Capacete residence at MAM




For 2 years, starting in May 2020, CAPACETE is in residence at the Museum of Modern Art in Rio de 
Janeiro (MAM). The action, which can also be understood as an important partnership between both 
institutions, is part of the transformation process of the museum, guided by the tripod 
art-education-culture. At MAM, CAPACETE will participate in the reactivation of the Bloco Escola 
(School Block) and will have its activities, agenda and research processes integrated into the 
museum and with this gesture, MAM Rio assumes a living learning platform at national and 
international level, supporting art not only in its purpose, but also in its bases of dialogue 
and experimentation.


Posted in MAM

Fellowship CAPACETE – Gasworks


We are accepting applications from artists based in the UK for a fully funded, eight-week residency 
at Capacete located in Rio de Janeiro, Brazil between August - December 2020. Gasworks’ International 
Fellowships Programme offers UK-based artists the opportunity to undertake a residency at one of 
Gasworks’ partners abroad. This programme is funded by Arts Council England.

Application deadline is 10am, Monday 20th April 2020. For more information on how to apply please 
visit the the Gasworks' website::



Nómadamente / Recorrido



Nómadamente / Recorrido

Graciela De Oliveira + Cinthia Mendonça

Em Julho de 2010 Graciela De Oliveira foi convidada para a residência Desenho organizada por CEIA em Belo Horizonte. Ali entrevistou artistas brasileros para desenhar-lhes sua primeira casa. Uma dessas entrevistas foi um encontro particular. Cinthia Mendonça se apresentou dizendo que nao tinha uma casa de infância para desenhar. Após um silêncio pensativo, comentou na entrevista sobre a existência da “casa mitológica” mencionada inumeraveis vezes por seu pai, porém tampouco era possível desenha-la porque ela nao a conhecia. Sem pensar muito decidiram viajar para Perdoes  -uns 200 km ao sul de BH- para cononher e desenhar aquela casa. Localizada em zona rural, a casa mitológica da familia Mendonça, foi a casa onde cresceu Joaquim, pai de Cinthia, o menor de seis irmaos. A fazenda foi vendida em 1979, quando Joaquim estava terminando de formar-se como técnico agrícola. Esse ano se casou com Madalena e juntos emprenderam um êxodo laboral por varias localidades do Brasil, enquanto criaram seus três filhos. A casa e a produçao agrícola estavam abandonadas no momento da visita.

Dez anos depois Cinthia e Graciela se reencontraram na residencia de Silo – Arte e Latitude Rural, na Serrinha do Alambari, e juntas emprenderam uma viagem por várias zonas rurais –desde Perdoes até Macaé- para visitar a atualidade de cada uma das “casas transitorias” –un total de 13- em que Cinthia viveu com seus pais até os 19 anos. Ela nomeou a viagem de Recorrido.

Agradecidas pelo convite para apresentar esse projeto no Capacete, elas se propoem compartilhar sobre essa viagem e as outras etapas por las quais o proyecto Nómadamente transitou: em Cabana (Córdoba, 2010) onde começou com o nome Ejercicios nidales; continuou em Comalapa (altiplano guatemalteco, 2015); em Tolhuim (Ushuaia, 2015); em Buenos Aires (2019) e recentemente com Recorrido (BR, 2020).

Millena Lízia




Millena Lízia is a person living this world in search of a walk with dignities and health. She seeks the simplicity, because the most trivial things come to her with layers of challenges and complexities. Among her institutionalized backgrounds are the postgraduate degree in Contemporary Arts’ Studies (2018) from the Universidade Federal Fluminense, the Film and Video Editing course (2012) from the Escola de Cinema Darcy Ribeiro and the Graphic Design degree from the Instituto Federal Fluminense (2009). She has been collaborating since 2011 with various meetings, productions, talks, collective exhibitions and educational propositions. She is a researcher and contemporary-ancestor artist-after-the-2000-year, which has been organized since the diasporic agitations of pictorial-epidermic lived experiences – just another possible way of presentation, which wants to point out that her field of action is in existence, in relationships, displacements, confrontations and escapes since the the imaginary production.

Coups, rising extreme poverty, labor reform, military intervention, dismantling of public education and affirmative action programs, increasing black murder while there is a decrease in white homicide rates, execution of university students across racial and gender differences outside and inside university campus, all sorts of symbolic obliterations and waste of life. Faced with such circumstances, of so many vulnerabilities, surely are not questions such as what is art?, what is the art object?, what is contemporary art? or how to make art? that have been taking the energies of an entire population that in recent decades has seen itself in social mobilities and occupying spaces of power that previously were deprived for them, but, instead, how to produce life?, because in this times in which we are living is the struggle for our existence and the understanding of our fragilities that mark our urgencies. What kind of designs have these risky conditions been produced? And what are the escape lines?

Millena Lízia’s proposal at Capacete is interested in promoting regular meetings with artists and researchers in the field of visual arts (and related areas) whose existences are crossed by colonialities in order to strengthen networks, to think about strategies of maintenance and resistance in historically elitist spaces, to back our attention to our health, to exchange research, to strengthen ties, to interchange our productions, to think about the dialogues that our productions make between them and to answer, perhaps, with aesthetic propositions these meetings, knowing that it is the struggle for life, in all its power, our main focus.


Dorota Gawęda & Eglė Kulbokaitė

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


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


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










Seminar Indigestion Languages ​​and Visual Policies

Languages ​​of Indigestion and Visual Policies is the title of Daniel Sepúlveda's seminar and performance reading. The notions of aesthetics, language and visuality are crossed by the white colonial heritage, a factor that determines the ways in which these concepts were materialized throughout the so-called universal history. The seminar “Languages ​​of indigestion and visual policies” is proposed as a place to put these categories in tension, in order to imagine other forms of perception that, in turn, intervene in the field of production of the sensory to disengage / disable oculocentrism and its colonial dictatorship (Valencia, 2019).

 This seminar lasts 8 months and will be held in person and online with several invited professors and intervention actions in the public space. We are calling on all artists, researchers and people interested in the topics raised by the seminar. The first block has the following form: -visual languages ​​and coloniality of seeing -cartographies of coloniality, oculocentrism and its colonial dictatorship ** @ laryssamachada will be our first invited teacher in this first block



The Seminar on Indigestion Languages ​​and Visual Policies (@cipei_) along with the 
# CAPACETE2019_2020 program features:

Workshop with Laryssa Machada * on days 2 (from 17 to 20h) and December 3 (from 16 to 19hr)

the fiction of the end has arrived; One of the paths passed through the leaves is to double time space. 
It's all made up now, the world I'll tell you. ///
"Sometimes to Access the Earth We Must Fall" are imaginary (and energetic) rituals of reconnecting 
with our [non] memories to enter the future from a critical eye on colonial historicity and the 
transit of non-hegemonic bodies through the city. . Through the construction of photoperformances 
that include symbols / objects / gestures from Amerindian and aphrodiasporic populations, the idea 
is to visit the healing process that racialized bodies build daily from their [re] creations of reality.
 In the ambition to redesign the future, it is impossible to do so from the oblivion of these violence.
 Thus, we evoke imaginary rituals to realize the axes of cleansing, discharging negative ebos, 
historical quizilas.
The purpose of the workshop is to visit the participant dxs memories seeking to double time-space, 
building new imagery references and rewriting the historicity of the land we ascended. 
|| LIMITED VACANCIES || * @ laryssamachada is a visual artist, photographer and filmmaker.
 builds images as rituals of decolonization and reinvention of reality. His works discuss 
the construction of image about LGBT's, indigenous people, quilombolas, people of the street. 
believe in the weather and storms.
This seminar is made possible by @princeclausfund

The second block of the seminar Languages of Indigestion and Visual Policies begins in the second week of January.
In collaboration with @pencecoletivo @cipei_ and our resident Daniel Sepúlveda.

The notions of aesthetics, language and visuality are crossed by the white-colonial heritage, a factor that determines the ways in which these concepts were materialized throughout the so-called universal history.
The seminar [Languages] of indigestion and visual policies is proposed as a space to put these categories in tension, in order to imagine other forms of perception that, in turn, intervene in the field of production of the sensory to disable / disable oculocentrism and
his colonial dictatorship (Valencia, 2019) - Burn after indigestion, first meeting of this second bloc. El Consumo de Imágenes de Linchamientos, Raiford, Leigh.

Daniel Sepúlveda

Lenguajes de la Indigestión: Dos espíritus, linografía sobre papel estampado a cuerpo, 21 x 29,5 cm., Duen Sacchi, 2019.

Daniel is a researcher and educator whose toolbox arises from the anthropology, discipline that s/he studied in Centro Universitario del Norte de la Universidad de Guadalajara.S/he currently directs the independent circle of permanent studies Menos Foucault y más Shakira, in Mexico City and imparts the seminar Pedagogías Caníbales. Her/is educational commitment is located from the decolonization of knowledge, cultural products and anti-racism.As independent investigator, her/is work includes the coordination of two laboratories: Presente Inminente; Urban Architecture and Antropholy, with Mariana Medrano and La [tecno]Guerra en Curso. S/he collaborates in independent spaces as Cuerpos Parlantes (Guadalajara, México) and Casa Gomorra (Ciudad de México), in addition to be part of the team of Anormal Festival, festival of post-pornography, feminisms, bodies and dissident sexualities.

Hospice of Utopian Residences is a space whose itinerant capacity allows its unfolding 
collaboratively depending on the conditions of the physical space that hosts the project. 
On this occasion he supports the Bi-national Indigestion Languages ​​research and action project: 
Contrapedagogies and Visual Resistance Laboratory whose main research space is the hegemonic 
imaginary generated by political, aesthetic, visual and ethical hegemonies.

Eglė & Dorota

Dorota Gawęda (nascida em 1986, Lublin, PL) e Eglė Kulbokaitė (nascida em 1987, Kaunas, LT) 
são uma dupla de artistas fundada em 2013, com sede em Basileia (Suíça). Ambas são graduadas no 
Royal College of Art, Londres (2012). Elas trabalham em uma variedade de mídias, incluindo 
instalação, vídeo, escultura e performance. Elas são as fundadores do YOUNG GIRL 
READING GROUP - YGRG (2013-), um projeto que busca uma maneira horizontal de abordar textos e 
compartilhar conhecimentos, proporcionando um espaço discursivo íntimo na experiência da leitura 
coletiva. A dupla também é a fundadora do avatar pós-corpo de Agatha Valkyrie Ice (2014-2017), 
cujo nome co-curou o espaço do projeto OSLO1O em Basel (2015-2017). Gawęda e Kulbokaitė exibiram 
seus trabalhos internacionalmente, incluindo: FUTURA, Praga (solo); Projetos Schimmel, Dresden (solo); 
Antecipações de Lafayette, Paris; HKW, Berlim; Spazio Maiocchi, Milão; Galeria Lucas Hirsch, 
Düsseldorf (solo); Les Urbaines, Lausanne; ANTI - 6ª Bienal de Atenas; Suíça; Arte em geral, 
Nova York; Martin Gropius Bau, Berlim; Musée d'Orsay, Paris; Cell Project Space, Londres (solo); 
MMOMA, Moscou; Palácio de Tóquio, Paris; Galeria Amanda Wilkinson, Londres (solo); 13ª Trienal do 
Báltico, Centro de Arte Contemporânea, Vilnius; Kunsthalle Basel; ACI, Londres; SMK - Museu Nacional 
da Dinamarca, Copenhague; Kunstverein für die Rheinlande und Westfalen, Düsseldorf (solo); MOMA, 
Varsóvia; SALTS, Basileia; Bienal de Berlim 9; Kunsthalle Zürich; entre outros. As próximas 
exposições individuais da dupla incluem: Coleção Julia Stoschek, Düsseldorf, On Curating, Zurique 
e FriArt / Kunsthalle Fribourg, Trafo Gallery, Budapeste.


Atualmente, Gawęda Kulbokaitė está focada em seu projeto serial em andamento YOUNG GIRL 
READING GROUP, que busca o ato de ler como uma experiência íntima, mantendo a potencialidade 
de se tornar uma performance pública por meio da “difusão” de palavras que, de outra maneira, 
seriam sub-asfixiadas. Este projeto acumulativo investiga a incorporação da linguagem, postulando 
a interdependência do texto, do corpo de leitura, do ambiente e da tecnologia, onde os leitores 
e seus arredores são representados como o local de um conjunto ativo e contínuo de relações. 
Pensar através de uma instabilidade de limites, incompletude formal, porosidade e a idéia de 
fragmentariedade, em vez de holismo, é importante para a abordagem da dupla na leitura e em sua 
prática material. Gawęda e Kulbokaitė pretendem continuar suas pesquisas sobre a performance, uma 
mídia que se presta a criar ambientes especulativos.

Yasmine Ostendorf

Researcher/curator Yasmine Ostendorf  has been undertaking research across Asia and Europe on artists proposing alternative ways of living and working – ways that ultimately shape more sustainable, interconnected and resilient societies and peripheries. She has extensively worked on international cultural mobility programmes and on the topic of art and ecology, having worked for expert organisations such as Julie’s Bicycle (UK), Bamboo Curtain Studio (TW), Cape Farewell (UK) and Trans Artists (NL). She runs the Green Art Lab Alliance, a network of 35 cultural organisations in Europe and Asia that explores, questions, and addresses our social and environmental responsibility, and is the author of the series of guides “Creative Responses to Sustainability,” published by the Asia-Europe Foundation (SG) and the Ecologic Institute (DE). She is an associate curator for Valley of the Possible (CL), for the Centre for Contemporary Art and the Natural World (UK), and for C-Platform (CN). Since 2017 she is the Head of the Lab for Nature Research at the Jan van Eyck Academy in Maastricht (NL) and the initiator of the Van Eyck Food Lab (2018); a research placement for an artist/chef, understanding food in the light of current ecological, social and political developments. She has been organising Food Art Film Festivals collecting, showcasing and celebrating inspiring food/art practices from across the globe and has been organising regular Reading Groups to bring together theory and practice. She tries to write a monthly blog for



My initial plan was to spend my time expanding on partnerships for the Green Art Lab Alliance in Latin-America; connecting dots, redistributing resources and organising exchanges and so on. Soon it turned out that above all, Capacete is a personal opportunity to enjoy a second education; a chance to carefully dissect and review Eurocentric perspectives and expand on my theoretical and cultural framework in active anti-colonial and anti-racist ways. More than anything my ‘project’ here is to listen, absorb and internalise. And more than it being about a subject it’s become to be about recognising underlying systems and structures and curating alternative methodologies  accordingly.

**Yasmine Ostendorf's residence is possible with the support of Mondriaan Fonds

Tatyana Zambrano

Tatyana Zambrano, 1982, Medellin-Colombia. Publicist and visual artist. 
Master in Movement digital art and information technologies from UNAM Mexico. 
She currently lives in Rio de Janeiro-Brazil doing the one-year program in Capacete. 
She was part of the SOMA 2016 educational program CDMX. She works on projects that deal 
with the transition of ideologies and the institutionalization of rebellion. Her work has 
been recognized in Les Rencontres Internationales New Cinema and Contemporary art in Berlin, 
Official Selection of Latin American video art by the Getty Research Institute and the 
National Artists Salon of Colombia.


My search is about Black tourism (tourism of mourning or thanatos-tourism), is a form of tourism in which the main attraction are the places where deaths, tragedies or catastrophes have occurred; it is also called morbid tourism. There is a tourist market niche in which people seek to experience these strong emotions first-hand. An example of this type of tour, which are almost reality shows, is in Hidalgo Mexico where people pay to have the experience of being “mojado” in an artificial scenario on the dessert, these people experience the passage from Mexico to the United States, going hungry and psychological abuse.

The project aims to exceed this imaginary of Latin America through the creation of an amusement workshops in order to show a cynical and ironic, but paradigmatic situation where black tourism immorally represents what morality wants to communicate.

Finally, I am moved to be part of the program because I feel arts as a affair state, where we are accomplice in this thing called contemporary arts, shared guilt, sometimes hard, sometimes fun, but is the capacity of exploring into yourself, taking risks, affections, and probably the challenge of deal with more human beings doing the best thing #arts.




This open call invites new proposals for the selection of 8 participants for the CAPACETE program 2019, lasting for 10 months, from August 2020 to June 2021.


The application form must be sent by e-mail to:

The application form can be found below.

Along with the application form, the candidate must send a résumé (CV) and portfolio.


Deadline for application and submission of material:  10th January 2020.



Download (PDF, 218KB)


Download (PDF, 56KB)

Serpent Rain – a talk about time and the elements

In this conversation, Denise Ferreira da Silva and Camilla Rocha Campos discuss issues raised 
in the movie Serpente Rain (Arjuna Neuman and Denise Ferreira da Silva, 2016). 
Although these themes aim to expand on various propositions presented in the film, 
Denise and Camilla will attempt to expand the elaboration of the questioning of temporality and 
the ethical and aesthetic openings suggested by the elementarities, that is, an image of the world 
in which transformation is contemplated as an infinite movement of re / de / composition.

Dr. Denise Ferreira da Silva’s academic writings and artistic practice address the ethical questions 
of the global present and target the metaphysical and ontoepistemological dimensions of modern thought.
She is a Professor and Director of The Social Justice Institute (GRSJ) at the University of British 
Columbia, Adjunct Professor of Fine Arts, at Monash University (Melbourne, Australia), 
and Visiting Professor of Law, at Birkbeck University of London. She is the author of Toward a 
Global Idea of Race  and co-editor of Race, Empire, and The Crisis of the Subprime 
(with Paula Chakravartty) . Her art-related work includes texts for publications linked to the 
2016 Liverpool and and Sao Paulo Biennales, Venice 2017, and Documenta 14, as well as collaborations 
such as the play Return of the Vanishing Peasant, with Ros Martin, the films Serpent Rain (2016) 
and 4Waters-Deep Implicancy (2018), with Arjuna Neuman; and events (performances, talks, and private 
sessions) and texts related  Poethical Readings and the Sensing Salon, with Valentina Desideri.

Camilla Rocha Campos - Artist, teacher, researcher, writer and self-revolutionary. 
Her artistic practice is collaborative, built through the contribution of people in contexts 
full of emotion and criticism. In this relational field Camilla proposes art and non-art experiences. 
She participates in seminars, talks and projects in Brazil and other countries, building and sharing 
aesthetic / artistic processes from non-hegemonic logics. In 2016, she was a resident artist at the 
CAPACETE International Program, in Rio de Janeiro, where since 2017 she has been the director. 
She holds a master's degree in Art Theory and Criticism from the UERJ Arts Institute. She is currently 
teacher at Parque Lage Art School and at Maré Art School.

Anormal pocket – CAPACETE Program #3


The Mexico-based ANORMAL festival of feminism, dissident sexuality, and post-pornography will 
have its pocket version featured at CAPACETE. Mini ANORMAL has a selection of #notwhite #nothuman works.
Organized by resident Daniel Sepulveda, the exhibit in this context is also motivated to support 
the residence of artists Walla Capelobo, Bianca Kalutor, Mylenar, Nelson Silva and Ventura Profana 
at the Centro de Artes Municipal Hélio Oiticica in October and November 2019.

*** @anormalfestival

*** @capacete_capacete


The Labyrinth Metaphor and the Illusion of History – CAPACETE Program # 2





The conversation with the black intellectual, African leader and guerrilla leader 
Ailton Benedito de Souza, aims to question the divorce between non-hegemonic logics and the
notion of history, as well as the separation between the perception of social struggle and the 
dispute for symbolic imaginary. Mediated by the curator, researcher and performer Ana Beatriz Almeida, 
the conversation moves through the biography of the Alabode himself, his productions and intersections 
from the logic of African matrix.


Ailton Benedito de Sousa Alabode do Ile Agboula. Black militant affiliated to the PCB from 1961. 
Founder of the IPCN- Black Cultures Research Institute. Journalist provisioned with revoked record 
after arrests during the period of the military civil dictatorship. Arrested on the following 
occasions from 1968: snake island / flower island / naval armament center / dops. Jubilated in the 
5th year of the Bachelor of Laws Course / UniB (predecessor of UERJ) in 1968 due to dictatorial law. 
Bachelor of Arts: Portuguese-English (1976) Universidade Souza Marques /
Bachelor Civil Engineering 1989 / Veiga de Almeida University

**Ana Beatriz Almeida is a guest curator at the 2020 Glasgow Biennale, a master’s degree student in
History and Aesthetics of Art at MAC-USP and a PhD student at King’s College (UK).
Contributor at the Platform 01.01.

After late 2018 and early 2019 she gave workshops at European and
African institutions on her research into new tools of contemporary art criticism from African and
African descent rites (YEAR INSTITUTE- Accra / Ghana, Zinsou – Cotonou / Benin, Tate Modern-London /
England, CCA- Glasgow / Scotland, KM Institute for Contemporary Art- Berlin / Germany).
This research was based on the 4 years of immersive field research conducted by UNESCO on the black body traditions of the communities of Baba Egun and the Good Death Brotherhood.

As an artist she finalizes this year’s long-lasting performance GUNGA, which began in 2009,
whose episodes were Banzo (performance in Afrocariocas- Amsterdan / HL.2009), Banzo-Middle Passage
(video installation, XV Bienal do Recôncavo, BA / BR. 2011), Kalunga (installation,
CCSP- São Paulo Cultural Center, SP / BR. 2016), About Ritual Sacrifice
(performance in Itau Cultural, SP / BR. 2018) and Can Serrat Summer Residency
(Can Serrat, Barcelona / ES 2018)






Tiago de Abreu Pinto

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

The Illusions of care




“But You Can’t Fool All The People All The Time
On The Delusions Of Care”

Lecture Performance by Bonaventure Soh Bejeng Ndikung

Remember that saying: Well isn’t necessarily well done? In his performance presentation, Bonaventure will touch upon rationalities of care and philanthropy in contemporary discourse, spanning issues such as birth control, black feminism, and the “curatorial complex” as knowledge production. Driven by a desire to become indigestible in contemporary economics, Bonaventure outlines the possibilities of creating temporarily autonomous zones of curatorial quilombolism where “care is not just a picture of language, not just a metaphor or analogy, but a task. ”

Bonaventure is a curator, art critic and biotechnologist. He was born in 1977 in Yaoundé, Cameroon and has lived in Berlin since 1997. In 2009 he founded Savvy Contemporary, a contemporary art space in Berlin and served as curator in various international contexts, from Documenta in Kassel to the Biennale in Venice, passing through the Dakar Biennial. He is currently artistic director of the Rencontre de la Photographie – Bamako Biennale 2019, as well as artistic director of Sonsbeek 2020. Bonaventure is also recipient of the first OCAD University International Curatorial Residency fellowship. He is in Brazil, researching about Abdias Nascimento at IPEAFRO.

After the performance, he and Keyna Eleison will chat, along with the audience. Keyna is a curator and master in Art History. She develops exhibitions and means of structuring artwork and artists.

The event will inaugurate the beginning of the Capacete Program 2019 // 2020 which, under the artistic direction of Camilla Rocha Campos, has as its main motivations to develop pedagogies, constructions and experiences from a look that revises and suspects the ideas already established in the world. Capacete is an art and research space open to the public that promotes contemporary thinking through research residencies, workshops, seminars and weekly lectures.

*** The event will be in English with translation of the lecture performance to Portuguese through a projection. The conversation will take place in English with collective care for spontaneous translations in small groups.


Margarita del Carmen + Kristian Byskov

Margarita del Carmen and Kristian Byskov are working together on a practical research since
2013. This research takes its point of departure in a search for methods and practices of how
groups of people together can creatively work with the spaces they inhabit. Within this search,
Kristian and Margarita have looked and tried methods of collaborative design; ecological
practices; urban planning; artistic pedagogical tools; as well as exercises and approaches from
the Theater of the Oppressed.
During their period in Capacete, they will research further on theatrical approaches to space,
groups and conflicts within the framework of Félix Guattari’s notion of ‘micro-fascism’ as well as
Augusto Boal’s exercises on ‘the cop in the head’. Margarita and Kristian would like to
participate in conversations and activities around questions like:
If space is always political, loaded with structures of power and domination, how can we as
artists structure our spatial practice and refine our methods to artistically create spaces for
emancipatory practices? How can these artistic actions counter the micro-fascisms from being
expressed through us in our daily, social relations? Does the history of fascist domination repeat
itself in spaces and how can this be changed?





Katherine MacBride

Katherine MacBride is an artist. At one point she was also an art therapist. She works with performance, installation, writing, video, sound, and event making, with and without institutions. Collaboration and supportive practices are important to her: she prints small-edition feminist publications; edits other people’s writing for income and pleasure and sometimes both; works in a drop-in art studio for homeless people; plays synth and quiet vocals in a non-binary music sprawl; and is learning to play and make space with Tender Center, a collectively-run venue for queer events in Rotterdam.
Much of her practice focuses on relational entanglements, listening across and being attentive to difference, and working creatively towards an ethics of inseparability and interdependency.
At Capacete, she’s learning Portuguese so she can talk slowly to people about how they do what they do, sewing small things, listening, walking, cooking, writing, reading, talking. She’d be interested to do any of these things with you and maybe having a chat about what kinds of listening, attention-giving, hosting, and space-making you use in your artistic, collective, political, caring, personal, or any other day-to-day practices.
*** this residency is a partnership with Mondriaan Fonds (

Prerna Bishnoi


Prerna Bishnoi is an artist, filmmaker and researcher whose practice is at the co-influence of filmmaking, performativity, study and spatial production. She is concerned with the conditions of work and play and works with strategies of creating, organising and mobilising communities in struggles of commoning through films, texts, storytelling, games and sound pieces. Operating from a position of critical intimacy, she works towards actively re-imagining existing systemic relations. She currently lives in Trondheim but roots her practice in both India and Norway.
During the residency I will be working on my project ‘Surface Tension’ that is primarily located around the spectacularly foamy Bellandur lake in Bangalore. I hope to draw lines between the commons experiences of toxicity (from Bangalore to Brazil), paying special attention to symptoms of toxicity (aural and visual), acts of resistance, toxic time (from spectacular toxic events, their aftermath to the slow impact of toxicity on bodies and spaces). I will also work on creating a plant portrait of the invasive species Water Hyacinth, native to Brazil. In India (called ‘Bengal’s Terror’ among other names), the plant is a remnant of an encounter with Western imperialism and is now a symptom of dissolved pollutants in the water while making water transportation and hydro-power difficult. In its native waters, I am interested in its manifestation in art, folklore, oral histories, literature and poetry. Water Hyacinths fascinate me because it is historically an exotic plant, gifted far and wide for its beauty but who finds it beautiful today when it insists on resisting and transforming economic uses of water bodies?





*** this residence is a collaboration between Capecete and OCA (


Ali Hussein Al-Adawy

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

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


**this residency has the support of Mophradat (








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:




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.




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.

Reverse Ritual



A Ritual to Reverse the Spell of the Illusion of Power as Control

We will collectively perform a ritual to reverse the spell of the illusion of power as control.

We will sew onto a cape the histories of power and domination that we would like this ritual to reverse.
A Ritual to Reverse the Spell of the Illusion of Power as Control.

We will sew onto a cape the histories of power and domination that we would like this ritual to reverse.

We will spin, fall, be held and cook the world as we know it.

Everybody is welcome.

Join us on Friday, 30th November 2018, from 15h at Centro Pequena Africa.


Centro Cultural Pequena África

Rua Camerino, 5 – Centro
Rio de Janeiro – RJ




** proposal by the artist in residency Valentina Desideri in collaboration with the artist Corazón del Sol

Ina Hagen

During her time at Capacete, artist and writer Ina Hagen (NO) sets out to learn about the residency’s long history and how it has maintained connected to its local and extended community over the years. Central to her inquiries is intimacy; how it is enacted across relations that have been forged in times of difficulty, how intimacy gives and takes, and how it eventually weaves or unravels a feeling of solidarity with others. With Capacete as a frame of reference, she is curious to discuss how such solidarity is maintained, and whether intimacy still remains a meaningful force in the current face of increasingly polarised public life.

Ina Hagen (b.1989, Norway) is an artist and writer based in Oslo. Her work explores layers of mediation between audiences, artwork and artists, in order to create instances of collective, critical reflection. She explores this through performative situations and platforms for social thinking. Hagen has been running one such platform; Louise Dany, together with artist Daisuke Kosugi, from their home and adjacent store-front since 2016. She writes regularly for the Scandinavian online art journal, and is the deputy chair of the young artist’s membership organization and contemporary art institution, UKS (Young Artist’s Society). Hagen has exhibited at: INCA, Seattle (Solo); Kunsthall Charlottenborg, Copenhagen; Podium, Oslo, among others. Upcoming exhibitions include the tenth Momentum biennale in Moss (The Emotional Exhibition, 2019) and INDEX – The Swedish Contemporary Art Foundation, Stockholm.




Maneiras de trabalho #3


Image: Sofia Caesar, ‘Worker leaves the factory (conditions for the work)’, 2017. Photo: Sol Archer


The next conversation of ‘Maneiros de trabalho’ will take place with invited guests Sofia Caesar and the Tempo Livre group, on Thursday 30 August at 19h at Capacete.

This third session will divert slightly from the usual format by pairing the artist Sofia Caesar with a group of dialogue partners (Tempo Livre), to discuss the ways of working of Sofia and the group, as well as the shared interest between us all in work conditions and other ways of thinking work.

Sofia Caesar is an artist and examines the languages generated between the body in motion and its control systems.
Tempo Livre is a research and study platform, aimed at understanding the ambiguous relationship between work and leisure in contemporary capitalism – between precariousness and autonomy, between subjection and commitment to freedom. With Bettina Mattar, Ciro Oiticica, Lori Regattieri, Maikel da Silveira, Pedro Mendes, Rafael Rosa, Ricardo Gomes, Tatiana Oliveira, Tatiana Roque, Vítor Mussa.

Maneiras de trabalho is a series of dialogues between artists from different generations, that deals with the question of how artists shape their artistic methodologies in relation to their surroundings and the historical moment they are living. In each session two artists are paired to talk about their practice on the practical level of organizing time, the space they work in, the money they need for their art production, and their relation to collaborators and art institutions in the city. Curated by Tanja Baudoin.


Residency CAPACETE + Mophradat


Open call: Residency for a curator at Capacete in Rio de Janeiro, Brazil, April 1 to June 30, 2019
Deadline: September 14

دعوة مفتوحة: إقامة فنية لقيم فني/قيمة فنية مدتها ثلاثة أشهر في كاباسيتى في ريودي جانيرو، البرازيل، من ١ ابريل حتى ٣٠ يونيو/حزيران، ٢٠١٩
أخر موعد للتقدم: ١٤ سبتمبر/أيلول

Mophradat in collaboration with Capacete in Rio de Janeiro, #Brazil, is offering a residency opportunity for one curator from the Arab world to develop their practice in a professional context. The residency lasts for three months, with flights, accommodation, visa and insurance costs, and monthly stipend provided, and includes the opportunity to participate in all of Capacete’s programs and a suggested program of visits to galleries and sites of interest in Rio de Janeiro, as well as to meet arts practitioners in the Brazilian art scene. More details and to apply:

تتعاون «مفردات» مع كاباسيتى في ريودي جانيروعلى فرصة إقامة للقيمين الفنيين من العالم العربي لتطوير ممارستهم في سياق محترف وإنتاج مشاريع جديدة تعكس تجاربهم وبحثهم. تستمر الإقامة ثلاثة أشهر ويتم تغطية تكاليف السفر والإقامة والفيزا والتأمين والمصاريف اليومية وتضمن فرصة الإشتراك في كل برامج كاباسيتى وبرنامج مقترح لزيارات لمعارض ومواقع مثيرة للاهتمام في ريودي جانيرو بالإضافة لمقابلة ممارسين فنيين في المشهد الفني البرازيلي. للمزيد من المعلومات ولطلب الالتحاق، إضغط هنا:
طلب الالتحاق باللغة الانجليزية فقط لأنها سوف تكون لغة عمل الإقامة.

Maneiras de Trabalho

* photo: Rolé dos Favelados, guide visit at zona portuária

The next conversation of ‘Maneiros de trabalho’ will take place with invited guests Cosme Felippsen O Favelado and Thelma Vilas Boas, on Wednesday 4 July at 19h at Capacete.


Cosme Felippsen O Favelado was born and raised in the first favela, Morro da Providência, and is the creator of Rolé dos Favelados.

Thelma Vilas Boas is an artist and initiator of the project Lanchonete<>Lanchonete, a cultural and communal occupation at Bar Delas in Gamboa.

Together with Tanja Baudoin they will discuss their way of working in relation to each of their practice of creating critical experiences that question the city’s developments and ways of living and working in the territory of the port zone in Rio.

Maneiras de trabalho is a series of dialogues between artists from different generations, that deals with the question of how artists shape their artistic methodologies in relation to their surroundings and the historical moment they are living. In each session two artists are paired to talk about their practice on the practical level of organizing time, the space they work in, the money they need for their art production, and their relation to collaborators and art institutions in the city.


Sol Archer


Sol trabalha em um espaço de encontro entre documentário e especulação, trabalhando principalmente com a imagem em movimento para desenvolver espaços de conversação e co-criação com grupos e comunidades. Prestando atenção a um site como uma zona múltipla de narrativas que se cruzam, atravessando escalas locais e globais para tentar mapear as ações e abstrações de poder através de efeitos em escalas corporais e vivas.

Download (PDF, 100KB)

Pêdra Costa



Pêdra Costa is a Brazilian Performance Artist and a Visual Anthropologist. S/he is currently doing a Diploma at the Academy of Fine Arts Vienna and working with queer immigrant artists internationally. Hers work is informed by the aesthetics of post-porn and an investigation about anti-colonial concepts.
About the residency: The focus of my research is the Invisible Knowledge, which I have developed experimentally, based on anti-colonial strategies, self-care pedagogies and non-cartesian epistemologies. I present my performance “de_colon_isation”, which is part of my research at the University of Fine Arts Vienna. I release the book in Brazil “Anti*Colonial Fantasies – Decolonial Strategies” and I work on my project “Anti-analysis”, where I schedule an appointment with 6 artists (individually or in groups) per day, in a free session of 50 minutes each, focusing on art, critical theory and pedagogy.



Valentina Desideri

foto: Daniela Pinheiro



Valentina Desideri is an Amsterdam-based artist. She trained in contemporary dance at the Laban Centre in London (2003–2006) and later on did her MA in Fine Arts at the Sandberg Institute in Amsterdam (2011–13). She does Fake Therapy and Political Therapy, she co-organises Performing Arts Forum in France, she engages in Poethical Readings with Prof. Denise Ferreira da Silva, she speculates with many, she reads and writes.

She is available to share the practices and tools I use and research (Political Therapy as well as various reading and healing practices) with whomever is interested in experiencing and further exploring them with her. She is particularly interested in approaching study as a practice of healing, but how that can be done and what kind of collective experiments of study we could set up during the residency is totally up to encounters, circumstances and urgent necessities that emerge.
To contact her e-mail:







This open call invites new proposals for the selection of 10 participants for the CAPACETE programme 2019, lasting for 10 months, from March 2019 to December 2019


The application form must be sent by e-mail to:

The application form can be found below.

Along with the application form, the candidate must send a résumé (CV) and portfolio.


Deadline for application and submission of material:  10th June 2018.


Registration is free.


Download (PDF, 115KB)

Download (PDF, 85KB)


What’s a (art) school to do?




The great thing about art schools is that all the stereotypes that they carry along are
true. The lazy idler, the oversensitivity, the abstruse psychobabble, it’s all true. And
it’s the best part. The very last leftovers of the artist’s lifestyle have been perverted by
our late capitalist society, which has naturalized its vocabulary of performance and
personal achievement, emptying their meaning. Can the art school still be a place for
resisting the dominant values, and all that is taken for granted? This is what we would
like to discuss publically in collaboration with the International Art Residency
CAPACETE and the School of Visual Arts Parque Lage.

François Piron is an art critic and a curator. He runs the post-graduate program at the
art school in Lyon (France), an artists’ residency within an art academy.
He will share experiences with the five resident artists of this year: Sophie T. Lvoff
from the USA, Irene Melix from Germany, Lou Masduraud and Georgia René-
Worms from France, and Maha Yammine from Lebanon.





a group exhibition
in a hotel room

Openning: March 17th , 17h
Exhibition: 18 to 22 / March,
10h – 19h

Hotel Ipanema Inn,

Charlotte Arnhold, Oliver Bulas, Vivian Caccuri, Loretta Fahrenholz, Jeanne Faust, Julia Horstmann, Daniela Mattos, Michaela Melián, Mariana Meneguetti, coletivo de artistas OPAVIVARÁ!i, coletivo de artistas Jochen Schmith, Caroline Valansi, Aleta Valente, Andrea Winkler


17 de Março, 17h No quarto:
Performance por Aleta Valente
Performance “Oferenda (La Libertad)” por Daniela Mattos
Performance “MAKING HISTORY SERIES – PT 1” Por Charlotte Arnhold

na praia:
Happening por OPAVIVARÁ!i

18 de Março, 17h No quarto:
Performance “Dissimulado” por Vivian Caccuri
apresentação “Luna Park” por Michaela Melián
Performance: “MAKING HISTORY SERIES – PT 2” Por Charlotte Arnhold

21 de Março, 17h No quarto:
apresentação do video “Implosion” por Loretta Fahrenholz

Capacete, Institut für Auslandsbeziehungen, Goethe Institut Rio de Janeiro

Exception, expulsion, extraction: cartographies of violence in the Americas







Speaker: Paulo Tavares (autonoma)
Mediators: Fernanda Bruno (MediaLab.UFRJ) and Adriano Belisário (MediaLab.UFRJ)
The military intervention in Rio; the forced displacement of indigenous communities in southern Ecuador for the opening of a mega-copper mine; the violence of the various colonialisms and extractivisms perpetuated in the Americas. In Exception, Expulsion, Extraction: cartographies of violence in the Americas, the architect and urbanist Paulo Tavares articulates these themes by exploring the tools of architecture, investigative journalism, mapping and data analysis, in their aesthetic and political dimensions, as as instruments in the struggle of human and non-human rights.
Tavares explores space and its forms of representation as fields of relations of power and conflict, mobilizing the architecture as an instrument of knowledge and civic agency. If the city is a right, he argues, “architecture is a form of advocacy.” Projects include Memory of the Earth, Archeology of Violence, Tierra Arrasada (Guatemala: Operacion Sofia), and his latest project, Expulsión: cartografias del desplazamiento. Held in partnership with MediaLab.UFRJ, Expulsion investigates the process of forced displacement of indigenous and peasant communities in Cordillera del Condor, located in the south of Ecuador, through the presentation of a series of cartographic, documentary, photographic and archaeological evidences.



Fundação Ford

More about Expulsión:

Blackout: The Necropolitics of Extraction



This presentation addresses extraction—a key logic of global capitalism—as well as the politics and aesthetics of emergent forms of resistance today. In view of spreading sacrifice zones given over to resource mining, abetted by exploitative international trade agreements and the finance of debt servitude, what forms do the cultural politics of resistance take, and how are artists—including Angela Melitopoulos, Allora & Calzadilla, and Ursula Biemann—materializing images and sounds of emancipation and decolonization?

Capacete – Rua Benjamin Constant, 131 – Glória, RJ
Friday (23/02) – 19 horas

Risco Cinema

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!

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!****

*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.

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?

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

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.


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

Comidinhas délyz por La Gorda Vegana –








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




Bruna Kury



Bruna Kury is a Brazilian anarcotransfeminist, performer, researcher of kuir sudaka in daily life and has performed with the Coletiva Vômito, Coletivo Coiote, La Plataformance, MEXA and Coletivo T. Pirateia and does post porn and pornoterror. She develops direct performances / actions against the prevailing compulsory heteronormative patriarchal cis-theme and structural oppressions (class WAR), especially in crisis places. He has recently participated in the All Genders show with PornôPirata, the cultural turn in SP with the T Collective and the 10mg Terminal with the MEXA Collective.

She intends in the residence to research and to experience and to change on the created concept “pornorecycling” and the purge of the patriarchy in the “vomit workshop”.

foto por Rafael Marques

Régis Gonçalves-Wigersma


What is “the role of the fine art artist” in art and society? The aim of this project (residency) is to survey the role of the fine artist and the development of the artistic scene in Brazil from the1960s to contemporary time, in connection with socio cultural developments. This survey is not meant to study just historical facts but to analyze, through source study and discussion panels, the role of the fine art artist throughout the militarism in the 60s, passing through the democratic changes in the middle 80s, the impeachment in 1993 and the election of the first left wing president in Brazil. Therefore, this residency is to function as a platform allowing past to meet present, as well as to analyze the similarities and differences between artists from consecutive periods in the past and artists of the present day.

Silvia Rivera Cusicanqui em CORPO PÁ



Silvia Rivera Cusicanqui é fundadora do Taller de História Oral Andina e do grupo autogestionado Coletivx Ch’ixi. Trabalha temas como memória, oralidade e movimentos sociais indígenas populares, principalmente na região Aymara. Silvia vem ao CAPACETE para participar do programa CORPO PÁ, um programa de trocas intensivas que tocam as relações ancestrais entre corpo, memória, território e produção de conhecimento afim de trocar e praticar estratégias para encontrar a linguagem dos rituais, da dança, do sonho, do trabalho cênico, da ecologia, da artesania, dentre outros, numa combinação da prática artística com a prática comunitária.


corpo pá com silvia rivera cusicanqui

GAE Expande #04


GAE – Grupo de Pesquisa em Arte e Ecologia é formado por professores e estudantes de Artes Visuais numa colaboração entre UFRJ e UFJF. Neste encontro de setembro faremos um Apanhadão dos encontros passados, e aproveitamos para refazer o convite para os até então interlocutores que passaram pelo GAE EXPANDE ( Ana Hupe, André Vecchi, Camilla Rocha Campos, Fabiane M. Borges, João Queiroz, Jorge Soledar, Malu Fragoso, Marina Fraga, Renata Zago, Ricardo Basbaum, Rundhsten V. de Nader)

Gil & Moti

 Gil & Moti


Os projetos de Gil & Moti constantemente exploram identidade, a noção de individualidade e as normas e formas relacionadas a esses temas. Em intervenções sociais de pequena escala eles trabalham questões politico-sociais tais como discriminação, exclusão social e racismo. Como artistas, casal gay, imigrantes que vivem e trabalham em Roterdã (Países Baixos) e judeus (ex)israelenses, eles tem uma experiência direta como os temas que trabalham dentro de suas próprias vidas.





© studio Hans Wilschut




*imagem e foto Joe Bugila


o CAPACETE Rio lança seu PROGRAMA CONTINUADO para 2017.
um programa para a pausa, para os sentidos aliados a produções em arte/e/tangentes que miram na raíz da imaginação além da cena.

o programa contempla como método encontros continuados que pe(n)sam situações e bibliografias invisibilizadas pelo processo colonial.

em um contexto artístico no qual o Sul é apontado como estado de espírito se faz necessário problematizar também o corpo que o carrega oferecendo possibilidades para a invenção dessa força de vida.

PROGRAMA CONTINUADO é proposto e desenvolvido por/com Asia Komarova, Jorge Menna Barreto, Joe Bugila, Daniela Seixas, João Vicente, Camilla Rocha Campos, Cíntia Guedes, Marie Hømer Westh, Gil & Moti, Marssares, Max Hinderer, Safira Moreira e Inaê Moreira, Jorge Soledar, Elisa de Magalhães, Feira Fio Dental, Tuanny Medeiros, Marta Lopes, André Emídio, Luix Gomes, Daniel Santos, dentre outrxs.