Brazilian artist, art-educator and cultural stirrer, graduate in dance, mainly interested in articulating different forms and conditions to develop sensible material and experience.

“CAPACETE was the second of a series of six residencies I participated in 2012/2013, in which I was developing a gestural, behavioral, choreographic and conceptual research I was calling “Escavações” (Excavations). Once I was able to have a lot of proper time to arrange my activities along all of those residencies, and having CAPACETE’s context in between of two others where I was and would be pushed hard into practical experimentation, I decided to make Rio (a very familiar place for me, because I lived there for 10 years) a place/context to be more quiet and still, reading more, listening more, paying attention and so on. I remember the moments of the days I enjoyed the most were like being at the kitchen with other artists, listening to their desires, concerns, struggles and efforts, cooking and talking about nothing precise, chit-chatting with the woman that used to clean the common spaces of the apartment (I’m sorry I don’t remember the names of much of those companions, but for me what mattered were their presences), and also when someone was being visited by outsiders; it was great having time to give time to the presence of the other. Maybe that’s the clearer remembrances (maybe more as feelings) I have from the time at CAPACETE, but nonetheless, despite blurred and apparently artistically meaningless, those experiences brought me thoughts and motivations that were deeply important for the sequels of my excavations.”

Musa paradisiaca is a dialogue-based artistic project by Eduardo Guerra and Miguel Ferrão. Founded in 2010 on temporary partnerships with individual and collective entities of varying competence, Musa paradisiaca assumes different formats, while always maintaining a discursive and participatory reference. Their work has been presented at various national and international exhibitions, such as Man with really soft hands at Galeria Múrias Centeno, Lisbon (2017), Masters of Velocity at Dan Gunn Gallery, Berlin (2016) and Alma-Bluco at CRAC Alsace, Altkirch (2015). Their performances were part of Canteen—Machine, Serralves Museum of Contemporary Art, Porto (2015) and Impossible tasks [The Servant of the Cenacle], Palais de Tokyo, Paris (2013).

Vive e trabalha entre São Paulo e Maranhão. Curadora, gestora e artista e, há mais de  20 anos, atua como sócia fundadora e coordenadora do Ateliê Aberto, em Campinas – SP (desde 1997), como membro fundadora e gestora do espaço Chão SLZ (desde 2015), em São Luís – MA e do AFLUENTES INSTITUTO (desde início de 2017).

Foi idealizadora, curadora e organizadora de projetos premiados em editais públicos e de exposições da Funarte, ProAc, Centro Cultural Banco do Brasil, em Museus de Arte Contemporânea, unidades do SESC, entre outras instituições. Integrou a comissão de seleção do 4^a Laboratório de Artes Visuais do Porto de Iracema das Artes em Fortaleza, seleção e premiação do ProAc para Espaços Independentes – 2016, Prêmio Foco – ArtRio 2016, da 5^a edição do Prêmio CNI-SESI Marcantônio Vilaça para as Artes Plásticas, em 2015 e em diversos salões nacionais. Participou de exposições como 32° Panorama da Arte Brasileira no MAM São Paulo, Rumos Artes Visuais Itaú Cultural em 2007. Atua juntamente com espaços independentes parceiros no Brasil e no exterior. 

“I was in Capacete San Paulo for four months, six years ago, and I still have in mind great memories of Clara, Maaike, Joris, Rafa, Wolfe and Helmut, of the view from Edifício Copan, of the caïpirinha(s) at the Bar do Museu, of the perpetual fog, of the trip around Ilha Grande, of our work sessions on the patio, of all the people coming in and out all the time (especially this one woman with her baby who rang at the door one day and with whom we all spend two hours talking, convinced that she was the friend of someone in the room before realizing, when she left, that none of us knew her), of the awkwardness of our luxury situation compared to that of the locals, of Jarbas’s daughter, of the beauty of the city, of the feeling to be lost and of Pride Prejudice and Zombies No. 1. It’s been an amazing and quite unique moment.”

Estelle Nabeyrat is a German French curator and art critic based in Paris and Lisbon where she runs a project called πνεῦμα. Graduated in Art History and Social Sciences (Uni Leipzig & Ehess), she took part to the Ecole du Magasin and worked at Akademie of Vienna (2003). She then joined the School of Fine arts Lyon (ENBA) as Coordinator of International Affairs & Post diploma (2003-2008) before becoming Head of Study at School of Art & Design in Reims and then at Ecole du Magasin Grenoble (2014-15).

Falke Pisano (Amsterdam) lives and works in Berlin. Her diagrammatic works expose a loop, in which shifting abstract sculptural forms are conceived directly in relation to written and spoken language, implying an ongoing and morphing production of meaning. In the publication ‘’Figures of Speech’’ (designed and co-edited by Will Holder, published by JRP-Ringier, Christoph Keller Editions, 2010) Pisano brought together her work focusing on the act of speech in relation to different forms of agency in artistic production. The artist second cycle of works (2011-) “The Body in Crisis” consists of a series of propositions and inquiries that look at the body in crisis as an ongoing event.

Christodoulos is currently working with Rodeo, London and kamel mennour, Paris and London.

Livro para ler – CAPACETE 10 anos

[gview file=”http://capacete.org/wp-content/uploads/2010/05/livro-para-ler-2010PORT-hans.pdf”]

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Hans-Christian Dany nasceu em 1966 em Hamburgo, Alemanha. Estudou arte na Hochschule für bildende Künste em Hamburgo. Desde 1989 publicou em diferentes revistas internacionais. Em 1991 fundou a revista Dank e em 1998 a revista Starship. Ele co-editou o livro dagegen dabei (against within / 1998) e co-curou a exposição Ökonomien der Zeit (economies of time), Museum Ludwig em Colónia (2002). Como artista ele participou em diferentes exposições coletivas. Primeira individual insitucional foi na Hamburger Kunsthalle (2002). Recentemente ele publlicou o livro Speed. Eine Gesellschaft auf Droge. (Speed. A society on drugs. / 2008). Trabalha como consultor pesquisador para a Jan van Eyck Academy em Maasticht e vive em Hamburgo.

“I was invited to stay for a month but later got an extended invitation to stay for longer. I was having such a fantastic time and it was really sad as I couldn’t stay because I had to go back to work for an artfair solo presentation. Helmut argued that I was already working by being there. It didn’t make much sense to me. On my way back to the airport from the bus I saw a grafiti which said ‘Os artistas verdadeiros estão nas ruas’, which somehow revealed to me what Helmut was trying to say. I wanted to stop the bus and go back to Capacete but I didn’t, just left trying to figure out how this reflection could leave something positive at that point.”

Words and music by Hans (for Petri’s birthday!)

“I left my beard in Rio Did I do that for Clio? It may seem weird, you see-o – O-me-o-my – that still It gives me such a thrill: My beard back in Brazil. Now I’m back in Helsinki But still I feel so kinky And full of strange emotion When staring at the ocean. I left my beard in Rio Did I do that for Clio? It may seem weird, you see-o – O-me-o-my – that still It gives me such a thrill: My beard back in Brazil. When in my native Finland If by the sea or inland It makes me feel so frantic When I get transatlantic. I left my beard in Rio Did I do that for Clio? It may seem weird, you see-o – O-me-o-my – that still It gives me such a thrill: My beard back in Brazil. And all my friends the Fins – With laughter and with grins They say, “We’ll see you later And south of the equator.” My heart it is with Sasha’s Into this life she ushers Me softly without crushers It’s her and not that Clio And people, can’t you see-o? It’s just my beard in Rio!”