‘Experiencing Connection Issues’ Capacete Atenas, 2017

O que significa deslocar uma aprendizagem experimental, coletiva, de um continente para outro – especificamente a partir do hemisfério sul para o Sul do Norte?

Como tal iniciativa engaja-se em um novo contexto local, tendo em conta a complexidade e heterogeneidade destas comunidades, de suas histórias e dinâmicas socioculturais? Se, em alguma medida, a Grécia Antiga era e ainda é utilizada como matéria-prima para moldar a imaginação da modernidade ocidental, o que pode oferecer a Grécia contemporânea ao desmantelamento do colonialismo e do capitalismo neoliberal, especulativo e financeiro?

De março a dezembro de 2017, o Capacete desdobrou sua programação em Atenas – e parte em Kassel – no contexto da documenta 14 e em programas e atividades culturais da cidade.

Passamos boa parte do nosso tempo em Atenas tentando entender quais as cláusulas ocultas destas premissas, nos perguntando ‘quem recebe e quem é recebido’, por quê e para quem falamos, onde acaba o projeto e onde começam nossas vidas.

A publicação ‘Experiencing Connection Issues’ [Experimentando Falhas de Conexão] é um dos resultados  do programa Capacete Atenas 2017.

Autores: Sol Prado (Argentina), Raúl Hott (Chile), Fabiana Faleiros (Brasil), Michelle Mattiuzzi (Brasil), Gris García (México), Eliana Otta (Perú), Jarí Malta (Uruguay), Nikos Doulos (Grecia), Rodrigo Andreolli (Brasil), Vasiliki Sifostratoudaki (Grécia), Gian Spina (Brasil), Despina Sevasti (Grécia), Marina Miliou (Grécia), Fotini Gouseti (Grécia), Yara Haskiel (Alemanha), Franco Castignani (Argentina), Alkisti Efthymiou (Grécia), Susanna Brown (Canadá)

BAIXE AQUI!

 


Nikos Doulos

Experiencing connecting issues“- CAPACETE Athens 2017

Download (PDF, 917KB)

…..

Nikos Doulos is a visual artist, curator, and co-director of Expodium in Utrecht (NL) – an ‘urban do tank’ that utilizes artistic means to address urban challenges and the ever-changing nature of cities.

Doulos interests lie with the investigation of pedagogical modes for inclusive knowledge production framed under site-specific research trajectories and temporal interventions. In his work, he creates malleable situations/conditions as participatory infrastructures and ‘soft’ knowledge generators. 

Walking holds a predominant part in his practice. 

He is the founder of NIGHTWALKERS – a participatory nocturnal walking project investigating the contemporary identity of the flanêur, performed in (among others) the Netherlands, Serbia, Sweden, Italy, Hungary, South Korea and Greece 

He has presented collaborative projects at the Trafó House of Contemporary Arts (Budapest), Bildmuseet (Umeå), participated at the Impakt Festival (Utrecht), the Athens Biennale: #4 AGORA and the 53rd October Salon and has lead workshops for UNIDEE – Cittadelartte Pistoletto Foundation and the University of the Arts, Uniarts Helsinki. In 2017 he participated at Capacete Athens – a nine-month residency in Athens under the broader framework of Documenta 14. 

Doulos is a co-curator of the Unmaking The Netherlands program initiated by Expodium and a co-editor of the Unmaking or How To Rethink Urban Narratives publication. 

Since 2016, he holds a position at the DAI ROAMING ACADEMY as the Senior Coordinator of Planetary Campus. 

www.expodium.nl

 

NIGHTWALKERS WERKSPOOR 2018: THE EXISTING, THE PROBABLE AND THE POSSIBLE. New monthly Nightwalkers sessions in Utrecht’s Werkspoorkwartier are announced on our facebook page!

 

 


Nikos Doulos

Experiencing connecting issues“- CAPACETE Athens 2017

Download (PDF, 917KB)

…..

Nikos Doulos is a visual artist, curator, and co-director of Expodium in Utrecht (NL) – an ‘urban do tank’ that utilizes artistic means to address urban challenges and the ever-changing nature of cities.

Doulos interests lie with the investigation of pedagogical modes for inclusive knowledge production framed under site-specific research trajectories and temporal interventions. In his work, he creates malleable situations/conditions as participatory infrastructures and ‘soft’ knowledge generators. 

Walking holds a predominant part in his practice. 

He is the founder of NIGHTWALKERS – a participatory nocturnal walking project investigating the contemporary identity of the flanêur, performed in (among others) the Netherlands, Serbia, Sweden, Italy, Hungary, South Korea and Greece 

He has presented collaborative projects at the Trafó House of Contemporary Arts (Budapest), Bildmuseet (Umeå), participated at the Impakt Festival (Utrecht), the Athens Biennale: #4 AGORA and the 53rd October Salon and has lead workshops for UNIDEE – Cittadelartte Pistoletto Foundation and the University of the Arts, Uniarts Helsinki. In 2017 he participated at Capacete Athens – a nine-month residency in Athens under the broader framework of Documenta 14. 

Doulos is a co-curator of the Unmaking The Netherlands program initiated by Expodium and a co-editor of the Unmaking or How To Rethink Urban Narratives publication. 

Since 2016, he holds a position at the DAI ROAMING ACADEMY as the Senior Coordinator of Planetary Campus. 

www.expodium.nl

 

NIGHTWALKERS WERKSPOOR 2018: THE EXISTING, THE PROBABLE AND THE POSSIBLE. New monthly Nightwalkers sessions in Utrecht’s Werkspoorkwartier are announced on our facebook page!

 

 






Gris García

[gview file=”http://capacete.org/wp-content/uploads/2017/04/7.-Garcia-García-documenta-has-nothing-for-you.pdf”]

She is an artist and an independent curator. Her work is centered around contemporary practices and those hybrid productions that emerge from dialogues and correspondences with the other.

Eliana and our rooms. Jari and our neighborhood life. Raul and our breakfasts. Gian and his bread. Rodrigo and the silence. Fabiana an her voice. Sol, Michelle and the discussions. Jota and her radical tenderness. Nikos and his walks. Vasiliki surprising. Helmut and his havaianas. Still with me.”

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Gris García

[gview file=”http://capacete.org/wp-content/uploads/2017/04/7.-Garcia-García-documenta-has-nothing-for-you.pdf”]

Artista y curadora independiente. Su trabajo está centrado en las prácticas contemporáneas y en aquellas producciones híbridas que se generan a partir del diálogo y las correspondencias con el otro.

“Eliana y nuestras habitaciones. Jari y la vida de barrio. Raúl y los desayunos. Gian y sus pancitos. Rodrigo y el silencio. Fabiana y su voz. Sol, Michelle y las discusiones. Jota y su ternura radical. Nikos y las caminatas. Vasiliki y las sorpresas. Helmut y sus havaianas. Aún van conmigo.”


Jari Malta

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Jari Malta (Montevideo, Uruguay) estudió filosofía y literatura comparada en Barcelona, así como el Programa de Estudios Independientes del MACBA. Vive, escribe y habla por Skype con sus amigxs en Malmö.

En 1998, cuando arrancó Capacete, yo tenía 13 años y el pelo teñido de azul. También en el 98 tuve sexo por vez primera y salieron algunos de mis discos favoritos, como The Shape of Punk to Come Goddamnit.

Hablar en pretérito de lo que supuso la experiencia en Atenas se me hace más difícil: aún me cuesta creer que la plaza de Exarchia no quede a tres cuadras, o que me sea imposible juntarme con Gris para pasear a Gnaki y tomar un helado (ella, yo una Coca-Cola).”

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Jari Malta

Download (PDF, 113KB)

Jari Malta (Montevideo, Uruguay) estudió filosofía y literatura comparada en Barcelona, así como el Programa de Estudios Independientes del MACBA. Vive, escribe y habla por Skype con sus amigxs en Malmö.

En 1998, cuando arrancó Capacete, yo tenía 13 años y el pelo teñido de azul. También en el 98 tuve sexo por vez primera y salieron algunos de mis discos favoritos, como The Shape of Punk to Come Goddamnit.

Hablar en pretérito de lo que supuso la experiencia en Atenas se me hace más difícil: aún me cuesta creer que la plaza de Exarchia no quede a tres cuadras, o que me sea imposible juntarme con Gris para pasear a Gnaki y tomar un helado (ella, yo una Coca-Cola).”


Rodrigo Andreolli

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Download (PDF, 64KB)

Download (PDF, 49KB)

Carta a minha amiga:

“…Esta residência aqui gera um espaço de transição e reorganização interna, é uma continuidade do exercício da presença colaborativa e curiosa, experimentando estruturas de trabalho, de vida. Essa experiência também coloca em perspectiva minha trajetória, meu corpo, minhas práticas e torna palpável as reverberações que me trouxeram até aqui. Estou tentando aprender a direcionar minha atenção para olhar mais de perto quais questões me impulsionam a ação, que gestos eu coloco ou quero colocar no mundo e o que resulta desta interação. Tenho vontade de dançar, acho que quando danço alguma coisa acontece. Mas sinto que na maior parte das vezes essa coisa de criar peça/espetáculo mata a dança. Então como dançar e manter a dança viva nesse esquemão do mundo da arte? Talvez fora dele. Como fazer do corpo o instrumento de transformação do pensamento morto? Como manter-se vibrando os ecos de um campo de criação coletiva, comunicação que atravessa estruturas obsoletas, que traspassa tudo, que liga tudo? 

+

 

Ontem olhei a lua formando um caminho no mar e percebi a concretude desse coisa que é a lua. E como não dá pra viver neste mundo sem olhar pra ela, sem saber dela e sem sentir seu movimento, que influencia tudo aqui. Ela fica lá olhando pra gente o tempo todo e se aproxima e se distancia, tudo muda por conta desta relação. Tudo no mundo é assim. A lua é um destes elementos. Ficou forte pra mim também essa relação da lua, das divindades pagãs, das manifestações divinas no que é concreto. A luz da lua fazia o caminho prata-dourado na superfície da água e também penetrava as ondas pra além da minha visão criando curvas de luz no escuro-azul do mar. Essa mesma luz tocava a terra e o meu corpo numa linha que cortava  e ligava tudo ao mesmo tempo. E essa lua que baixava no horizonte, quase tocando o mar, naquele mesmo momento lançava seu corte sobre outras águas, terras e corpos. Pensei que aquela mesma luz que me tocava, toca também você aí. Deste lugar quero dançar.

 

[no mar Egeu, entre Hydra e Pireos, em 08/maio/2017]” 

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Rodrigo Andreolli

Download (PDF, 32KB)

Download (PDF, 45KB)

Download (PDF, 59KB)

Download (PDF, 64KB)

Download (PDF, 49KB)

Carta a minha amiga:

“…Esta residência aqui gera um espaço de transição e reorganização interna, é uma continuidade do exercício da presença colaborativa e curiosa, experimentando estruturas de trabalho, de vida. Essa experiência também coloca em perspectiva minha trajetória, meu corpo, minhas práticas e torna palpável as reverberações que me trouxeram até aqui. Estou tentando aprender a direcionar minha atenção para olhar mais de perto quais questões me impulsionam a ação, que gestos eu coloco ou quero colocar no mundo e o que resulta desta interação. Tenho vontade de dançar, acho que quando danço alguma coisa acontece. Mas sinto que na maior parte das vezes essa coisa de criar peça/espetáculo mata a dança. Então como dançar e manter a dança viva nesse esquemão do mundo da arte? Talvez fora dele. Como fazer do corpo o instrumento de transformação do pensamento morto? Como manter-se vibrando os ecos de um campo de criação coletiva, comunicação que atravessa estruturas obsoletas, que traspassa tudo, que liga tudo? 

+

 

Ontem olhei a lua formando um caminho no mar e percebi a concretude desse coisa que é a lua. E como não dá pra viver neste mundo sem olhar pra ela, sem saber dela e sem sentir seu movimento, que influencia tudo aqui. Ela fica lá olhando pra gente o tempo todo e se aproxima e se distancia, tudo muda por conta desta relação. Tudo no mundo é assim. A lua é um destes elementos. Ficou forte pra mim também essa relação da lua, das divindades pagãs, das manifestações divinas no que é concreto. A luz da lua fazia o caminho prata-dourado na superfície da água e também penetrava as ondas pra além da minha visão criando curvas de luz no escuro-azul do mar. Essa mesma luz tocava a terra e o meu corpo numa linha que cortava  e ligava tudo ao mesmo tempo. E essa lua que baixava no horizonte, quase tocando o mar, naquele mesmo momento lançava seu corte sobre outras águas, terras e corpos. Pensei que aquela mesma luz que me tocava, toca também você aí. Deste lugar quero dançar.

 

[no mar Egeu, entre Hydra e Pireos, em 08/maio/2017]” 

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Sol Prado

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“Algunas notas a propósito de los intentos de la izquierda cultural de crear zonas temporales autónomas no productivistas. (Z.T.A.P.)

Intuyo que no basta con cambiar algunas circunstancias, estructuras, paisajes, ni apelar a voluntarismos mágicos.

El neoliberalismo se ha encarnado en nuestros cuerpos, en nuestro inconsciente, en nuestros modos de vida.

Se nos ha vuelto deseable y ha teñido, incluso, las prácticas disidentes. 

+

Dejar de desearlo es un desafío más que complejo, que resuena como una buena pancarta, pero la receta para ejecutarlo se escapa entre los dedos.

“Dejar de desearlo” parece más un imperativo evangelista para dejar de tener sexo que un lei motiv de lobas emancipadas.

Quizá, la cuestión es desear alguna otra cosa o tener otros horizontes a la altura de los ojos.

El mercado del arte parece haberse sumido en una práctica cada día más zombie y precaria, donde lo queer y lo trans son nuevos nichos mercado, al igual que reduce a la disidencia en capital simbólico a acumular, como un ábaco de madera donde sumar puntos de visibilidad.

Cierto discurso del odio, grinchy, se ha vuelto moneda común en la política de acumular valor vía uso estratégico de la diferencia, donde la lucha política se roza con la idea de una identidad inmutable, cuasi purista, y le menea la cadera al pre-fascismo.

Sin producción no hay dinero, según la lógica del capital en la cual estamos inmersas.

Un tiempo de no productividad (es decir sin producción de dinero en la lógica del valor de mercado) y exploración de un sitio específico, deviene un tiempo de privilegio.

Sin embargo, estos espacios temporales autónomos no suelen ausentarse de la lógica de competencia friendly que se sostiene a base de recursos económicos transatlánticos difusos (R.E.T.D.).

Llegar a un sitio desconocido pareciera componer esa utopía idealizante de igualarnos por medio de la ignorancia compartida sobre el lugar a explorar.

Como si esto nos pusiera en igualdad de condiciones para llegar al supuesto

no-objetivo del tiempo no-productivista.

Una conjunción de no-esto y no-lo otro, una conjunción inverosímil, donde reina en la confusión quién más exótica es, deviniendo quién más hashtagueada es.

Un gran hermano capacitista de recursos sociales, risas, buen nivel inglés y opiniones sobre todo tipo, clase, temática que la conversación entre burbujas de cerveza solicite.” 

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Sol Prado

Download (PDF, 157KB)

“Algunas notas a propósito de los intentos de la izquierda cultural de crear zonas temporales autónomas no productivistas. (Z.T.A.P.)

Intuyo que no basta con cambiar algunas circunstancias, estructuras, paisajes, ni apelar a voluntarismos mágicos.

El neoliberalismo se ha encarnado en nuestros cuerpos, en nuestro inconsciente, en nuestros modos de vida.

Se nos ha vuelto deseable y ha teñido, incluso, las prácticas disidentes. 

+

Dejar de desearlo es un desafío más que complejo, que resuena como una buena pancarta, pero la receta para ejecutarlo se escapa entre los dedos.

“Dejar de desearlo” parece más un imperativo evangelista para dejar de tener sexo que un lei motiv de lobas emancipadas.

Quizá, la cuestión es desear alguna otra cosa o tener otros horizontes a la altura de los ojos.

El mercado del arte parece haberse sumido en una práctica cada día más zombie y precaria, donde lo queer y lo trans son nuevos nichos mercado, al igual que reduce a la disidencia en capital simbólico a acumular, como un ábaco de madera donde sumar puntos de visibilidad.

Cierto discurso del odio, grinchy, se ha vuelto moneda común en la política de acumular valor vía uso estratégico de la diferencia, donde la lucha política se roza con la idea de una identidad inmutable, cuasi purista, y le menea la cadera al pre-fascismo.

Sin producción no hay dinero, según la lógica del capital en la cual estamos inmersas.

Un tiempo de no productividad (es decir sin producción de dinero en la lógica del valor de mercado) y exploración de un sitio específico, deviene un tiempo de privilegio.

Sin embargo, estos espacios temporales autónomos no suelen ausentarse de la lógica de competencia friendly que se sostiene a base de recursos económicos transatlánticos difusos (R.E.T.D.).

Llegar a un sitio desconocido pareciera componer esa utopía idealizante de igualarnos por medio de la ignorancia compartida sobre el lugar a explorar.

Como si esto nos pusiera en igualdad de condiciones para llegar al supuesto

no-objetivo del tiempo no-productivista.

Una conjunción de no-esto y no-lo otro, una conjunción inverosímil, donde reina en la confusión quién más exótica es, deviniendo quién más hashtagueada es.

Un gran hermano capacitista de recursos sociales, risas, buen nivel inglés y opiniones sobre todo tipo, clase, temática que la conversación entre burbujas de cerveza solicite.” 

-


Raul Hott

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Download (PDF, 436KB)

Raúl Hott is a Chilean architect, artist, and educator that does work about the body, designing collective experiences for public spaces and natural environments. His projects are communal initiatives that invigorate democratic access to the arts and public life, injecting horizontal participation and vitality. He is an artist whose work spans architecture, sound, healing, choreography, writing, graphic design, and numerous other fields.

“Time. It has been just two months since I returned from Athens to Santiago, and I think the magnitude of this experience just begins to unfold in me. There are too many fundamental changes that I see in my person. In the same way, my comprehension of time is deeply affected. And so today I understand the need to stop, and by consequence, to rely on lived experiences.”


Raul Hott

Download (PDF, 107KB)

Download (PDF, 436KB)

Raúl Hott is a Chilean architect, artist, and educator that does work about the body, designing collective experiences for public spaces and natural environments. His projects are communal initiatives that invigorate democratic access to the arts and public life, injecting horizontal participation and vitality. He is an artist whose work spans architecture, sound, healing, choreography, writing, graphic design, and numerous other fields.

“Time. It has been just two months since I returned from Athens to Santiago, and I think the magnitude of this experience just begins to unfold in me. There are too many fundamental changes that I see in my person. In the same way, my comprehension of time is deeply affected. And so today I understand the need to stop, and by consequence, to rely on lived experiences.”


Reginaldo Gonçalves

Blueprint Brazil is an outcome of research into Brazilian Art, questioning what is Brazilian art? Or, what makes an artefact Brazilian? In this survey,  meant to function as a platform allowing past to meet present, Brazilian artists from different periods talk about their works and  experiences in connection with sociocultural developments in Brazil from the 1960s to the present day.

+

  This project, supported by the Mondriaanfonds, was carried out in 2017 during a Residency Program at Morro do Capacete, Rio de Janeiro. Keeping in mind Brazil’s sheer size and diversity, I decided to extend the research to other areas in order to get a better grip of different thoughts and artistic practices. The research began in Ipatinga, a city in the state of Minas Gerais, with a symposium organized by architecture students where we discussed Brazilian Architecture in connection with Brazilian Art. The next venue was Belo Horizonte. In Belo Horizonte I visited several studios, art galleries and museums speaking to a number of artists and others working in the art field. I also took part in a discussion panel with artists such as Ana Bella Geiger, Vera Chaves Barcelos and José Ronaldo Lima about Brazilian art before and after Tropicália. The event was to celebrate 50 years of the Tropicalia, a very important Brazilian art movement, which sprang to life in the 1960s. One well-known artist from the movement is Hélio Oiticica. From Belo Horizonte I went to Ouro Preto. Ouro Preto has a historical and political importance that demanded inclusion in my survey. The city has a great number of Baroque buildings and in my view is the beginning and the consolidation of the beginning of Brazilian art. Here the European style mixes with the local touch giving birth to a unique kind of Brazilian Baroque, as it might be called. The visit to state of Minas Gerais ended with a visit to the open air Museum Inhotim where one can see works from Brazilian artists from different periods to the present day. My next city was Salvador, Bahia, where I spoke to a handful of great artists who lived through the military period in Brazil, 1964-1985, and are still active. Among them is Ayrson Heráclito whose artwork had been presented at Venice Biennial 2017. Back In Rio de Janeiro I visited Museums such as MAM,  MAR, Museo do Amanha, Museo do Pontal, Museo de Arte Moderna Niteroi and several art galleries. While in Rio I took part in some art events organized at the Morro do Capacaete. In addition, I spoke to several artists and visited two art schools: the Escola de Arte do Parque Lage and the Faculdade de Belas Artes da UERJ, Universidade do Estado do Rio de Janeiro. In these two schools I spoke with teachers and art students about Brazilian art  in relation with social-economic-political situation in Brazil at the time.

Brazil was said to have experienced an artistic growth in relation with its economic boom that took place  2000 – 2010. In this period, according to some artists, the artistic scene became bigger; this led to the consolidation of new art galleries and museums. However, the current situation present in September 2017 showed  that the artistic growth was experiencing turbulence due to the economical-political crises that  the country was undergoing.

I ended my survey in Brasília where I went to visit the country’s capital created by Oscar Niemeyer.

Blueprint Brazil  is a research project above all into art. A research project that points out differences between past experiences and those of the present time. Questions regarding the Brazilian art scene were discussed with artists, curators, teachers, students and art historians. They all expressed their views and shared their experiences. The talks were held individually and each person spoke out their views about art in relation with all the questions presented  above.

Answers to this research, instead of being explicitly stated in this report, are to be found in a show at WGKunst Gallery, Amsterdam. The four artworks presented in this exhibition were a reflection of all interesting material encountered  throughout my journey. Moreover, all the interviews will be soon displayed on the internet.

This art research is an ongoing project. This report is not yet the end of this survey.

Régis Gonçalves

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Reginaldo Gonçalves

Blueprint Brazil is an outcome of research into Brazilian Art, questioning what is Brazilian art? Or, what makes an artefact Brazilian? In this survey,  meant to function as a platform allowing past to meet present, Brazilian artists from different periods talk about their works and  experiences in connection with sociocultural developments in Brazil from the 1960s to the present day.

+

  This project, supported by the Mondriaanfonds, was carried out in 2017 during a Residency Program at Morro do Capacete, Rio de Janeiro. Keeping in mind Brazil’s sheer size and diversity, I decided to extend the research to other areas in order to get a better grip of different thoughts and artistic practices. The research began in Ipatinga, a city in the state of Minas Gerais, with a symposium organized by architecture students where we discussed Brazilian Architecture in connection with Brazilian Art. The next venue was Belo Horizonte. In Belo Horizonte I visited several studios, art galleries and museums speaking to a number of artists and others working in the art field. I also took part in a discussion panel with artists such as Ana Bella Geiger, Vera Chaves Barcelos and José Ronaldo Lima about Brazilian art before and after Tropicália. The event was to celebrate 50 years of the Tropicalia, a very important Brazilian art movement, which sprang to life in the 1960s. One well-known artist from the movement is Hélio Oiticica. From Belo Horizonte I went to Ouro Preto. Ouro Preto has a historical and political importance that demanded inclusion in my survey. The city has a great number of Baroque buildings and in my view is the beginning and the consolidation of the beginning of Brazilian art. Here the European style mixes with the local touch giving birth to a unique kind of Brazilian Baroque, as it might be called. The visit to state of Minas Gerais ended with a visit to the open air Museum Inhotim where one can see works from Brazilian artists from different periods to the present day. My next city was Salvador, Bahia, where I spoke to a handful of great artists who lived through the military period in Brazil, 1964-1985, and are still active. Among them is Ayrson Heráclito whose artwork had been presented at Venice Biennial 2017. Back In Rio de Janeiro I visited Museums such as MAM,  MAR, Museo do Amanha, Museo do Pontal, Museo de Arte Moderna Niteroi and several art galleries. While in Rio I took part in some art events organized at the Morro do Capacaete. In addition, I spoke to several artists and visited two art schools: the Escola de Arte do Parque Lage and the Faculdade de Belas Artes da UERJ, Universidade do Estado do Rio de Janeiro. In these two schools I spoke with teachers and art students about Brazilian art  in relation with social-economic-political situation in Brazil at the time.

Brazil was said to have experienced an artistic growth in relation with its economic boom that took place  2000 – 2010. In this period, according to some artists, the artistic scene became bigger; this led to the consolidation of new art galleries and museums. However, the current situation present in September 2017 showed  that the artistic growth was experiencing turbulence due to the economical-political crises that  the country was undergoing.

I ended my survey in Brasília where I went to visit the country’s capital created by Oscar Niemeyer.

Blueprint Brazil  is a research project above all into art. A research project that points out differences between past experiences and those of the present time. Questions regarding the Brazilian art scene were discussed with artists, curators, teachers, students and art historians. They all expressed their views and shared their experiences. The talks were held individually and each person spoke out their views about art in relation with all the questions presented  above.

Answers to this research, instead of being explicitly stated in this report, are to be found in a show at WGKunst Gallery, Amsterdam. The four artworks presented in this exhibition were a reflection of all interesting material encountered  throughout my journey. Moreover, all the interviews will be soon displayed on the internet.

This art research is an ongoing project. This report is not yet the end of this survey.

Régis Gonçalves

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Gil & Moti

(1968 & 1971) They work together exclusively since 1998, are known for their unique social artistic engagement in art and for working strategically in multiple disciplines. They switch effortlessly between classical and contemporary artistic mediums of expression from photography, painting, video, performance, and installation art. Their artistry is on-going exploration of identity, the notion of individuality, and related social norms and forms. Via small-scale social interventions, they address important socio-political issues, such as discrimination, social exclusion and racism. As artists, a gay couple, immigrants based in Rotterdam (NL) and Jewish born (ex)Israelis, they have direct experience of such issues within their own personal lives. Gil & Moti are the winners of MK Award 2015, Dutch prize for visual art. In the recent years they had solo exhibitions among others at: the Nederlands Fotomuseum (Rotterdam), Lentos Kunstmuseum (Linz), Nikolaj Kunsthal (Copenhagen), Stavanger Museum of Fine Arts (Norway), Petach Tikva Museum of Art (Israel) and Tensta Konshall (Sweden).

Gil & Moti residency at Capacete in 2017 is part of the Dutch Mondriaan Foundation, International Artist in Residency Program Grant.


Gil & Moti

(1968 & 1971) They work together exclusively since 1998, are known for their unique social artistic engagement in art and for working strategically in multiple disciplines. They switch effortlessly between classical and contemporary artistic mediums of expression from photography, painting, video, performance, and installation art. Their artistry is on-going exploration of identity, the notion of individuality, and related social norms and forms. Via small-scale social interventions, they address important socio-political issues, such as discrimination, social exclusion and racism. As artists, a gay couple, immigrants based in Rotterdam (NL) and Jewish born (ex)Israelis, they have direct experience of such issues within their own personal lives. Gil & Moti are the winners of MK Award 2015, Dutch prize for visual art. In the recent years they had solo exhibitions among others at: the Nederlands Fotomuseum (Rotterdam), Lentos Kunstmuseum (Linz), Nikolaj Kunsthal (Copenhagen), Stavanger Museum of Fine Arts (Norway), Petach Tikva Museum of Art (Israel) and Tensta Konshall (Sweden).

Gil & Moti residency at Capacete in 2017 is part of the Dutch Mondriaan Foundation, International Artist in Residency Program Grant.


Vasiliki Sifostratoudaki

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Vasiliki Sifostratoudaki suggests a practice between the object and the social engagement work. Understanding line not as a linear perspective which provides a limit but a juxtaposition of singular points whose variety in form creates a possibility of movement between them, a moving sculpture. Initiator of the Yellow Brick research project.

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Vasiliki Sifostratoudaki

[gview file=”http://capacete.org/wp-content/uploads/2017/03/20.-Vasiliki-Sifostratoudaki-Susanna-Brown-There-is-Comfort-in-Recipes.pdf”]

Vasiliki Sifostratoudaki suggests a practice between the object and the social engagement work. Understanding line not as a linear perspective which provides a limit but a juxtaposition of singular points whose variety in form creates a possibility of movement between them, a moving sculpture. Initiator of the Yellow Brick research project.

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Fabiana Faleiros

[gview file=”http://capacete.org/wp-content/uploads/2017/03/22.-Fabiana-Faleiros-pleasemyboss.pdf”]

Fabiana Faleiros (Brasil, 1980) is a poet, performer and researcher. She is doctoral student in the Arts and Culture program at UERJ, Rio de Janeiro, and Lady Incentivo, whose album Lady Incentivo: novas formas de amar e de gravar CD (Lady Incentivo: new ways to make love and to make CDs) was recorded at Mobile Radio BSP, during the 30th Bienal de São Paulo. Between 2015 and 2016 she has been touring with the Mastur Bar, an itinerant bar project that travelled to Cuba (Fabrica de Arte Cubano, Havanna), Colombia (Kuir Bogotá, International Festival for Queer Arts and Cinema), and through Brazilian cities such as São Paulo, Porto Alegre and Belém do Pará. In 2016 she published the book O pulso que cai e as tecnologias do toque (The Wrist that Drops and the Technologies of Touch). Ikrek: São Paulo. Currenty she participes in Capacete residency in colaboration with Documenta 14 (Athens, Kassel).


Fabiana Faleiros

[gview file=”http://capacete.org/wp-content/uploads/2017/03/22.-Fabiana-Faleiros-pleasemyboss.pdf”]

Poeta, performer e pesquisadora. É doutoranda pelo Programa de Arte e Cultura da UERJ, Rio de Janeiro, e Lady Incentivo, cujo disco Lady Incentivo: novas formas de amar e gravar CD foi gravado na Mobile Radio BSP, durante a 30 Bienal de São Paulo. Entre 2015 e 2016 esteve em turnê com o Mastur Bar em Cuba (Fabrica de Arte Cubano, Havanna), Colômbia (Kuir Bogotá, International Festival for Queer Arts and Cinema), e também em cidades do Brasil como São Paulo, Porto Alegre e Belém do Pará. Em 2016 publicou o livro O pulso que cai e as tecnologias do toque, Ikrek: São Paulo. Atualmente participa da residência Capacete em colaboração com a Documenta 14 (Atenas, Kassel).

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Gian Spina

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Gian Spina was born in São Paulo (Brazil) and lived, studied and worked besides others in San Diego (USA), Vancouver (Canada), Bordeaux (France), Berlin and Frankfurt (Germany).

Today he writes, periodically to the to the World Policy Institute and Arts Everywhere. As well as a guest professor at the Art Academy of Palestine, in 2017 take part at art residence program organized by the Dokumenta 14.

“Fabiana, Jarí, Raul, Gris, Jota, Rodrigo, Sol, Michelle, Nikos, Vasiliki, Helmut e Eliana mudaram a minha vida:

e deixei pra trás uma série de seres que fui.

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vivi a luz do sol e a raiva de michelle, virei pasta e vergonha e vontade de sumir
jota me deu um novo e um soco de leve seguido de afago ou semente.
era para não ter ido por causa do amor
não sabia que o jarí existia, perto de omonia eu chorei com ele e vi que incomodava o mundo
fiz yoga, vomitei, caí de bicicleta e pensei
em desistência disfarçada de compromisso.
pra que isso ?
a fumaça que entrava dentro do quarto do segundo andar e eu na cama com a fabiana enquanto evitávamos falar de dor e amor.
as aproximadas trezentas e quarenta e sete músicas que ela sabia de cor e cantava dia sim dia não. instituição otta, lembrava a namorada da minha ex.
que força; esqueço todas as palavras quando penso no que foi ela,
o que me fez ela. não sabia que existia.
cinco dias por semana e depois mais dois foi gris e calma, agora gostaria de estar com ela rindo.
o fazer nada, a calma no corpo, esse marasmo infantil e quase anacrônico.
vontade de não largar nada disso nunca, parar aqui agora, segura esse espaço e deixa o sono de lado,
me corte para lembrar que vi e viví e voltei.
havia o heroi, que me fez amor, chorei de novo, talvez a última do ano,
tentei matar o homem em mim e não deu
vaso, vaso e vasilika abarca novamente e me abraça
o chão não é o mais mesmo, nem as varandas, hot, pedia mais amor e carne, para ir e voltar.
enquanto eu caía, sistematicamente por vinte minutos com o rodrigo eu caía, e pedia, logo após
um pouco mais.”

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Gian Spina

Download (PDF, 216KB)

Gian Spina was born in São Paulo (Brazil) and lived, studied and worked besides others in San Diego (USA), Vancouver (Canada), Bordeaux (France), Berlin and Frankfurt (Germany).

Today he writes, periodically to the to the World Policy Institute and Arts Everywhere. As well as a guest professor at the Art Academy of Palestine, in 2017 take part at art residence program organized by the Dokumenta 14.

“Fabiana, Jarí, Raul, Gris, Jota, Rodrigo, Sol, Michelle, Nikos, Vasiliki, Helmut e Eliana mudaram a minha vida:

e deixei pra trás uma série de seres que fui.

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vivi a luz do sol e a raiva de michelle, virei pasta e vergonha e vontade de sumir
jota me deu um novo e um soco de leve seguido de afago ou semente.
era para não ter ido por causa do amor
não sabia que o jarí existia, perto de omonia eu chorei com ele e vi que incomodava o mundo
fiz yoga, vomitei, caí de bicicleta e pensei
em desistência disfarçada de compromisso.
pra que isso ?
a fumaça que entrava dentro do quarto do segundo andar e eu na cama com a fabiana enquanto evitávamos falar de dor e amor.
as aproximadas trezentas e quarenta e sete músicas que ela sabia de cor e cantava dia sim dia não. instituição otta, lembrava a namorada da minha ex.
que força; esqueço todas as palavras quando penso no que foi ela,
o que me fez ela. não sabia que existia.
cinco dias por semana e depois mais dois foi gris e calma, agora gostaria de estar com ela rindo.
o fazer nada, a calma no corpo, esse marasmo infantil e quase anacrônico.
vontade de não largar nada disso nunca, parar aqui agora, segura esse espaço e deixa o sono de lado,
me corte para lembrar que vi e viví e voltei.
havia o heroi, que me fez amor, chorei de novo, talvez a última do ano,
tentei matar o homem em mim e não deu
vaso, vaso e vasilika abarca novamente e me abraça
o chão não é o mais mesmo, nem as varandas, hot, pedia mais amor e carne, para ir e voltar.
enquanto eu caía, sistematicamente por vinte minutos com o rodrigo eu caía, e pedia, logo após
um pouco mais.”

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Eliana Otta

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Download (PDF, 99KB)

Download (PDF, 114KB)

Download (PDF, 141KB)

 

Eliana Otta is a multidisciplinary artist. Through drawing, writing, video, installations and participatory projects, she associates simple details from everyday life that can speak about complex processes in specific contexts, inquiring how subjectivities shape public space by relating the personal to the political, as well as individual and shared memories to questions about the present and our possible collective wishes for the future. Economic inequality, precarious labor, gender violence  and our relation with nature in neoliberal extractivist systems, are some of her main focus of interest.

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 “Creo que vinimos a Atenas personas que coincidimos en estar en un momento de nuestras vidas en que no tenemos muy claro dónde ni cómo vivirlas. Aquí hemos pensado al respecto, pues al cuestionar lo macro y lo micro, nos hemos mirado con atención. Compartimos certezas sobre lo que no queremos, ciertas intuiciones sobre lo que deseamos y algunas palabras comunes para verbalizarlo. Compartimos más claramente el lenguaje del baile, el del beso y del abrazo, el de la comida entre risas y el brindis polígloto.

Un día le dije a Helmut que me parecía que lo que más teníamos en común los seleccionados para esta experiencia era la ternura. Afinando la idea, quizá es que cada uno está buscando cómo defender las vulnerabilidades y la intensidad de los afectos en los contextos tan violentos, agresivos e injustos en los que nos movemos, buscando otros lugares a donde pertenecer o cómo hacer que aquellos a los que pertenecemos nos permitan ser. Luego de este año, una nueva certeza es que ahora tengo más cómplices para continuar con ese intento.”

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Eliana Otta

Download (PDF, 1.44MB)

Download (PDF, 99KB)

Download (PDF, 114KB)

Download (PDF, 141KB)

Eliana Otta es una artista multidisciplinaria. A través del dibujo, escritura, video, instalaciones y proyectos participativos, ella asocia detalles simples de la vida cotidiana que pueden hablar de procesos complejos en contextos específicos, indagando cómo las subjetividades dan forma al espacio público al relacionar lo personal con lo político, así como recuerdos individuales y compartidos a preguntas sobre el presente y nuestros posibles deseos colectivos para el futuro. La desigualdad económica, el trabajo precario, la violencia de género y nuestra relación con la naturaleza en los sistemas extractivistas neoliberales son algunos de sus principales temas de interés.

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 “Creo que vinimos a Atenas personas que coincidimos en estar en un momento de nuestras vidas en que no tenemos muy claro dónde ni cómo vivirlas. Aquí hemos pensado al respecto, pues al cuestionar lo macro y lo micro, nos hemos mirado con atención. Compartimos certezas sobre lo que no queremos, ciertas intuiciones sobre lo que deseamos y algunas palabras comunes para verbalizarlo. Compartimos más claramente el lenguaje del baile, el del beso y del abrazo, el de la comida entre risas y el brindis polígloto.

Un día le dije a Helmut que me parecía que lo que más teníamos en común los seleccionados para esta experiencia era la ternura. Afinando la idea, quizá es que cada uno está buscando cómo defender las vulnerabilidades y la intensidad de los afectos en los contextos tan violentos, agresivos e injustos en los que nos movemos, buscando otros lugares a donde pertenecer o cómo hacer que aquellos a los que pertenecemos nos permitan ser. Luego de este año, una nueva certeza es que ahora tengo más cómplices para continuar con ese intento.”

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Alexandra Baudelot

Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013 with Dora Garcia and Mathilde Villeneuve, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed Rosascape, a platform for contemporary creation in Paris that straddles multiple spheres as a private art centre and production unit, exploring the contexts of production and reception of works as well as their mode of display by attending to specific notions such as the question of private, intimate space vs public and political space. The decision to house Rosascape in an architecturally defined space — a private, intimate, theatrical space, playing with a tension between interior and exterior space and the domestic character of its surroundings — rather than in a neutral, ‘white cube’ type of exhibition space, stems from a will to perceptibly shift the relationship to artworks and artistic experiences. A critical awareness of the standardisation of exhibition spaces in the context of globalisation, and thus of the standardised relationship between the artwork and the public, led us to seek and occupy a site and experiential sphere of a different kind — a left-field space — and displace, in this way, our relationship to contemporary art. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan and produced several artists books. 

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Since 2013, as co-director of Les Laboratoires d’Aubervilliers, she develops a work with Mathilde Villeneuve and Dora Garcia based on two factors  — a laboratory that research, test out and experiment, and the town of Aubervilliers (at the periphery, on the outskirts, a melting pot of industrial workers, and a major site of immigration). The very particular relationship between these elements is the context in which artists-in-residence make and develop their projects. The collegial approach aims to establish collectives that enable new forms of intersubjectivity to take shape. In collaboration with the co-direction team, she works on developing novel communities that alter and transform according to the shifts and developments in their work. From the very beginning, the Laboratoires d’Aubervilliers has been committed to reducing the gap between informed and uninformed audiences, and to supporting the most complex and hybrid artistic practices while ensuring no one feels excluded. The institution is renowned for the collective productions it has generated, for fostering collaborations between artists across the entire spectrum of disciplines, and for its participatory, community-building projects involving local residents. In 2016 she co-curated the event « Performing Opposition » intiated by Les Laboratoires d’Aubervilliers at Capacete (Rio de Janeiro) and Casa do Povo (Sao Paulo). She is the author of the book “Dispositif chorégraphique” (Les Presses du Réel, Nouvelles scènes collection, 2005) on the work of choreographer Jennifer Lacey in collaboration with the scenographer Nadia Lauro, the editor of the monograph “Grimaces du réél” on the choreographer Latifa Laâbissi (Les Presses du Réel, Nouvelles scènes collection, 2015), “Portraits d’Aubervilliers” by Lenio Kaklea with Lou Forster (Les Laboratoires d’Aubervilliers, 2018), “Zarba Lonsa _o_o__o Mesonya/ » an editorial project by Katinka Bock, (MER. Paper Kunsthalle, 2018)

In 2016 she curated a serie of three exhibitions with Ulla von Brandenburg at The Power Plant (Toronto), The Darling Foundry (Montreal) and ACCA (Melbourne). 

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Alexandra Baudelot

Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013 with Dora Garcia and Mathilde Villeneuve, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed Rosascape, a platform for contemporary creation in Paris that straddles multiple spheres as a private art centre and production unit, exploring the contexts of production and reception of works as well as their mode of display by attending to specific notions such as the question of private, intimate space vs public and political space. The decision to house Rosascape in an architecturally defined space — a private, intimate, theatrical space, playing with a tension between interior and exterior space and the domestic character of its surroundings — rather than in a neutral, ‘white cube’ type of exhibition space, stems from a will to perceptibly shift the relationship to artworks and artistic experiences. A critical awareness of the standardisation of exhibition spaces in the context of globalisation, and thus of the standardised relationship between the artwork and the public, led us to seek and occupy a site and experiential sphere of a different kind — a left-field space — and displace, in this way, our relationship to contemporary art. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan and produced several artists books. 

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Since 2013, as co-director of Les Laboratoires d’Aubervilliers, she develops a work with Mathilde Villeneuve and Dora Garcia based on two factors  — a laboratory that research, test out and experiment, and the town of Aubervilliers (at the periphery, on the outskirts, a melting pot of industrial workers, and a major site of immigration). The very particular relationship between these elements is the context in which artists-in-residence make and develop their projects. The collegial approach aims to establish collectives that enable new forms of intersubjectivity to take shape. In collaboration with the co-direction team, she works on developing novel communities that alter and transform according to the shifts and developments in their work. From the very beginning, the Laboratoires d’Aubervilliers has been committed to reducing the gap between informed and uninformed audiences, and to supporting the most complex and hybrid artistic practices while ensuring no one feels excluded. The institution is renowned for the collective productions it has generated, for fostering collaborations between artists across the entire spectrum of disciplines, and for its participatory, community-building projects involving local residents. In 2016 she co-curated the event « Performing Opposition » intiated by Les Laboratoires d’Aubervilliers at Capacete (Rio de Janeiro) and Casa do Povo (Sao Paulo). She is the author of the book “Dispositif chorégraphique” (Les Presses du Réel, Nouvelles scènes collection, 2005) on the work of choreographer Jennifer Lacey in collaboration with the scenographer Nadia Lauro, the editor of the monograph “Grimaces du réél” on the choreographer Latifa Laâbissi (Les Presses du Réel, Nouvelles scènes collection, 2015), “Portraits d’Aubervilliers” by Lenio Kaklea with Lou Forster (Les Laboratoires d’Aubervilliers, 2018), “Zarba Lonsa _o_o__o Mesonya/ » an editorial project by Katinka Bock, (MER. Paper Kunsthalle, 2018)

In 2016 she curated a serie of three exhibitions with Ulla von Brandenburg at The Power Plant (Toronto), The Darling Foundry (Montreal) and ACCA (Melbourne). 

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Laura Taves

No CAPACETE, em julho de 2017, apresentou o projeto das Placas de Rua da Maré, e também, o projeto realizado na Nova Holanda, Maré, em 2016: Correspondências Cariocas – o Rio em 450 azulejos, foi um projeto realizado, a partir de uma edital da Secretaria Municipal de Cultura, para a celebração do aniversário de 450 anos da cidade. Maior do que previsto, o painel artístico revestiu uma casa inteira do bairro, com desenhos e textos de 50 crianças e jovens moradores locais, e sua visão do que é a cidade do Rio de Janeiro hoje. As crianças ainda enviaram postais, com seus desenhos e textos, para diversos amigos/parceiros ao redor do planeta. Os cartões já ganharam o mundo, nossa cidade está em toda parte, transcendendo o projeto e a Maré, ampliando sua abrangência territorial, fazendo novas conexões e se perpetuando no tempo.

Desde 2015 é gerente de Desenvolvimento de Público e Relações Comunitárias do Museu do Amanhã, trabalhando diretamente com os moradores da região da Pequena África, na criação de programas e ações que valorizem e que apresentem ao grande público a cultura popular e sofisticada da Matriz Africana local. O projeto Entre Museus, outro exemplo de atuação da área, trabalha com mais de 1.000 jovens de todas as escolas da região, incentivando sua visitação ao Museu do Amanhã e a outros 22 museus parceiros, um convite para entrar nos museus e também para conhecer esse grande museu à céu aberto que é a própria cidade.


Laura Taves

No CAPACETE, em julho de 2017, apresentou o projeto das Placas de Rua da Maré, e também, o projeto realizado na Nova Holanda, Maré, em 2016: Correspondências Cariocas – o Rio em 450 azulejos, foi um projeto realizado, a partir de uma edital da Secretaria Municipal de Cultura, para a celebração do aniversário de 450 anos da cidade. Maior do que previsto, o painel artístico revestiu uma casa inteira do bairro, com desenhos e textos de 50 crianças e jovens moradores locais, e sua visão do que é a cidade do Rio de Janeiro hoje. As crianças ainda enviaram postais, com seus desenhos e textos, para diversos amigos/parceiros ao redor do planeta. Os cartões já ganharam o mundo, nossa cidade está em toda parte, transcendendo o projeto e a Maré, ampliando sua abrangência territorial, fazendo novas conexões e se perpetuando no tempo.

Desde 2015 é gerente de Desenvolvimento de Público e Relações Comunitárias do Museu do Amanhã, trabalhando diretamente com os moradores da região da Pequena África, na criação de programas e ações que valorizem e que apresentem ao grande público a cultura popular e sofisticada da Matriz Africana local. O projeto Entre Museus, outro exemplo de atuação da área, trabalha com mais de 1.000 jovens de todas as escolas da região, incentivando sua visitação ao Museu do Amanhã e a outros 22 museus parceiros, um convite para entrar nos museus e também para conhecer esse grande museu à céu aberto que é a própria cidade.






Ian Erickson-Kery

[gview file=”http://capacete.org/wp-content/uploads/2016/05/CAPACETE20ANOS-PAGINAS-ian.pdf”]

Ian Erickson-Kery is a PhD student at Duke University, where he researches and writes on Latin American art, literature, territorial conflicts, and geographical imaginaries. In recent years he has moved itinerantly between the north and the south, the art world and academia, and the city and the country, all of which shape the topography of his work. With equal fondness for Praça Tiradentes and Vale do Anhangabaú, he is nonpartisan in the Carioca-Paulista rivalry.


Ian Erickson-Kery

[gview file=”http://capacete.org/wp-content/uploads/2016/05/CAPACETE20ANOS-PAGINAS-ian.pdf”]

Ian Erickson-Kery is a PhD student at Duke University, where he researches and writes on Latin American art, literature, territorial conflicts, and geographical imaginaries. In recent years he has moved itinerantly between the north and the south, the art world and academia, and the city and the country, all of which shape the topography of his work. With equal fondness for Praça Tiradentes and Vale do Anhangabaú, he is nonpartisan in the Carioca-Paulista rivalry.






Soledad Leon

Coordinator of an collective art project called PIA Michelle http://pia-michelle.blogspot.cl/

Also collaborate with CRAC Valparaiso now and then http://www.cracvalparaiso.org/?lang=en


Soledad Leon

Coordinator of an collective art project called PIA Michelle http://pia-michelle.blogspot.cl/

Also collaborate with CRAC Valparaiso now and then http://www.cracvalparaiso.org/?lang=en




Camilla Rocha Campos

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Artist, researcher, micro-political activist and self-revolutionary. As an artist she transits into the field of a collaborative art in which the public is invited to participate in performance situations relating her body to poetic contexts loaded with a kind of humor and criticism. In January 2017, when she joined the AiR Q21 International Art Residence Program at the Museum Quartier in Vienna, Austria, she held the workshop “Silent images shout body policies” at the Raum_D art space of the Museum Quartier.

Camilla Rocha Campos is currently director of the international art residency CAPACETE in Rio de Janeiro, where she also participated in the program as an artist in 2016, when she conducted the open research project “Respira Conspira” in partnership with artist and resident Thora Dolven Balke.


Camilla Rocha Campos

[gview file=”http://capacete.org/wp-content/uploads/2016/04/CAPACETE20ANOS-PAGINAS-camilla.pdf”]

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Artista, pesquisadora, ativista micro-política e auto-revolucionária. Como artista transita no campo de uma arte colaborativa na qual o público é convidado a participar de situações performáticas relacionando seu corpo à contextos poéticos carregados de um tipo de humor e crítica. Em janeiro de 2017 ao integrar o Programa Internacional de residência artística AiR Q21 no Museum Quartier em Viena, Áustria, ministrou o workshop “Silent images shout body policies” no espaço de arte Raum_D do Museum Quartier.

É atualmente diretora da residência artística internacional CAPACETE no Rio de Janeiro onde também par- ticipou do programa como artista em 2016, quando realizou em parceira com a artista e também residente Thora Dolven Balke a pesquisa aberta “Respira Conspira”.


Anna Bak

Anna Bak is a visual artist and curator/organizer. She works in different medias, primarily with installation. She took her Master in Fine Arts from The Funen Arts Academy in Denmark, with an supplementing exchange year with a Fulbright Scholarship, at Montana State University in Bozeman, Montana, USA.


Anna Bak

Anna Bak is a visual artist and curator/organizer. She works in different medias, primarily with installation. She took her Master in Fine Arts from The Funen Arts Academy in Denmark, with an supplementing exchange year with a Fulbright Scholarship, at Montana State University in Bozeman, Montana, USA.


Sojin Chun

Chun’s practice includes creating works in video and installation.  Using a whimsical and humorous approach, her work explores local narratives to examine the intersections and contradictions found in cultural, social and personal identities as a result of geographic relocation, and cultural multiplicity.  Chun’s personal experience living in the Korean diaspora in Bolivia, and Canada, informs her work which reveals the idiosyncrasies found in culture, in its inconclusive and contradictory nature.

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“The first edition of Archives of Resistance took place at Capacete in November 2016.  This project is multi faceted and aims to create an open dialogue between communities across the Americas facing various socio-political struggles as a result of historic processes of colonization that still dictates today’s global economic realities.

Through contemporary art, invited artists shared their work informed by personal research and collected images, news items, and raw materials, which expand beyond traditional notions of archives and institutionalized documents that are categorized by hegemonic political powers.  At Capacete, we brought together artists from Chile, Costa Rica, Argentina, Canada, and Brazil in dialogue by sharing their individual projects looking at the ways in which artists subvert or give new meanings to the colonial construction of history.  Through personal or historical imagery, artists told  alternate histories from the perspective of those that are often unaccounted for in mainstream versions of history.

This first event Arquivos de Resistencia took the form of a week-long residency for invited artists, a video screening of their works as well as artist talks and group dynamic activities.  The group was further expanded through the participation of representatives from an activist group from the community of Horto whom invited the group for a tour of this community facing eviction and rapid gentrification of bicentenial residents, workers of the city’s Botanical Gardens.

Participating artists in this project were: Marton Robinson (Costa Rica) who gave an in-depth historical context of Limon, Costa Rica in line with the narrative of Jamaican-descendents who were brought to Costa Rica as labourers and the rise of Marcus Garvey’s activism; Araya-Carrion, a Chilean collective that works with material archives to demonstrate the layers within the history of Colonization of Indigenous populations in the south of Chile; Cecilia Estalles, a queer Argentian artist who has been digitizing the first Trans archives collecting stories of Trans women who faced police brutality in the 1980s; and Canadian artist Joyce Wieland’s work that showed solidarity for left leaning artists and political activists.  These artists were brought together by Capacete resident artist soJin Chun.  Other residents that collaborated in this project were, Kadija de Paula, Ian Erickson-Kery, and Soledad Leon.

-


Sojin Chun

Chun’s practice includes creating works in video and installation.  Using a whimsical and humorous approach, her work explores local narratives to examine the intersections and contradictions found in cultural, social and personal identities as a result of geographic relocation, and cultural multiplicity.  Chun’s personal experience living in the Korean diaspora in Bolivia, and Canada, informs her work which reveals the idiosyncrasies found in culture, in its inconclusive and contradictory nature.

+

“The first edition of Archives of Resistance took place at Capacete in November 2016.  This project is multi faceted and aims to create an open dialogue between communities across the Americas facing various socio-political struggles as a result of historic processes of colonization that still dictates today’s global economic realities.

Through contemporary art, invited artists shared their work informed by personal research and collected images, news items, and raw materials, which expand beyond traditional notions of archives and institutionalized documents that are categorized by hegemonic political powers.  At Capacete, we brought together artists from Chile, Costa Rica, Argentina, Canada, and Brazil in dialogue by sharing their individual projects looking at the ways in which artists subvert or give new meanings to the colonial construction of history.  Through personal or historical imagery, artists told  alternate histories from the perspective of those that are often unaccounted for in mainstream versions of history.

This first event Arquivos de Resistencia took the form of a week-long residency for invited artists, a video screening of their works as well as artist talks and group dynamic activities.  The group was further expanded through the participation of representatives from an activist group from the community of Horto whom invited the group for a tour of this community facing eviction and rapid gentrification of bicentenial residents, workers of the city’s Botanical Gardens.

Participating artists in this project were: Marton Robinson (Costa Rica) who gave an in-depth historical context of Limon, Costa Rica in line with the narrative of Jamaican-descendents who were brought to Costa Rica as labourers and the rise of Marcus Garvey’s activism; Araya-Carrion, a Chilean collective that works with material archives to demonstrate the layers within the history of Colonization of Indigenous populations in the south of Chile; Cecilia Estalles, a queer Argentian artist who has been digitizing the first Trans archives collecting stories of Trans women who faced police brutality in the 1980s; and Canadian artist Joyce Wieland’s work that showed solidarity for left leaning artists and political activists.  These artists were brought together by Capacete resident artist soJin Chun.  Other residents that collaborated in this project were, Kadija de Paula, Ian Erickson-Kery, and Soledad Leon.

-


Kadija de Paula

After fleeing the second English empire of the North Kadija traveled the former Spanish South until a warm autumn afternoon when she arrived in the land of the rising sun. Still in the transfer bus from Narita to Shibuya she met a man wearing a helmet. They talked about Eastern Europe and Latin America and discovered they were neighbors in Rio. Back in the tropics she went to his house for Universidade de Verão where she met the other 12 who later became the 13 of Pereira, also known as Agência Transitiva. Under the maracujá tree they evoked Mané Pelado, Cara de Cavalo and became epiphyte to the helmet hanging in the bookshop of Pequeno Laboratório. She started going by Agent Orange and made crosswords with Vocabulário Político para Processos Estéticos. In the kitchen she made merendas and oferendas: tamales for Portas, bolinho de Feijoada e Feminismo with Andrea, kimchi with soJin, and Queer Vegan Manifesto with Asia. When the helmet was not there she took over the house with the others from Capacetando and started making her PFs. Then came the coup and the new ones, hungry and thirsty for wednesday nights. She became resident chef. Then there was Futuros Sequestrados vs. Anti-sequestros dos Sonhos; DUB Janta E NOIS E Juice; Oficinas de Ajeum; Transburger; Nabo Laser; Opposite Kitchen; Confraria do Mungunzá; Daal do Sadhu Amar Bharati; Respira Lanches; Engastração Vegana; and much more… One day she had to move to another place, but she wouldn’t be where she is now if it wasn’t for that helmet.

 

 

Kadija de Paula combines food, text and performance to create situations and happenings that question the value of labor, resources and social habits. She is author and editor of independent published works, and has presented her research, performance and visual work in seminars, exhibitions, and happenings at U-Jazdswski Castle Warsaw, AZB Skulptur Platz Zurich; 67 Ludlow Street Gallery NYC; Sesc and Casa do Povo São Paulo; FLUCA Austrian cultural pavilion Plovdiv; Q21 Museums Quartier Vienna; Wachauarena Melk; 32ª São Paulo Art Biennial; MATADERO Madrid; Villa Romana Florence; Jan van Eyck Academie Maastricht; Casa Daros Latinamerica; United Nations University Tokyo; ArteBA; and MAM Medellin, amongst others.

 


Kadija de Paula

Kadija de Paula combines food, text and performance to make self-organizing and alternative economical experiments.

Kadija was activating the kitchen at Capacete, and before she used the book store as an office with other members of Agência Transitiva, a collective we had between 2013 and 2015. The office usage was called as Programa Epifita.

 


Tali Serruya

Trained  at the National Conservatory of Dramatic Art in the city of Paris and at the Geneva School of Art and Design, I thwart the codes of classical dramaturgy to create performative forms that question the plasticity of performance .

Currently is doing a two year residency (2017-2019) at Hangar in Barcelona (SP) https://hangar.org .Also is working for the Centre Dramatique National de Besançon, Université de Franche-Comté and at La Comédie de Reims.

 


Tali Serruya

Trained  at the National Conservatory of Dramatic Art in the city of Paris and at the Geneva School of Art and Design, I thwart the codes of classical dramaturgy to create performative forms that question the plasticity of performance .

Currently is doing a two year residency (2017-2019) at Hangar in Barcelona (SP) https://hangar.org .Also is working for the Centre Dramatique National de Besançon, Université de Franche-Comté and at La Comédie de Reims.

 




Julia Retz

Julia is working independently on a research for school furniture and educational spaces in different schools around Brazil.

 


Julia Retz

Julia is working independently on a research for school furniture and educational spaces in different schools around Brazil.

 


Pick Nick

Pick nick is an artist group based in Cyprus and initiated in 2012 by Alkis Hadjiandreou, Panayiotis Michael, Maria Petrides. pick nick brings together various means and practices of research to set up artworks and projects often in collaboration with fellow artists, writers, curators.

 


Pick Nick

Pick nick is an artist group based in Cyprus and initiated in 2012 by Alkis Hadjiandreou, Panayiotis Michael, Maria Petrides. pick nick brings together various means and practices of research to set up artworks and projects often in collaboration with fellow artists, writers, curators.

 


Daniela Mattos

Artist, educator and curator, currently teaching at UFRJ.

“O Capacete tem sido um espaço fundamental de produção artística, encontros e pesquisas no Rio de Janeiro, atuando de forma independente e também em parceria com instituições locais. Tive a chance e a felicidade de participar e colaborar com atividades do Capa em diferentes projetos e momentos, listo aqui alguns deles: como integrante do grupo Máquina de Escrever (RJ), como propositora do workshop O artista como curador (RJ), como artista convidada do evento Feminismo e Feijoada (RJ) e como integrante do grupo Máquina de Escrever (SP) que culminou com a publicação Livro para Responder. Além disso, assisti a inúmeras palestras, tive encontros, conversas, celebrações e também fiz amigas e amigos entre os artistas, curadores e pesquisadores residentes que participaram desses 20 anos de atuação. Espero que essa iniciativa se mantenha viva e atuante, oxigenando as estruturas formais e não-formais do circuito de arte carioca, brasileiro e internacional.”

 


Daniela Mattos

Artist, educator and curator, currently teaching at UFRJ.

“O Capacete tem sido um espaço fundamental de produção artística, encontros e pesquisas no Rio de Janeiro, atuando de forma independente e também em parceria com instituições locais. Tive a chance e a felicidade de participar e colaborar com atividades do Capa em diferentes projetos e momentos, listo aqui alguns deles: como integrante do grupo Máquina de Escrever (RJ), como propositora do workshop O artista como curador (RJ), como artista convidada do evento Feminismo e Feijoada (RJ) e como integrante do grupo Máquina de Escrever (SP) que culminou com a publicação Livro para Responder. Além disso, assisti a inúmeras palestras, tive encontros, conversas, celebrações e também fiz amigas e amigos entre os artistas, curadores e pesquisadores residentes que participaram desses 20 anos de atuação. Espero que essa iniciativa se mantenha viva e atuante, oxigenando as estruturas formais e não-formais do circuito de arte carioca, brasileiro e internacional.”

 


Paulo Tavares

Paulo Tavares is a Brazilian architect and urbanist based in Quito/London. His work is concerned with the relations between conflict and space as they intersect within the multi-scalar arrangements of cities, territories and ecologies. Grounded on research-based methodologies and commitment to field-work, Tavares’s practice combines design, media-based cartographies and writing as interconnected modalities of reading contemporary spatial conditions. He is currently developing a project on the violence of planning and the politics of ecology in Amazonia at the PhD Programme of the Centre for Research Architecture, Goldsmiths, UK.


Paulo Tavares

Paulo Tavares is a Brazilian architect and urbanist based in Quito/London. His work is concerned with the relations between conflict and space as they intersect within the multi-scalar arrangements of cities, territories and ecologies. Grounded on research-based methodologies and commitment to field-work, Tavares’s practice combines design, media-based cartographies and writing as interconnected modalities of reading contemporary spatial conditions. He is currently developing a project on the violence of planning and the politics of ecology in Amazonia at the PhD Programme of the Centre for Research Architecture, Goldsmiths, UK.




Fabiane Borges

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….

Is an artist, psychologist and essayist. Currently she is doing post-doctoral research in Space Culture in Visual Arts at nano/ppgav/eba/ufrj. She works in the intersection between art, technology and subjectivity. Is responsible for the organization of four books about art, internet, hacktivism,  one of the articulators of the technoshamanism network: https://tecnoxamanismo.wordpress.com/blog/

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Fabiane Borges

[gview file=”http://capacete.org/wp-content/uploads/2015/03/CAPACETE20ANOS-PAGINAS-fabiana.pdf”]

….

Is an artist, psychologist and essayist. Currently she is doing post-doctoral research in Space Culture in Visual Arts at nano/ppgav/eba/ufrj. She works in the intersection between art, technology and subjectivity. Is responsible for the organization of four books about art, internet, hacktivism,  one of the articulators of the technoshamanism network: https://tecnoxamanismo.wordpress.com/blog/

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Ronaldo Lemos

Ronaldo Lemos is a Brazilian academic, lawyer and commentator on intellectual property, technology, and culture.

Lemos is the director of the Institute for Technology & Society of Rio de Janeiro (ITSrio.org), and professor at the Rio de Janeiro State University’s Law School. He is also a partner with the law firm Pereira Neto Macedo, and a board member of various organizations, including the Mozilla Foundation, Accessnow.org, and Stellar. He was nominated a visiting professor of Law, Technology and Policy at Columbia University´s School of International Public Affairs in 2017 and 2018 . He was appointed as a Young Global Leader by the World Economic Forum in 2015. He was appointed in November 2015 as a fellow by Ashoka, a civil society organization founded by Bill Drayton.


Ronaldo Lemos

Ronaldo Lemos is a Brazilian academic, lawyer and commentator on intellectual property, technology, and culture.

Lemos is the director of the Institute for Technology & Society of Rio de Janeiro (ITSrio.org), and professor at the Rio de Janeiro State University’s Law School. He is also a partner with the law firm Pereira Neto Macedo, and a board member of various organizations, including the Mozilla Foundation, Accessnow.org, and Stellar. He was nominated a visiting professor of Law, Technology and Policy at Columbia University´s School of International Public Affairs in 2017 and 2018 . He was appointed as a Young Global Leader by the World Economic Forum in 2015. He was appointed in November 2015 as a fellow by Ashoka, a civil society organization founded by Bill Drayton.


Pedro De Niemeyer Cesarino

Pedro de Niemeyer Cesarino é professor do Departamento de Antropologia da Universidade de São Paulo. Publicou recentemente os livros Oniska – poética do xamanismo na Amazônia (Editora Perspectiva, 2011,3o lugar do Prêmio Jabuti de Ciências Humanas), e Quando a Terra deixou de falar – cantos da mitologia marubo(Editora 34, 2013), além de artigos e textos literários. Tem desenvolvido pesquisas sobre etnologia indígena e interfaces entreantropologia, literatura e arte.


Pedro De Niemeyer Cesarino

Pedro de Niemeyer Cesarino é professor do Departamento de Antropologia da Universidade de São Paulo. Publicou recentemente os livros Oniska – poética do xamanismo na Amazônia (Editora Perspectiva, 2011,3o lugar do Prêmio Jabuti de Ciências Humanas), e Quando a Terra deixou de falar – cantos da mitologia marubo(Editora 34, 2013), além de artigos e textos literários. Tem desenvolvido pesquisas sobre etnologia indígena e interfaces entreantropologia, literatura e arte.


Anne Szefer Karlsen

Curator and writer, currently Head of Research for Bergen Assembly (2018-) and Associate Professor of Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen (2015-2021). She was Director of Hordaland Art Centre in Bergen, Norway (2008-14).

Postcard from Rio de Janeiro:

“I wake up around 5:30 a.m. on a Sunday morning, roused by a big group of people singing somewhere close by, almost chanting. It is still dark out, and I am in the neighbourhood of Glória in Rio de Janeiro. I learn through «worldtravelguide» that today we will celebrate Santo Antonio – with street markets, food and drinks. As well as couples jumping across bonfires and mock weddings. The same source reveals that this is the first of three saints to be celebrated in June and July – Festa Junina – and that the celebrations are connected to what we in the North know as Midsummer. But across the equator winter is coming. 

+

Since I was here in November last year inflation has skyrocketed, electricity is something like 60% more expensive, there is a real possibility of catching dengue fever –  if not the full-fledged version, then certainly what is commonly referred to as ‘baby-dengue’ which confusingly enough also starts with rashes on the chest and arms, intense pain behind the eyes that does not go away until four to seven days later, a dash of high fever and a lack of appetite. The corruption scandal in the semi-public oil company Petrobras doesn’t seem to end, the government has cut the budgets for health and education, and in Rio violence is on the rise. I have learned to distinguish fireworks from gunshots, and I am both happy and scared when passing the drug trafficking bar across the street. Happy because the bar owner and his crew seem to keep the peace in the street, scared because a slice of Brazilian everyday realism can be served up at any time. Museums must cut in their opening hours because they cannot afford the cost of air conditioning, and everyone I meet is complaining about a lack of discourse production in the art. A teacher in the public school system makes just under 2,000 Reais, equivalent to about €350. For parents with high-level education, but no money to put their children through private school, keeping their kids out of public school is a real option, resorting to home schooling and an environment of learning in a network of adults.

I spend every day with a group of 12 artists, curators, educators, writers and producers taking part in the yearlong programme at Capacete: A para-educational initiative with participants from many parts of the world, but also from Brazil. This creates a dynamic in the group where fact is mixed with curiosity.

Wednesdays are particularly busy. This is the day when the students (participants… residents… call them what you like, because no one has really taken the time to name the roles they are inhabiting this year) open the doors and invite the public for presentations, food and drinks. Three weeks ago I was sitting in the hot seat together with my colleague Daniela Castro presenting ’Self Organised, now available in Portuguese’. While we were talking about self-organisation, homemade burgers and the potent mix of lime, sugar and cachaça – distilled sugar cane – was served in the illegal bar. Next week the Wednesday night was a bit louder, resulting in the neighbour throwing eggs with surprising precision at the public and the police showing up. And unlike in Norway, the debate about police carrying firearms is long gone in Brazil: When they knock on the door they come carrying machine guns.

Thursday to Tuesday is typically filled with seminars presented by guests, or small excursions organised by the participants themselves. The week after our seminar we whizz through yet another tunnel, four mountains to the left from Ipanema on the map, and get off at the shopping centre AutoEstrada Lagoa-Barra. We cross the 14-lane motorway and meet the artist Wouter Osterholt, who will guide us around the tower where he and Elke Uitentuis filmed the video work Paraíso Ocupado.

Barra da Tijuca is a neighbourhood in the southwest area of the city. In the 1960s the city planner Lucío Costa drafted a modernist master plan for 76 towers, which were designed by Oscar Niemeyer. Only four towers were realised – one of which collapsed during construction, two are in use today and one is a modern ruin. It was never completed.

The characters in Paraíso Ocupado stage a script in English for a commercial film created to promote the area, geared towards foreign buyers. The artist found the script in the ghost tower, in an ‘archive in chaos’ which still exists today on the second floor. We try not to show too much interest in the two rooms filled with archive folders, blueprints and an old typewriter when we move through the three lower floors, guided by the guard’s flashlight through the dark and spiraling staircases.

Finally, on my last day in Rio I have a chance to go to MAM – Museu de Arte Moderna do Rio de Janeiro. The museum has been between exhibitions the whole time I have been here, but Wednesday last week I went to see designer Manuel Raeder for a sneak preview of the exhibition Marginália 1 – Rogério Duarte. It is, as the title indicates, a survey exhibition of the practice of graphic designer, musician and poet Rogério Duarte. Duarte is the man behind the influential essay ‘Notes on Industrial Design’ (Notas Sobre o Desenho Industrial) from 1965. He also designed and edited several issues of the magazine Movimento 1, which started in 1962 and was seminal for a whole generation. Duarte was thus part of establishing the well-known Tropicália movement. Today he is a man in his late 70s, marked by a long and tumultuous life – largely thanks to the treatment he endured during the military dictatorship in Brazil from 1964 to 1985.

Many on the Norwegian art scene will recognise the name Capacete from a while back when the Office for Contemporary Art Norway offered residencies for artists and curators there. Manuel Raeder and Wouter Osterholt also have links to Capacete.  It was during a residency a few years ago that Osterholt came across the towers and his interest was sparked. And the exhibition at MAM has previously been on display in Europe, then partly produced by Capacete. And like so many guests before and after them, here they are again to continue their projects. There is something about this structure, whose name translates as ‘helmet’, which focuses your senses and directs your gaze. And for a brief moment I also have had the privilege of being part of this – as a stowaway, witness or colleague, my role has been just as ambiguous as everyone else’s – yet it all seems logical. 

-


Anne Szefer Karlsen

Curator and writer, currently Head of Research for Bergen Assembly (2018-) and Associate Professor of Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen (2015-2021). She was Director of Hordaland Art Centre in Bergen, Norway (2008-14).

Postcard from Rio de Janeiro:

“I wake up around 5:30 a.m. on a Sunday morning, roused by a big group of people singing somewhere close by, almost chanting. It is still dark out, and I am in the neighbourhood of Glória in Rio de Janeiro. I learn through «worldtravelguide» that today we will celebrate Santo Antonio – with street markets, food and drinks. As well as couples jumping across bonfires and mock weddings. The same source reveals that this is the first of three saints to be celebrated in June and July – Festa Junina – and that the celebrations are connected to what we in the North know as Midsummer. But across the equator winter is coming. 

+

Since I was here in November last year inflation has skyrocketed, electricity is something like 60% more expensive, there is a real possibility of catching dengue fever –  if not the full-fledged version, then certainly what is commonly referred to as ‘baby-dengue’ which confusingly enough also starts with rashes on the chest and arms, intense pain behind the eyes that does not go away until four to seven days later, a dash of high fever and a lack of appetite. The corruption scandal in the semi-public oil company Petrobras doesn’t seem to end, the government has cut the budgets for health and education, and in Rio violence is on the rise. I have learned to distinguish fireworks from gunshots, and I am both happy and scared when passing the drug trafficking bar across the street. Happy because the bar owner and his crew seem to keep the peace in the street, scared because a slice of Brazilian everyday realism can be served up at any time. Museums must cut in their opening hours because they cannot afford the cost of air conditioning, and everyone I meet is complaining about a lack of discourse production in the art. A teacher in the public school system makes just under 2,000 Reais, equivalent to about €350. For parents with high-level education, but no money to put their children through private school, keeping their kids out of public school is a real option, resorting to home schooling and an environment of learning in a network of adults.

I spend every day with a group of 12 artists, curators, educators, writers and producers taking part in the yearlong programme at Capacete: A para-educational initiative with participants from many parts of the world, but also from Brazil. This creates a dynamic in the group where fact is mixed with curiosity.

Wednesdays are particularly busy. This is the day when the students (participants… residents… call them what you like, because no one has really taken the time to name the roles they are inhabiting this year) open the doors and invite the public for presentations, food and drinks. Three weeks ago I was sitting in the hot seat together with my colleague Daniela Castro presenting ’Self Organised, now available in Portuguese’. While we were talking about self-organisation, homemade burgers and the potent mix of lime, sugar and cachaça – distilled sugar cane – was served in the illegal bar. Next week the Wednesday night was a bit louder, resulting in the neighbour throwing eggs with surprising precision at the public and the police showing up. And unlike in Norway, the debate about police carrying firearms is long gone in Brazil: When they knock on the door they come carrying machine guns.

Thursday to Tuesday is typically filled with seminars presented by guests, or small excursions organised by the participants themselves. The week after our seminar we whizz through yet another tunnel, four mountains to the left from Ipanema on the map, and get off at the shopping centre AutoEstrada Lagoa-Barra. We cross the 14-lane motorway and meet the artist Wouter Osterholt, who will guide us around the tower where he and Elke Uitentuis filmed the video work Paraíso Ocupado.

Barra da Tijuca is a neighbourhood in the southwest area of the city. In the 1960s the city planner Lucío Costa drafted a modernist master plan for 76 towers, which were designed by Oscar Niemeyer. Only four towers were realised – one of which collapsed during construction, two are in use today and one is a modern ruin. It was never completed.

The characters in Paraíso Ocupado stage a script in English for a commercial film created to promote the area, geared towards foreign buyers. The artist found the script in the ghost tower, in an ‘archive in chaos’ which still exists today on the second floor. We try not to show too much interest in the two rooms filled with archive folders, blueprints and an old typewriter when we move through the three lower floors, guided by the guard’s flashlight through the dark and spiraling staircases.

Finally, on my last day in Rio I have a chance to go to MAM – Museu de Arte Moderna do Rio de Janeiro. The museum has been between exhibitions the whole time I have been here, but Wednesday last week I went to see designer Manuel Raeder for a sneak preview of the exhibition Marginália 1 – Rogério Duarte. It is, as the title indicates, a survey exhibition of the practice of graphic designer, musician and poet Rogério Duarte. Duarte is the man behind the influential essay ‘Notes on Industrial Design’ (Notas Sobre o Desenho Industrial) from 1965. He also designed and edited several issues of the magazine Movimento 1, which started in 1962 and was seminal for a whole generation. Duarte was thus part of establishing the well-known Tropicália movement. Today he is a man in his late 70s, marked by a long and tumultuous life – largely thanks to the treatment he endured during the military dictatorship in Brazil from 1964 to 1985.

Many on the Norwegian art scene will recognise the name Capacete from a while back when the Office for Contemporary Art Norway offered residencies for artists and curators there. Manuel Raeder and Wouter Osterholt also have links to Capacete.  It was during a residency a few years ago that Osterholt came across the towers and his interest was sparked. And the exhibition at MAM has previously been on display in Europe, then partly produced by Capacete. And like so many guests before and after them, here they are again to continue their projects. There is something about this structure, whose name translates as ‘helmet’, which focuses your senses and directs your gaze. And for a brief moment I also have had the privilege of being part of this – as a stowaway, witness or colleague, my role has been just as ambiguous as everyone else’s – yet it all seems logical. 

-


Giseli Vasconcelos

Giseli é produtora cultural e artista interdisciplinar, brasileira, residente nos Estados Unidos. Desenvolve festivais, workshops, exibições e publicações que discutem mídias e tecnologias relacionadas ao cenário brasileiro de arte e ativismo. Seus projetos se caracterizam pela junção de redes colaborativas que se destacam por práticas de mídias táticas e pedagogias radicais relacionadas à cultura de internet. Seus projetos já foram apresentados em Quito (LabSurLab), Amsterdam (N5M), Nova Delhi (Sarai), Viena (MQ21), Berlim (Radical Networks), São Paulo (31st Biennial of São Paulo, Sesc Pompeia), Rio de Janeiro (Capacete, Lastro).

Giseli is a cultural worker and interdisciplinary artist from Brazil based in US. She has been organizing festivals, workshops, exhibitions and publications that discuss media and technology related to the Brazilian scene of art and activism. Most of the projects are collaborative process that highlights practices on tactical media and radical pedagogies related to internet culture. Her work has already been presented in Quito (LabSurLab), Amsterdam (N5M), New Delhi (Sarai), Vienna (MQ21), Berlin (Radical Networks), São Paulo (31st Biennial of São Paulo, Sesc Pompeia), Rio de Janeiro (Capacete, Lastro).

“No retorno ao Brasil, Capacete foi o espaço e agenciamento importante para revisitar minha rede de trabalho, e também para estabelecer novos contatos e aproximação artistas, pensadores e curadores que circulam pelo Brasil. Como integrante do primeiro programa anual Capacete, o espaço residência-escola localizado no Rio de Janeiro nos proporcionou um ambiente informal e descontraído para repensar e debater experiências coletivas, e permitiu uma abertura para aproximar outras redes culturais que trazem questões críticas contundentes ao sistema institucional da arte no Brasil.”


Giseli Vasconcelos

Giseli é produtora cultural e artista interdisciplinar, brasileira, residente nos Estados Unidos. Desenvolve festivais, workshops, exibições e publicações que discutem mídias e tecnologias relacionadas ao cenário brasileiro de arte e ativismo. Seus projetos se caracterizam pela junção de redes colaborativas que se destacam por práticas de mídias táticas e pedagogias radicais relacionadas à cultura de internet. Seus projetos já foram apresentados em Quito (LabSurLab), Amsterdam (N5M), Nova Delhi (Sarai), Viena (MQ21), Berlim (Radical Networks), São Paulo (31st Biennial of São Paulo, Sesc Pompeia), Rio de Janeiro (Capacete, Lastro).

Giseli is a cultural worker and interdisciplinary artist from Brazil based in US. She has been organizing festivals, workshops, exhibitions and publications that discuss media and technology related to the Brazilian scene of art and activism. Most of the projects are collaborative process that highlights practices on tactical media and radical pedagogies related to internet culture. Her work has already been presented in Quito (LabSurLab), Amsterdam (N5M), New Delhi (Sarai), Vienna (MQ21), Berlin (Radical Networks), São Paulo (31st Biennial of São Paulo, Sesc Pompeia), Rio de Janeiro (Capacete, Lastro).

“No retorno ao Brasil, Capacete foi o espaço e agenciamento importante para revisitar minha rede de trabalho, e também para estabelecer novos contatos e aproximação artistas, pensadores e curadores que circulam pelo Brasil. Como integrante do primeiro programa anual Capacete, o espaço residência-escola localizado no Rio de Janeiro nos proporcionou um ambiente informal e descontraído para repensar e debater experiências coletivas, e permitiu uma abertura para aproximar outras redes culturais que trazem questões críticas contundentes ao sistema institucional da arte no Brasil.”


Felix Luna

“La forma en que viví, cambió después de Río de Janeiro. Las dos historias que a continuación presento, quizá como un boceto, hecho inicialmente desde la perspectiva ‘racional’ de un caso de estudio o trabajo de campo, se tornaron al paso de unos meses, en mi forma de habitar y en mi hogar.

A Río de Janeiro, llegué para estudiar su fotografía primitiva llegada de Europa. Me interesaba el trayecto de la plata que de allí se extrajo y que en Francia se procesó en los primeros daguerrotipos. Llegando al lugar, conocí al artista Jorge Emmanuel de Souza quien me cedió una propiedad encontrada en un abandonado litigio y estado, la cual se volvió mi hogar por poco más de un año. El parque al que bajaba a correr en las mañanas, no dejaba de intrigarme, el cual, revisando su Historia, terminó conformando aquí la primera parte del presente trabajo. La segunda, se trata de las huellas que seguí en la casa abandonada, donde habité primeramente solo y después, con varios amigos que le dieran función y uso a aquel espacio. Tales huellas, como se verá a continuación, saltan por diversos intentos de reconstruir ese lugar y bosquejos de proyectos personales, a distintos tiempos, con la mira de señalar una “continuidad”. 

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El interés de reunir estas partes, para provocar cruces entre ellas, y situar éstas, como perspectivas encontradas (la geográfica, histórica, cartográfica-cenital o bien la artística, la subjetiva y la autobiográfica) está en obtener una narrativa que no permanezca “fija” en lo aquí presentado, sino que se rehaga interpretativamente, no sólo en la lectura cruzada (que verá necesaria en estos dos proyectos presentados como “columnas”), también en la forma en que éstas se acercan, en partes como similitudes, contrastes, paralelismos, inicios y fines recurrentes entre ambas. Es desde el acercamiento de Historias y memorias dichas, que apelo al silencio y a la vez a lo relacional, al diálogo, a la posibilidad e imaginación.

Amable lector, puede usted acceder a la fuente de este documento en proceso (también como proceso de intercambio) dirigiéndose a la cuenta de ffelixluna@gmail.com y en el siguiente link https://goo.gl/Ww2pyi donde puede modificar este documento, en cualquiera de sus partes.

Indispensable fue y sigue siendo el apoyo y colaboración de Laure Rocher Luna, Jorge Emmanuel de Souza, Pedro Flores, Manu Flores, Joao de Souza e Silva, Tetsuya Maruyama, Oliver Bulas, Roosivelt Pinheiro, Tanja Baudoin, Joen Vedel, Andrew de Freitas y por supuesto los compañeros Héctor Juárez y Paola Sánchez, todos los residentes de Capacete, como también de los amigos y vecinos de Santa Teresa, el Jairo, Mario, Paulo, Rogeiro, Carol, Clarissa, Elmir, Os Gemeos, que mudaron no sólo la forma en que sería este proyecto, sino la mía propia.” 

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Felix Luna

“La forma en que viví, cambió después de Río de Janeiro. Las dos historias que a continuación presento, quizá como un boceto, hecho inicialmente desde la perspectiva ‘racional’ de un caso de estudio o trabajo de campo, se tornaron al paso de unos meses, en mi forma de habitar y en mi hogar.

A Río de Janeiro, llegué para estudiar su fotografía primitiva llegada de Europa. Me interesaba el trayecto de la plata que de allí se extrajo y que en Francia se procesó en los primeros daguerrotipos. Llegando al lugar, conocí al artista Jorge Emmanuel de Souza quien me cedió una propiedad encontrada en un abandonado litigio y estado, la cual se volvió mi hogar por poco más de un año. El parque al que bajaba a correr en las mañanas, no dejaba de intrigarme, el cual, revisando su Historia, terminó conformando aquí la primera parte del presente trabajo. La segunda, se trata de las huellas que seguí en la casa abandonada, donde habité primeramente solo y después, con varios amigos que le dieran función y uso a aquel espacio. Tales huellas, como se verá a continuación, saltan por diversos intentos de reconstruir ese lugar y bosquejos de proyectos personales, a distintos tiempos, con la mira de señalar una “continuidad”. 

+

El interés de reunir estas partes, para provocar cruces entre ellas, y situar éstas, como perspectivas encontradas (la geográfica, histórica, cartográfica-cenital o bien la artística, la subjetiva y la autobiográfica) está en obtener una narrativa que no permanezca “fija” en lo aquí presentado, sino que se rehaga interpretativamente, no sólo en la lectura cruzada (que verá necesaria en estos dos proyectos presentados como “columnas”), también en la forma en que éstas se acercan, en partes como similitudes, contrastes, paralelismos, inicios y fines recurrentes entre ambas. Es desde el acercamiento de Historias y memorias dichas, que apelo al silencio y a la vez a lo relacional, al diálogo, a la posibilidad e imaginación.

Amable lector, puede usted acceder a la fuente de este documento en proceso (también como proceso de intercambio) dirigiéndose a la cuenta de ffelixluna@gmail.com y en el siguiente link https://goo.gl/Ww2pyi donde puede modificar este documento, en cualquiera de sus partes.

Indispensable fue y sigue siendo el apoyo y colaboración de Laure Rocher Luna, Jorge Emmanuel de Souza, Pedro Flores, Manu Flores, Joao de Souza e Silva, Tetsuya Maruyama, Oliver Bulas, Roosivelt Pinheiro, Tanja Baudoin, Joen Vedel, Andrew de Freitas y por supuesto los compañeros Héctor Juárez y Paola Sánchez, todos los residentes de Capacete, como también de los amigos y vecinos de Santa Teresa, el Jairo, Mario, Paulo, Rogeiro, Carol, Clarissa, Elmir, Os Gemeos, que mudaron no sólo la forma en que sería este proyecto, sino la mía propia.” 

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Caroline Valansi

Caroline Valansi é artista visual, professora de fotografia e artes. Sua produção artística transita entre o espaço e a ficção. Suas obras sempre foram enraizadas em seu forte interesse em traços coletivo e histórias íntimas. Caroline utiliza materiais familiares em sua pesquisa: fotos de salas de cinemas, velhos filmes pornográficos, imagens encontradas da internet e suas próprias fotografias e desenhos e, juntos, somam uma ampla exploração de representações da sexualidade feminina contemporânea.

 


Caroline Valansi

Caroline Valansi é artista visual, professora de fotografia e artes. Sua produção artística transita entre o espaço e a ficção. Suas obras sempre foram enraizadas em seu forte interesse em traços coletivo e histórias íntimas. Caroline utiliza materiais familiares em sua pesquisa: fotos de salas de cinemas, velhos filmes pornográficos, imagens encontradas da internet e suas próprias fotografias e desenhos e, juntos, somam uma ampla exploração de representações da sexualidade feminina contemporânea.

 


Andrew De Freitas

Andrew de Freitas employs a range of mediums in order to explore issues arising from everyday perception and the formation of meaning and feeling. Central to his practice is design and construction, rearrangement of sensory data, experimentation with expanded methods of production and the narrative form.

“One night last year when passing through Berlin I ended up sitting at a big table in some Italian kind of place, with a group of people, all of whom I genuinely enjoy and admire in some way. Which is a nice place to find yourself in. And I think it was Julien Bismuth that said, hey, we should send a selfie to Helmut, presumably to make him jealous or proud – considering that altogether these folks at the table probably represented a strata of at least 15 years capacete, in the sense of capacete being amongst many other things, a diverse and networked constellation of people, who all in some way were connected through Rio de Janeiro. And it wasn’t a milestone or anything particularly remarkable, because for myself and many others there, it’s something that can happen quite often with people you get to know through capacete. And I think Julien took a photo, which I never saw, and we started to talk for while about what it is about capacete that creates this kind of thing. Which I suppose you could call, among many other things, meaningful relationships. There are tonnes of examples of groups, organizations, scenes, cities institutions etc that facilitate friendships and connections, and form also a sense of shared identity. For example, it could be that you lived in a a particular city at a certain time, attended a school or academy, or had some kind of job somewhere, and you have a group of friends or acquaintances that you associate with that time or place, and whom you keep a connection to because of it. But what we were noticing that night in Berlin was that of all the people we know from all those kinds of time and place that we’ve experienced, the relationships that are formed through capacete, often in rio, but not exclusively, tend to be meaningful, and lasting ones. relationships that don’t expire so easily.”


Andrew De Freitas

Andrew de Freitas employs a range of mediums in order to explore issues arising from everyday perception and the formation of meaning and feeling. Central to his practice is design and construction, rearrangement of sensory data, experimentation with expanded methods of production and the narrative form.

“One night last year when passing through Berlin I ended up sitting at a big table in some Italian kind of place, with a group of people, all of whom I genuinely enjoy and admire in some way. Which is a nice place to find yourself in. And I think it was Julien Bismuth that said, hey, we should send a selfie to Helmut, presumably to make him jealous or proud – considering that altogether these folks at the table probably represented a strata of at least 15 years capacete, in the sense of capacete being amongst many other things, a diverse and networked constellation of people, who all in some way were connected through Rio de Janeiro. And it wasn’t a milestone or anything particularly remarkable, because for myself and many others there, it’s something that can happen quite often with people you get to know through capacete. And I think Julien took a photo, which I never saw, and we started to talk for while about what it is about capacete that creates this kind of thing. Which I suppose you could call, among many other things, meaningful relationships. There are tonnes of examples of groups, organizations, scenes, cities institutions etc that facilitate friendships and connections, and form also a sense of shared identity. For example, it could be that you lived in a a particular city at a certain time, attended a school or academy, or had some kind of job somewhere, and you have a group of friends or acquaintances that you associate with that time or place, and whom you keep a connection to because of it. But what we were noticing that night in Berlin was that of all the people we know from all those kinds of time and place that we’ve experienced, the relationships that are formed through capacete, often in rio, but not exclusively, tend to be meaningful, and lasting ones. relationships that don’t expire so easily.”


Jonas Delaborde

Artistic director of Nazi Knife, with Hendrik Hegray, FLTMSTPC, Paris (since 2006) / False Flag, with Hendrik Hegray and Stéphane Prigent, FLTMSTPC, Paris (since 2010) / Mentiras, fanzine (since 2013).

My work comprises several different operations, which are distinct but in dialogue.
On the one hand I make images, in series: drawings, mainly, but also collages and photographs. This iconographic work, and the different ways in which it’s elaborated, are infused with permanent sculptural activity. On the other hand, I design publications that are exclusively comprised of images I myself have produced, and others, taken from books or commissioned from guest artists. Their modes of publication vary between self-publication, collaborations and participations in existing collections. But they’re all part of the same movement: that of creating conditions for narration.

 


Jonas Delaborde

Artistic director of Nazi Knife, with Hendrik Hegray, FLTMSTPC, Paris (since 2006) / False Flag, with Hendrik Hegray and Stéphane Prigent, FLTMSTPC, Paris (since 2010) / Mentiras, fanzine (since 2013).

My work comprises several different operations, which are distinct but in dialogue.
On the one hand I make images, in series: drawings, mainly, but also collages and photographs. This iconographic work, and the different ways in which it’s elaborated, are infused with permanent sculptural activity. On the other hand, I design publications that are exclusively comprised of images I myself have produced, and others, taken from books or commissioned from guest artists. Their modes of publication vary between self-publication, collaborations and participations in existing collections. But they’re all part of the same movement: that of creating conditions for narration.

 


Oliver Bulas

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Oliver Bulas studied biology before he became an art student at the Hochschule für bildende Künste in Hamburg, Germany (2005-2012) and at SFAI in San Francisco, US. He creates ‘constructed situations, in which the visitor immerses. He uses performance and he works in public space. Bulas is wondering if the public space is a place where differences clash and are negotiated. A place where maybe a short flash of social space can incidentally shine up as a utopian moment. He was a postgraduate researcher at Jan Van Eyck Academie, Maastricht, NL. Solo exhibitions (selection): PARSE, New Orleans, US (2016), M.1 Arthur Boskamp Stiftung Hohenlockstedt, GER (2013); [MAKNETE] (Galerie für Landschaftskunst), Hamburg, GER (2012); Halle für Kunst Lüneburg, GER (2012), Kunstverein in Hamburg, GER (2008). Group exhibitions (selection): CAC, Vilnius, LIT (2017), Despina, Rio de Janeiro,BRA (2017), Y Gallery, New York, US (2015), Kunsthaus Hamburg, Hamburg, GER (2013); basis Frankfurt e.V., Frankfurt, GER (2013); Swell Gallery, San Francisco, US (2011); Yvon Lambert Gallery, New York, US (2007); Musée d’Art Moderne, Paris, FR (2003). Currently he is studying computer sciences in Berlin. 

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Jeitinho Brasileiro and the corrosion of bourgeois society
Something disturbing happened to Brazilian society. The social contract has been terminated a long time ago and in present times the dwellers of the city of Rio de Janeiro live in ruins, not only physically but also by means of psychosocial conditions. Brazil is a rich country. But inhabitants are forced combating each other over withhold resources in a karstified social landscape, in which regard corroded ever long since and an invisible majority is fighting for sheer survival. The ostensible beauty and the rehearsed cordiality are common features of the place. They are empty shells dating back to times long gone or they are effortful aspirations to the quality of a postcard image hold up by military brutality. If, however, one encounters them in factuality, one finds them marking a line. By inclusion this boundary excludes without speaking all the more ruthlessly those who find themselves on the other side of the fence.
In this society that deteriorated to become a mediatized spectacle arena, the boundless egoism of the individual (or: of the family interest) rules. ‚Compassion‘, for which some spoke up for, has little meaning here for others.
In this perspective, the „Jeitinho Brasileiro“ seems like the logical consequence, as an ultimate expression of the unsatisfiable appetite of entrepreneurial subjectivity, which finds itself thrown into a constant war with other egos. In the course of this state of war, many agreements and standards have been undermined. It became decisive who is the most cunning to appropriate a situation, who is most calculating at deceiving the other and who can undermine most effectively the remains of certain rules and conventions.
The “Jeitinho Brasileiro” is not a heroic practice of subversion performed by individuals from inferior classes of society (though it can be the case), but it is the norm of an extensive mobilization in a war of each against each. And what is the modus operandi of bourgeois society? The fact that the entire individual, with all his abilities, his emotionality, his spontaneity and his body, must fully commit himself (must throw himself on the market?) ends not only in the unleashing of creativity and social competence. It is much more the case that the individual, with every fiber of his existence, is forced to plunge into the turmoil of war, making himself a tool of survival to such extent that he suffers the loss of his intrinsic, purposeless self.
This is not to say that Brazilian people are absolutely deprived of autonomous individuality or free will. It is rather that the same loss is observed in all societies across the globe, only the shapes this loss takes are different in each place, depending on historical and economic conditions.
Was it the colonial rulers, as introducers and alleged representatives of bourgeois society, who, by conquest, slavery and exploitation, were the first to break any social contract of respect and give economic and political expression to the double standards of bourgeois existence?
And who would claim that it is the Brazilian’s own fault? While importing commodities and labor that would enhance their life, the colonial masters exported in exchange their unsolved contradictions. This way, they managed to appease their own populations (“Look how living standards went up for everyone!” with a specific idea who that „everyone“ is) and without providing any idea how to come closer to solutions against the devastations our societies cause. This necessarily included a concealing of peripheral locations and with them the economic relations. Until this day, the colonial powers work hard to sustain this unequal trade. Meanwhile, colonialism successfully spread bourgeois concepts of subjectivity to cover the surface of the planet, not leaving a blank spot.
Jeitinho Brasileiro is an attitude that seems to emblematize the entrepreneurial subject and its readiness to perceive and snatch any opportunity that opens up to him. In this perspective, the world consists of a collection of opportunities. “The apples are in the trees. You only have to go and grab them.” Even if this view is partly imposed by severe poverty, it also poses an avant-garde to neoliberal flexibilization and the enforced technologies of the self. The pressure to perform is at the core of every „Gambiarra“ (kludge), with “performance” only occasionally having the meaning of a cultural form “that resists dominant norms of social control” (Jon McKenzie in “Perform or Else, 2001), but rather the other meaning of “organizational performance” linked to “efficiencies”. This double meaning of the term “performance” shows remarkable parallels with the double standards of bourgeois subjectivity.
The weathered facades of the 19th-century townhouses in downtown Rio de Janeiro provide a suitable stage for an avant-garde in self-dismantling of bourgeois society. 

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Oliver Bulas

Oliver Bulas studied biology before he became an art student at the Hochschule für bildende Künste in Hamburg, Germany (2005-2012) and at SFAI in San Francisco, US. He creates ‘constructed situations, in which the visitor immerses. He uses performance and he works in public space. Bulas is wondering if the public space is a place where differences clash and are negotiated. A place where maybe a short flash of social space can incidentally shine up as a utopian moment. He was a postgraduate researcher at Jan Van Eyck Academie, Maastricht, NL. Solo exhibitions (selection): PARSE, New Orleans, US (2016), M.1 Arthur Boskamp Stiftung Hohenlockstedt, GER (2013); [MAKNETE] (Galerie für Landschaftskunst), Hamburg, GER (2012); Halle für Kunst Lüneburg, GER (2012), Kunstverein in Hamburg, GER (2008). Group exhibitions (selection): CAC, Vilnius, LIT (2017), Despina, Rio de Janeiro,BRA (2017), Y Gallery, New York, US (2015), Kunsthaus Hamburg, Hamburg, GER (2013); basis Frankfurt e.V., Frankfurt, GER (2013); Swell Gallery, San Francisco, US (2011); Yvon Lambert Gallery, New York, US (2007); Musée d’Art Moderne, Paris, FR (2003). Currently he is studying computer sciences in Berlin.


Adeline Lépine

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…..

“From AL to George Maciunas Dear George,

Hope you are fine.

I was thinking about you those last few days as people from my residency are asking to me to answer to three questions. I am sure you had to handle with them also in your life. I think you also probably provoke them, not waiting from others to ask them to you.
If I am looking closely to the questions, for sure, you didn’t really think about the first one. Even if I would be very happy to hear your opinion about what is a helmet for you? And I can bet that you would answered something like: the best thing to protect your head when Ben Patterson is crashing a violin on it.

Anyway, it is probably a good excuse for me to answer to this question as I have now to explain to you what I understood after 5 months of residency of what is CAPACETE for me – for sure, as I can only perceived and then speak from my own subjectivity. CAPACETE is called after the bad pronunciation of the first name of its director, Helmut/Helmet/CAPACETE in Portuguese.

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 A CAPACETE is related to the head and Helmut is, let’s say, a strong-head as the head of CAPACETE. From his head to earth is born a place where in a very specific space and time people are invited most of the time to take part of a flux of ideas, words, actions, experiences, conversations, knowledges, sharing, etc. and to immerse themselves in the Brazilian daily life in general and the carioca one in particular.

CAPACETE’s action is mostly to create, maintain, nourish, an international network which can take part in researches, creations, thoughts, processes connected to the Brazilian territory and social situation.
If I am looking at your manifesto, I see some common points:

So, this year, CAPACETE had invited 13 residents to be part of its immersive, intense, experience. Since the beginning, the idea is somehow to create a “group” – which was not the principle before from what I understood. This “group” has to share some common situations which are somehow participating in the fact of creating a “group”: collective housing for most of the residents; collective seminars and workshops; collective participation in the organisation of CAPACETE’s weekly events.

Indeed, it seems very fast that the question which appeared was to ask how to start as a group (a number of persons or things ranged or considered together as being related in some way) to realize some collective (Relating to or shared by all the members of a group) actions and share collective experiences.

In search with a definition of “collective”, I found yours – it seems that Beuys is quoting you in another letter – I think it is a very good definition. But, how were you dealing with your strong/big/imposant ego, dear George? How people were subscribing and possibly unsubscribing from your collective? Do we need some rules written? How can we be sure to know exactly if we are sharing the same desires, ideals? And how are we deciding what should be collective or individual actions? I just remembered you postcard to Nam June Paik

And wonder if the collective is always bending personal will.

I start to think deeply that groups start to be collective when they decide to be a collective. In other terms, when some people start to join each other, create a group, in order to share actions, energies, thoughts and desires, then they are on the way to be a collective.
Other kind of groups are related by circumstances like teams, classes, employees, etc…. and are most of the time WORKING together in order to reach a goal which is outside each individuals.

In CAPACETE, there is one group, and few appearing collectives. Individualities remain of course. The notions of group, collective and individual are all mixed together here. It is surprising to understand that most of the tensions we have as a group come from finding a way to create a conversation between those three poles: each one seem to be afraid to disappear because of the interaction with the others. But we all know that creating a common project should not exclude the differences. Big egos should survive :). I guess, the group will find a way to create a shared situation where collectives and individuals can follow their paths in and outside this specific group; or how common energy can unite various goals, desires and trajectories.

If not, the Flux could be interrupted.

Ok, I suppose that’s it for tonight. The date of my letter is already wrong now. I spend to much time on watching some Jonas Mekas’ video about Britney Spears…. It is weird to think that you even didn’t have the time to hear about her (among so many others).

Monday, 17th of August 2015

Labanakt George, Adeline 

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Adeline Lépine

Download (PDF, 1.01MB)

…..

“From AL to George Maciunas Dear George,

Hope you are fine.

I was thinking about you those last few days as people from my residency are asking to me to answer to three questions. I am sure you had to handle with them also in your life. I think you also probably provoke them, not waiting from others to ask them to you.
If I am looking closely to the questions, for sure, you didn’t really think about the first one. Even if I would be very happy to hear your opinion about what is a helmet for you? And I can bet that you would answered something like: the best thing to protect your head when Ben Patterson is crashing a violin on it.

Anyway, it is probably a good excuse for me to answer to this question as I have now to explain to you what I understood after 5 months of residency of what is CAPACETE for me – for sure, as I can only perceived and then speak from my own subjectivity. CAPACETE is called after the bad pronunciation of the first name of its director, Helmut/Helmet/CAPACETE in Portuguese.

+

 A CAPACETE is related to the head and Helmut is, let’s say, a strong-head as the head of CAPACETE. From his head to earth is born a place where in a very specific space and time people are invited most of the time to take part of a flux of ideas, words, actions, experiences, conversations, knowledges, sharing, etc. and to immerse themselves in the Brazilian daily life in general and the carioca one in particular.

CAPACETE’s action is mostly to create, maintain, nourish, an international network which can take part in researches, creations, thoughts, processes connected to the Brazilian territory and social situation.
If I am looking at your manifesto, I see some common points:

So, this year, CAPACETE had invited 13 residents to be part of its immersive, intense, experience. Since the beginning, the idea is somehow to create a “group” – which was not the principle before from what I understood. This “group” has to share some common situations which are somehow participating in the fact of creating a “group”: collective housing for most of the residents; collective seminars and workshops; collective participation in the organisation of CAPACETE’s weekly events.

Indeed, it seems very fast that the question which appeared was to ask how to start as a group (a number of persons or things ranged or considered together as being related in some way) to realize some collective (Relating to or shared by all the members of a group) actions and share collective experiences.

In search with a definition of “collective”, I found yours – it seems that Beuys is quoting you in another letter – I think it is a very good definition. But, how were you dealing with your strong/big/imposant ego, dear George? How people were subscribing and possibly unsubscribing from your collective? Do we need some rules written? How can we be sure to know exactly if we are sharing the same desires, ideals? And how are we deciding what should be collective or individual actions? I just remembered you postcard to Nam June Paik

And wonder if the collective is always bending personal will.

I start to think deeply that groups start to be collective when they decide to be a collective. In other terms, when some people start to join each other, create a group, in order to share actions, energies, thoughts and desires, then they are on the way to be a collective.
Other kind of groups are related by circumstances like teams, classes, employees, etc…. and are most of the time WORKING together in order to reach a goal which is outside each individuals.

In CAPACETE, there is one group, and few appearing collectives. Individualities remain of course. The notions of group, collective and individual are all mixed together here. It is surprising to understand that most of the tensions we have as a group come from finding a way to create a conversation between those three poles: each one seem to be afraid to disappear because of the interaction with the others. But we all know that creating a common project should not exclude the differences. Big egos should survive :). I guess, the group will find a way to create a shared situation where collectives and individuals can follow their paths in and outside this specific group; or how common energy can unite various goals, desires and trajectories.

If not, the Flux could be interrupted.

Ok, I suppose that’s it for tonight. The date of my letter is already wrong now. I spend to much time on watching some Jonas Mekas’ video about Britney Spears…. It is weird to think that you even didn’t have the time to hear about her (among so many others).

Monday, 17th of August 2015

Labanakt George, Adeline 

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Joan Vedel

“It has been a little more than a year since I left Rio de Janeiro and right now I couldn’t be further away. I’m writing this from an old wooden cabin with no electricity and running water, in the middle of the Swedish forests covered in snow. It’s early morning, it’s pitch dark outside and there are no sounds except from my own breathing and this pen moving on the paper. It’s freezing cold and I’m sitting right next to a stove and a pile of firewood, my only light source is a candle gently swaying. There are no other houses close by, no neighbours, no traffic, just trees and trees and frozen lakes and rocks covered in icy moss.

+

At this very moment I couldn’t be further away from Capacete in Rua Benjamin Constant, but still it feels so close and so much a part of my body. In fact, not a single day has passed in this year where I haven’t thought of my time in Capacete and Rio, I only need to close my eyes and all the noises and smells come right back to me. It can happen any moment and anywhere, when queuing in the supermarket or driving on my bike through Copenhagen, then suddenly out of nowhere I’m taken back to Benjamin Constant, to Capacete where I lived for a long period and spent most of my time: I hear the sounds of kids playing next door, the dealers shouting in the street outside, a stereo playing music from a neighbour’s window or a singer from the music school practising her scores. I see faces of people, friends and strangers passing by. I remember conversations we have had, meals and presentations in the yard downstairs. I can vaguely feel the hot days and the heavy rains, the moist and the sweat. I think of talks, laughters, discussions and fights; of days imbued with so much joy and high-spirited inspiration.

These sensations also come to me at night when sleeping and they often do. I have had so many weird dreams taken place in or around Capacete, but last night’s dream is the most vivid and I feel like sharing it with you, so please bare with me: Capacete had taken the form of some kind of boat or ferry full of decks and cabins. There was something slightly decadent about it, like a yacht from the 70’s, rusty in some places but still grand in its appearance. Other times it was more like a vessel, a watercraft simply floating onwards. On board we were mostly just a few passengers: me, Helmut, Andrew, the captain and a bunch of wild monkeys (sagüis). But sometimes other people would hop onboard and stay for some time and at one point there was suddenly a massive crowd partying on one of the upper decks. There was no doubt that Helmut owned this boat, but he was not in charge of it. The captain was an older Filipino man and he had a very rowdy way of steering the ship. We were on some unknown Brazilian river, long and curvy and also very narrow at times, almost to the point where we couldn’t pass, so the captain would bump the ship from side to side, forcing us through. Sometimes it felt like being in a rollercoaster in an amusement park, full-speed down a waterfall, other times it felt like we were slowly free-floating and barely moving. I never got the feeling that we knew where we were going, but no one seemed to mind, sailing, floating or river-fating down this endless stream of water. Helmut and Andrew were always in a funny mood and would climb around on the railing of the boat; go on land for days and then return. They always seemed busy with something and it was clear that they were enjoying themselves. And so was I, although I was more of an observer and never understood what we were up to, but still it felt important to be there and I never considered leaving the ship. …

It was a long and lucid dream full of details, one of those dreams that can stay with you for hours and days, perhaps even months. I know my time in Capacete will stay in my body for the rest of my life and I am so grateful for the ride.

-


Joan Vedel

“It has been a little more than a year since I left Rio de Janeiro and right now I couldn’t be further away. I’m writing this from an old wooden cabin with no electricity and running water, in the middle of the Swedish forests covered in snow. It’s early morning, it’s pitch dark outside and there are no sounds except from my own breathing and this pen moving on the paper. It’s freezing cold and I’m sitting right next to a stove and a pile of firewood, my only light source is a candle gently swaying. There are no other houses close by, no neighbours, no traffic, just trees and trees and frozen lakes and rocks covered in icy moss.

+

At this very moment I couldn’t be further away from Capacete in Rua Benjamin Constant, but still it feels so close and so much a part of my body. In fact, not a single day has passed in this year where I haven’t thought of my time in Capacete and Rio, I only need to close my eyes and all the noises and smells come right back to me. It can happen any moment and anywhere, when queuing in the supermarket or driving on my bike through Copenhagen, then suddenly out of nowhere I’m taken back to Benjamin Constant, to Capacete where I lived for a long period and spent most of my time: I hear the sounds of kids playing next door, the dealers shouting in the street outside, a stereo playing music from a neighbour’s window or a singer from the music school practising her scores. I see faces of people, friends and strangers passing by. I remember conversations we have had, meals and presentations in the yard downstairs. I can vaguely feel the hot days and the heavy rains, the moist and the sweat. I think of talks, laughters, discussions and fights; of days imbued with so much joy and high-spirited inspiration.

These sensations also come to me at night when sleeping and they often do. I have had so many weird dreams taken place in or around Capacete, but last night’s dream is the most vivid and I feel like sharing it with you, so please bare with me: Capacete had taken the form of some kind of boat or ferry full of decks and cabins. There was something slightly decadent about it, like a yacht from the 70’s, rusty in some places but still grand in its appearance. Other times it was more like a vessel, a watercraft simply floating onwards. On board we were mostly just a few passengers: me, Helmut, Andrew, the captain and a bunch of wild monkeys (sagüis). But sometimes other people would hop onboard and stay for some time and at one point there was suddenly a massive crowd partying on one of the upper decks. There was no doubt that Helmut owned this boat, but he was not in charge of it. The captain was an older Filipino man and he had a very rowdy way of steering the ship. We were on some unknown Brazilian river, long and curvy and also very narrow at times, almost to the point where we couldn’t pass, so the captain would bump the ship from side to side, forcing us through. Sometimes it felt like being in a rollercoaster in an amusement park, full-speed down a waterfall, other times it felt like we were slowly free-floating and barely moving. I never got the feeling that we knew where we were going, but no one seemed to mind, sailing, floating or river-fating down this endless stream of water. Helmut and Andrew were always in a funny mood and would climb around on the railing of the boat; go on land for days and then return. They always seemed busy with something and it was clear that they were enjoying themselves. And so was I, although I was more of an observer and never understood what we were up to, but still it felt important to be there and I never considered leaving the ship. …

It was a long and lucid dream full of details, one of those dreams that can stay with you for hours and days, perhaps even months. I know my time in Capacete will stay in my body for the rest of my life and I am so grateful for the ride.

-


Lucas Sargentelli

“Demorei alguns anos, depois de ser ‘alfabetizado’, para realizar que escrevia a palavra ‘derrepente’ junto e não separado (‘de repente’). Não faz muito tempo, percebi que escrevia a palavra ‘agente’ junto e não separado (‘a gente’). A constatação desses usos errados da língua não sai mais de mim. E o sentido dessas palavras, a cada vez que vou usá-las, desliza entre os possíveis de sua significação. Geralmente vem com prazer usar essas palavras, um prazer subterrâneo, que me lembra que estou escrevendo elas com uma potência outra, uma atenção e invenção que sinto intima. Desde 2011, na urgência e no grupo, venho experimentando com o Capacete.”