Sojin Chun

Chun’s practice includes creating works in video and installation.  Using a whimsical and humorous approach, her work explores local narratives to examine the intersections and contradictions found in cultural, social and personal identities as a result of geographic relocation, and cultural multiplicity.  Chun’s personal experience living in the Korean diaspora in Bolivia, and Canada, informs her work which reveals the idiosyncrasies found in culture, in its inconclusive and contradictory nature.


“The first edition of Archives of Resistance took place at Capacete in November 2016.  This project is multi faceted and aims to create an open dialogue between communities across the Americas facing various socio-political struggles as a result of historic processes of colonization that still dictates today’s global economic realities.

Through contemporary art, invited artists shared their work informed by personal research and collected images, news items, and raw materials, which expand beyond traditional notions of archives and institutionalized documents that are categorized by hegemonic political powers.  At Capacete, we brought together artists from Chile, Costa Rica, Argentina, Canada, and Brazil in dialogue by sharing their individual projects looking at the ways in which artists subvert or give new meanings to the colonial construction of history.  Through personal or historical imagery, artists told  alternate histories from the perspective of those that are often unaccounted for in mainstream versions of history.

This first event Arquivos de Resistencia took the form of a week-long residency for invited artists, a video screening of their works as well as artist talks and group dynamic activities.  The group was further expanded through the participation of representatives from an activist group from the community of Horto whom invited the group for a tour of this community facing eviction and rapid gentrification of bicentenial residents, workers of the city’s Botanical Gardens.

Participating artists in this project were: Marton Robinson (Costa Rica) who gave an in-depth historical context of Limon, Costa Rica in line with the narrative of Jamaican-descendents who were brought to Costa Rica as labourers and the rise of Marcus Garvey’s activism; Araya-Carrion, a Chilean collective that works with material archives to demonstrate the layers within the history of Colonization of Indigenous populations in the south of Chile; Cecilia Estalles, a queer Argentian artist who has been digitizing the first Trans archives collecting stories of Trans women who faced police brutality in the 1980s; and Canadian artist Joyce Wieland’s work that showed solidarity for left leaning artists and political activists.  These artists were brought together by Capacete resident artist soJin Chun.  Other residents that collaborated in this project were, Kadija de Paula, Ian Erickson-Kery, and Soledad Leon.


Andrew De Freitas

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.”

Raquel Versieux

Vive e trabalha em Juazeiro do Norte CE e no Rio de Janeiro RJ | Brasil

“Do período que participei da Universidade de Verão no Rio de Janeiro, em janeiro de 2013, na casa na rua Benjamin Constant, lembro-me da chuva à tarde, e das aulas serem ali no quintal, um espaço muito familiar, que me lembrava sempre o quintal da casa onde morei na infância. No meio disso a gente compartilhava experiências diversas, e sinto até hoje uma conexão particular com xs colegas desse período, foi um momento muito pontual onde refletia-se sobre circuito de arte e apropriações, muito especial, formação muito importante.”

DAG Nordbrenden

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

Pedro Victor Brandão

Pedro Victor Brandão (*1985, Rio de Janeiro). He is author and artist. He works with photography, performance and social practices. He has a degree in Photography at Universidade Estácio de Sá, (UNESA, Rio de Janeiro, 2007-2009) and has attended to liberal study courses at Escola de Artes Visuais do Parque Lage (Rio de Janeiro, 2005-2010). Since 2003, he has been developing works about new meanings for the technical image today, researching iconoclasm, oblivion, and the relation between truth and image regarding different political landscapes. His works have been shown in many institutions in Brazil and abroad, including Museu de Arte Moderna (Rio de Janeiro – Brazil), Casa França-Brasil (Rio de Janeiro – Brazil), SESC Vila Mariana (São Paulo – Brazil), Portas Vilaseca Galeria (Rio de Janeiro, Brazil), Niklas Schechinger Fine Art (Hamburg – Germany). He was artist-in-residence at Lastro Centroamérica (Ciudad do Panama, Panama, 2015); ZK/U – Zentrum für Kunst und Urbanistik, (Berlin, Germany – 2014); Halfmannshof, (Gelsenkirchen, Germany – 2013); Terra UNA (Liberdade – Minas Gerais, Brazil – 2013); and Cité Internationale des Arts (Paris, France – 2012). From 2007 to 2012 he collaborated with different collectives (Laboratório Tupinagô, OPAVIVARÁ!, Epistomancia and Agência Transitiva). His work is represented by Portas Vilaseca Galeria (Rio de Janeiro) and Sé (São Paulo). He lives and works in Rio de Janeiro.

Ivana Vollaro

Ivana Vollaro nació en Buenos Aires, Argentina en 1971. Vive y trabaja en Buenos Aires.
Estudió Artes en la Facultad de Filosofía y Letras (1993-1997) y Derecho (1989-1992) en la Universidad de Buenos Aires.

“Tentativa de esgotar a Universidade de Verão”

o Capacete

a Glória

a rua Constant

a rua Russel

a vista da rua Russel 


o Pão de açucar

o barulho dos aviões

os aviões

o gaspacho de boas vindas

os jantares

os almoços

os corpos

o suor

os corpos sudados

o calor sofocante

o ventilador azul

a filosofía do Amílcar

o Amílcar

os passeios

o Largo do Machado

o Perec carioca

a Lapa

a subida a Santa Teresa

os desenhos do Martín

o Martín

as fotos

as fotos da Luz

o tijolo da Luz

a Luz

as visitas

as falas

os risos

as piadas

as fofocas

as conversas

as conversas moles

o círculo da Sofia

a Sofia

o signo de pergunta da Suely

as paredes da Suely

a Suely

os sucos do Amílcar

os cafecitos

as xícaras dos cafecitos

os biz

as festas

as mil festas

as cachaças

os mil tipos de cachaças

o samba

o sambôdromo

as batucadas

as cachoeiras

o parque do Flamengo

os assaltos

o Inhame

a mostra no Inhame

os workshops

as palestras

o blog da universidade

os trabalhos da Renata

as fachadas da Renata

a Renata

o árabe do Largo de Machado

as pizzas do Chico

o Cervantes


os biscoitos salvadores

as intervenções

a arte contemporânea

as curadorias de Raphael

os olhos de Raphael

o Raphael

aquele pôr-do-sol em Arpoador

o vestido da Keila

a leitura da Keila

a Keila

o gelo

as cervejas

as latas das cervejas

as lixeiras azúis

o lixo

o plástico

as facas

os livros do Amílcar

as projeções

as telas improvisadas do Daniel

as acuarelas do Daniel

o Daniel

os convidados

a bienal tropical do Pablo León de la Barra

o Pablo

a escada encostada da Constant

o bar do Zé

as anotações

todas as posibilidades

os errores

o quadro negro da Renata

os playlists do Bhagavan

o Bhagavan

os vizinhos

o som dos vizinhos

a lanchonete da Constant

a padaria da Gloria

o carro do Helmut

as compras dos churrascos

a logística dos churrascos

os churrascos

as linguiças

os choripanes

os espetinhos

a preparação das saladas

as listas de preços

a praia

os sons

o aparelho do som do Bhagavan

os vídeos da Sofia

as torneiras da Russel

a mangueira

os ratos gigantes

as baratas

o raquete mata-mosquitos

os mosquitos

o off

o barulho

a luz do dia

as luzes da noite

o Pierce do Benjamin

o Benjamin

os companheiros

os colegas

os artistas

os trabalhos

a obra

as obras

todas as obras

os diagramas do Pedro

o riso do Pedro

o Pedro

as estátuas do Segio Martins

o Sergio

o facebook

o google

os sites

os sites do Felipe

o Felipe

os links

o da universidade

os álbumes do Picasa

os e-mails

os convites

a poesia do Ricardo Basbaum

o Ricardo

as oficinas

o programa

os participantes

as anotações

os cadernos

o vídeo do Beto

as perguntas do Beto

o Beto

os tipos de bancos da Russel

as caderas triples de Pedro

as havaianas

os pés descalços

o  gudi-gudi

o clima-tempo

os cardápios

o wi-fi

os mac

os pen-drive

os HD

os chãos

os cheiros

as luas

o elevador da Russel

os copos variados

os mails de Daniel

os letristas da Kaira

a Kaira

as sonecas

os chopps

as frutas

os celulares

os celulares tocando

os cigarros

os chicletes

os vídeos do Amílcar

os vídeos do Fabrício

o corpo do Fabrício

o Fabrício

o metrô

os ónibus

os taxis

o morro do Pasmado

a naturaza

o Jardim Botánico

o Parque Lage

os predios

os predios que cairam

as ruas

os caras da rua

a rua do Catete

o pre-carnaval

os blocos de rua

o karaoke

os amigos

os namorados

as namoradas

as novas amizades

os encontros casuais

as paixões

as voz do Amílcar

a camiseta furada do Helmut

os muros abertos da Alana

a Alana

o açaí

a praia de Ipanema

o vídeo do Nicanor

as esculturas do Nicanor

o Nicanor

os telefones tocando

a chuva

as noites

os dias

o ar

o banheiro da Russel

os banheiros da Constant

o lavajato da Constant

a igreja Batista

as contas

os reais

os cartões

as dívidas

as dúvidas

o português

o inglês

o francês do Amílcar

o español

o portunhol da Ivana

a Ivana

os .pdf

as cámeras

as obras do Anton

as obras coletivas do Anton

o Anton

a mesa da Constant

as bananas

as duchas

os tijolos

as campaninhas inexistentes

os golpes nas portas

as gambiarras

os horarios

às 16 hs

às 17 hs

as madrugadas

o improviso

os desejos

os pensamentos

as ideias

as novas ideias

o prazer

as frustrações

as mudanças

as perguntas

as respostas

os bocejos

as concluções

as dores de cabeça

as percepções do Lucas

o aterro do Lucas

o Lucas

os leques

o projetor

todos os cabos

os sites

os links

as referencias

os contatos

o balão letrista

o jeito do Neto

o Neto

as luas

a lua cheia

o double rainbow

o totem do Rodrigo

o Rodrigo

o jazz

os catálogos

os livros

os livros do Manuel

o Manuel

o Abre-alas

a Gentil

o centro carioca

as fantasías

as saudades

as saudades de todos

o bloco da universidade de verão

os dias que faltam até o próximo verão

as mil e uma rações para voltar à universidade de verão

a tentativa de esgotá-la

a imposibilidade de lográ-lo

a alegría de saber-lo.

Ivana Vollaro, Rio de Janeiro, fevereiro 2012.


Marcos Chaves

Nasceu no Rio de Janeiro em 1961, e iniciou sua atividade artística na segunda metade dos anos 1980. Trabalhando sobre os parâmetros da apropriação e da intervenção, sua obra é caracterizada pela utilização de diversas mídias, transitando livremente entre a produção de objetos, fotografias, vídeos, desenhos, palavras e sons.