study of Subjectivity of the PUC São Paulo. Packer develops a practice that reconfigures the semantic fields of objects, architectures and human bodies through actions and interventions, photographies, videos, installations, and presentations in various formats establishing relational fields, which seek to subvert the normative grammars of social spaces and historical mechanisms of power. Its activities aim to neutralize dominant discourses, and contribute to uninstall oppression devices that are crystallized in the cultural distribution of the sensible – with its correlate segregation of space -; in the sedimentation of power structures – and its naturalization in language; and in social and socializing behavioral standards – and its politics of homogenization of subjectivities.
Packer collaborates regularly with artist-run and autonomous intiatives such as Como_clube, Casa do Povo and CAPACETE, where, between the years of 2011 and 2013, he co-directed the international artistic research residency program. Taking the arts as a less hierarchical activity and privileged field for developping ethical experimentations, his activities are extended to discursive formats, classes and workshops, meetings and conversations, lunches and tours that establish spaces and provisional states for collective dynamics, where predominate building horizontality, critical debate, mutual learning and coexistence. In recent years, he participated in educational programs as Städelschule, Frankfurt , Germany, 2013; PIESP – Porgrama Independente da Escola São Paulo, 2013; Centro de Investigaciones Artisticas, Buenos Aires, Argentina, 2013; History Matter CCA – Lagos, Nigeria in 2012; Universidade de Verão, Rio de Janeiro, 2012 and 2013; New Choreographers, CCSP, 2010; the Harbor School, Beta Local in San Juan , Puerto Rico , in 2011; On Reason and Emotion, Sydney Biennial 2004 educational programs – Hobart School of the Arts, Launceston School of the Arts, Tasmania, Autrália, 2004.
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manuela

Manuela Moscos (tutor)
Moscoso is a curator that mostly emphasizes speculative thinking and actions in order to privilege imagination. Weather organizing exhibitions, commissioning or initiating projects, she sees collaboration intrinsic to her practice. Moscoso was the adjunct curator of la12 Bienal de Cuenca Ecuador, and has recently curated  Martha Araújo: Para um corpo pleno de vazios at Galeria Jaqueline Martins em São Paulo; Yael Davis: a reading that writes an script in the Museo de Arte do Rio, Rio de Janeiro; Fisicisimos, Universidad Torcuato di Tella, Buenos Aires; Quarter System, Universidad de Navarra, Pamplona; The Queens Biennale in the Queens Museum, New York; or Before Everything in CA2M, Madrid among other exhibitions. She is now developing a long term research project for Casa del Alabado Precolombian Art in Quito involving contemporary art practices, the first artist to respond to the collection are Asier Mendizabal and Osías Yanov. Since 2010, together with Sarah Demeuse is Rivet, a curatorial office investigating notions of deployment, circulation, exercise, and resonance. Their research has materialized in projects in New York, Vitoria-Spain, Los Angeles, Ghent or Beirut. Their last project is The Wilson Exercises about staying fit while working together with Marc Vives and Anna Craycroft and still following individual interest. It is a way of paying close attention to process while developing a multifaceted project–comprising personal conversations, a summer school in Stavangers, conference calls, two exhibitions in Los Angeles and Barcelona, and one publication designed by Project Project New York — between the two artists and a curatorial duo. Rivet has recently published “Thinking about it” with Archive Books and is preparing the first monograph of artist Daniel Steegmann Mangrané with designer Manuel Reader.
Over the last years she has talked and give workshops at Bulegoa in Bilbao the Worlds Biennale Forum in Sao Paulo, ArtBO in Colombia, Open Forum in Buenos Aires, HKW Synapse in Berlin, No Mínimo in Guayaquil, Charlas Parásicas in Lima, Sitac XI México DF or Videobrasil Sao Paulo, among others. Together with Amilcar Packer developed the one year curatorial program Maquina de Escrever centered in writing as an tool for though production. Moscoso holds an MA from Center for Curatorial Studies at Bard College and BA in Fine Art from Central Saint Martins School of Art and Design.


FAQ

 

We will answer frequent questions on this page

What is the real cost for the participant?
The total cost of the program is USD 17.000 (on todays rate april 2014). For each participant, depending from which country he or she is, we will have a specific solution for the grant that covers 85% of the total cost (grant = USD 15.000). The USD 2.400 must be paid by the participant in two installment. It is up to the participant, together with the team of CAPACETE, to work to find funding to cover the 85% (USD 15.000). After the selection process we will start fundraising with the selected candidates. Each case will be treated separately. For those candidates that have no option to find funding, due to lack of institution in their home country for example, CAPACETE is offering 2 to 3 grants of 85% of the total cost (USD 15.000). It is important to notice that the remaining USD 2.400 must still be contributed by the selected candidate even if he or she has no possibility of finding funding for these costs. As written in the program, we will offer payed work for these situations.

We also advice that the cost of Visas can vary from 40 to 60 USD for the first process (while still in your home country when applying to the visa at the Brazillian embassy) and another 100 USD while arriving in Brazil as for local bureaucracy work at the federal police. Laws have been changing quiet a lot and therefor we advice that these numbers can vary.

Is there an age limit for applying?
No, we accept application by all ages. It is important to notice that this program was designed for candidates in their beginning of their career. Individuals that already have a certain focus in their work and are searching to contribute to this program in a collective sense.

How do the working possibilities work? How many hours? How much is payed?
After the selection process and together with the selected candidate we will discuss whom it might interest to work as an internship for an artist (please see the list of participating artist in the program link). These internships will have different formats and are designed according to the needs of the artists or organization that are offering these possibilities and the need of our selected candidates specific qualities (graphic design, manual work, translation etc.). Each case will be treated individually. The internships will vary from 10 to 20 hours weekly and designed according to the necessities of both partners. The per/hour value of the payment is discussed individually with each professional and CAPACETE has no insight into this. It is important to understand that not everybody can have such a situation as this depends very much on the matching situation wich is unpredictable. We also advice that such a work may only start in April 2016 as the participants needs time to adapt to local conditions and needs time to meet the professional and see what can be done practically. We can not garanteed that all participants will find a place.

Is the rent included in the program?
Rents are not included in the program and it is up to the participant to find his or her solution. The CAPACETE team will help to find solutions. At this very moment we have 4 rooms in a generous and comfortable apartment for disposal with a monthly rent of about USD 500 (all included: internet, water, electricity etc.). These rooms will be at the disposal of the selected candidates for those that may want and need to share a common place. After the selection process e will help to find other solutions for individual or collective rents. For 2015 we have collaborated with another artists that has a beautiful house in the neighborhoods of Cosme Velho with 5 rooms and we have therefor had all our participants hosted in good conditions with same price USD 500 all included. This situation might not be here in 2016, but we will do our best to help each of our candidate. It is important to notice that Rio has turned into an expensive renting city, like most big capitals in the world (now for the upcoming Olympics in 2016), meaning that expectation by the renting person must be much more flexible. CAPACETE is very conscious about this problem and we are already working to have different solutions on hand, but we have to underline, that CAPACETE can not be responsible to find a perfect and equal solution for each selected candidate.

When and where shall the selected participant arrive?
Once we have the list of the selected participants we will organize housing and other bureaucracies (funding and visa etc.). In the case of the Brazilian participant that might choose to find his own housing we advice to be here right after Carnaval 2015. The exact dates will be briefly announced after the selection process. It is very possible that the 2016 program starts in Lima/Peru or another capital of a south american country. This will be decided together with the selected candidates (probably around September 2015).

Is it possible to participate in the seminars separately?
No. We expect that all participant attend most seminars and talks of the program., beside case of external exhibition or other personal related issues. All collaborators will have an talk open to the general public.

In which language are the seminars?
Most seminars will be in English but we highly recommend that the participant comes with a basic knowledge of Portuguese or Spanish. We will organize Portuguese classes for the interested participants with a small contribution. We hope that all participant come out of the program speaking basic Portuguese. For this year of 2015 we have 7 participants taking portugues class in a collective way (7 USD per head per 1 and a half hour).

Is it possible to work during the program?
The seminars will happen in different hours of the day and are still beeing elaborated by our team and the collaborators. We will try to adapt the best to the participants agenda. Nevertheless this is a full program requiring that all participants are fully focused in participating in most offered programs. All workshops will have a duration of around 20 hours per week making it almost impossible to have another fix full time job besides attending this program (this is more for a local resident). Otherwise we are looking forward to have all particpant working on other jobs, projects etc. as much as possible. We underline that the offered internships are already part of that strategy while offering an economical solution.

What are these 8 hours dedication to the program?
This program was designed to have a good, reasonable prices and collective spirit. To achieve this we think that active participation is important meaning working at the library (which will be open for the general public, organizing events (fundraising etc.), maintenance of the webpage, translation of texts etc. The 8 hours per week, depending on the group, may be completely different from this first stipulation. We will discuss this problem in a collective from once the program starts.


Will the participant have an individual studio?

CAPACETE in its 16 years of existence and more than 300 professionals, has never had individual studios. We are not a studio focused program. CAPACETE has a house which is its head quarter and where we will arrange tables according to the need of the collectivity and also individual needs. CAPACETE is focused on the collective process. The participants private house/room should fulfill these specific individual needs.

 

Posted in FAQ

Perguntas frequentes

Qual o custo do programa 2017 para cada participante?

O custo total do program é o custo de transporte até Athenas e os custos locais menos a moradia que sera oferecida. O custo de vida em Athenas é menor que na cidade do Rio de Janeiro ou em São Paulo. Acreditamos que com algo em trono de 300 a 500 euros.

Existe uma idade mínima ou máxima para se inscrever?
Não, aceitamos inscrições de candidatos de todas as idades. O importante é ressalatar que estamos focando nosso porgrama para participantes em ínicio de carreira. Individuos que já tenham algum processo elaborado de trabalhar e buscam esta possibilidade de se aprimorar e contribuir de maneira coletiva.

A hospedagem está incluída no programa?
A hospedagem está incluida no programa e neste momento iremos oferecer quartos compratidos. Ao longo deste ano iremos trabalhar para conseguir mais fundos para que cada participante tenha seu próprio quarto.

Quando devem chegar os participantes?
A data deve ser em torno do ínicio de março 2017

Qual o custo do visto?
Uma vez selecionados os participantes estrangeiros deverão procurar a embaixada ou consulado brasileiro mais perto (normalmente nas capitais) para ver quais documentos são necessários. A questão do visto é um porblema de constantes mudanças uma vez que respondem a lógicas políticas e podem ser muito diferentes para cada país em questão. O visto pode levar 2 meses para serem preparados e o custo gira em torno de 150 Reais no Brasil (oficialização dos papeis para pedir o visto), mais 100 Euros nos países em questão, e finalmente outros 230 Reais de custos de imigração uma vez que o participante estiver no Brasil onde precisa se registrar na Policia Federal. Estes valores estão sujeitos a mudanças!

Os seminários serão em que língua?
Os seminários serão em lingua inglesa. É indispensável uma razoável compreensão da língua inglesa para participar deste programa. Lembramos que iremos ter muitas palestras, e visitas de outros profissionais estrangeiros que terão as mesmas exigências.

É possível trabalhar durante o ano?
Os seminários ocorrerão em horários diferentes e ainda serão elaborados com os seminaristas e iremos adaptar ao máximo possível às exigências dos participantes. Visto que ao menos 8 participantes não serão da cidade de Athenas, e muitos dos seminaristas também não vivem na cidade e terão carga horária bastante exigente (média de 20 horas por seminário), acreditamos que caberá ao participante se ajustar as exigências da programação. Sublinhamos que o visto que receberemos não permite trabalho legalizado.

As horas exigidas pelo programa consistem em que?
Para o bom funcionamento, preços módicos e um espírito coletivo, o CAPACETE exige participação efetiva do candidatos de forma prática: manutenção da biblioteca que terá horário de abertura ao público, organização dos eventos, manutenção do site, tradução de textos etc. Esta carga horária de 8 horas semanais pode, dependendo do grupo, ter uma exigência completamente diferente desta estipulação inicial. Iremos debater esta problemática com os candidatos selecionados.

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Qual o custo do programa 2016 para cada participante?
O custo total do programa é de do valor total de R$ 40.000,00. Para cada participante, dependendo do seu país de origem, haverá uma solução específica de bolsa que cobrirá 85% do valor anual total do programa por participante (bolsa = R$ 34.000,00). R$ 6.000,00 deverão ser pagos pelos participantes. Caberá aos candidatos, junto com a equipe do CAPACETE, trabalhar para conseguir os fundos que irão cobrir os 85% (R$ 34.000,00). Após a seleção dos finalistas, daremos inicio à fase de captação, jutno com os selecionados. Os casos serão analisados e tratados individualmente. Para candidatos que não possuam qualquer possibilidade de financiamento junto a seus países de origem, o CAPACETE irá disponibilizar 2 a 3 bolsas referentes a 85% do valor total do programa. Vale ressaltar que neste caso também, caberá aos candidatos, com ou sem bolsa, contribuir com o valor de R$ 6.000,00, que deverá ser pago em 2 vezes; respectivamente no início do programa, em março, e em julho de 2015.

Existe uma idade mínima ou máxima para se inscrever?
Não, aceitamos inscrições de candidatos de todas as idades. O importante é ressalatar que estamos focando nosso porgrama para participantes em ínicio de carreira. Individuos que já tenham algum processo elaborado de trabalhar e buscam esta possibilidade de se aprimorar e contribuir de maneira coletiva.

Como funcionam as oportunidades de trabalho? Qual a carga horária? Quais os valores de remuneração?
Após a seleção, iremos analisar e discutir com os finalistas que estiverem interessados em fazer um estágio remunerado, junto a profissionais na cidade do Rio de Janeiro (veja lista dos nossos colaboradores de 2015 no programa). Estes estágios terão formas variadas, dependendo da necessidade dos profissionais envolvidos em oferecer estas vagas, e das capacidades de cada participante do programa (suas qualidades específicas; design gráfico, tradução, habilidades manuais etc.). Os casos serão analisados e tratados individualmente. Os estágios poderão ter de 10 s 20 horas semanais, ou outras equações, dependendo das necessidades dos profissionais e participantes envolvidos. O valor da remuneração serão elaboradores com cada profissional envolvido e independe do programa do CAPACETE. Sublinhamos que estes estágios se iniciam somente no més de abril uma vez que existe o més de adaptação do participante selecionado na cidade do Rio de Janeiro.

A hospedagem está incluída no programa?
A hospedagem não está incluida no programa e cabe a cada participante resolver esta equação. A equipe do CAPACETE irá, na medida do possível, ajudar a resolver esta questão. Neste momento, o CAPACETE tem à disposição 4 quartos, em um apartamento generoso no bairro da Gloria, com um preço mensal de R$ 1.500,00 por quarto, com tudo incluído (eletricidade, gas, internet etc.). Estes quartos serão postos à disposição para os interessados neste tipo de equação coletiva. Em 2015 conseguimos também uma colaboração com um artista local que se dispos a alugar sua casa com 5 quartas no bairro do Cosme Velho; portanto todos nossos participantes do programa 2015 foram confortavelmente hospedados. Esta equação, porém, esta sujeito a revisão para 2016. Iremos, após consulta dos candidatos finalistas, procurar outras soluções individuais ou coletivas referentes a moradia. É importante ressaltar que a moradia, na cidade do Rio de Janeiro, vem se tornando um problema cada vez mais agudo, exigindo maior flexibilidade dos inquilinos e forçando novas formas de convivência. Ciente deste problema, o CAPACETE, investirá esforços para conseguir solucionar da melhor maneira possível este ponto, ressaltando porém, que não pode se responsabilizar por achar uma solução perfeita e igualitária para todos os participantes selecionados.

Quando devem chegar os participantes?
Uma vez selecionados os participantes, iremos organizar as moradias e as respectivas burocracias (financiamento, vistos etc.). Caso um candidato brasileiro preferir buscar sua próprio hospedagem, aconselhamos que esteja aqui logo após o carnaval de 2015. As datas exatas do programa serão anunciados mais adiante no ano.

Qual o custo do visto?
Uma vez selecionados os participantes estrangeiros deverão procurar a embaixada ou consulado brasileiro mais perto (normalmente nas capitais) para ver quais documentos são necessários. A questão do visto é um porblema de constantes mudanças uma vez que respondem a lógicas políticas e podem ser muito diferentes para cada país em questão. O visto pode levar 2 meses para serem preparados e o custo gira em torno de 150 Reais no Brasil (oficialização dos papeis para pedir o visto), mais 100 Euros nos países em questão, e finalmente outros 230 Reais de custos de imigração uma vez que o participante estiver no Brasil onde precisa se registrar na Policia Federal. Estes valores estão sujeitos a mudanças!

É possível participar dos seminários separadamente?

Não. Exigimos dos candidatos participação em todas as oficinas, a não ser por razões de ordem maior e/ou profissional (exposição ou outras formas de trabalho). Todos os seminaristas irão realizar uma fala aberta ao público.

Os seminários serão em que língua?
Os seminários serão em lingua inglesa. É indispensável uma razoável compreensão da língua inglesa para participar deste programa. Lembramos que iremos ter muitas palestras, e visitas de outros profissionais estrangeiros que terão as mesmas exigências.

É possível trabalhar durante o ano?
Os seminários ocorrerão em horários diferentes e ainda serão elaborados com os seminaristas e iremos adaptar ao máximo possível às exigências dos participantes. Visto que ao menos 8 participantes não serão da cidade do Rio de Janeiro, e muitos dos seminaristas também não vivem na cidade e terão carga horária bastante exigente (média de 20 horas por seminário), acreditamos que caberá ao participante, carioca neste caso, se ajustar as exigências da programação. Por conclusão, os candidatos que tenham um emprego fixo, terão problemas reais de adaptação as exigências do programa. Por outro lado, outros trabalhos ou projetos com carga horária mais flexíveis, são muito bem vindos. Iremos discutir isto com os finalistas na medida que isto possa se tornar um dilema.

As 8 horas exigidas pelo programa consistem em que?
Para o bom funcionamento, preços módicos e um espírito coletivo, o CAPACETE exige participação efetiva do candidatos de forma prática: manutenção da biblioteca que terá horário de abertura ao público, organização dos eventos, manutenção do site, tradução de textos etc. Esta carga horária de 8 horas semanais pode, dependendo do grupo, ter uma exigência completamente diferente desta estipulação inicial. Iremos debater esta problemática com os candidatos selecionados.

Teremos um estudio individual para trabalhar?
O CAPECETE dispõe de uma sede/casa no bairro da Gloria onde funciona a biblioteca e onde irão acontecer a maior parte dos programas (seminários, oficinas, falas, encontros, comidas etc.). A casa/sede tem espaços flexiveis, e iremos adaptá-los às necessidades coletivas (mesas etc.). Não teremos espaços que atendam exigências individuais. O programa CAPACETE esta focado no pensar coletivo e as ações daí oriundas.

 

Posted in FAQ

Participantes do programa de 1 ano

O CAPACETE opera no nível do para-acadêmico e as inscrições para o programa são gratuitas e abertas para candidatos de qualquer idade, de todo o mundo, e que atuam na área da cultura. No entanto, a prioridade do programa é para pesquisadores em início de carreira. Não é imperativo que os candidatos possuam diploma universitário para sua elegibilidade, mas espera-se que o candidato tenha dedicação consistente em relação a sua própria investigação. Os candidatos podem ter uma formação educacional ou interesse em diferentes disciplinas (antropologia, dança, etc.), no entanto, é importante que os candidatos entendam as diretrizes do programa. Note-se que este programa herda e transforma 16 anos de atividades do CAPACETE Entretenimento. Assim, a fim de que se tenha uma melhor compreensão do CAPACETE, recomendamos olharem o documento em anexo, a fim de entender as especificidades deste cenário e contexto.

O CAPACETE reúne profissionais de diferentes formações e que estão totalmente investidos em sua prática. Portanto, será exigido que o participante conceda dedicação integral às atividades globais do programa .

Os participantes do programa de 1 ano em 2017 em Athenas são:

Jari Malta (Uruguai)

Sol Brado (Argentina)

Gris Garcia (México)

Raul Hott (Chile)

Eliana Otta (Peru)

Michelle Mattiuzzi (Bahia / Brasil)

Jota Mombaça (Natal / Bahia)

Gian Spina (São Paulo / Brasil)

Fabiana Faleiros (Porto Alegre / Brasil)

Rodrigo Andreolli (São Paulo / Brasil)

Nikos Doulas (Grécia)

Vassiliki Sifostratoudake (Grécia)

Os participantes do programa de curta diração (3 ou 6 meses) no Rio de Janeiro em 2017 são:

Marie Homer Westh (Dinamarca)

Cinia Guedes (Bahia / Brasil)

Gil&Moti (Isreal/Holanda)

Fotini Gouseti (Grécia)

Kalliopim Alliopim Tsipni (Grécia)

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Os participantes do programade 1 ano em 2016 foram:

Anna Bak (Dinamarca)
Aurélia Defrance (França)
Caetano Maacumba (Brasil)
Camilla Rocha Campos (Brasil)
Ian Erikson-Kery (E.U.A.)
Jonas Lund (Suécia)
Julia Retz (Brasil)
Marilia Loureiro (Brasil)
soJin chun (Korea/Canadá)
Soledad Leon (Chile)
Tali Serruya (Argentina)
Thora Doven Balke (Noruega)

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Os participantes do programa de 1 ano em 2015 foram:

Caroline Valansi (Brasil),
Daniel Jablonski (Brasil),
Giseli Vasconcelos (Brasil),
Lucas Sargentelli (Brasil),
Joen Vedel (Dinamarca),
Adeline Lepine (França),
Oliver Bulas (Alemanha),
Tanja Baudoin (Holanda),
Félix Luna (México),
Andrew de Freitas (Nova Zelândia),
Asia Komarova (Russia),
Refilwe N Nkomo (Africa do Sul),
Maricruz Alarcon (Chile)


CAPACETE

CAPACETE is a new one-year program in the city of Rio de Janeiro, Brazil, for 14 international participants dedicated to research and practice in the arts and critical thought. It has started its first edition in March 2015. Thought is action.
CAPACETE that stimulates collaboration, dialogue and discussion with other artists and curators or other cultural agents of different disciplines.