CAPACETE SP – ARTE

 

 

CAPACETE at SP-ARTE 2019!


With the sales of books and works by renowned artists, CAPACETE will enable the CAPACETE 2019 // 2020 
Program, which includes 6 artists, including 2 Brazilian artists, who will carry out their 
research for 1 year.

Come visit us!

We thank Andrea Fraser, Laura Lima, Falke Pisano, Ivan Navarro, Deborah Engel, Cildo Meireles, 
Angelo Venosa, José Bechara and Daniel Steegmann Mangrané for donating their works.



*** more information contact us by e-mail: member@capacete.org

CAPACETE PROGRAMME 2019 // 2020

 

 

This open call invites new proposals for the selection of 6 participants for the CAPACETE programme 2019 //2020

lasting for 10 months, from August 2019 to June 2020

 

The CAPACETE 2019 // 2020 programme is guided by the theme of Reconstructing the Senses to find collective ways of inhabiting a world where veiled and explicit violence and expropriating dynamics dominate. The programme looks towards an ecology of knowledges and cosmologies, with guests that articulate this vision. The activities concentrate on the self-management of the CAPACETE space and on collectivity as a mode of research and knowledge. 
 
For more information, see the documents below:

Deadline for application and submission of material: February 8th 2019.

Registration is free.

 

 

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La presente convocatoria abre las inscripciones para la selección de 6 participantes para el programa CAPACETE 2019 // 2020 

con una duración de 10 meses, de agosto 2019 a junio de 2020.



El programa CAPACETE 2019 // 2020 está guiado por el tema de Reconstruir los sentidos para encontrar formas colectivas de habitar en un mundo donde predominan la violencia velada y explícita y la dinámica de expropiación. El programa mira hacia una ecología de conocimientos y cosmologías, con invitados que articulan esta visión. Las actividades se centran en la autogestión del espacio de CAPACETE y en la colectividad como modo de investigación y conocimiento.

 
Para obtener más información, consulte los documentos abajo: 

Download (PDF, 115KB)

Download (DOCX, 24KB)

 

 

Fecha límite de inscripción y envío del material: 8 de Febrero de 2019.
 
La inscripción es gratuita.


Tenzing Barshee

**Photo by Hanna Putz 
Tenzing Barshee (born 1983) is an independant writer and a curator at Sundogs in Paris. In Rio de Janeiro, he reflects on how the idea of „touching and being touched“ can assist and complicate the displacement of one‘s own body. Following different cues, he approaches people and places with a determined willingness to engage, paired with the melancholy inherent to the memory of a childlike curiosity.
As part of the “COINCIDENCIA” program in South America of the Swiss Pro Helvetia Foundation





Kalliopi Tsipni-Kolaza

Independent curator and researcher based in Athens, Greece.

Between 2012- 2015 she held curatorial positions in public art institutions in London including at 
the Serpentine Galleries, The Architecture Foundation and the Contemporary Art Society. In 2016-2017 
Tsipni-Kolaza worked as a Curatorial Assistant for documenta 14 in Athens and Kassel. Her recent 
projects include: Orange Trees that Talk, a mediated performance by Cooking Sections at the Botkyrka 
Konsthall in Stockholm and “Sonic Revolutions Vibrations from the Levant” presented at Haus der 
Kulturen der Welt Berlin, 2016. Having received the Forecast Platform award Tsipni-Kolaza developed 
Sonic Revolutions as a two day exhibition in the form of an album, exploring issues of spatial justice,
collective memory and history through the detour of popular culture.

For her four months residency with Capacete in Rio, she will be continuing her research in underground
 and popular culture and its various forms of artistic expressions with a focus on music, sound, 
performance and film. She aims to look at the history of art collectives, artist-run spaces,curatorial 
initiatives and institutional frameworks to investigate the formats they employ in order to survive 
the rapid changes they occur in the city’s economic and political landscape

FúriA DissidentE

A utilização do pornô com intenções políticas e libertárias CONTRA a indústria massacrante da pornografia normativa e do patriarcado branco cismagroheteronormativo, que extermina como em matadouros azougues xs corpos marginalizades.

Este é um chamado a revolta e insurreição transfeminista!
A residente Bruna Kury convida performers com suas corpas desobedientes que fazem e pensam em pós-pornô sudaka para o Capacete. A artista que breve em sua residência vai experimentar e trocar com sua proposta de “OFICINA DE VÔMITO” e com o conceito de “PORNORECICLE” convida para esse primeiro encontro para que possamos começar a pensar em interseccionalizações e anarcxtransfeminismo. DIY!

COM:
Bruna Kury (Brasil)
Walla Capelobo (Brasil)
Igor Gonçalves (Brasil)
Constanza Castillo-Missogina (Chile)
PachaQueer (Equador)
Paulx Castello (Brasil-Argentina)
Promískua (Transfronteiriça)
Mucha_chx (Andina)
Ventura Profana (Brasil)
Rodrigo Alcântara (Brasil)
Zene Gatynha (Brasil)
****sem fronteiras!****

XXX
*O projeto PORNOPIRATA foi criado para ser fonte de renda e autonomia na marginalidade; popularização da PÓS-PORNO e afronta a heteronormatividade compulsória, a idéia é participar de eventos e feiras principalmente na rua (durante a residência haverá intervenções camelô banquinha no Saara) para mostrar que outro pornô é possível e muitas vezes nossos tesões estão condicionados. Sexorcismos, pornoterrorismo, pós pornografia, glitterrorismo, sexualidades dissidentes, corpas não assimiláveis e marginalizadxs e oprimidxs, corpxs gordxs, travestis, ditas doentes, doentes, cyborgs, kuirs, sudakas, negrxs, indigenxs, trans, intersexs, com diversidades funcionais, ditas sujas, sujas, antiheterokapital.
O projeto é distribuído e pirateado pela Bruna Kury.

XXX
Mostra póspornô gordx e conversa sobre – por Missogina
Mostra de material recompilado sobre pós-pornô gordx, com o objetivo de visibilizar os corpos gordos como corporalidades sexuais, os distintos tipos de corpos gordos (sudakas, negrxs, trans, com diversidade funcional, etc.), o espaço que ocupam no ativismo pornô e a experiência de colocar o corpo gordo no sexo. quais corpos podem fazer pósporno? Um corpo gordo pode ser um corpo pósporno?

XXX
Despacho decolonial

O silêncio gera o ruído que convoca o rito e transforma a fala em vômito. Pelo rabisco a escrita rompe o silenciamento gerando queima da colonialidade existente na porosidade da pele. Entre os ruídos e sussurros uma corpa circunscreve os delírios dos sonhos ancestrais. Regurgita e explode de revolta.
Sobre subjetividade não capitalizada, sobre corpos não decifrados pelo falo-capitalismo.
Consumida pelo fogo, sacia o desejo do estômago enterrando a fantasia de nacionalidade.
Zene Gatynha

XXX
Performance: Caixão e vela preta

Transformação por meio da perfuração. Rito de expurgação dos agressores por meio de conhecimento intuitivo e instintivo e composição de afetos e prazeres. Um convite a criação de um corpo e obtenção da autonomia desse corpo.
Walla Capelobo, Rastricinha, Gatynha.

XXX

O primeiro cordel do Coletivo Xica Manicongo intitulado “Sertransneja” estará exposto junto aos novos trabalhos de cordel “Manifesto Traveco-terrorista”, de Tertuliana Lustosa, com capa Giorgia Narciso e com o lançamento do “Cordel Pornô”, de Tertuliana Lustosa tambem com fotografias de Mayara Velozo

XXX
Comidinhas délyz por La Gorda Vegana –https://www.facebook.com/lagordavegananomada/

 

 

 

 

 

 

 


Cinema KUIR . 28

On Friday, September 29, Cinema KUIR is up to a gathering at Capacete. We’re screening “Arremate” and having a conversation with Luciana Vasconcellos, Evelym Gutierrez, Ethel Oliveira and Lidi de Oliveira.

Throughout the process of thinking and designing clothes beyond gender, affectionate plots are constructed between Baixada Fluminense and Lapa.

 

Cast: Andrey Chagas, Christina Aguiar, Danny Santos, Evelym Gutierrez, Indianara Siqueira, Juliana Providência, Lidi Oliveira, Lorena Braga, Luiza Alves, Kaique Theodoro, Leoni Albuquerque, Livinha, Luciana Vasconcellos, Martinha do Coco, Naomi Savage, Renatinha, Rosangela Braga, Tainá Gamelheiro, Tertuliana Lustosa, Tia Angélica, Wescla Vasconcelos, Yasmin Falcão.

Roteiro e Direção: Éthel Oliveira Câmeras: Érika Villeroy , Éthel Oliveira, Gabrielle de Souza e Rafael Mazza Film editing: Elena Meirelles

Design: Ilana Paterman Brasil 2017

 

 

 



Reginaldo Gonçalves

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

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

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

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

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

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

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

Régis Gonçalves

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Gil & Moti

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

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


Vasiliki Sifostratoudaki

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

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

[ess_grid alias=”Galeria de foto” layers='{“custom-image”:{“00″:”3190″,”01″:”3186",”02″:”3188″},”custom-type”:{“00″:”image”,";01″:”image”,”02″:”image”},”use-skin”:{“00":"-1″,”01″:”-1″,”02″:”-1″},”title”:{“01”:”Killing our Darlings, Rodrigo Andreolli (Brazil) and Vasiliki Sifostratoudaki (Greece)”,”02″:”READING – WRTING -MAKING”}}’][/ess_grid]


Fabiana Faleiros

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

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


Gian Spina

Download (PDF, 216KB)

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

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

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

e deixei pra trás uma série de seres que fui.

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

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The Cooperativist Society Tools for a Cooperative Ecosystem: Circular Economy in Practice

 

Public Programs, Friday and Saturday, March 17 and 18, 2017

The Cooperativist Society
Tools for a Cooperative Ecosystem: Circular Economy in Practice
Workshops, Talks, and Discussion
Athens School of Fine Arts, Giorgio De Chirico Amphitheater, 256 Pireos Street
The ideas of a circular economy and a fair ecosystem (economy and ecology) are concerned with building a new type of world, connecting and establishing a network of self-employed people, collectives, and committed individuals, beyond borders and nations through structures like FreedomCoop and digital crypto-currencies like FairCoin. The goal is to replace the present profit-oriented economic system with one centered around fairness, ideas of cooperation, and environmental sustainability. The aim of the event hosted by the Cooperativist Society is to raise awareness, share knowledge, and spread information concerning the use of FairCoin and other aspects of the circular economy’s network structures, as well as to help establish and strengthen local initiatives, incubating new cooperative projects and sharing new potential ideas.It is, after all, necessary to move past rhetoric and build practical and viable alternatives to today’s financial establishment. In the specific case of Greece and the political issues concerning the threat of a so-called Grexit, any radical movement will have to think very seriously about economic alternatives to the Euro, and, more broadly, to present concrete and coherent choices instead of the austerity-driven, export-dominated, and ecologically unsustainable course of the “official” Greek economy. If leaving the eurozone implies total economic chaos and dislocation, it is clear that, for lack of an alternative, Greece will be trapped in the vicious cycle of further austerity. Ultimately, the brakes will be put on any form of serious social resistance. Solving this difficulty implies thinking about different currencies instead of relying on the Euro, ways of living and thinking that are different from the consumerism of the establishment, and progressing in the social direction advocated by cooperative ecosystems like FairCoop.

The two days of events will focus on practice, on learning to build your cooperative project, on meeting and collaborating with others with the same interests, on learning how to use FairCoin as a digital currency for a fair economy, and on creating a process within which a circular economy in Athens and beyond could become a reality.

You are welcome!

Program

Friday March 17, 2017
4–9 pm

4–4:55 pm
Introduction to the concept of circular economies

5–6:55 pm
Open cooperation tools: members of the Open Collaborative Platform (OCP) showcase projects and speak about economic management within an ecosystem
Cooperative incubator: open space to share ideas for cooperative projects (artist cooperatives, Fairbnb, and more)

7:10—9 pm
Cooperative incubator: legal coop framework in Greece
FreedomCoop: general introduction

Circular economy
FairCoin: Wallet Party. Bring your phone or your laptop (the event will be repeated on Saturday)

Saturday March 18, 2017
11 am–8 pm

11 am–12:45 pm
Circular economy mapping: add your project to the map

11 am–3 pm
Cooperative incubator: open development meetings for selected projects

1–3 pm
FairCoin: Wallet Party. Bring your phone or your laptop

4–5:45 pm
Open cooperation tools: OCP (Open Collaborative Platform), learn to configure your project
Circular economy: Fairpay cards and POS workshop

6 pm
Cooperative incubator and circular economy: plenary, conclusions, synergies, and planning of follow up meetings


PLETORA por Hôtel Beau Rivage & Paula Dykstra

20161123_212944

Quarta-feira, dia 30 novembro
As 20h

PLETORA
Wi-Fi, Filmes & mais
Na rua Benjamin Constant, em frente do 131

“Pode ser um corpo com uma história, um corpo como história, uma história que está viajando e que chega em lugares diferentes. Um corpo usado, um corpo abusado, um corpo cego, um corpo destruído. Um corpo que resiste, que tá ali ainda…”
Lia Rodrigues
PLETORA nasce do desejo de apresentar imagens em movimento fora dos espaços normalmente dedicados à sua apresentação e de trabalhar apenas com filmes disponíveis na internet.
Um esboço proposto por Hôtel Beau Rivage & Paula Dykstra
Com as mãos criadoras da Julia Retz e Soledad Leon


Camilla Rocha Campos

Download (PDF, 339KB)

….

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

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


Dieter Roelstraete

dieter

Sexta-feira de 13 de novembro as 19:30

DIETER ROELSTRAETE é membro do time curatorial convocado por Adam Szymczyk para organizer a Documenta 14, program ado  para abrir em Athenas na primavera de 2017. De 2012 a 2015 els foi o Manilow Senior Curator at the Museum of Contemporary Art Chicago, e de 2004 a 2011 els era o curator no Antwerp museum of contemporary art M HKA, once els organizou A Rua: Rio de Janeiro & the Spirit of the Street, entre outras exposições. Ele é treinado como filósofo e tem escrito sobre arte contemporanea e assuntos filosóficos relacionados as artes em diferentes publicações.

Leituras sugeridas

1a. quentin meillassoux, “after finitude”
1b. simon critchley, “the faith of the faithless”
should be kind of read together.
2a. david joselit, “after art”
could be read along with
2b. maurizio lazzarato, “signs and machines”
to lead us to a discussion of
3. karl ove knausgaard, “my struggle”

Julien Bismuth

julien bismuth2

Quinta-feira dia 5 de novembro as 19:30

Receitas

Por Julien Bismuth

Participação no fogão: Daniel Steegman Mangaré (paelha) e Jorge Menna Barreto (sorvetes)

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French artist Julien Bismuth (*1973, lives in New York and Paris) works at the interface of visual art and literature. Most of his oeuvre builds on texts found or penned by the artist. Bismuth’s approach combines words with objects, photographs and film material, integrating them within collages, installations, performances, and video works. Bismuth also founded an independent publishing house Devonian Press together with Jean-Pascal Flavien in 2005. He has recently published three books with Motto in Berlin. His work has been shown in venues including the Tate Modern, Kunsthalle Wien, Schirn Kunsthalle Frankfurt, CRAC Alsace, Bloomberg Space London, ICA Philadelphia, the Palais de Tokyo, and the IAC in Villeurbanne.


Excavating the Anthropocene in Amazonia: Archaeology and Climate Science as Politics

paulo tavares

Sexta-feira dia 30 e sábado dia 31 de outubro – Seminario com projeções (em ingles)

Excavating the Anthropocene in Amazonia: Archaeology and Climate Science as Politics

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Sexta-feira dia 30 (em ingles)

14:00: Archaeologia como ciência política, palestra de Eduardo Neves (Museu de Arqueologia e Etnologia da USP)

Eduardo Goes Neves is Professor of archaeology at the Museum of Archaeology and Etnology at the University of São Paulo, and a leading researcher working in Amazonia. He co-curated the exhibition and catalogue Unknown Amazon: Culture in Nature in Ancient Brazil, British Museum, 2001.

17:30hs: Forensis in Amazonia (presentation/discussion with Eduardo Neves, Eduardo Cadava, Eyal Weizman, Paulo Tavares, Armin Linke, Princeton Students and Capacete)

19:30: Projeção do filme Serras da Desordem (2006) de Andrea Tonacci,

Teremos comida e bebida  oferecida a preços módicos

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Sábado dia 31 (em ingles)

14:00: Amazonia in the Earth System: Impacts of climate change in Amazonia, palestra por Paulo Artaxo (climate scientist, University of São Paulo, UN-IPCC)

 Paulo Artaxo is Professor of Environmental Physics at the University of São Paulo (Brazil). He is a member of the IPCC Working group, and has participated in several major international research efforts, such as IGBP, IGAC, CACGP, IPCC, WMO and others. He has received several awards, among them the title of Doctorate of Philosophy Honoris Causa of the University of Stockholm, Sweden.

19:30: Projeção do filme Corumbiara (2009) de Vincent Carelli

Teremos comida e bebida  oferecida a preços módicos

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leituras sugeridas

Eduardo Neves, What is Marginal? Archaeology as political science in ancient Amazonia

 Michael Heckenberger and Eduardo Neves, Amazonian Archaeology, http://www.annualreviews.org/doi/abs/10.1146/annurev-anthro-091908-164310

 C. Roosevelt, The Amazon and the Anthropocene: 13,000 years of human influence in a tropical rainforest, http://www.sciencedirect.com/science/article/pii/S2213305414000241

 Paulo Artaxo, The Amazon Basin in Transition, http://www.mara-stream.org/wp-content/uploads/2015/09/NATURE_2012-The-Amazon-Basin-in-Transition.pdf

Paulo Artaxao, Air quality and human health improvements from reductions in deforestation-related fire in Brazil

 Déborah Danowski and Eduardo Viveiros de Castro, Is there any world to come?, http://supercommunity.e-flux.com/authors/deborah-danowski/

 Marison de la Cadena, Uncomming Nature, http://supercommunity.e-flux.com/authors/marisol-de-la-cadena/

 

 


Laura Burocco

Laura burro

Quinta-feira 29 de outubro às 19:30

Laura Burocco: The Creative Control: Rio & Joburg

 

Conversa pública com a pesquisadora Laura Burocco, num encontro regado a cozinha sul-Africana preparado por Refilwe Nkomo e Kasia Anna

Laura Burocco investiga a criatividade como um dispositivo de controle nas cidades do Rio de Janeiro e de Johannesburg, consideradas duas novas cidades criativas no Sul Global. Através de dois projetos de revitalização urbana (Porto Maravilha e Maboneng), a pesquisadora analisa a homogeneização dos espaços e a neutralização da experiência urbana que esta sendo promovida neles. Além das formas que a espetacularização da cidade pode se tornar uma forma de bio poder exercitado sobre as vidas das pessoas que habitam estes espaços.

O projeto de doutorado tem origem em dois estudos anteriores: “Do Porto Maravilha as Olimpíadas 2016: analise do olhar ao Porto do Rio de Janeiro” (2008) UERJ Rio de Janeiro (pós em Sociologia Urbana)| “People’s Place in the World Class City: the case of Braamfontein’s Inner City Regeneration Project” (2013) WITS Johannesburg (dissertação em Planejamento Urbano). A Trilogia da Gentrificação: Joburg | Milano | Rio de Janeiro, é um projeto de pesquisa acadêmica e de prática artística apresentada em diferentes etapas: a primeira em Braamopoly, Room Gallery, Johannesburg 2013; a segunda etapa (em andamento): Isola Art Center, Milano 2015; e a terceira etapa (em pensamento) a ser realizada no Rio de Janeiro.


Laura Burocco (1974) é pesquisadora em Políticas Urbanas e Desenvolvimento. É formada em Direito pela Universidade de Milão, possui especialização em Políticas Internacionais e Desenvolvimento pela Universidade de Roma, pós-graduação em Sociologia Urbana pela Universidade Estadual de Rio de Janeiro UERJ e um MBE Master in Housing – Building Environment pela Witwatersrand University de Johannesburg WITS. Entre 2004 e 2011 coordenou no Instituto Brasileiro de Análises Sociais e Econômicas – IBASE um projeto de cooperação internacional voltado ao reforço de participação comunitaria com foco especial nas temáticas de gênero e direito à moradia. Entre 2012 e 2014, residiu em Johannesburg atuando no IBSA Working Group in Human Settlements do South African Cities Network – Sacities, programa financiado pelo Banco Mundial e City Alliance. Està desenvolvendo um projeto entre Sul Africa, Italia e Brasil “Trilogia da Gentrificação”, que começou em 2013 com a exposição individual “Braamopoly” realizada na Room Art Gallery de Johannesburg. Atualmente é doutoranda pela ECO/UFRJ, aonde integra o LabTec. Sua área de pesquisa: desenvolvimento urbano, criatividade e vigilância, açoes coletivas e cidadania insurgente, intervenções políticas em arte publica.

//English Version//

The PHD project investigates and attempts to understand creativity as a control device in the cities of Rio de Janeiro (Brazil) and Johannesburg (South Africa), considered two new creative cities in the Global South. Through two projects of urban revitalization [Porto Maravilha (Rio) and Maboneng (Joburg)] it analyzes the homogenization of spaces and the neutralization of the urban experience that is propagated through such spaces. Finally the researcher interrogates the ways that spectacularization of and in the city can become a form of bio-power exercised over the lives of the people who inhabit these spaces.

The project originates from two previous studies: “From the Porto Maravilha Olympics 2016: An Analytical Look at the Port of Rio de Janeiro” (2008) UERJ Rio de Janeiro-Post in Urban Sociology | “People’s Place in the World Class City: The Case of Braamfontein’s Inner City Regeneration Project” (2013) WITS Johannesburg Master in Urban Planning

The project is part of an academic research and artistic practice called Trilogy of Gentrification: Joburg | Milano | Rio de Janeiro. First step: Braamopoly, Room Gallery, Johannesburg 2013; Second stage (in progress): Isola Art Center, Milano 2015; Third stage (in thought): Rio de Janeiro


Laura Burocco (1974) is a researcher in Urban Policy and Development. She graduated in Law from the University of Milan, with a specialization in International Policy and Development at the University of Rome, postgraduate studies in Urban Sociology at the State University of Rio de Janeiro UERJ and an MBE Master in Housing – Building Environment by Witwatersrand University in Johannesburg WITS . Between 2004 and 2011 she coordinated at the Brazilian Institute of Social and Economic Analyses – IBASE an international cooperation project aimed at strengthening communal participation with a special focus on gender and housing rights. Between 2012 and 2014, she resided in Johannesburg acting in the IBSA Working Group in Human Settlements of the South African Cities Network – Sacities, program financed by the World Bank and City Alliance. She is currently developing a project between South Africa, Italy and Brazil “Gentrification Trilogy” which began in 2013 with the solo exhibition “Braamopoly” held in Room Art Gallery in Johannesburg. She is currently a doctoral student by the ECO / UFRJ, which forms part of the LabTech. Her areas of research: urban development, creativity and surveillance, collective actions and insurgent citizenship, political interventions in public art.


Peter Pal Pelbart

peter pal pelbart

Quinta-feira dia 8 de outubro as 19:30

Peter Pal Pelbart

Palestra: Linhas de errância

bio do Deligny
Conhecido na França como pedagogo, Fernand Deligny (1913–1996) preferia ser chamado “poeta e etólogo”. Durante mais de cinquenta anos trabalhou na isolada região francesa das Cevanas, num centro de acolhimento informal de crianças que não se adaptavam à sociedade: crianças delinquentes, psicóticas, autistas ou, nas palavras do pensador, simplesmente “crianças à parte”. Deligny preferia o termo “etólogo” à educador pois o utilizava como imagem para a sua forma de atuar, buscando, a todo momento, novas maneiras de dar a essas crianças uma oportunidade de sobreviverem em uma sociedade excludente e normativa. Seu método questionava a centralidade da linguagem, a educação formal e o emprego caricatural das teorias freudianas. Repudiava qualquer tipo de encarceramento, preferindo a criação de circunstâncias e de espaços para trocas e encontros. Para dar voz àqueles que são carentes de linguagem e comunicação verbal, Deligny inventou um sistema de transcrição que considerava uma das suas principais contribuições, espécie de cartografia sobre papel na qual registrava os percursos “espontâneos” da criança autista, seus hábitos, gestos e percepções, livres de qualquer desejo de representação. É desse fora da linguagem cotidiana, numa espécie de linguagem do infinitivo, sem sujeito, que o autor francês rompeu com os paradigmas de sua época e criou uma antropologia alternativa, política, a qual inventou incessantemente formas inéditas de viver junto. Por esse e por tantos outros motivos é que sua obra desperta um interesse crescente, não só em clínicos e educadores, mas também em literatos, artistas e filósofos
A prática da escrita foi uma constante na vida de Deligny e o laboratório permanente de sua atuação como educador. Escreveu mais de uma centena de ensaios, artigos, scripts e contos que se somam a fotografias, desenhos, mapas e filmes, entre os quais Ce gamim, là (1976) e Le moindre geste (1971). Em 2007, Sandra Alvarez de Toledo reuniu e publicou num volume imponente parte significativa da produção textual do pensador (Ouvres, Paris: L’Archanéen, 1850 pps.).

sobre o livro O aracniano, a ser lançado
Como existir aos olhos daqueles que não nos olham?
A partir de sua experiência singular no cuidado de crianças autistas, o poeta e pedagogo francês Fernand Deligny tateia outros modos de vida: abertos a circunstâncias, repletos de entrecruzamentos, trocas e encontros — um viver em rede, como numa espécie de teia de aranha. Não à toa, Deligny deixou sua marca na obra de Gilles Deleuze e Félix Guattari,  sobretudo no conceito de rizoma. Ao longo dos 15 ensaios desta coletânea — organizada por Sandra de Toledo e com posfácio do filósofo Bertrand Ogilvie — é possível vislumbrar a radicalidade de seu pensamento,  tanto através de sua escrita poética, aforística e aguda; quanto através de suas cartografias — um dispositivo astucioso para desbancar a primazia da linguagem. É nessa abordagem não invasiva, sem interpretação nem “interpelação”, numa distância deliberada em relação à psicanálise, que Deligny percorre o espaço-tempo silencioso no qual habitam crianças que não falam, que vibram diante do brilho da água e que agarram as abelhas pelas asas, sem machucá-las.

Peter Pál Pelbart é professor titular de filosofia na PUC-SP. Escreveu principalmente sobre loucura, tempo, subjetividade e biopolítica. Publicou O Tempo não-reconciliado (Perspectiva), Vida Capital (Iluminuras) e mais recentemente, O avesso do niilismo: cartografias do esgotamento (n-1 edições), entre outros. Traduziu várias obras de Gilles Deleuze. É membro da Cia Teatral Ueinzz, e coeditor da n-1 edições.


Bik van der Pol

Bik van der Pol

Thursday the 1st of october at 19:30

Bik van der Pol

We will talk about Turning a blind eye, a programme of public workshops, events, lectures and walks during the 31st Biennale of Sao Paulo (2014) that explores different notions of the `unseen´ (the non-visible and the non-existent), and the ways in which we look at things or choose what we look at. Departing from recent events in Brazil and worldwide, the program seeked to investigate the idea of ‘publicness’ and the tensions that arise from increasing exploitation of urban and natural space.
Turning a blind eye emphasized on the temporary visibility, the ‘visible bundling’ of learning practice as the production of future capital, united in a temporary structure that not only accommodates these dynamics but also renders them visible, both as an image literally reflecting the energy going on as well as on the value of participation; a space where learning, leisure, hanging out and around and focused experiences are anticipated in continuous change. The spaces of the school were loosely ‘marked’ by a continuously transforming theatrical and performative element, a full size live-scoreboard that functions as display and stage set, animated live by activators follows the developments of the Biennale and invited the publics to become participants.Bik Van der Pol invited several universities and organisations, such as PUC, Escola da Cidade, Parque Augusta, and others, as well as the students of the School of Missing Studies to engage with the program.
Above, aside and intertwined, they will, through a few examples of their work, unfold how site-sensivity and learning is related to  their artistic practice.

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Reading suggestions

Guattari, Three Ecologies
http://www.amielandmelburn.org.uk/collections/newformations/08_131.pdf (or the longer version here: http://monoskop.org/images/4/44/Guattari_Felix_The_Three_Ecologies.pdf)
Bruno Latour, Agency at the time of the Anthropocene
http://www.bruno-latour.fr/sites/default/files/128-FELSKI-HOLBERG-NLH-FINAL.pdf
Bernd Scherer, The Monsters
On the concept of history, Walter Benjamin
https://www.marxists.org/reference/archive/benjamin/1940/history.htm
Toward a Lexicon of Usership
A Lexicon as a Tool. Download from: http://museumarteutil.net/tools/
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Bik Van der Pol work collectively since 1995. They live and work in Rotterdam (NL) Through their practice they aim to articulate and understand how art can produce a public sphere, and to create space for speculation and imagination. This includes forms of mediation through which publicness is not only defined but also created. Their working method is based on co-operation and research methods of how to activate situations as to create a platform for various kinds of communicative activities.
Bik Van der Pol’s  mode of working consists of setting up the conditions for encounter, where they develop a process of working that allow for continuous reconfigurations of places, histories and publics. Their practice is collaborative where dialogue is used as a mode of transfer, understood in its etymological meaning of “a speech across or between two or more people, out of which may emerge new understandings” or “passing through”1. In fact, they consider the element of “passing through” as vital. It is temporal, implying action and the development of new forms of discourse. Their collaborative practice is both instigator and result of this method.

Recent shows and projects include:
The Power Plant, Toronto (Can); PAMM (Perez Art Museum) Miami, Jakarta Biennale, Mauritius Pavillion, Venice Bienal; Future Light, MAK, Vienna; Decolonized Skies, ADNPlatform, Barcelona (2015); Public art project, Ternitz (Austria), 31st Sao Paulo Bienale, Sao Paulo; Museum of Arte Util, Van Abbe Museum, Eindhoven; The Crime Was Almost Perfect*, Witte de With Centre for Contemporary Art, Rotterdam, Apex Art ,Decolonised Skies, NYC, CAFA Art Museum, The Missing Stories, Beijng, The Part In The Story, Witte de With Centre for Contemporary Art, Rotterdam, The Crime was almost Perfect, PAC Padiglione d’Arte Contemporanea. Milano (it) (2014); 25 years City Collections, Museum Boymans van Beuningen Rotterdam, Biennale of Mercosul, Porto Alegre, Brazil, Call of the Mall, project for Hoog Catarijne, Utrecht, CAPACETE entretenimentos ROAD/BOAT 3.1.8 at  the school Xapomi, Amazon, Brazil (2013); You talking to me? 98Weeks (Beirut, Lebanon); Between a Rock and a Hard Place, Sudbury (Ca), Musagetes (2012); Living As Form, Creative Time, New York ; Accumulate, Collect, Show, Frieze Projects, Frieze Art Fair, London; (2011); Are you really sure a floor can’t also be a ceiling? ENEL Award 2010, MACRO museum, Rome (2010). It isn’t what it used to be and will never be again, CCA Glasgow; Xth Lyon Bienniale, Lyon (2009); Plug In 28, Pay Attention, Act 1, 2, 3, Van Abbe Museum, Eindhoven (2008); Xth Istanbul Biennale ; Fly Me To The Moon, Rijksmuseum, Amsterdam (2007); Secession, Vienna (2005)
Publications:
What if the moon were just a jump away? Published by Bik Van der Pol and Labin Imprint/Jan van Eijck Academie (2013); As Above, So Below (2011), published by Bik Van der Pol; It isn’t what it used to be and will never be again (2009), published by CCA Glasgow; Public Arena (2009), published by Bik Van der Pol/Context3, Dublin; Catching Some Air (2002), published by Henry Moore InstituteWith Love From The Kichen (2005), 010 publishers; Past Imperfect (2005, 2007), published by CascoProjects; Fly Me To The Moon (2006), published by Sternberg Press ; The Lost Moment (2007), self-published
Curated: Deze sokken niet wit, Van Abbemuseum (2012); Too late, too little, (and how) to fail gracefully, Kunstfort Asperen, ww.kunstfortasperen.nl (2011); Neverodoreven (2009) Piet Zwart institute in Rotterdam ; Plug In, collection Van Abbe Museum, Eindhoven (2007-2009); I’ve got something in my eye, collection Marie Louise Hessel Museum/CCS Bard (2008); Teasing Minds, Kunstverein Munich (2004); Married By Powers TENT/collection Frac Nord Pas Calais, Dunkerque (2002). Bik Van der Pol ran the temporary Master program The School of Missing Studies (2013-2015 at Sandberg Institute, Amsterdam). They are advisors at the Jan van Eijck Academy in Maastricht. Liesbeth Bik is an advisor at The Appel ICP (Amsterdam), and a tutor at Piet Zwart Institute (Rotterdam).


Jarbas Lopes, Ducha e Marssares

marssares maquina 3 23:04

Quinta-feira dia 24 de setembro as 19:30

Jarbas Lopes, Ducha e Marssares

 

 

JARBAS LOPES
Nasceu em Nova Iguaçu, Rio de Janeiro, 1964
Vive e trabalha em Marica, Rio de Janeiro, Brasil
Bacharel em escultura pela Escola de Belas Artes da Universidade Federal do Rio deJaneiro.

Exposições Individuais
2015 – Elastica, Galeria Andrea Baginski, Lisboa – 2013 – A line – Park Central – Jack Tilton Gallery,  New York  – Vamos a Marte, Galeria A Gentil Carioca, Rio de Janeiro – 2010 – A Line, Jack Titon Gallery, New York – 2009  Padedeu, galeria Luisa Strina, Sao Paulo – 2008  Estacao Cicloviaerea, Centro Cultural Sao Paulo e Galeria A Gentil Carioca – 2007  Novas Utopias,  – MAMAM – Recife – PE – Brasil – 2007   Cicloviaérea- ASU Museum of Art, Phoenix, Arizona, USA –

Exposições Coletivas
2015 – Bonne Chance, CRAC Alsace, Altkirch – Franca – 2014 – Expo 1 , MAM, Rio de Janeiro – 2011 XXI Bienal de Lyon, Franca – 32 Panorama da arte Brasileira, MAM , Sao Paulo – 2009  look.look.again., The Aldrich Contemporary Art Museum, USA – 2008  Somethink for Nothink, CAC, New Orleans, USA – 2008 Gwangju Biennial, Korea – 2006  27a. Bienal de São Paulo  – SP, Brasil – 2003  Octava Bienal de La Habana, Cuba – “Materia Prima”, Novo Museu, Curitiba, Brasil

Coleções selecionadas
MOMA , Museum of Modern Art, New York , USA – Instituto Cultural Ilhotim, Minas Gerais – Bronx Museum of the Art, New York, USA – Museum Victoria  Albert Museum, Londres – Arizona State University Museum – The Cisneros Fontanals Art Foundation – Henry Moore Foundation, Londres – Coleção Gilberto Chateaubriand – MAM, Rio de Janeiro – Coleção Ester Emílio Carlos, Rio de Janeiro – Museu de Arte da Pampulha, Belo Horizonte, Minas Gerais – Funarte


Arto Lindsay e Anri Sala

anri salaarto lindsay

Quinta-feira dia 3 de setembro as 19:30

Arto Lindsay e Anri Sala

AL é músico e artista Norte Americano q mora no Rio de Janeiro.
AS é artista Albanês que mora em Berlim.
Anri é um artista cuja matéria de trabalho muitas vezes é a música. Acaba conseguindo, entre outros resultados, música. Arto é músico que usa estratégias vindos das artes na sua música. Acaba proporcionando uma experiência de arte.
O diálogo no Capacete é um a continuação duma conversa de vários anos  sobre estruturas da música, de nacionalidades, e dos trabalhos de artistas  amigos que os dois tem em comum.
—–
Arto Lindsay nascido em Richmond, Virginia, EUA, 1953 vive e trabalha no Rio de Janeiro
Arto Lindsay é artista. Compositor, produtor e performer, gravou onze discos solo e diversos outros com as bandas DNA, Lounge Lizards, Golden Palominos e Ambitious Lovers. Produziu discos e faixas de Caetano Veloso, Marisa Monte, Laurie Anderson, David Byrne, entre outros. Colaborou com artistas visuais, tais como Vito Acconci (na performance “Women’s Business” no The Kitchen, NYC), Dominique Gonzalez­Foerster (na instalação “1958” na Tate Modern em 2009), Rirkrit Tiravanija ( “What Are We Doing Here?”, apresentado em Manchester e Basel). Arto realiza instalações, tais como “Noise Mass”( Milão), “I’ll Bring the Thunder” (Musée d’Art Moderne de la Ville Paris e no Multiplicidade/ Oi Futuro no Rio de Janeiro, 2009) e “Segure Este Andamento” (Inhotim, 2009). Recentemente, o artista vem juntando música, tecnologia, coreografia e elementos alegóricos no formato de desfile de rua. O primeiro, “De Lama Lâmina”, foi feito em parceria com Matthew Barney (Salvador, 2004), seguido por “I Am a Man” (Frankfurt, 2008), “Multinaural [Blackout] (Bienal de Veneza, 2009) e “Somewhere I Read” (Nova York, 2009). Participou ainda das exposições “Everstill ­ Siempretodavía”, curadoria de Hans Ulrich Obrist (Granada, 2007/2008); “Tropicalia”, curadoria de Carlos Basualdo (MAC Chicago, MAM­RJ, 2005/2006) e “Tristes Tropiques”, curadoria de Pablo Leon de la Barra (Lisboa, 2010).
———–
sugestão de leituras: 
Ta Nahesii Coates    Between the world and me
Maggie Nelson   Art of cruelty
Anne Carson An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides

Ingrid Hapke and Wouter Osterholt

Die Rapper Pxcentro-da-barra

Thursday the 2th of august at 19:30

Ingrid Hapke and Wouter Osterholt

Territórios contestados

O titulo resume duas palestras que enfocam distintas batalhas culturais e territoriais que tem ao seu modo grande importância no Brasil da atualidade.
Ingrid Hapke apresenta resultados da sua pesquisa acadêmica sobre o movimento atual da literatura marginal/ periférica de São Paulo. Quando a periferia invade o centro: Batalhas culturais na literatura brasileira contemporânea.
Wouter Osterholt apresenta a pesquisa artística Paraíso Ocupado sobre a primeira Urbanizacão da Barra da Tijuca.

When the periphery invades the center
 

Ingrid Hapke will speak about a contemporary literary movement called literatura marginal/ peripherica, which manifests itself since the late 90s principally in the slums and poor suburbs of São Paulo.  Poor and often poorly educated people from these marginalized neighbourhoods  were until then mainly excluded from Brazilian cultural life -as authors and consumers. The appearance of these “new” authors, who  write and publish their own topics, in their own language without mediation from academics and intellectuals, provoke a lot of conflict in the literary establishment and the need of rethinking literature and literary critique as cultural practices that are “exclusive”.

Parting from the aesthetic production of this cultural and political movement Ingrid Hapke will reflect upon the  changes aesthetic production and concepts undergo in contemporary literature and art.The literary practices of the marginal movement are not restricted to paper and the book. To understand the new, complex aesthetics it is necessary to look at the (political) context and the specific publication and distribution practices,  like the  ‘sarau” (“open stages”) in the bars of the peripheries, the blog and other independent publishing formats. 

Paraíso Ocupado 

The presentation by Wouter Osterholt will shed light on the different stages of the Paraíso Ocupado project and its future ambition. The work in progress aims to revive a little-known architectural plan designed by Oscar Niemeyer, called Centro da Barra. This urban center was part of Lucio Costa’s master plan for Barra da Tijuca, a neighborhood in the South West zone of Rio de Janeiro. In this integrated city a varied composition of different social classes would live together. Major construction began in the late 1960s, and soon Barra da Tijuca turned into an urban El Dorado for real estate developers. Amid rampant speculation and endemic corruption, the project failed, the natural landscape got polluted and the neighborhood became a fortress of gated communities for Rio’s nouveau riche. Many of the proposed public facilities were never realized and almost everything got privatized. From a diversified neighborhood on the drawing board to a fortress of gated communities in reality, Barra da Tijuca symbolizes the takeover of private profits over public interests.

With Barra as the main center for the Olympic games it seems that history repeats itself. Over the last few years land prices have tripled and Barra is again being sold as the new paradise in similar ways as in the early seventies. As recent history shows no end to the fraudulent scams in the real estate market. the project proposes a permanent awareness of the corruption and lack of transparancy by proposing the construction of a museum dedicated to the failure of Centro da Barra. The collection of the museum is planned to consist of documents found in an abandoned archive left behind in a vacant tower in Barra.

In the end the connection -consisting of a territorial battle that manifests itself in different ways- between these two seemingly very different projects will be discussed.Also the role of the researchers/ artists and their venture into/ intervention in foreign and conflictive territories shall be reflected upon.

Paraíso Ocupado is a work in progress initiated by the artists Wouter Osterholt and Elke Uitentuis during a stay at Capacete in Rio de Janeiro in 2010. The project is further developed in close collaboration with Raphi Soifer and Ingrid Hapke. It is made possible with financial support of the Mondriaan Foundation and the Federal State of Berlin. In 2016 the project will be exhibited in Studio X Rio together with a publication (Onomatopee).

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Mini-Bios
Wouter Osterholt develops site-specific projects in which he explores the public sphere as a domain where different communities collide. By adopting a research approach similar to investigative journalism, he seeks to reveal and unravel conflicting interests that define local politics and the organization of the public. Through direct interaction with people, both bystanders and those immediately involved, the artist opens up delicate topics of debate. As a result his projects often take the shape of a public platform that activates individuals to articulate their personal relation to the political. It seeks to exceed the parameters of public dialogue and politics by entering the realm of imagination, unexpressed thoughts and dreams.


Ingrid Hapke
é pesquisadora da àrea de Letras, autora. intérprete e traductora. 

Passou um ano e meio fazendo pesquisa de campo nas periferias paulistanas e escreveu a sua tese de doutorado sobre o actual movimento da literatura marginal/ periférica de São Paulo na Universidade de Hamburgo/ Alemanha. Em 2013 organizou junto ao colectivo cultural Urban Artitude a primeira Semana de Literatura Marginal/periférica na Alemanha. Em 2015 será publicado Polifonias Marginais (Aeroplano Ed.) em colaboração com pesquisadores do Brasil e da Argentina reunindo as entrevistas editadas dos autores com actores e autores dos movimentos literários negros e marginais. Colabora com Wouter Osterholt em distintos projeitos artísticos.

 


Wendelien van Oldenborgh

bete daisy
Thursday 13 of August at 19:30
Wendelien van Oldenborgh will talk about Bete & Deise (2012) and more recent works and want to address some questions regarding method of production. These are on the one hand related to performance: What occurs in front of the camera? Which role does the camera play? And there are also questions of how forms of politics are worked out through a piece and how ethics and politics are part of a production method.
The production process, especially the moment of the shoot, are ways to look into a question, to elaborate issues and to learn about things and people whose knowledge I do not and cannot have. One could say that the production process is the proper research process. I woud like to see this process as polyphonic, open and relational and at the same time very structured.
Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation. She often uses the format of a public film shoot, collaborating with participants in different scenarios, to co-produce a script and orientate the work towards its final outcome. With these works, which look at the structures that form and hinder us, she participated in various large biennials, and in smaller dedicated shows. Recent presentations include Form Left to Night (2015), solo at The Showroom London, Beauty and the Right to the Ugly (2014)  at the Berlinale Forum Expanded 2015, Collective Gallery Edinburgh 2015 and in van Abbemuseum, in ‘Confessions of the Imperfect’ 2014; La Javanaise at CAPC Bordeaux 2015, the 12th Biennial of Cuenca (EC) (2014); Après la reprise, la prise in ‘Blue Times’, Kunsthalle Wien 2014 and  ‘Art Turning Left’, Tate Liverpool 2013; Cinema Bete & Deise in ‘Dear Art’ by What How and for Whom, Calvert 22, London 2013;  Supposing I love you. And you also love me (2011) in ‘Speech Matters’, Danish Pavilion, Venice Biennial 2011. Van Oldenborgh has exhibited widely including in RAW Material Company Dakar (SN) van Abbemuseum Eindhoven (NL), Muhka Antwerp (B), Generali Foundation Vienna and Museum Muzeum Sztuki in Lodz (PL) as well as the 2nd Biennial of Kochi-Muziris 2014, 4rth Moscow Biennial 2011, the 29e Bienal de Sao Paulo 2010 and at the 11th Istanbul Biennial 2009. In 2014 she was the recipient of the prestigious Heineken Prize for the Arts, presented by the Royal Dutch Academy of Sciences.

Ricardo Basbaum

ricardo bsbaum

Wednesday the 24th of june at 19:30

“a produção de si como artista” em 4 vídeos

Ocupar um lugar como artista no tecido social implica em experimentar e administrar um ‘intervalo’ entre a ‘construção de si’ e a ‘construção de si como artista’ – nos termos da produção de um sujeito coletivo mas, sobretudo, em deixar-se ser constituído através de uma alteridade social e seus jogos de legitimação da figura do artista. Está em permanente negociação a produção de uma ‘imagem do artista’ – que se é ou se quer ser, que nos captura, ou mesmo nos coloca em fuga. É importante que se perceba que há diferentes modelos de artista sendo exercidos a cada momento.

Vídeos:
1. Egoclip 14’49” (1985)
Entre 1981 e 1990 os artistas Alexandre Dacosta e Ricardo Basbaum formaram a Dupla Especializada, realizando uma série de ações, performances e intervenções, dentro do projeto de “intervir em meios de comunicação de massa”.

2. É a questão? 10’48” (1987-1991)
Uma logomarca simples, na forma de um Olho, é disseminada pelo campus da Universidade, através da utilização de suportes como cartazes e filipetas. Este vídeo registra o trabalho desenvolvido por Ricardo Basbaum em sua temporada como artista-residente na Universidade Estadual de Campinas (Unicamp), de abril a novembro de 1987.

3. E: anotações sobre contatos com: re-projetando + sistema-cinema + superpronome 24’00” (2003) Ações do projeto eu-você: coreografias, jogos e exercícios ocorrem em diversos espaços da Uerj, em conjunto com uma exposição individual de Ricardo Basbaum.

4. sistema-cinema: série membranosa 21’39” (2009)
Quatro câmeras de circuito fechado instaladas no hall de entrada do mam-sp.

Algumas referências:
– Michel Foucault, O Governo de Si e dos Outros, São Paulo, Martins Fontes, 2010.
____. ”About the beginning of the hermeneutics of the self – two lectures at Dartmouth”, Political Theory, Vol. 21,

nº 2, maio 1993, pp. 198-227.
– Allan Kaprow, “The education of the un-artist, part I, part II, part III”, Essays on the blurring of art and life, Berkeley, University of California Press, 1993.

– Francisco Ortega, Para uma política da amizade: Arendt, Derrida, Foucault, Rio de Janeiro, Relume-Dumará,2002.
– Vilém Flusser, “Texto/imagem enquanto dinâmica do Ocidente”, Rio de Janeiro, Cadernos Rioarte.

– Gilles Deleuze, “Décima Oitava Série: das três imagens dos filósofos”, Lógica do Sentido, São Paulo, Perspectiva, 1974.

– Ricardo Basbaum, Manual do artista-etc, Rio de Janeiro, Azougue, 2013.

– rbtxt.wordpress.com

– www.nbp.pro.br

Ricardo Basbaum é artista e atua a partir da investigação da arte como dispositivo de relação e articulação entre experiência sensória, sociabilidade e linguagem – suas ações se dão no limite de uma abordagem comunicativa para impulsionar a circulação de ações e formas. Tem desenvolvido um vocabulário específico para seu
trabalho, aplicado de modo particular a cada novo projeto. Gosta de trabalhar em projetos de longa duração, tais como Você gostaria de participar de uma experiência artística? (desde 1994), eu-você: coreografias, jogos e exercícios (desde 1998) e conversas-coletivas (desde 2010). No ano passado realizou as exposições individuais nbp-etc: escolher linhas de repetição (Galeria Laura Alvim, Rio de Janeiro) e The production of the artist as a collective conversation (Audain Gallery, Vancouver). Participou da 30ª e 25ª Bienal de São Paulo (2012, 2002), e da documenta 12 (2007). Autor de Manual do artista-etc (Azougue, 2013) e Ouvido de corpo, ouvido de grupo (Universidade Nacional de Córdoba, 2010), entre outras publicações. Professor do Instituto de Artes da Uerj. Artista residente da Simon Fraser University, Vancouver, em outubro de 2014. Professor visitante da Universidade de Chicago entre outubro e dezembro de 2013.

 


Les Laboratoires d’Aubervilliers

les laboratoire

Wednesdqy the 17th of june at 19:30

Alexandra Baudelot will speak about the way Les Laboratoires works, and the Printemps and the Performing Opposition edition. Why and how we are going to work in relation with another political, sociological and cultural local context, the Rio and Sao Paulo’s one, and the links we can build through our respectives structures. The importance to think in term of locality more than glogablity, localisation than globalisation. The importance to confront specific local knowledge and practices with other cultural and historical context to go farther than the national point of view.

Les Laboratoires d’Aubervilliers

Les Laboratoires d’Aubervilliers is a place for research and creation, for resources and experimentation, developed in intimate cooperation with its setting (from the most local to the international sense) and with its audiences, and in relationship with the artists. It invents the tools to conceive artistic practices from all fields – visual art, dance, performance, theatre, literature, etc. – viewing them as a process of learning, sharing and experiencing; an intermediary object that is capable of investigating and taking the measure of the most urgent contemporary issues, reinventing ways of being together, while taking a risk and upsetting our approach and our conception of art.

Les Laboratoires d’Aubervilliers is one of those rare places where art is never disconnected from cultural, social and political reality, one of those places committed to differences and plural identities, a place in perpetual motion that takes shape around the artistic projects that it upholds and works to defend.

Setting up projects with artists involves an often lengthy time of research, an absolute must to create strong connections between the artistic projects, the region and people. It is also this concept of time that Les Laboratoires d’Aubervilliers observes and works in in order to invent new methods for public visibility that go beyond simple exhibitions and showings of finished works.
Le Printemps des Laboratoires
Le Printemps des Laboratoires is a yearly invitation to the public. It was developed to be the ideal moment to bring up and debate, both in theory and in practice, the issues that guest artists at Les Laboratoires d’Aubervilliers address. In the form of an artistic tool, it takes place over two days and includes discussions intended to be moments for sharing, performances and workshops, on different scales and in different formats.

This meeting is the opportunity to break down the divide between audiences and specialists, to roll out a singular tool that encourages experiences of art and politics rather than representations of them, the circulation and comparison of ideas rather than their authoritative forms of transmission. While being a critical and artistic condensation and development of les Laboratoires d’Aubervilliers project, this year’s

Printemps des Laboratoires offers an opportunity to nurture research and explore a variety of current artistic, historical and critical contexts, both French and international.

The first instance of the Printemps des Laboratoires (2013), entitled “Commune, Commons, Community”, raised the issue of the commons. Second instance (2014), “Ne travaillez jamais!”, was about links that unite art and work. “Performing Opposition”, the third instance of the Printemps des Laboratoires (June 2015) will explore the forces and shapes of the revolts that left a mark on History in the past ten years, and their role in social transformations. “Performing Opposition” will be particularly interested in practices and strategies developped by artistic performances, as well as political and civil manifestations.

Performing Opposition

The third edition of the Printemps des Laboratoires, Performing Opposition, will be devoted to exploring how art relates to the ‘polis’, in opposition to instituted powers. From the emergence of avant-garde movements in the nineteenth century to artists’ engagement in more recent protest- and social revolt movements, art has been renewing its strategies and its forms of opposition. By putting into perspective certain historical and artistic legacies (agit-prop, spaßguerilla, Situationism, Indignados), Performing Opposition seeks to bring into focus a current dynamic that contributes to opening up gaps in the regulated continuum of public space in order to (re)occupy and appropriate it. The question of ‘performing public space’ is central, especially in the digital age with its changing strategies of visibility and representation. Performing Opposition will be foregrounding the antagonistic movements that reconfigure, across the globe and from one local to another, the map of a power that is now diffuse and molecular — an art that is also capable of eluding its ties to the institution in order to continue to develop therein, in spite of everything, critical and operative strategies.

This edition of the Printemps des Laboratoires will set up a dialogue between diverse experiences and perspectives. Our guests include specialists in the fields of activist movements (Brian Holmes), avant-garde movements (Marc Partouche), digital cultures (Marie Lechner, Nathalie Magnan), and also the links between theatre and political modernity (Diane Scott). These theoretical perspectives will link in with the artists’ testimonies, which will include artists engaged in popular revolts (Burak Arikan), artists participating via their practice in building communities of thought and action (Marinella Senatore), artists using the art institution to propose ways of occupying public space (Thomas Hirschhorn, Renata Lucas) or artists working in the field of theatre, literature or poetry, as a privileged site for observing society and its injustices (Motus, Nathalie Quintane). Finally, we believe it crucial to investigate these problematics from the perspective of the institution, that of the Laboratoires d’Aubervilliers, of course, which seeks to establish the conditions of emergence and support for free artistic forms, but also from the perspective of like-minded centres engaged, via the work they carry out in their site, in building a slow revolution (Beirut, in Cairo).

These discussions will take shape amid a varied programme which will include a musical accompaniment by pianist Alexey Aasantcheef, presenting a set composed of works by Cornelius Cardew, punctuated by revolutionary pieces which the audience will be invited to sing; performances by students of the Oslo Academy of Fine Art; an evening meal open to all; a screening juxtaposing contemporary films (Egyptian filmmakers Jasmina Matwaly and Philip Rizk and the Palestine-based DAAR collective) and a documentary about a major 1970s play (Paradise Now by Living Theater). Prior to this edition of the Printemps des Laboratoires, Turkish artist Burak Arikan will be running a workshop titled “Graph Commons”.

Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed the contemporary art platform Rosascape, an independent art centre based in Paris. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan. She is interested in production strategies, the artistic research process and reflections on the role of artwork and ways of sharing it with the public – through formats such as exhibits, performances, conferences, and publications – for all disciplines.

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Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013 with Dora Garcia and Mathilde Villeneuve, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed Rosascape, a platform for contemporary creation in Paris that straddles multiple spheres as a private art centre and production unit, exploring the contexts of production and reception of works as well as their mode of display by attending to specific notions such as the question of private, intimate space vs public and political space. The decision to house Rosascape in an architecturally defined space — a private, intimate, theatrical space, playing with a tension between interior and exterior space and the domestic character of its surroundings — rather than in a neutral, ‘white cube’ type of exhibition space, stems from a will to perceptibly shift the relationship to artworks and artistic experiences. A critical awareness of the standardisation of exhibition spaces in the context of globalisation, and thus of the standardised relationship between the artwork and the public, led us to seek and occupy a site and experiential sphere of a different kind — a left-field space — and displace, in this way, our relationship to contemporary art. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan and produced several artists books. Since 2013, as co-director of Les Laboratoires d’Aubervilliers, she develops a work with Mathilde Villeneuve and Dora Garcia based on two factors  — a laboratory that research, test out and experiment, and the town of Aubervilliers (at the periphery, on the outskirts, a melting pot of industrial workers, and a major site of immigration). The very particular relationship between these elements is the context in which artists-in-residence make and develop their projects. The collegial approach aims to establish collectives that enable new forms of intersubjectivity to take shape. In collaboration with the co-direction team, she works on developing novel communities that alter and transform according to the shifts and developments in their work. From the very beginning, the Laboratoires d’Aubervilliers has been committed to reducing the gap between informed and uninformed audiences, and to supporting the most complex and hybrid artistic practices while ensuring no one feels excluded. The institution is renowned for the collective productions it has generated, for fostering collaborations between artists across the entire spectrum of disciplines, and for its participatory, community-building projects involving local residents.

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Suggestion de publications et films en lien avec le Printemps des

Laboratoires #3

PERFORMING OPPOSITION

La Tribune des Laboratoires

Printemps des Laboratoires #3

Performing Opposition

 Edition online : http://fr.calameo.com/read/004372567dbb8e55eab41

Multitudes n°50, Spécial soulèvements, automne 2012

Renverser l’insoutenable, Citton, Yves, 2012

 Dictature des marchés, politiques d’austérité, inégalités sociales criantes, catastrophes environnementales, crises démocratiques : de toutes parts nous arrivent les signes de la fin d’un monde. Pour Yves Citton, ce sont les pressions insoutenables que nous inflige un mode de développement fourvoyé qui rendent la situation actuelle invivable. Yves Citton prend la mesure de cet insoutenable à la fois environnemental, éthique, social, médiatique et psychique et propose un nouveau vocabulaire pour nous aider à appréhender les pressions qui nous traversent et nous rendent la vie de plus en plus intenable. À la croisée de la philosophie morale et politique, de l’économie et de la théorie littéraire, cet essai drôle enlevé prend le contre-pied du misérabilisme ambiant en révélant que le renversement de l’insoutenable est déjà inscrit dans la dynamique de nos gestes les plus communs et que tout geste politique prend sa source dans ces deux questions : Comment fais-je pression sans le vouloir ? Comment faire pression en le voulant ? Attentif au rôle de l’image et à l’évolution du discours politique, Yves Citton livre ici les moyens de repenser notre place et notre action dans un processus qui apparemment nous dépasse en montrant que l’on peut tirer parti des dispositifs médiatiques plutôt que de les subir et ainsi, une fois fait le deuil du Grand Soir, de proposer des alternatives à la politique du pire. ?

 Le nouvel esprit du capitalisme, Boltanski, Luc, Chiapello, Ève, 2011

Le capitalisme prospère ; la société se dégrade. La croissance du profit s’accompagne de celle de l’exclusion. La véritable crise n’est pas celle du capitalisme, mais celle de la critique du capitalisme. Trop souvent attachée à d’anciens schémas d’analyse, la critique conduit nombre de protestataires à se replier sur des modalités de défense efficaces dans le passé mais désormais largement inadaptées aux nouvelles formes du capitalisme redéployé. Cette crise, Ève Chiapello et Luc Boltanski, sociologues, l’analysent à la racine. Ils tracent les contours du nouvel esprit du capitalisme à partir d’une analyse inédite des textes de management qui ont nourri la pensée du patronat, irrigué les nouveaux modes d’organisation des entreprises : dès le milieu des années 70, le capitalisme renonce au principe fordiste de l’organisation hiérarchique du travail pour développer une nouvelle organisation en réseau, fondée sur l’initiative des acteurs et l’autonomie relative de leur travail, mais au prix de leur sécurité matérielle et psychologique. Ce nouvel esprit du capitalisme a triomphé grâce à la formidable récupération de la «critique artiste» – celle qui, après Mai 68, n’avait eu de cesse de dénoncer l’aliénation de la vie quotidienne par l’alliance du Capital et de la bureaucratie. Une récupération qui a tué la «critique artiste». Comme, dans le même temps, la «critique sociale» manquait le tournant du néocapitalisme et demeurait rivée aux vieux schémas de la production hiérarchisée, on la trouva fort démunie lorsque l’hiver de la crise fut venu. C’est à une relance conjointe des deux critiques complémentaires du capitalisme qu’invite cet ouvrage sans équivalent.

Unleashing the Collective Phantoms : Essays in reverse Imagineering, Holmes, Brian, 2008

 These insurgent essays develop and critique some of the cultural and artistic projects that first arose with the worlwide wave of protests, around the turn of the millennium, against what the global South has long called neoliberalism. Dissent and the refusal of a programmed existence return continually to the street, but they also unfold in the intimacy of the imagination. Complex discourses and elaborate fictions pass through images, works, ideas and wild scenarios that hover around the edges of reality; museums, cinemas, books and theatres are only temporary homes for such things, and authors only a convenience. Times leaches away the graffiti of revolt, and the cynicism of power lays a new coat of paint. Yet still the collective phantoms return. These essays engage with the politics of aesthetics and artistic practice. They include “Cartography of Excess,” “Flexible Personality and Networked Resistance,” “Psycho-geography and the Imperial Infrastructure,” “The Revenge of the Concept,” “Artistic Autonomy and Communicaton Society,” “Reverse Imagineering,” “Transparency and Exodus,” “Three Proposals for a Real Democracy,” and more, from an author who is becoming a vital contributor to contemporary cultural theory and global political struggles.

New Public Spaces: Dissensual Political and Artistic Practises in the Post-Yugoslav Context, 2010

 Other Possible Worlds : Proposals on this Side of Utopia [texte imprimé] / Rüb, Christine, Editeur scientifique. – Berlin : argobooks, 2011

 Which roles can art projects, art spaces, self-organized academies and labs play in developing conceptions of the world that go beyond purely economic globalization? Projects from various parts of the world are invited to propose and test out other realities of life and world views, from small artistic attempts to social experimentation. Topics such as dealing with cultural differences, climate change, processes of levelling out and confusing complexities form the basis for a common space in which to rise questions.

The basis for Other Possible Worlds – Proposals on this Side of Utopia is a collection of ideas, concepts, models, terms, projects, kits and modes of acting. It is conceived as a pool for further projects in other parts of the world, it is open to further extension and it allows for varied formats. The NGBK is considered as a common and active space of inquiry for different formats like artistic contributions and installations, workshops, presentations, talks and video screenings.

Le Mouvement – Performing the City [texte imprimé] / Cvejic, Bojana, Auteur; Lepecki, André, Auteur; Petresin-Bachelez, Natasa, Auteur; Verwoert, Jan, Auteur. – Berlin : Distanz, 2014.

Since 1954 this quinquennial is a must in the field of contemporary art in public space. For its 60th anniversary in 2014 the Swiss Sculpture Exhibition in Biel/Bienne will replace the static presentation of artworks by performances in public space thus questioning the state of static representation and public involvement. Curated by Gianni Jetzer and Chris Sharp.

Public sphere by performance [texte imprimé] / Cvejic, Bojana, Auteur; Vujanovic, Ana, Auteur. – Berlin [Allemagne] : B_books ; Aubervilliers : les Laboratoires d’Aubervilliers, 2012. – 181p.: dessins N&B.

 Cet ouvrage livre les réflexions de deux membres du collectif de Belgrade Teorija koja Hada (Walking Theory), élaborées au cours d’une résidence aux Laboratoires d’Aubervilliers. Bojana Cvejić et Ana Vujanović y explorent les manifestations de l’idéologie politique dans l’espace public, étayant leur réflexion par des exemples puisés dans l’histoire des régimes fascistes et communistes du XXe siècle, de l’ethno-nationalisme serbe et du système capitaliste néolibéral. S’éloignant d’une critique linguistique de l’idéologie basée sur une analyse de l’acte discursif, elles suggèrent qu’elle est incarnée et performée par les corps, notamment sous la forme de chorégraphies collectives et individuelles.

L’imaginaire de la Commune, Kristin Ross, ed. La Fabrique, 2015 : Traduit de l’anglais par Étienne Dobenesque

 William Morris, Élisée Reclus, Pierre Kropotkine : ce ne sont pas les premiers noms qui viennent à l’esprit s’agissant de la Commune de Paris. S’ils tiennent dans ce livre un rôle important, c’est que pour Kristin Ross, la Commune déborde l’espace-temps qui lui est habituellement attribué, les 72 jours écoulés et les fortifications sur lesquelles elle a combattu. L’Imaginaire signifie que cet événement révolutionnaire n’est pas seulement international mais qu’il s’étend bien au-delà du domaine de la politique, vers l’art, la littérature, l’éducation, la relation au travail. Ce n’est pas un hasard si les trois personnages principaux du livre sont un poète-artiste, un géographe et un scientifique-anarchiste russe : la Commune n’est pas un simple épisode de la grande fable républicaine, c’est un monde nouveau qui s’invente pendant ces brèves semaines, un monde qui n’a pas fini de hanter les uns et d’inspirer les autres.

 Eric Hazan, La dynamique de la révolte, Sur des insurrections passées et d’autres à venir, La Fabrique éditions, mars 2015

 Partout dans le monde les peuples se rebellent. Partout en Europe, les peuples se révoltent. Sauf en France… Le seul pays occidental à se doter d’une loi de surveillance de ses citoyens digne des pires dictatures, sans que cela ne provoque d’explosion de colère -à peine une vague d’inquiétude vite rabrouée par des socialos plus réactionnaires que jamais.

Partout dans le monde les peuples tentent de se saisir de leur destin. Sauf en France, où aucune révolution ne paraît possible. Où il ne se passe rien. Bien que le quotidien y devienne invivable. Faut-il repenser l’action commune ?

Eric Hazan s’est penché, moins sur cette question que sur celle du surgissement de l’étincelle qui viendra à coup sûr mettre le feu à la plaine française.

 Living as Form: Socially Engaged Art from 1991-2011 by Nato Thompson, 2012

 Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production–one that has virtually redefined contemporary art practice. Living as Form grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. The artists include the Danish collective Superflex, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, creator of socially and politically charged performance works; Women on Waves, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, an architect who builds temporary structures to solve housing problems.

Living as Form contains commissioned essays from noted critics and theorists who look at this phenomenon from a global perspective and broaden the range of what constitutes this form.

 Théâtres en lutte : le théâtre militant en France des années 1960 à nos jours, Olivier Neveux, ed. La Découverte, 2014

 Depuis les années 1960, de nombreuses expériences théâtrales ont revendiqué en France un clair dessein politique. Inscrit au cœur des luttes (anti-impérialistes, ouvrières, féministes, immigrées, homosexuelles, altermondialistes, etc.), ce théâtre militant s’est donné pour but de contribuer, à sa manière, aux combats d’émancipation de son temps. Injustement déprécié ou ignoré, il constitue pourtant tout un pan de l’histoire théâtrale. Et c’est cette histoire inédite et passionnante que l’on découvrira dans cet ouvrage extrêmement documenté. Comment représenter la colère, l’injustice et l’espérance ? Quelles formes pour dire la lutte ou expliquer les mécanismes du capitalisme ? Et à qui de telles représentations doivent-elles être destinées ? Contrairement aux idées reçues, le théâtre militant n’a jamais cessé d’inventer des solutions dramaturgiques et scéniques pour mettre en scène le présent : un présent à transformer. Héritier d’Erwin Piscator, de Bertolt Brecht et des troupes d’agit-prop soviétiques, ce théâtre n’est pas homogène : il est traversé d’options politiques et esthétiques diverses, voire contradictoires, d’Armand Gatti à Augusto Boal, en passant par Alain Badiou, André Benedetto et de nombreux collectifs (la Troupe Z, Al Assifa, le Levant, le Groupov…). Revenir sur ces propositions, sur leurs richesses et leurs impasses, c’est tout autant s’opposer à l’oubli que tenter d’ouvrir des pistes pour le théâtre militant d’aujourd’hui.

 Politiques du spectateur : les enjeux du théâtre politique, Neveux, Olivier, 2013

 Face au monde, ses crises et son devenir, un théâtre s’invente. Il réagit, dénonce, explique, illustre, propose : ce théâtre est politique. À ce titre, il s’inscrit dans une longue histoire, bien souvent déconsidérée : celle d’un théâtre qui prend acte des batailles de son temps. Mais ce théâtre d’aujourd’hui n’est pas homogène, il défend des orientations politiques dissemblables et fait en particulier de la place accordée au spectateur le lieu d’enjeux différents. En effet, la politique au théâtre se découvre aussi, de façon décisive, dans le rapport que le spectacle entend entretenir avec son spectateur. C’est à travers ce prisme qu’Olivier Neveux propose d’analyser le champ théâtral politique à l’heure du néolibéralisme. Comment le théâtre « transgressif » conçoit-il ses spectateurs ? Quelles facultés le théâtre « postdramatique » entend-il solliciter ? Que nous apprennent ces volontés de brusquer, sensibiliser, éclairer, mobiliser le spectateur ? Dans leur diversité, quelles conceptions de l’émancipation tous ces théâtres soutiennent-ils ? Car c’est bel et bien une interrogation sur la possibilité de l’émancipation et la part que peut y prendre le théâtre qui anime cet ouvrage : celle du spectateur, de l’artiste et de l’oeuvre émancipés. Réfléchir aux politiques du spectateur signifie alors s’intéresser tout autant aux politiques que le théâtre défend, à celles qu’il applique et aux définitions implicites qu’il propose, par là, de la politique.

 Performing Opposition : Modern Theater and the Scandalized Audience by Neil Blackadder

Modern theater history is punctuated by instances of scandalized audience members disrupting and in some cases suspending the first production of a new play. Such incidents are usually dismissed as riots, as self-evident displays of philistinism. Neil Blackadder’s intriguing new study reveals them in fact to be multifaceted conflicts, showing the ways in which these protesters-acting against plays by such notables as Jarry, Synge, and Brecht-creatively devised and enacted resistance through verbal rejoinders, physical gestures, and organized group demonstrations.

Performing Opposition draws on reviews, memoirs, interviews, and court records to present engaging and insightful accounts of these clashes—clashes that Blackadder proposes as a unique and distinct category of event in a time when unprecedentedly restrained norms of auditorium behavior coincided with a regeneration of writing for the stage. Offering the first detailed examination of affronted theatergoers’ counter-performances, the volume represents an intriguing illumination of a largely overlooked aspect of performed drama and its history.

 Le théâtre des opprimés, d’Augusto Boal, 1971

L’être humain devient humain quand il invente le théâtre. La profession théâtrale, qui appartient à quelques-uns, ne doit pas cacher l’existence et la permanence de la vocation théâtrale, qui appartient à tous. Le théâtre est une vocation pour tout être humain. 
Le théâtre de l’opprimé est un système d’exercices physiques, de jeux esthétiques, de techniques d’images et d’improvisations spéciales, dont le but est de sauvegarder, développer et redimensionner cette vocation humaine, en faisant de l’activité théâtrale un outil efficace pour la compréhension et la recherche de solutions à des problèmes sociaux et personnels.

 Les années 10 de Nathalie Quintane (ed. La Fabrique), 2014

 Marc Partouche, La ligne oublié, ed. Al Dante, 2004

 De la « vie de bohème » au situationnisme, une histoire de l’art surprenante et indispensable : celle des regroupements dits « secondaires » qui n’ont cessé, depuis le milieu du XIXe siècle, de saper l’ordre social et culturel. Des Hydropathes au Surréalisme, en passant par le cabaret du Chat Noir et la Pataphysique, Marc Partouche renoue le fil subversif et humoristique liant la modernité du XIXe siècle et les avant-gardes du XXe. 
La « lignée oubliée » est celle des artistes classés comme « mineurs » par une histoire officielle qui oppose systématiquement sérieux et humour, culture haute et culture basse. Refusant l’académisme sclérosant, Marc Partouche s’attache à ces pratiques artistiques nées dans les cabarets de Montmartre et Saint-Germain-des-Prés, et considérées comme inassignables et infréquentables : l’art de la Bohème, des Hydropathes à Fluxus en passant par le lettrisme et le surréalisme, des salons caricaturaux du XIXe aux foires internationales d’Art contemporain du XXe siècle. 

Playgrounds, Reinventing the square, ed. Museo Nacional Centro de Arte Reina Sofía and Siruela, 2014

 Judith Butler : Excitable Speech. A Politics of the Performative

http://monoskop.org/images/5/54/Butler_Judith_Excitable_Speech_A_Politics_of_the_Performative_1997.pdf

Walter Lippmann, Public Opinion (1922)

Walter Lippmann, Phantom Public (1925)

John Dewey, Le public et ses problèmes (1927)

Jürgen Habermas, L’espace public (1962)

Hannah Arendt, La condition humaine (1958 – cf distinction faite entre sphère privée et public)

Judith Butler, Qu’est-ce qu’une vie bonne (2012) – un résumé du livre là: http://www.franceculture.fr/emission-l-essai-et-la-revue-du-jour-judith-butler-revue-vacarme-2014-05-06)

Bojana Cvejic, Ana Vujanovic, Public Sphere By Performance (2012, publié par Labos)

Hannah Davis Taïeb et autres, Espaces publics, Paroles publiques au Magrheb et au Machrek, 1997

Dorothea von Hantelmann, How to Do Things with Art – The Meaning of Art’s Performativity

Jan Zienkowski, Analysing political Engagement

J.L Austin, How TO DO Things With Words

Augusto Boal, Theater of the Oppressed

Hacker, Hoaxer, Whistleblower, Spy / The many faces of the anonymous

Mikkel Bolt Rasmussen & Jakob Jacobsen, Expect Anything, Fear Nothing / The Situationnist Movement in Scandinavia and Elsewhere

Molly Sauter, The Coming Swarm

Schechner, Performance theory

 Film online

Paradise Now : The Living Theatre (1969)

Marty Topp et Melvin Clay [ 46 mn ]

http://ubu.com/film/living.html

Common Assembly: Deterritorializing the Palestinian Parliament

DAAR [ 15 mn ]

http://www.decolonizing.ps/site/

Out on the streets (2013)

Jasmina Metwaly et Philip Rizk  [ 70 mn ]

 

 

 

 


Cinema with Talk

helio

Cinema with Talka with Cesar Oiticica

“Helio Oiticica was one of the artists that most united reflection with artistic creation. His ideas and propositions, expressed not only in texts but also in statements and interviews, revolutionized art and culture, transforming him into one of the most important artists of the second half of the twentieth century. The documentary by Cesar Oiticica Filho, by using the voice of the artist as a narrative thread, permits a unique immersion into the thought and intimacy of Helio Oiticica.

The extensive image research makes the spectator accompany the evolution of the artist, the initial connection with the Grupo Frente, then the surge of Neoconcretism, the creation of the Bolides, Penetraveis, Nucleos, and Parangoles, next the involvement with Tropicalia, expanding into the New York period, until the return to Brazil.

It is a document, not solely about one of the greatest artists that Brazil has yet produced but also about only about one of the periods of greatest effervescence of our culture, which means that this film is crucial to an understanding of not only our culture but what we are today.

Helio Oiticica is a 94 minute documentary, directed by Cesar Oiticica Filho and produced by Guerrilha Films.

Direção e roteiro: César Oiticica Filho
Pesquisa de imagem: Antônio Venâncio
Produção executiva” João Villela,  Juliana Carapeba, Felipe Reinheimer e César Oiticica Filho
Direção de Produção e coordenação de finalização: Juliana Carapeba
Direção de fotografia: Felipe Reinheimer
Montagem: Vinicius Nascimento
Consultoria de montagem: Ricardo Miranda
Consultoria biográfica: Roberta Camila Salgado
Edição de som e mixagem: Ricardo Cutz
Produtor musical: Vinicius França
Trilha sonora: Daniel Ayres e Bruno Buarque
Participação especial na trilhaL Macalé, Celso Sim e Pepê Machado
Figurino: Julia Ayres
Coordenadora de lançamento: Barbara Vida


Epiphyte Program

programa epifita

Agência Transitiva is a landless space-vehicle that, as lives an epiphyte plant, at suit 3301 of jardin CAPACETE, where it germinates work, encounters, exchanges and co-living. Without removing nutrients from the hull the epiphyte program utilizes this space-situ as a support to reach its ideal environment in the forest strata. Common in tropical forests, this practice allows for herbaceous plants to cooperate circularly for light, air, and space prospering even without soil.

Agência Transitiva came about in 2013, as a multiple organism formed by artists, researchers, translators, hackers, designers, students, managers, dancers, etc., that reconfigure itself according to each action. In 2015, in addition to piloting this prototype plant the agents Pedro Victor Brandão, Maíra das Neves, Kadija de Paula and Thais Medeiros also cultivate CAPACETE’s bookstore, from Wednesday to Friday from 15:00 to 19:00 together with participants of CAPACETE’s annual program.

Agência Transitiva creates co-living experiences, shared auto-education, socio-economic experiments, and chain reactions.

http://agenciatransitiva.net

http://twitter.com/agetransbr

agenciatransitiva@gmail.com

Rua Benjamin Constant, 131/ 3301 Glória – Rio de Janeiro – RJ 20241-150 Brasil


Daniela Castro & Anne Szefer Karlsen

danielaanne sverszen

Quarta-feira dia 3 de junho as 19:30

Self Organised, now available in Portuguese 

Para a fala desta quarta aconselhamso a leitura de: Self-organisation as Institution? Anne Szefer Karlsen

http://www.szefer.net/index.php?/projects/self-organisation-as-institution/

———

Daniela Castro is a writer and curator based in São Paulo. A graduate in Art History from University of Toronto (2003/Canada). She is currently co-curating the 3rd Aichi Triennial (Japan), has co-curated with Jochen Volz The Spiral and the Square: exercises on translatability at Bonniers Konsthall, Stockholm, which interchanged and travelled to Trondheim and Kristiansand, both in Norway (2011-12). Curated A Radically Condensed History of Post-Industrial Life LADO A/LADO B, an exhibition in LP format for the “Impossible Show” at El Spacio, Madrid, Spain (2010-11) and the TEMPORARY GALLERY in Köln, Germany (ongoing). Curated Lights Out, the inaugural exhibition at the Museum of Image and Sound – MIS (2008/São Paulo). Conceived and curated the Recombining Territories, an itinerant and interchanging exhibition that’s travelled seven capitals of Brazil (2006-2010). She’s been publishing widely in national and international art publications, and taught workshops on art writing and curatorial practices throughout Brazil.  Published her first book, co-authored with Fabio Morais, titled ARTE E MUNDO APÓS A CRISE DAS UTOPIAS, assim mesmo, em CAIXA ALTA e sem notas de roda-pé (Florianópolis: Par(ent)esis Art Book Publisher, 2010).

Anne Szefer Karlsen was curator for Lofoten International Art Festival – LIAF 2013 (with Bassam El Baroni and Eva Gónzalez-Sancho) and Associate Curator for Research and Encounters, Biennale Bénin 2012 (Artistic Director Abdellah Karroum). In 2015 she is the curator of the 8th Norwegian Sculpture Biennial. As Director of Hordaland Art Centre in Bergen, Norway (2008-2014) she curated several exhibitions and seminars, as well as further developed its residency programme. She initiated, and is Series Editor of, the book seriesDublett – a book series of twin publications consisting of a new artist book by and an anthology of commissioned texts on contemporary artists (2012-2015) and co-edited Self-Organised (Open Editions/Hordaland Art Centre, 2013, with Stine Hebert). Her interests are in artistic and curatorial collaborations as well as developing the language that surrounds art productions of today, linguistically, spatially and structurally.

——–

Recomended reading

http://www.generation-online.org/c/fc_rent1.htm
http://digamo.free.fr/dhbrief.pdf (Freedom’s Just Another Word chapter)

 



Jorge Menna Barreto

Jorge Menna Barreto

Wednesdat 13 th of may at 19:30

Unearthed taste
Notes 1: I find apples to sell in every supermarket and grocery store in Brazil. I find apples for sale all over the world. To cultivate apples in Brazil we need around 60 pesticide sprays; colonized taste. Notes 2: On Benjamin Constant, while going to CAPACETE, I observe the greens that grow spontaneously on the sidewalk. Among them, Caruru (Amaranthus viridis) and Beldroega (Portulaca oleracea), two wild edibles which are very rich in nutrients. Visible to our ancestors, they have become invisible to our gaze. Keys: Wild edibles, agroecology, site-specificity, eating locally, locavore, food activism, Robert Smithson: let the site determine what I would build, green smoothies, food as the main mediator of our relationship to the soil, what we eat determines the landscape where we live, the mouth as sculpture tool, plant-based diet, colonial taste, systemic thinking, thinking like a forest, the digestive system does not begin in the mouth nor does it end in the ass.
Jorge Menna Barreto is an artist and researcher. For 18 years, he has let the site determine what he will do, and, more recently, what he eats. PHD in Visual Poetica at USP-São Paulo, he has just finished a post-doctoral research at UDESC, where he researched on possible relations between agroecology and site-specificity in the arts. He is a professor at the Art Department of UERJ since April 2015.
Readings: 
1. Agrofloresta, ecologia e sociedade: http://goo.gl/dxDAxj
2. Plantas Alimentícias Não Convencionais (PANC) no Brasil: http://goo.gl/F0zCTo
3. Carta de Pero Vaz de Caminha, maio de 1500: http://educaterra.terra.com.br/voltaire/500br/carta_caminha.htm
4. Raízes do Brasil: Sérgio Buarque de Holanda, 1935. 
5. Writings of Robert Smithson.  
6. Valdely Kinupp, especialista em PANC: https://www.youtube.com/watch?v=iieB_jhhaC0
7. Café Educativo: Paladar Cego http://www.31bienal.org.br/pt/events/1849
8. An introduction to thinking like a forest: http://shikigami.net/forest/introduction-thinking-like-forest/
11. Elaine Azevedo: Alimentos Orgânicos: Ampliando os conceitos de saúde humana, ambiental e social: http://livraria.folha.com.br/livros/culinaria-e-gastronomia/alimentos-organicos-elaine-azevedo-1188407.html


Acácio Augusto

Acacio9

Wedneaday the 29th of april at 19:30

Anarchy as anti-political, ethical and aesthetic experimentation.

Acacio Augusto - Doctor of Social Sciences (Political) at PUC-SP and CAPES post-doctoral student in Sociology and Master Policy UVV (University of Vila Velha), researcher at Nu-Sun (Libertarian Sociability Center of PUC-SP) and NEUS (Center for Urban Studies and Social and Environmental UVV). Author of Politics and police: controls, penalties and care of young, Publisher Oil Lamp, Rio de Janeiro, 2013

Anarchy is a political force that in modern history, broke the representative limits placed by and around the state. Their struggles are not intended to take it or reform it, but to abolish the state. For this, anarchists put the urgency of abolishing the power in us. More than a political utopia, this is an associative practice that values ​​and revolt and the production of ethical and aesthetic trials for a life in combat with the forces that seek to govern the conduct. I propose a conversation from the exhibition of educational experiences, making newspapers, cultural associations and life of some militants, voided throughout history, to talk about the relevance of anarchy today as way of life, one anti-political force that inhabits existence of bodies in revolt.

Textos sugeridos para leitura:

Acácio Augusto. Política e antipolítica: anarquia contemporânea, revolta e cultura libertária. Tese de Doutorada. São Paulo: PUC-SP, 2013.

Edson Passetti & Acácio Augusto. Anarquismos e educação. Belo Horizonte: Ed. Autêntica, 2008.

Christian Ferrer. “Átomos soltos – a construção da personalidade entre os anarquistas no início do século XX” In Revista Verve. São Paulo: Nu-Sol, vol. 5, 2004, pp. 157-184.

Pietro Ferrua. “Jonh Cage, anarquista fichado no Brasil” In Revista Verve. São Paulo: Nu-Sol, vol. 4, 2003, pp. 20-31.


Oliver Bulas

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


Amilcar Packer & Jarbas Lopes

Wedneday 15th of april at 19:30
Doris Criolla is a search engine, a public seminar that part of the genealogy of Creole words, Creole , Creole and Creole , proposing a reflection on historical, cultural and political contexts in post -colonial processes. Betting on the edibility , the work manifests itself in relational trials during lunch and dinner where food dishes are served " Creole " accompanied by presentations that expand and update the research , they also unfold through textual production and rely on collaboration agents of various practices and disciplines.
 
On April 15, 2015 , starting at 19 : 30h , Doris Criolla will make the first of a series of presentations as part of the 2015 HELMET program. That day will be served with ceviche dishes and a special drink.
No mesmo dia apresentamos o livro do Jarbas Lopes
jarbas livro

Costs and fees

 

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

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

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

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

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

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

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

 


Office sharing

Venha trabalhar no nosso “office sharing

office sharing

Você pode usar nosso espaço para fazer reuniões ou simplesmente trabalhar algumas horas com internet banda larga.

Nossa casa fica perto do metro Gloria e de facil alcance com o metro ou outros meios publicos. Estacionamento interno para bicicleta. Estacionamento para carro tambem existe. A casa fica em uma rua sem saido portanto tem silencio e os espacos de trabalho podem ser tanto internos como externos. Ar condicionado nos espacos internos.

Preco por hora: R$ 10

Preco por dia: R$ 50

Preco por temporadas mais longas por favor consultar com: hotel@capacete.org


Cachaça Capacete e outros produtos

Experimente nossas incríveis cachaças artesanais

foto cacahaca 2

doce de leite    queijo    geleiasmel chique   queijo

CAPACETE Cachaça: 12, 18 e 25 Reais a garrafa

Queijo tipo parmesan: Kg 60 Reias

Geleias: pote por 16 Reais

Goiabada: pote por 16 Reais

Mel: potes por 15 e 30 Reais

Comprando os nosso produtos você estará contribuindo ao projeto como um todo. Faça parte!

Reciclamos a garrafa e você recebe a nova garrafa com o desconto (garrafa a 3 R$, 6R$, 7R$)



Pedagogical team

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

The conferencist for 2016 are:


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

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

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

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

daniela

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

—-
Bik van der Pol

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

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

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

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

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

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

Cristoph Keller

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

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

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

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

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

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

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





Marcia Ferran

livro para ler- CAPACETE 10 anos

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Márcia Ferran é arquiteta e urbanista formada pela FAU/UFRJ, vive e trabalha no Rio de Janeiro. Doutora em Arquitetura e Urbanismo pela UFBA e em Filosofia pela Université de Paris1.  Iniciou sua carreira como cenógrafa de TV e teatro, além de realizar projetos arquitetônicos. Foi professora do curso de graduação em Produção Cultural da UFF.  Em 2002 foi convidada do programa Courants du Monde promovido pela Maison des Cultures du Monde, em Paris, onde também implantou e coordenou eventos científicos e culturais como o I Rencontre Culture em 2004 na Embaixada do Brasil e o Ciclo de Palestras científicas APEB-FR na Maison Du Brésil.  Foi Gerente de Espaços Culturais da Secretaria de Cultura de Vitória/ES (2006-2007). Em 2007 recebeu o Prêmio Rumos Itaú Cultural Pesquisa: Gestão Cultural pela dissertação Participação, política cultural e revitalização urbana nos subúrbios cariocas : O caso das Lonas Culturais. Atualmente atua como Curadora consultora da Secretaria de Cultura do Maranhão para o Ano da França no Brasil 2009. Desde 1999 tem pesquisado projetos culturais e artísticos em subúrbios na França e no Brasil, escrito artigos e proferido palestras abordando a noção de Hospitalidade e suas condições críticas na cultura e arte contemporâneas. 


Mariana Lanari

“I took part in Máquina de Responder, a program that happened in parallel to the 29. São Paulo Biennial in 2010/2011. After the end of this program, a few of us remained working together on a book. Two years later, in 2013, I went to a mobile residency in the Amazone. In this trip, I met Bik van der Pol, also residents at the time, and joined their master program at the Sandberg Instituut in Amsterdam. Since then I leave in the Netherlands. It was through Capacete that I moved to the Netherlands, where I live for 5 years. It’s a radical gesture to encourage artists to not produce work during the residence. It’s a permission to slow down and rather listen, observe, interact, beliving that whatever happens in these periods will inevitably produce result in the future. Capacete is a community of people it has the magic of making you feel part of it.”


Leonor Antunes

Book to read – CAPACETE 10 years

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Leonor Antunes nasceu em Lisboa, Portugal, em 1972. Vive e trabalha em Berlin e Lisboa. Exposições individuais recentes: Credac, Centre d’Art Contemporain, Paris (2008), Isabella Bortolozzi Gallery, Berlin (2005, 2008), Museu da República, Galeria do Lago, Rio de Janeiro (2008), Chiado 8/Culturgest, Lisboa (2008), Barriera, Turim (2007), Air de Paris Gallery, Paris (2007), Dicksmith Gallery, London (2007): expoisções coletivas recentes: Musee d’Art Moderne de la Ville de Paris, Paris (2007), Daymler Crysler Foundation, Haus Huth, Berlim (2007), Carré d’Art Musee d’Art Contemporain, Nimes, França (2007), Pavilhão de Portugal/Museu de Serralves, Coimbra (2006).





Oliver Zahm

Book to read CAPACETE 10 years

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Olivier Zahm nasceu em 1964 na França, onde vive e trabalha. É crítico de arte, curador, editor e diretor de arte de moda da revista Purple. Publicou artigos na Art Forum, Flash Art, Art Press e Texte Zur Kunst durante os anos 80 e início dos 90. Trabalhou como curador em ínumeras exposições internacionais como no PS1, MoMA e Centro Pompidou. Em 1992  fundou com Elein Fleiss a revista Purple.