Vasiliki Sifostratoudaki

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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.

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Julien Bismuth

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“I first met Helmut in 2006, with Jean-Pascal Flavien. He helped produce a performance of ours titled “Plouf.” The performance took place on two boats off the coast of Rio. The first meeting we had with him was at the beach in Ipanema. I came back to Brazil in 2012, to finally do the residency. I stayed a little over three months. I started learning Portuguese while I was there. Helmut, Amilcar, and I produced an evening of performances or interventions at a theater in Ipanema. I also started a project which I am still working on, and which has taken me twice to the Amazon. Yet the most significant thing that happened, that took place, during this three-month residency was something else, something harder to describe than an activity or an endeavor. 


The time I spent in the residency was, in many ways, a break. A hiatus. Though I continued working while I was there, it was not only in a different place but in a different environment. A different atmosphere. And perhaps that’s as close as I can get to defining or describing it. To me, capacete is synonymous with something as simultaneously palpable and elusive as an atmosphere. Every time I return, I encounter a reality whose protagonists change but whose “feel” remains more or less the same. There’s a feeling of openness, of engagement, of trust and sympathy as well, which I identify with capacete. Not that capacete is isolated from the world and its problems, not that it’s in any way an escape, but rather that it opens up onto the world and its problems from within a space that operates differently and with different rules: rules of trust, sympathy, engagement, and openness. These rules are neither stated not even enforced, they are interpreted and discussed, altered and experimented with by each new constellation of visitors, residents, participants. In other words, what capacete inspires and develops is a desire to relate and to relate differently. It develops a sensibility or sensitivity to the other protagonists of our relationships, be they animate or inanimate, material or virtual. Capacete does all of this not by imposing anything on its participants, but rather, by simply inviting them to be both the caretakers and protagonists of its continuous social experiment, one whose strength resides precisely in the inherently fragile and porous nature of its boundaries. Capacete is not a helmet, it’s a tent, and like all tents, it can be pitched more or less anywhere.”



Jimmy Robert

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


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

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



Rodrigo García Dutra

A prática artística de investigação e pesquisa de Rodrigo Garcia Dutra remonta momentos no tempo que influenciaram a estética do mundo como nós o percebemos hoje. Rodrigo constrói uma coleção de fatos, objetos encontrados, presentes e lugares em que esteve para então os trabalhar através de desenho, pintura, fundição de bronze, traçados de carvão , edição de vídeo e arranjo / re-arranjo deles no espaço. Dessa forma reavalia esses momentos ou situações , lançando uma nova luz sobre eles.

“We belong to capacete history as capacete belong to ours”.

Beto Shwafaty

Beto Shwafaty is an artist and researcher based in Brazil. He has been involved with collective, curatorial, and spatial practices since the early 2000s, and as a result, he develops a research-based practice on spaces, histories and visualities, that connects formally and conceptually political, social and cultural issues that are converging to the field of art.

“Capacete is like a studio without walls. It is a multibrain outside of our heads. A network. It is also like a community. It is like being lost, and find the path (maybe not the one you were looking). It is never the same as before. It is food. It is exchanges in micro scale which you will carry with you. It is risk and failures, challenges and construction. Capacete is a house, walls and roof. It is friendship, a multitude of diversities, creating fluxes contexts. It is.”

Alana Iturralde

Currently living in State College, Pennsylvania on a Scholarship at Penn State University, doing a Master in Sculpture.

“In 2011, I was invited to Capacete’s Summer Program in Rio amid a vibrant community of artists and thinkers. This experience nurtured my practice and the work I would develop years after and in the present moment. For a short period, a community was created, ideas where exchanged actively and collectively. I was very lucky to be part of this School.​”

Paola Anziché

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

Anders Smebye

Jean-Pascal Flavien

Livro para ler 2008 – CAPACETE 10 anos

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

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Elke Uitentuis

“I founded ‘de Vluchtmaat’ 3 years ago. I recently started coordinating the programming at the Vluchtmaat. De Vluchtmaat offers a temporary home to 40 refugees in limbo and rents out workingspaces to artists, designers, non-profit organizations and small entrepeneurs. The rent they pay covers all monthly fixed costs like gas, water and electricity. So, we created a shelter for 40 people, that otherwise would be on the street, that doesn’t cost anything to neither the owner of the building or the municipality. Besides de Vluchtmaat functions as a cultural hub in which collaborations between renters and residents are happening.


 Next to that I recently restarted my individual artistic practice again after leaving ‘Here to Support’. Here to Support is a non-profit organization I founded in 2013. Here to Support engages in projects initiated by a group of artists and theorists in close cooperation with refugees in limbo. Together they aim to shape partnerships based on equality within a society characterized by fundamental inequalities. Here to Support does not focus on providing humanitarian assistance, but it strives for emancipation of undocumented migrants. To make them seen, heard and essentially, to put them in charge of their own lives again. Here to Support initiates educational and cultural projects that enable refugees in limbo to express and develop themselves. Two times I have been at Capacete for a residency period to do research and produce work. This was in 2010 and 2012. Later on I visited Capacete again because I fell in love with Rio de Janeiro and with Johnson Beauge, to whom I am now married. My stay in Rio was life changing in so many aspects, that I don’t even know where to start. It was magical but painful, relaxed but intense, inspiring but hard to get things done. It was it all. A place to go back to. Again and again.”


Tiago Carneiro da Cunha

“For an early participant in the Capacete program like me, it’s impossible to separate Capacete from Helmut Batista. Helmut was one of the very first people who was actually interested in seeing my work, and this was way before my sculptures and paintings, when I was still into performance and conceptual art, living in London, around 1998/99. He already had a bit of a bad-boy reputation from his performance antics in Vienna. His approach to Capacete was – from the very start- authorial as much as artist-centered and, unlike traditional curatorial and institutional agendas which need to seek a minimum of approval from public and donors, he seemed to only ever want to engage the artists, as both participants and viewers in an ever growing debate. Ultimately he seemed more interested in art’s iconoclastic powers as a dynamic, as an ongoing questioning of formal and conceptual limits, than in any other aspect.


 I took part in a couple of group shows at Capacete, before he invited me for a residency in Rio de Janeiro in 2001, during which our project was to produce my first faceted surfboard sculpture, to be later exhibited in a two-person show -with Enrico David- at the Agora/Capacete Gallery. For that purpose he put me in contact with local board shapers, with whom I learnt basic shaping techniques, which I then had to adapt for my own sculpture. During my three month stay I struggled with this new process, and had to start over multiple times, as mistakes in that particular technique could not be corrected. As the exhibition date grew near, we were forced to reach a compromise and ended up exhibiting a full-scale mockup of the unfinished piece. Although this result was frustrating, it ultimately acted as the gateway for my full immersion into the series, as I fell in love in and with the city, and decided to move permanently to Rio and dedicate myself entirely to the faceted sculptures for the next several years. The first successful surfboard sculpture was only completed the following year, and thankfully many more followed…

I have very fond memories of the time spent at the Rio residency: a warm, welcoming and vibrant place, where Helmut, Denise, Camila and the many others working there acted as generous hosts to the city’s idiosyncratic culture in its various manifestations. A place by artists, for artists, and to this day a vibrant hub for artistic debate, where the local community is able to gather and engage with issues and practices from around the world. After all, more than a place, Capacete is a constantly self-questioning approach, which is precisely what has allowed it to operate so successfully under such multiple formats -from newsstand to gallery to residency to film-school to university- in Rio, Sao Paulo, and now Athens.”