Andrew de Freitas employs a range of mediums in order to explore issues arising from everyday perception and the formation of meaning and feeling. Central to his practice is design and construction, rearrangement of sensory data, experimentation with expanded methods of production and the narrative form.
“One night last year when passing through Berlin I ended up sitting at a big table in some Italian kind of place, with a group of people, all of whom I genuinely enjoy and admire in some way. Which is a nice place to find yourself in. And I think it was Julien Bismuth that said, hey, we should send a selfie to Helmut, presumably to make him jealous or proud – considering that altogether these folks at the table probably represented a strata of at least 15 years capacete, in the sense of capacete being amongst many other things, a diverse and networked constellation of people, who all in some way were connected through Rio de Janeiro. And it wasn’t a milestone or anything particularly remarkable, because for myself and many others there, it’s something that can happen quite often with people you get to know through capacete. And I think Julien took a photo, which I never saw, and we started to talk for while about what it is about capacete that creates this kind of thing. Which I suppose you could call, among many other things, meaningful relationships. There are tonnes of examples of groups, organizations, scenes, cities institutions etc that facilitate friendships and connections, and form also a sense of shared identity. For example, it could be that you lived in a a particular city at a certain time, attended a school or academy, or had some kind of job somewhere, and you have a group of friends or acquaintances that you associate with that time or place, and whom you keep a connection to because of it. But what we were noticing that night in Berlin was that of all the people we know from all those kinds of time and place that we’ve experienced, the relationships that are formed through capacete, often in rio, but not exclusively, tend to be meaningful, and lasting ones. relationships that don’t expire so easily.”
Artistic director of Nazi Knife, with Hendrik Hegray, FLTMSTPC, Paris (since 2006) / False Flag, with Hendrik Hegray and Stéphane Prigent, FLTMSTPC, Paris (since 2010) / Mentiras, fanzine (since 2013).
My work comprises several different operations, which are distinct but in dialogue.
On the one hand I make images, in series: drawings, mainly, but also collages and photographs. This iconographic work, and the different ways in which it’s elaborated, are infused with permanent sculptural activity. On the other hand, I design publications that are exclusively comprised of images I myself have produced, and others, taken from books or commissioned from guest artists. Their modes of publication vary between self-publication, collaborations and participations in existing collections. But they’re all part of the same movement: that of creating conditions for narration.
Marcio Junqueira (Feira de Santana-1981) é Poeta e Artista Visual. Mestre em literatura brasileira (UERJ/2009) com dissertação sobre Caio Fernando Abreu e a Contracultura. A partir de 2005, começa a desenvolver trabalhos em diversos suportes em torno de: subjetividade; homoerotismo; escritas de si; e autoficção. Edita a Antologia / Coleção Rabiscos e (juntamente com Clarissa Freitas , Lucas Matos e Thiago Gallego) o projeto multimídia Bliss não tem bis. Publicou, em 2015, seu primeiro livro solo LUCAS (Sociedade da Prensa/SSA). Entre os projetos que participou/colaborou, destacam-se: Campo Minado dos Afetos (MAC-fsa, 2015); Salões de Artes Visuais da Bahia – Edição Especial (MAM-BA, Salvador, 2014); multiplo#5: exposição de arte impressa (CCSP, São Paulo, 2013); Tomar coca-cola com você (CUCA, Feira de Santa, 2012/ Galeria ACBEU, Salvador, 2013); Universidade de verão (coord. Daniel Steegmann Mangrané, CAPACETE, Rio de Janeiro, 2013); XI Bienal do Recôncavo (São Félix, 2012). Desde 2012, trabalha com professor de Literaturas em Língua Portuguesa no campus XVIII da Universidade do Estado da Bahia (UNEB). Vive no Arraial d’Ajuda.
Daragh Reeves Leeds, U.K. , 1974 – lives in Brussels and Berlin
“Being at Capacete was and continues to be a source of great happiness, fun, adventure and camaraderie. Here art and life are very much intertwined. Rio’s own special madness is an art beyond art and provided a very healthy perspective on the limitations and strengths of frankly being a Gringo. It’s an experience that I carry with me and am always grateful for lucking into.”
Daniele Marx lives and works in Amsterdam. Her work engages time based practices mainly in the following areas: conceptual art, socially engaged practices and collaborative projects. This practices is presented from various media: publications, events, other formats. From 2008-2010 she holds an Master of Fine Art at AKV St Joost in the Netherlands. Since 2003 she cooperates with the Fine Art UFRGS at extension project Lost in the Space – Ways of Thinking the Sculpture coordinated by Dr. Maria Ivone dos Santos and developed the Project Meio, co-authored with the artist Marcos Sari both in Porto Alegre, Brazil.
In 2012 she holds a residency project at Capacete, Rio de Janeiro, Brazil. Nowadays she works for game entertainment industry and develops her practice in collaboration with artists and institutions. In 2016 she participated in the research group from Erik Hagoort on the project Using Usership. During the experience of four months living and working in Capacete Rio de Janeiro (2012), I tried to establish a dialogue with artists, who attended the workshop Residência + AULA (1), and also with locals. The conversations was about the concept of ‘Tropics’ and the ‘current reality of the country’. In that period Brazil was in a exponential moment of economic and social success according the international media. Having my cultural background as Brazilian living abroad from years I felt the urgency to start the project Diálogo Absurdo nos Trópicos. During the residence a series of events were also held and ideas for future developments. (1) Artists participants workshop Diálogo Absurdo nos Trópicos Residência + AULA: Lucas Sargentelli, Marianna Olinger, Felipe Abdala, Clara Lee Lundberg, Márcia Ferran and Anderson Ramalho.
My work explores the formation of identity and the factors that help construct this feeling of identity, be it nationality, intimate relationships or political views. Though my work has taken on such different forms as silkscreen prints, enamel signs, stained glass and photography, it has always drawn aesthetically on graphic design and explored how a subjective content is expressed with an aesthetic designed for the public. At BAC I will be working on a new piece about remembering and revisiting the place where I grew up.
From the introduction to Rio de Janeiro Drawings:
“I spent two winters and one summer in Rio de Janeiro
in search of suitable places for my chalk drawings. I entrusted myself to local residents who led me to places which were scenes of everyday life. Places that don’t really catch the eye and which only disclose their special character to those who return regularly. I made my drawings on the streets, in a bar, in a church square and in a villa, but most of the time I frequented a small favela bordering on the end of the no-through Rua Benjamin Constant, the street I was staying in. I have written a story about life in this neighbourhood and the drawings I made there”.
Michael Roy’s work has the particularity to do without doing: a movie without camera, an art work based on images or texts pre-existent, a fiction based on other fictions. He crosses universes. He combines them. He invites us to appropriate his fictions and works with the purpose to let us create ours. No keys are given to understand the reasons why. We can just imagine. We have to suppose the context . Acting on that way, he transformed the history as an anonymous history, where we can more easily be projected. From fiction to reality, from common to personal, using sometimes actuality, sometimes fictions, mixing sometimes written, or images, or photographies, erasing and playing with the traces, the artist builds a complexe and familiar work. We are close and far at the same time. These stories are ours but different, well known and strange.