Dorota Gawęda & Eglė Kulbokaitė

Dorota Gawęda and Eglė Kulbokaitė in YOUNG GIRL READING GROUP 146 featured in Gruppe Magazine. Photo: FRITZ SCHIFFERS


Dorota Gawęda (b. 1986, Lublin, PL) and Eglė Kulbokaitė (b. 1987, Kaunas, LT) are an artist duo founded in 2013, based in Basel (CH). Both are graduates of the Royal College of Art, London (2012). They work in a variety of media spanning performance, installation, video, sculpture and scent. They are the founders of YOUNG GIRL READING GROUP – YGRG (2013- ), a project that looks for a horizontal way of approaching text and sharing of knowledge, providing an intimate discursive space within the experience of collective reading. The duo are also the founders of Agatha Valkyrie Ice (2014- 2017) post-body avatar, under whose name they co-curated OSLO1O project space in Basel (2015-2017). Gawęda and Kulbokaitė have exhibited their work internationally including: FUTURA, Prague (solo); Schimmel Projects, Dresden (solo); Lafayette Anticipations, Paris; HKW, Berlin; Spazio Maiocchi, Milan; Lucas Hirsch Gallery, Düsseldorf (solo); Les Urbaines, Lausanne; ANTI – 6th Athens Biennale; Switzerland; Art in General, New York; Martin Gropius Bau, Berlin; Musée d’Orsay, Paris; Cell Project Space, London (solo); MMOMA, Moscow; Palais de Tokyo, Paris; Amanda Wilkinson Gallery, London (solo); 13th Baltic Triennial, Contemporary Art Centre, Vilnius; Kunsthalle Basel; ICA, London; SMK – National Museum of Denmark, Copenhagen; Kunstverein für die Rheinlande und Westfalen, Düsseldorf (solo); MOMA, Warsaw; SALTS, Basel; Berlin Biennale 9; Kunsthalle Zürich; among others. Upcoming solo exhibitions of the duo include: Julia Stoschek Collection, Düsseldorf, On Curating, Zürich and FriArt/Kunsthalle Fribourg, Trafo Gallery, Budapest.
Currently, Gawęda Kulbokaitė are focused on their ongoing serial project YOUNG GIRL READING GROUP that seeks for the act of reading as an intimate experience, holding the potentiality to become public performance through the “outlouding” of words otherwise underemphaissed. This accumulative project investigates the embodiment of language, positing the interdependence of the text, the reading body, the environment and technology, where the readers and their surroundings are rendered as the site of active and ongoing set of relations. Thinking through an instability of boundaries, formal incompleteness, porosity and the idea of fragmentariness rather than holism is important to the duo’s approach to both reading and their material practice.  Gawęda and Kulbokaitė intend to continue their research into scent, a media that lends itself to creating speculative environments.


**** This residency is possible thanks to Pro-Helvetia (










Tiago de Abreu Pinto

In Rio, I'll be chatting with artists. Listening, mainly. Henceforth, said artists, will be the basis 
of fictional texts (perhaps, not so much, because everything they say is incorporated into the text 
and therefore not fictional and more real). The aforementioned artists should not be excluded from the 
dialogue after the text has been completed since I believe that contact with the artist must be 
continuous and permanent. In other words, I will connect the artist's message (or, better said, voice) 
to the public through texts that incorporate features of his idiosyncrasy. In the sweet slopes of this 
communication, the allusion to Mikhail Bakhtin's dialectical and dialogical forms will become clear to 
explore new forms of critical mediation. Furthermore, this process will transform the different voices 
of the artists into a fictional mass that sheds light on various themes such as: (a) interpretation 
and neutrality, (b) the limits between fiction and reality and (c) different ways in which contemporary 
artists incorporate your ideas.
Tiago de Abreu Pinto is an independent writer and curator, Ph.D in Art History from the Complutense 
University of Madrid. He won the Art Curatorship Scholarship awarded by the Gwangju Art Biennial, 
South Korea in 2012, and the Art Se Busca Comisario Art Curator Award from the Community of Madrid, 
Spanish Government in 2014.

Ali Hussein Al-Adawy

Ali Hussein Al-Adawy’s research project is mainly Labor Images.
A research-based project about labor representations in art history and film archives in order to discuss variable concepts of work and reflect on the dominant traditional images of labor.

He is also interested in two other topics:
1- Rethinking national museums/exhibitions/white cubes
2-How could we see the archive of militant images (third cinema specifically) nowadays ?!


**this residency has the support of Mophradat (




Fotini Gouseti

Experiencing connecting issues“- CAPACETE Athens 2017

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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.

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.


 “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.” 



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 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. 


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.


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.

São Luís _Maranhão _ Brasil

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 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).  


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

Book to read CAPACETE 10 years

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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