Dorota Gawęda & Eglė Kulbokaitė

Dorota Gawęda e Eglė Kulbokaitė no YOUNG GIRL READING GROUP 146 com Gruppe Magazine. Foto: FRITZ SCHIFFERS

 

Dorota Gawęda (nascida em 1986, Lublin, PL) e Eglė Kulbokaitė (nascida em 1987, Kaunas, LT) são uma dupla de artistas fundada em 2013, com sede em Basileia (CH). Ambas são graduadas no Royal College of Art, Londres (2012). Elas trabalham em uma variedade de mídias, incluindo desempenho, instalação, vídeo e escultura. Elas são os fundadoras do YOUNG GIRL READING GROUP – YGRG (2013-), um projeto que busca uma maneira horizontal de abordar textos e compartilhar conhecimentos, proporcionando um espaço discursivo íntimo na experiência da leitura coletiva. A dupla também é a fundadora do avatar pós-corpo de Agatha Valkyrie Ice (2014-2017), sob cujo nome elas co-curaram o espaço do projeto OSLO1O em Basel (2015-2017). Gawęda e Kulbokaitė exibiram seus trabalhos internacionalmente, incluindo: FUTURA, Praga (solo); Projetos Schimmel, Dresden (solo); Antecipações de Lafayette, Paris; HKW, Berlim; Spazio Maiocchi, Milão; Galeria Lucas Hirsch, Düsseldorf (solo); Les Urbaines, Lausanne; ANTI – 6ª Bienal de Atenas; Suíça; Arte em geral, Nova York; Martin Gropius Bau, Berlim; Museu d’Orsay, Paris; Cell Project Space, Londres (solo); MMOMA, Moscou; Palácio de Tóquio, Paris; Galeria Amanda Wilkinson, Londres (solo); 13ª Trienal do Báltico, Centro de Arte Contemporânea, Vilnius; Kunsthalle Basel; ACI, Londres; SMK – Museu Nacional da Dinamarca, Copenhague; Kunstverein für die Rheinlande und Westfalen, Düsseldorf (solo); MOMA, Varsóvia; SALTS, Basiléia; Bienal de Berlim 9; Kunsthalle Zürich; entre outros. As próximas exposições individuais da dupla incluem: Coleção Julia Stoschek, Düsseldorf, On Curating, Zurique e FriArt / Kunsthalle Fribourg, Trafo Gallery, Budapeste.

 

**** Esta residência é possível graças a Pro-Helvetia (https://coincidencia.net/pt/)

 

 

 

 

 

 

 

 

 


Tiago de Abreu Pinto

No Rio, estarei de papo com artistas. Escutando, principalmente. Doravante, ditos artistas, serão a base de textos ficcionais (talvez, não tanto, pois tudo o que dizem incorpora-se no texto e portanto pouco ficcionais e mais reais). Não devendo o supracitados artistas serem excluidos do diálogo após o texto ser concluído já que acredito que o contato com o artista deve ser contínuo e permanente. Em outras palavras, conectarei a mensagem (ou, melhor dito, voz) do artista ao público por meio de textos que incorporem rasgos de sua idiossincrasia. Nos doces aclives dessa comunicação se tornará patente a alusão à formas dialéticas e dialógicas de Mikhail Bakhtin para explorar novas formas de mediação crítica. Outrossim, esse processo transformará as diferentes vozes dos artistas em uma massa ficcional que lança luz sobre vários temas como: (a) interpretação e neutralidade, (b) os limites entre ficção e realidade e as (c) diferentes maneiras pelas quais os artistas contemporâneos incorporam suas idéias.

Tiago de Abreu Pinto é escritor e curador independente, Ph.D em História da Arte pela Universidade Complutense de Madri. Ganhou a Bolsa de Curadoria de Arte concedida pela Bienal de Arte de Gwangju, Coréia do Sul em 2012, e o Prêmio de Curadoria de Arte Se Busca Comisario concedido pela Comunidade de Madri, Governo espanhol em 2014.
 

Ali Hussein Al-Adawy

O projeto de pesquisa de Ali Hussein Al-Adawy é principalmente sobre Imagens de Trabalho.
Ele pesquisa as representações do trabalho na história da arte e arquivos de filmes, a fim de discutir conceitos variáveis de trabalho e refletir sobre as imagens tradicionais dominantes do trabalho.

Ele também está interessado em dois outros tópicos:
1- Repensar museus / exposições nacionais / cubos brancos
2-Como poderíamos ver o arquivo de imagens militantes (cinema novo especificamente) hoje em dia ?!

 

**essa residência conta com o apoio de Mophradat (http://mophradat.org/)

 

 


Tenzing Barshee

**Foto Hanna Putz

 

 

Tenzing Barshee (nascido em 1983) é um escritor independente e curador da Sundogs em Paris. No Rio de Janeiro, ele reflete sobre como a ideia de “tocar e ser tocado” pode ajudar e complicar o deslocamento do próprio corpo. Seguindo pistas diferentes, ele se aproxima de pessoas e lugares com uma disposição para se envolver, emparelhado com a melancolia inerente à memória de uma curiosidade infantil.


Fotini Gouseti

Experiencing connecting issues“- CAPACETE Athens 2017

Download (PDF, 75KB)

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Fotini Gouseti is a conceptual artist and PhD researcher in anthropology. She studied art at Athens School of Fine Arts (BA), Dutch Art Institute (MA) and she is currently a PhD candidate at the Dept. of History, Archaeology & Social Anthropology, University of Thessaly, Greece. Accordingly, her practice is research-based, socially-engaged and quite often called political. Her learningprocess derives out of her connection with others, while she focuses on the role of art in negotiating issues of memory.

She is the initiator of the art project Renkonto. For the past few years she has been engaged in the research projects The Present as a Result of the Past and The Least Wanted Travel the Most. The artistic outcomes of her projects are presented in various contexts worldwide.


Arendse Krabbe

I’m a Western European white, privileged, female artist. I’m concerned with how the structures, hierarchies and systems we live in shape us. In Copenhagen I’m a part of a group that produces radio. The group consist of people who are seeking asylum, people that are underground, people with residence permit and people with a Danish citizenship, as me. The Bridge Radio started as a protest against the capitalistic-colonial strategies of creating a repressive migration regime in EU. We find it essential never to keep silent about what is happening at the EU borders, in places of detention and the asylum system. We strive to create a platform where people can share their own stories and experiences.

My desire to apply for the residency is informed by Suely Rolnik regarding “our ability, or rather of our body’s ability, to be affected by the forces of the world as a living being.” I’m interested in developing methods that can allow and accommodate oneself and subject groups to be affected by the forces of the world. I believe that it is through these affects that there is a potential to dismantle the capitalistic-colonial structures. My approach is first and foremost that I’m open to who and what I meet whilst being aware of where I come from and what my body represents. In continuation of this I set up meetings, I listen, I make affective cartographies, I invite people to make group exercises and read. When I wake up in the morning I start the day by listening to the dream I had during the night seeking to learn from it.

Website:

http://schizovibrant.net




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.

 


Max Hinderer

Max Jorge Hinderer Cruz is a writer, editor and philosopher who works as professor, cultural critic, and curator, since 2011 he is a frequent collaborator of Capacete. 2014 Capacete translated and published his and Sabeth Buchmann’s book “Hélio Oiticica and Neville D’Almeida: Block-Experiments in Cosmococa – program in progress” (Afterall Books/MIT Press, 2013) from English into Portuguese – in collaboration with Editora Azougue, Rio de Janeiro.


Esteban Alvarez

Buenos Aires, 1966. Artist and curator graduated from Escuela Nacional de Bellas Artes P. Pueyrredón, BA(1992), Master of Middlesex University (London,2000). Artist in Residence at Gasworks (London,2000), participated in Hwei-Lann Workshop (Taiwan,2003). He received awards including: 2 First Prize, Second Biennial of Printmaking(Colombia,1998), Awards: British Council(1999), FNA(2002), Fundación Antorchas(2003) & Pollock-Krasner(NY, 2004). Curated exhibitions: A finger on the River, CCEBA(BA,2006). Participated in exhibitions such as: Biennial of the End of the World (Ushuaia,2009); Variation Time (Munich, 2009); Alucine Video Festival (Toronto,2009); SAR07 Macro (Rosario, 2007) Levity (NY,2007); ACC Gallerie (Germany,2006), Art and Engagement (Spain,2005), PR04 (Puerto Rico,2004), False Impressions (England, 2003) Contemporary Art Biennial das Americas (Fortress,2004); Contemporáneo1 Malba (BA,2002) Unterwegs nach Timbuktu (Berlin,2002) Solo Exhibition: Gallery-UECLAA Essex (Colchester,2000).



Bernardo Stumpf

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.”


DAG Nordbrenden

“In many ways Capacete was an opening chapter to a series of visits to the country. I have been coming back every winter since, developing different projects around themes of nature and corruption in the north east region of Brazil. I did a solo show titled ‘Condominium’ at Akershus Kunstsenter in Norway in 2015 where I exhibited a project looking at massive holiday apartment complexes, built for Norwegians, close to Natal that came to a halt due to financial crisis and a money laundring scandal. At the moment I’m working on an artist book that connects images from trips to Brazil. It will be a lyrical documentary of a region, where contemporary ruins destroyed by financial crisis and corruption are combined with images of landscapes and of hallucinatory nature. It will also include a CD of sound recordings.”


Jimmy Robert

Jimmy Robert (born 1975) works in a range of media—including photography, sculpture, film, video, and collaborative performance—gently breaking down divisions between two and three dimensions, image and object. Robert’s work is guided by an interest in the body and the poetic potential of ephemeral materials such as paper and tape. Creating form through gesture, he draws inspiration from artists such as Yvonne Rainer and Yoko Ono. His exploration of moving bodies, crumpling paper, and repetitive gestures, in works that feature actions such as a hand tearing tape from skin or fingers rubbing a text, has come to define him as an artist of touching.

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 “These images document places where I did for example a bit of research towards the theater of the oppressed and its remnants in Rio and in particular in this psychiatric institute in Jurujuba as well as an exhibition of Art Brut following the legacy of Doctor Nise da silveira at the Instituto Moreira salles where by chance I discovered the work Ana Cristina Cesar.

There is also a still of the performance I did at the teatro Ipanema with the group of artists/community around Capacete at the time. Finally, a production still of the video installation Vanishing point showed at the 8th Berlin Biennial where I filmed on super 8 the amazing drag performer Erika Vogue doing a dazzling performance of Bate cabelo throughout the modernist edificio Capanema. We also went to Ilha Grange as a group which was a simply unforgettable moment, here you see Helmut with a Penguin which had somehow lost its way to the south.” 

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Musa paradisiaca (Eduardo Guerra / Miguel Ferrão)

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).


Ana Luisa Lima

Ana Luisa Lima (1978) é crítica de arte, escritora e pesquisadora independente com foco em literatura e artes visuais – imagem e narrativa. Editora da revista Tatuí de crítica de arte (2006-2015). Cocuradora do projeto ‘Poemas aos homens do nosso tempo – Hilda Hilst em diálogo’, Programa Rede Nacional Funarte 9ª edição, 2013. É colaboradora da revista sobre mercado de arte contemporânea e colecionismo latino-americano TONIC (Chile). Criadora da Cigarra Editora. Autora do livro ‘16’39” a extinção do reino deste mundo’, São Paulo-SP, 2015. No audiovisual, lançou seu primeiro curta-metragem ‘Zona Habitável’ (13′, Nova Lima – MG, Brasil, 2015). Tem desenvolvido projetos curatoriais e editoriais com foco na produção artística e experimental feita por mulheres. É idealizadora do projeto CODEM.RED – Cooperação de Mulheres em Rede, uma plataforma de organização, colaboração profissional e assistência jurídica para mulheres. Já fez curadorias, escreveu e publicou ensaios sobre artistas e fotógrafos como Farnese de Andrade (BR), Luiza Baldan (BR), Marcelo Silveira (BR), Gil Vicente (BR), Nazareno (BR), Thiago Martins de Melo (BR), Felipe Abreu (BR), Carolina Krieger (BR), Fernanda Rappa (BR), Luana Navarro (BR), Marco Maria Zanin (IT), Leonora Weissmann (BR), Pedro Motta (BR), Serge Huot (FR), Stéphane Pauvret e Christine Laquet (FR). Seus ensaios já foram traduzidos e publicados em espanhol, inglês, francês e italiano.

“Participei da “residência para Gestores Independentes” em 2010. Foi sem dúvidas uma das experiências mais ricas e profundas que pude ter durante uma residência. Em um mês juntos/as, passamos por SP, MG e RJ, conhecendo formas diversas de gestão institucional e autônoma, pública e privada. Generosidade e afeto eram parte do exercício político diário em busca de transformações sejam em nossos próprios modos de conduzir os projetos, tanto quanto nos modos de reinventar um estar-juntos/as enquanto coletividade. Fiz amigos/as que seguem até hoje. Trabalhamos, sorrimos e choramos juntos/as. Seguimos nossos caminhos de maneira que possam se encontrar sempre que possível. “Amar e mudar as coisas me interessa mais” dizia o mestre Belchior.”


Sasha Huber

Sasha Huber is a visual artist of Swiss-Haitian heritage, born in Zurich (Switzerland) in 1975. She lives and works in Helsinki (Finland). Huber’s work is primarily concerned with the politics of memory and belonging, particularly in relation to colonial residue left in the environment. Sensitive to the subtle threads connecting history and the present, she uses and responds to archival material within a layered creative practice that encompasses video, photography, collaborations with researchers, and performance-based interventions. She has also discovered the compressed-air staple gun as a tool capable of producing visually arresting works that also functions like a symbolic weapon, offering the potential to renegotiate unequal power dynamics.


Cristina Ribas

“Capacete is many things in my life, and I have been part of it with many different intensities, along the years… starting more or less in 2007! A space for learning, producing and thinking, a (non)school, a project space, and a space for feeding up the body and the soul in all sorts of energetic levels”


Mauricio Marcin

“I live in Mexico City, my full name is Mauricio Marcin Alvarez, that hasn’t changed. I now work in a space I co-funded with 4 other guys and girls called Aeromoto. Recién noto que han pasado cerca de siete años desde que fui a Capacete. Tengo tantas hermosas memorias que me resulta complicado alejarme del sentimentalismo. Ni modo. Diré que descubrí en compañía y en diálogo con los gestores dependientes potencias sensoriales, zonas erógenas, sobre la retaguardia y la fragilidad de la vida. Se abrió el telón que dejó descubiertos todos los miedos. Miré un sapo por un instante eterno y en el brotó la sonrisa de Helmut. ¿Habrá sido místico, todo ello? Simonel.”


Rodrigo Quijano

“Con toda sinceridad, la experiencia con capacete en el 2011 fue un poco confusa, pero nunca olvidaré los días pasados con lxs compañerxs en el piso 21 y 22 del Copan. Ahí hice estupendos amigos, tomé mucho café, escribí poemas y miré mucho por la ventana, pero sobre todo conocí entrañablemente a Mauricio Marcín.”


Alicia Herrero

“Como si las palabras almacenaran tesoros, ritmos y sentidos infinitos, residir puede derivar en re-incidir. Así, todo el secreto de una residencia artística estaría oculto en la acción que implica su coloquial nominación. Su mejor meta. ¿Qué otra cosa podemos aspirar de esta experiencia, que no sea incidir una y otra vez de forma intercambiable entre lxs unxs y lxs otrxs? Solo re-in-ci-dien-do una y otra vez, habrá trabajo compartido. Deslocalizarse es siempre grato para mi, no siempre se logra, muchas veces las exposiciones y actividades de agenda, hacen que esto no sea posible, incluso cambiando de lugar. En Capacete se logra, y lo digo por mi propia experiencia ya que la residencia me tomó en medio de la realización de un proyecto para una bienal y dos exposiciones en otros dos paises. Se logra porque Capacete incide en unx y abre el corazón a ser incidido. No solo durante su estadía. Cinco años despúes, un tramo de esa experiencia reaparece en una nueva serie. Incide, reincide, y vuelvo a incidir. Pero hay otros secretos ocultos en las palabras. Residir reincidir puede derivar en resistir. ¿Qué otra cosa se anhela, sino, que una residencia de artistas, logre ser el lugar dónde resistir ciertas normas epocales? Una zona de resistencia, lo es también de emancipación, de aventura y solidaridad. ¿Capacete? Un lugar extra-ordinario del planeta. Una residencia que reincide en ser una resistencia existencia”


Paulina Varas

“Paulina Varas. Madre de Borja, compañera de José. Parte de CRAC Valparaíso www.cracvalparaiso.org e investigadora del Campus Creativo de la Universidad Andrés Bello.​ ​Mi experiencia en Capacete fue parte de una residecnia para gestores, investigadores y curadores de América Latina y Brasil en el año 2011. Sao Paulo, Belo Horizonte y Rio de Janeiro repartido en 30 días de encuentros, risas, debates, talleres, frio, calor, comidas, bebidas, bailes, lecturas, exposiciones, caminatas…Recuerdo que tuve que ir al dentista por un pequeño accidente en una muela, y el dentista trabajó tan lentamente en el diente, con pausa, eso me hizo caer en cuenta que mi cuerpo estaba en Brasil…movernos juntos por algunas ciudades de Brasil en avión o autobús fue una manera de componer formas y relacionarnos de una manera que dejó una huella de vínculo en cada una/o, eso que hace que cada vez que nos hemos vuelto a encontrar, nos abracemos con afecto. Capacete-afectos-relaciones-formas de vida-composiciones-intensidades-creacion-poeticapolitica-cuerpos-gracias.”


Samantha Moreira

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 4a 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 5a 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. 

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Coordenou projetos como: “…e de novo montanha, rio, mar, selva, floresta” – SESC Palladium BH e JA.CA, 11a Aldeia Guajajara – SESC São Luís e Museu Histórico e Artístico do Maranhão, Projeto Chão Luz – Semana Nacional de Ciência e Tecnologia no Maranhão, ‘Frestas – Trienal de Artes’ – SESC Sorocaba, “diagnósticos para indie.GESTÃO – residência de espaços autônomos” — Edital Rede Nacional da Funarte 2013, ‘Poema aos homens do nosso tempo’ – Edital Rede Nacional Funarte 2012, ‘Comestível’ – ProAc 2013 / Espaços Independentes, ‘Daquilo que me Habita’ e ‘DF | Depois das Fronteiras – experiências sonoras e visuais no Planalto’ – ambos no Centro Cultural Banco do Brasil Brasília , ‘Há Sempre um copo de mar para um homem navegar’ – itinerância da 29° Bienal de São Paulo e ‘Instante – Experiência / Acontecimento’ – ambos no SESC Campinas, ’79>09 > 30 anos de artes visuais > Campinas > Ribeirão Preto’ – MARP Ribeirão Preto e MAC Campinas, ‘VIP – very important people’ e ‘Afinidades Eletivas’ – CPFL Cultural Campinas, ‘BR500’ – Oficinas Culturais Oswald de Andrade, MAC Americana, Festival de Arte de Porto Alegre, Porto de Santos e MAC Campinas, ‘Seja Lá Onde For’ – MAC Americana, ‘AR LIVRE – paisagens audiovisuais’ – Parque Ecológico Campinas, ‘I Semana Fernando Furlaneto’ e ‘A Casa Onírica’ (idealização e produção), ambos em São João da Boa Vista em SP, entre outros.

De 2005 a 2009, foi Gerente de Desenvolvimento e Educação na Empresa Municipal de Desenvolvimento  de Campinas, responsável pela gestão de projetos voltados a  Mobilidade Urbana a partir de conceitos de arte, cultura e cidadania. De 2009 a 2011 é Diretora de Desenvolvimento Institucional da mesma empresa, responsável pelas áreas de Comunicação e Sustentabilidade, Educação e Cidadania, Tecnologia da Informação e Recursos Humanos.

ATELIÊ ABERTO > CAMPINAS

O Ateliê Aberto é um organismo inter-dependente que vive da criação, produção, difusão, formação e investigação em arte e cultura contemporânea. Uma plataforma para fomentar a produção e o debate, articular ideias e forças, um laboratório permanente para novos processos colaborativos de criação e convívio. Trabalha em colaboração com projetos espaços independentes, instituições, universidades, espaços culturais, empresas, ONGs, desenvolvendo projetos expositivos, audiovisuais, intervenções, residências, discussões, orientação de projetos, consultorias, curadorias e atividades de documentação e pesquisa.

Há 20 anos é referência na cidade de Campinas, reconhecido pela consistência de sua programação, seu compromisso com processos experimentais, idealização de projetos inovadores e trabalho de cooperação que estabelece com diversos atores, envolvendo os artistas locais e internacionais.

Entre 1997 e 2017, o Ateliê Aberto Produções Contemporâneas participou de cerca de 70 projetos externos, atuando como idealizador, curador, produtor, produtor executivo, montador, projetista. Envolveu, nos projetos internos e externos, mais de 700 artistas. Criado em 1997, é coordenado por Samantha Moreira.

CHÃO SLZ
São Luís _Maranhão _ Brasil

https://www.facebook.com/chao.slz

Experimentalmente voltado às práticas de formação não convencionais, Chão surge da intenção de se irradiar sentido em ambientes propícios para o diálogo e os processos elásticos de ampliação e troca direta de conhecimentos com o público, universidades, espaços independentes afins, instituições parceiras e manifestações do entorno, acerca da pesquisa no contexto da cultura visual e cultura contemporânea.

Como projeto, o Chão baseia-se nas ações espontâneas de sua rede de contatos bastante consolidada e na hipótese de existência de um novo terreno de atuação crítica junto à vida coletiva, desejando apresentar um formato de programação continuamente alternada, contemplando todas as faixas etárias, e que inclua: conferências, debates, cursos e oficinas, exposições, mostras de filmes e vídeos, performances, música e dança, encontros com comida, festas, residências, expedições, publicações impressas e online, ações políticas, sociais e de resistência.

Localizado no Centro Histórico de São Luís do Maranhão, o Chão tem dois espaços na região tombada pelo IPHAN em 1974 e reconhecida como Patrimônio Cultural Mundial pela Unesco em 1997: o _Casarão, localizado próximo ao Mercado Central, onde acontecem as residências, e o _Galpão, edificação histórica situada no bairro da Praia Grande, ambos do final do século XVIII, para realização de projetos e programação aberta ao público.

Fundado em 2015 por um grupo de artistas, curadores e gestores, atualmente é composto por Samantha Moreira (curadora e fundadora do Ateliê Aberto de Campinas), pelos artistas e produtores maranhenses Camila Grimaldi e Dinho Araújo, e pelo artista visual Thiago Martins de Melo, e pelo curador  Marcio Harum, de São Paulo.

 

O AFLUENTES

O Afluentes atua com o objetivo de estimular a criatividade e a criação em diferentes meios, articular processos educativos e de mediAção cultural em vários níveis para a garantia do acesso à cultura e a arte na sua diversidade. Seus integrantes possuem formações diversas e vasta experiência em distintos âmbitos do sistema de produção e gestão cultural, promoção da educação e produção artística em múltiplos contextos.

Desenvolve práticas de mediAção planejadas para promover processos de educação, partilha, criação, difusão e intercâmbio de saberes, a partir de acervos, de exposições, da missão, dos contextos ou de questões transversais aos museus, exposições e centros culturais. Com isso, visa fomentar e garantir o debate público, a experiência com a arte, a produção e a salvaguarda da cultura e seus múltiplos patrimônios. Reconhece e valoriza a diversidade cultural brasileira e realiza projetos orientados para a garantia do acesso e da apropriação da arte e dos bens culturais, como direito e condição para a cidadania e a integração social.

Desde o início de 2017 o Afluentes Instituto é composto pelos seguintes profissionais: Samantha Moreira (SP/MA), Ricardo Kelsch (RJ), Marcio Harum (SP), Bitu Cassundé (CE), Francisca Caporali (MG), Gleyce Heitor (RJ/GO), Viviane Vazzi (MA) e André Lobão (MA).  

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Lilian Maus

Lilian Maus is an artist/researcher and born in Salvador – Bahia, Brazil. She currently resides between the cities of Porto Alegre, Osório and Recife. She has a PhD in Visual Poetics from PPGAV – Arts Institute of the Federal University of Rio Grande do Sul (UFRGS) and a Masters in Art History, Theory and Criticism. From the same University, she has also obtained a B.A. in Plastic Arts and a B.Ed. in Visual Arts. As a researcher she writes for art magazines and manages publications, such as the book “The Ladies Have the Floor: dialogues on the inclusion of women in visual arts” (2014) and “Studies of the Earth” (2017).

“In 2011 I participated in the CAPACETE’s Program for Latin American artists and it really caused great changes in my life. In this residence I met friends who have transformed me deeply and with whom I have been developing artistic projects. Since then, we have come sharing a life, feeding good conversations, discussions and having an intense conviviality. In CAPACETE I learned that art can often spring from a good breakfast, without the need to call it “art”, without setting specific goals for a project, just letting the flow of creation be born happily and spontaneously. No one walks a path alone, the artist is interdependent of the system in which he operates and changes are only possible through actions with peers, understanding the complexity of art beyond the walls of the museum.”


Elsa Bourdot

“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.”


Joris Lindhout

Co-founder of Deltaworkers, an international residency program in New Orleans, US. Jan van Eyck Academy alumnus and current graduate student and Teaching Assistant in digital media at Tulane University in New Orleans. Our experience at Capacete has shaped our view on how projects can develop and firmed our idea about residencies and how they can be fruitful for both host and resident. The fact that Helmut chose very careful in who he wanted at the residency and how he let everyone go their way however way the best fit to the artist, has proven a good strategy. We had the chance to live at Helmuts house on top of the mountain and see how he devoted his time to art and life. It inspired us to become ambitious in not following the existing paths too much. Another thing that was very inspiring was that Helmut shared a lot of questions he had with us, about how to continue the residency while developing the school. This openess and dedication to art led to the creation and development of the Deltaworkers residency program in New Orleans, which was build with the Capacete principles at its core. We give space to artists from different disciplines and want them to try to understand the city before even thinking of producing anything. It’s the constant dialogue on multiple levels that feeds the projects, which is apparent in the results. After the residency in Capacete we created an installation and performance, for both of us a new step in our careers.


Maaike Gouwenberg

Co-founder of Deltaworkers, an international residency program in New Orleans, US. Curator and producer at the international contemporary art performance biennial Performa in New York City.

“Our experience at Capacete has shaped our view on how projects can develop and firmed our idea about residencies and how they can be fruitful for both host and resident. The fact that Helmut chose very careful in who he wanted at the residency and how he let everyone go their way however way the best fit to the artist, has proven a good strategy. We had the chance to live at Helmuts house on top of the mountain and see how he devoted his time to art and life. It inspired us to become ambitious in not following the existing paths too much.

Another thing that was very inspiring was that Helmut shared a lot of questions he had with us, about how to continue the residency while developing the school. This openess and dedication to art led to the creation and development of the Deltaworkers residency program in New Orleans, which was build with the Capacete principles at its core. We give space to artists from different disciplines and want them to try to understand the city before even thinking of producing anything. It’s the constant dialogue on multiple levels that feeds the projects, which is apparent in the results. After the residency in Capacete we created an installation and performance, for both of us a new step in our careers. Helmut Batista has been an influential person in Maaike’s development as a curator. Even though she don’t speak much to him, his way of looking at the world and at art has been inspiring since the first time she met him in 2006 while being a participant in the Curatorial Program at De Appel in Amsterdam.”



Elise Florenty & Marcel Türkowsky

French artist and filmmaker Elise Florenty and multifaceted German creator Marcel Türkowsky.


Estelle Nabeyrat

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).


Paola Anziché

Paola Anziché took a degree at the Accademia di Belle Arti di Brera and the Städelschule, Staatliche Hochschule für Bildende Künste,Meisterschülerin, Frankfurt, Germany, where she studied under Tobias Rehbeger. In her research she investigates, though different media and materials, the possibilities of art to cross and connect distant disciplinary fields: from folk traditions to antropological art to scientific research. She has done residencies in international programs: in 2017 the Residency program Kiosko Galería, Santa Cruz de la Sierra, Bolivia, in 2015 the HIAP Residency Program of Helsinki and the Residency Program at Yarat, in Baku, Azerbaijan; in 2012 the SYB Artist Residency at Beetsterzwaag, Netherlands; In 2011 she had a residency at Capacete in, Rio de Janeiro, San Paolo, Brasile, RES.O’ international network for art residencies, Torino, in 2010 the Pact Zollverein Zentrum in Essen, and in 2008 at the Centre International d’Accueil et Récollets in Paris.


Trine Mee Sook Gleerup

Trine Mee Sook is a visual artist working within installation, text and performance. Deeply invested in historical, national and political tendencies her artistic performance-based methodology also questions the politics and history of performance art itself. From a post-colonial and gender-related perspective her work is debating cultural and racial stereo-typing and representation, as well as it strives to (re)negotiate overall power structures, and identity building.

“My heart and body remembers my time at Capacete with beats of joy. And my mind does not disagree on bit! Capacete was the perfect hub for contemplation, exploration, and important encounters with lots of great and dear artists & researchers traveling through. I was so lucky to experience the residency in both Sao Paulo and Rio, and I wish Capacete the best of luck with future adventures. Special thanks to: Tamar Guimarres, Rafael RG, Denise Milfort & Helmut Bartista.”


Falke Pisano

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.


Raquel Guerra

Born in Porto in 1976.

Degree in History (UPT) and postgraduate studies in Museology and Curatorial Studies (FBAUP).
Currently attending a PhD in Contemporary Art (Colégio das Artes, UC).

Curator and researcher. As a researcher, she participated in the projects Anamnese_ Digital Platform on Contemporary Art from/in Portugal between 1993 and 2003 (Ilídio Pinho Foundation, Porto) and IDAP S20_ Digital Interface of Portuguese Art of the 20th Century (Universidade Católica Portuguesa, Porto).

Fellowship in 2011 from Calouste Gulbenkian Foundation for curatorial residency in Brazil (Rio de Janeiro and São Paulo) _Residência Capacete. She lectured at the postgraduate degree in Photography and Contemporary Art at IPA, Lisbon. She has been dedicated to the management of contemporary art collections: Marín.Gaspar Collection, Norlinda and José Lima Collection and Treger / Saint Silvestre Collection. Director of the Oliva Creative Factory’s Art Museum, São João da Madeira, between 2014 and 2017. Director of the São João da Madeira Art Center between 2015 and 2017. She writes regularly for catalogs and art publications.


Christodoulos Panayiotou

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


Raimundas Malasauskas




Hans Christian Dany

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.


Cayo Honorato

Cayo Honorato (Goiânia, 1979) é professor do Departamento de Artes Visuais do Instituto de Artes da Universidade de Brasília, na área de Teoria e História da Educação em Artes Visuais. Doutor em Educação (2011) pela Universidade de São Paulo, mestre em Educação (2005) e bacharel em Artes Visuais (2000) pela Universidade Federal de Goiás. Desde 2007, tem pesquisado e publicado textos sobre a mediação cultural, no âmbito das relações entre as artes e a educação, com especial interesse pelas práticas documentárias, extrainstitucionais, assim como pela atuação dos públicos. Também colabora com o grupo Mediação Extrainstitucional, em atuação nas redes sociais. I took part of “Máquina de Responder”, the public programme run by Capacete for the 29th Sao Paulo Biennial in 2010.

“Unfortunately I have no pictures from that. It would be nice to see some of them. That was definitely a significant experience in terms of deepening in the Biennial experience, from critical and also affective perspectives.”


Anders Smebye


Bart Lodewijks

From the introduction to Rio de Janeiro Drawings:

“I spent two winters and one summer in Rio de Janeiro
in search of suitable places for my chalk drawings. I entrusted myself to local residents who led me to places which were scenes of everyday life. Places that don’t really catch the eye and which only disclose their special character to those who return regularly. I made my drawings on the streets, in a bar, in a church square and in a villa, but most of the time I frequented a small favela bordering on the end of the no-through Rua Benjamin Constant, the street I was staying in. I have written a story about life in this neighbourhood and the drawings I made there”.


Louidgi Beltrami

Born in Marseille in 1971. He works and lives in Paris. He is represented by the gallery Jousse Entreprise.
Louidgi Beltrame’s work is based on documenting modes of human organisation throughout the history of the 20th century. He travels to sites defined by a paradigmatic relation to modernity: Hiroshima, Rio de Janeiro, Brasilia, Chandigarh, Tchernobyl or the mining colony of Gunkanjima, over the sea off Nagasaki. His films – based on the recording of reality and the constitution of an archive – appeal to fiction as a possible way to consider History.

Liz Linden

“James and I absolutely loved our time in Rio— we explored as much architecture and Burle Marx gardens as possible and I know that continues to influence both of our work. We would play chess on the street at night and drink cold beer and sweat and generally feel incredibly lucky to be artists in Rio. It is a fantastically inspiring place to be and we would love to come back, with our kids, sometime soon.”


Otto Berchem

Lives/Works in Bogota (CO)


Adriana Lara

“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.”

 


Jean-Pascal Flavien

Livro para ler 2008 – CAPACETE 10 anos

Download (PDF, 1.02MB)

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Born 1971 in Le Mans, France. Lives and works in Berlin. Jean-Pascal Flavien’s practice combines elements from architecture, sculpture, and the performative, to create works that are both precise and concrete but also poetic and evocative. The models of houses, for example, are generated from settings imposed by the artist. Like preliminary sketches of large-scale paintings, his models for houses are maquettes for possible scenarios and perhaps views from the past or future of these fictional buildings. His altered domestic objects, such chairs, tables, outlets or blinds draw attention to the way in which design and architecture shape our experience of space but also how they can more fundamentally determine our experience of ourselves and of others.

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Ducha

“I’m totally off the art world for more than a decade.
I was very active artist and an enthusiast Capacete coworker for the first ten years of it.
In the first photo, you can see me during Caveman (2004), when I lived for two weeks in a small natural shelter nearby the Sugarloaf summit. Helmut asked me to take some pictures of the performance, and we showed them for the 10th anniversary of Capacete in NY. the second photo is a portrait of me, my donkey and a friend when we walked from Ouropreto to Rio (2003). The third is a cover of the program of my theatre play witch we acted in London (2005). Fourth: a real tatoo of the Itau bank logo on a man’s head (2002). Christ redeemer in red (2000). And finally two pictures of my other donkey, my first time working with Capacete in 99.”

Adriana Pineda

Adriana es Maestra en Artes Plásticas de la Universidad Nacional de Colombia, Medellín. Es fundadora y gestora de Taller 7, proyecto auto gestionado que se propone como laboratorio y plataforma para la discusión, producción y promoción de las prácticas artísticas y el intercambio de ideas locales y foráneas, desarrollando proyectos colectivos e invitando artistas en calidad de residentes o expositores. Se ha desempeñado como Directora de producción del 44 Salón Nacional de Artistas, Pereira (2016), Coordinadora general de montaje, I Bienal de Arte de Cartagena -Biaci (2014), y productora general de ARCO COLOMBIA (2015). Adriana fue investigadora para el Museo Casa de la Memoria de Medellín, en donde curó la exposición Relatos desde la Frontera (2014).


Santiago Garcia Navarro

livro para ler CAPACETE 10 anos

[gview file=”http://capacete.org/wp-content/uploads/2010/04/livro-para-ler-2010PORT-santiago.pdf”]

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I’m teaching at the Art Program of Torcuato Di Tella University, Buenos Aires. I’m also writing, curating some exhibitions, and organizing two readers on contemporary art.

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Petri Saarikko

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!”



Daniela Bershan

Daniela Bershan aka Baba Electronica.

I currently work with PERFORMING ARTS FORUM www.pa-f.net. I am one of the co-organizers and co-owners there. I currently live and work in Berlin, Brussels and PAF, St.Erme Outre et Ramecourt (FR).


Gabriel Lester

Download (PDF, 1022KB)

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Past and Future in thin air.

“If there has ever been a possibility to turn back time, this would be a suited moment to do so. However much things would probably turnout to be the same, I would have known things in advance, provided in turning back time, I could remember the future. That’s how I look at it now, I mean, from where I can see things at this point, today. Then, mid-day early July 2006, I found myself surrounded by as much endless future as overwhelming depths of the past. We, Helmut and I, were on our way to one of Peru’s highest mountain peeks of the Andes. Driving our ragged rented car with caution over an endlessly winding and unpaved mountain trail we arrived at a valley so vast and boundless, that my first thought was how we had crossed the ages to enter a pre-historic landscape. And then and there, as I envisioned myself having traveled back trough a loophole in time, soon to be surrounded by long lost wildlife and luscious vegetation, both my past and future flashed by. At the time a substantial part of my fortunate and solid world had started to show cracks and crumbles. In April I had moved back from New York to support my mother in her life’s struggle against lung cancer, only to join Helmut on his journey trough Peru in June and July. It had been my mother’s whish and joy for me to continue my adventures life as much as possible. And at every village or city on the course of our voyage, I rushed into an internet café and wrote home an exhilarated travelers report. It was as if I could share my journey to one of the highest peeks of the world; as if I could bring my mother to where time had stood still and where the air was so pure that it could cleanse all disease. And trough the contact we kept during my travels, it became clear that my latest expedition had in a way become as thrilling to her as it was to me.

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 Some month before my mothers left lung had been cut out and although this had been a severely traumatic experience, for the time being, she was freed from her illness and on the road to recovery. I was rather optimistic about her survival chances and imagined a future where my mother, her husband and I would travel together and savor such overwhelmingly beautiful nature as that valley surrounding me in Peru.

We stopped the car at the entrance of a cave covered in pre-historic paintings. Stepping out of the car I was overcome by dizziness and the extensive violence of the nature that surrounded me danced before my eyes. Maybe I suffered from some light version of altitude disease and possibly the oscillating travel had exhausted me, what I could feel as the world twisted before my eyes, was a deep confidence and optimism. Then and there everything, next week, next moth, next year, my entire future would be magnificent and all right. Hemlut and I walked around marveling at the valley beneath us, and the mountaintops above. I thought about how I could enjoy being back in Brussels, how I would witness my mother’s recovery and how I would travel to Asia for the first time. Later that day we reached the mountain top at over 5000 meters (3 miles) height. The air at the top was so thin that we could hardly breath or speak. I peered into the distance, imagined that distance to be the depth of time and was sure that in the future we could all live forever.”


 

P E R U . I M P R O V

“Capactete’s ROAD lead to my doorstep and an invitation to work and travel a stretch alongside the Pan-American highway was offered and excepted. The journey would lead from Lima (Peru) to Quito (Equator). People asked “what will you do?”. My reply was, that I had been doing several things the past years and that, most likely, I would do one or a few of those things there. However, slowly a concept of what could happen started to take shape.

When one thinks of a road-movie, the principle is that between start and finish of a journey a story unfolds. This is a lineal narrative. A story that is told on different levels in time and location is a parallel narrative. I envisioned a road movie constructed as a parallel narrative. Instead of events occurring after each other as the road is traveled, it would seem to all happen at once. With this idea and allot of confidence in Helmut Batista’s and my own ability to connect to people and improvise, I left for Peru via Rio de Janeiro.

In Lima both Helmut and I were invited to lecture at ‘La Culpable’ – an artist run space. There we met with several local artist and curators, some of which could advise us on where to go and what to see. Soon after, we left Lima for the Andes Mountains. I felt like a pioneer, traveling on intuition and opportunity. And while driving through the impressive nature we made regular stops to shoot a scene or sequence. The idea to create a parallel movie has never left the project, however confronted with the reality of our travels and in order to work daily in un-predictable conditions, the rules of the concept were loosened to fit the actuality.

What had occurred to me during the first days of the travel is that if I was going to work with locals and mostly on an instant basis, I should work with a modus that enabled me to stop the car, mount the camera and start shooting. This principle seems simple and easy, but in order to avoid rather digested exotica and/or tourist snapshots, I needed to challenge the images I was making at all time. This led to a series of improvised scenes – shot during the entire journey trough Peru – where at first I would objectively document a scene or location. As such I documented what was going on ‘for real’; nothing was orchestrated, choreographed or interfered with. The second phase was to engage the documented image – the people and location – and change the objective document into a highly subjective document. As such a ‘natural’ scene had become ‘artificial’. A play between reality and fiction was constructed carefully.

After returning to Lima from the Andes, we traveled to the city of Iquitos in the middle of the Amazon rainforest. Colombian/Spanish artist Raimond Chaves joined us together with Peruvian artist Gilda Mantilla who were both researching works the 2006 Sao Paulo biennale had commissioned them to produce. By car and mostly by boat, the four of us traveled trough the rainforest and over the Amazon river, all the while setting up and filming scenes. After a few days stopover in Iquitos we returned to Lima and got on the road to Quito in Equator. In Equator we did not have the opportunity to continue to work, but were invited to lecture at the Catholic university of Quito.

All in the entire ROAD journey/project took us trough deserts, over mountains, past the Pacific Ocean, cross the jungle and finally up to the capital of Equator. All the while scenes for the project were shot, alongside photos and other video documents that were stimulated on the spot. At this moment most of the digital material is ripening in some a hard disk. In the near future, with a nice blend of time, a scent of post-production and a touch of drama, the works will be served. Seriously though, the ROAD project was hugely productive and inspiring, leaving me with allot of fruits to be plucked and appropriated in some way. For the moment this feels like a luxury problem, since many of the scenes shot have worked out really well and there is much potential for several works or directions to venture into. Time will tell if the final work will be a parallel edit of a lineal experience or a selection of improvised scenes, narrating small adventures…”

Gabriel lester 07.2006 

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