‘Experiencing Connection Issues’ Capacete Atenas, 2017

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O que significa deslocar uma aprendizagem experimental, coletiva, de um continente para outro – especificamente a partir do hemisfério sul para o Sul do Norte?

Como tal iniciativa engaja-se em um novo contexto local, tendo em conta a complexidade e heterogeneidade destas comunidades, de suas histórias e dinâmicas socioculturais? Se, em alguma medida, a Grécia Antiga era e ainda é utilizada como matéria-prima para moldar a imaginação da modernidade ocidental, o que pode oferecer a Grécia contemporânea ao desmantelamento do colonialismo e do capitalismo neoliberal, especulativo e financeiro?

De março a dezembro de 2017, o Capacete desdobrou sua programação em Atenas – e parte em Kassel – no contexto da documenta 14 e em programas e atividades culturais da cidade.

Passamos boa parte do nosso tempo em Atenas tentando entender quais as cláusulas ocultas destas premissas, nos perguntando ‘quem recebe e quem é recebido’, por quê e para quem falamos, onde acaba o projeto e onde começam nossas vidas.

A publicação ‘Experiencing Connection Issues’ [Experimentando Falhas de Conexão] é um dos resultados  do programa Capacete Atenas 2017.

Autores: Sol Prado (Argentina), Raúl Hott (Chile), Fabiana Faleiros (Brasil), Michelle Mattiuzzi (Brasil), Gris García (México), Eliana Otta (Perú), Jarí Malta (Uruguay), Nikos Doulos (Grecia), Rodrigo Andreolli (Brasil), Vasiliki Sifostratoudaki (Grécia), Gian Spina (Brasil), Despina Sevasti (Grécia), Marina Miliou (Grécia), Fotini Gouseti (Grécia), Yara Haskiel (Alemanha), Franco Castignani (Argentina), Alkisti Efthymiou (Grécia), Susanna Brown (Canadá)

BAIXE AQUI!

 

Nikos Doulos

Posted on by Gris

“Experiencing connecting issues“- CAPACETE Athens 2017

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…..

Nikos Doulos is a visual artist, curator, and co-director of Expodium in Utrecht (NL) – an ‘urban do tank’ that utilizes artistic means to address urban challenges and the ever-changing nature of cities.

Doulos interests lie with the investigation of pedagogical modes for inclusive knowledge production framed under site-specific research trajectories and temporal interventions. In his work, he creates malleable situations/conditions as participatory infrastructures and ‘soft’ knowledge generators. 

Walking holds a predominant part in his practice. 

He is the founder of NIGHTWALKERS – a participatory nocturnal walking project investigating the contemporary identity of the flanêur, performed in (among others) the Netherlands, Serbia, Sweden, Italy, Hungary, South Korea and Greece 

He has presented collaborative projects at the Trafó House of Contemporary Arts (Budapest), Bildmuseet (Umeå), participated at the Impakt Festival (Utrecht), the Athens Biennale: #4 AGORA and the 53rd October Salon and has lead workshops for UNIDEE – Cittadelartte Pistoletto Foundation and the University of the Arts, Uniarts Helsinki. In 2017 he participated at Capacete Athens – a nine-month residency in Athens under the broader framework of Documenta 14. 

Doulos is a co-curator of the Unmaking The Netherlands program initiated by Expodium and a co-editor of the Unmaking or How To Rethink Urban Narratives publication. 

Since 2016, he holds a position at the DAI ROAMING ACADEMY as the Senior Coordinator of Planetary Campus. 

www.expodium.nl

 

NIGHTWALKERS WERKSPOOR 2018: THE EXISTING, THE PROBABLE AND THE POSSIBLE. New monthly Nightwalkers sessions in Utrecht’s Werkspoorkwartier are announced on our facebook page!

 

 

Nikos Doulos

Posted on by Gris

“Experiencing connecting issues“- CAPACETE Athens 2017

Download (PDF, 917KB)

…..

Nikos Doulos is a visual artist, curator, and co-director of Expodium in Utrecht (NL) – an ‘urban do tank’ that utilizes artistic means to address urban challenges and the ever-changing nature of cities.

Doulos interests lie with the investigation of pedagogical modes for inclusive knowledge production framed under site-specific research trajectories and temporal interventions. In his work, he creates malleable situations/conditions as participatory infrastructures and ‘soft’ knowledge generators. 

Walking holds a predominant part in his practice. 

He is the founder of NIGHTWALKERS – a participatory nocturnal walking project investigating the contemporary identity of the flanêur, performed in (among others) the Netherlands, Serbia, Sweden, Italy, Hungary, South Korea and Greece 

He has presented collaborative projects at the Trafó House of Contemporary Arts (Budapest), Bildmuseet (Umeå), participated at the Impakt Festival (Utrecht), the Athens Biennale: #4 AGORA and the 53rd October Salon and has lead workshops for UNIDEE – Cittadelartte Pistoletto Foundation and the University of the Arts, Uniarts Helsinki. In 2017 he participated at Capacete Athens – a nine-month residency in Athens under the broader framework of Documenta 14. 

Doulos is a co-curator of the Unmaking The Netherlands program initiated by Expodium and a co-editor of the Unmaking or How To Rethink Urban Narratives publication. 

Since 2016, he holds a position at the DAI ROAMING ACADEMY as the Senior Coordinator of Planetary Campus. 

www.expodium.nl

 

NIGHTWALKERS WERKSPOOR 2018: THE EXISTING, THE PROBABLE AND THE POSSIBLE. New monthly Nightwalkers sessions in Utrecht’s Werkspoorkwartier are announced on our facebook page!

 

 

Gris García

Posted on by Gris

[gview file=”http://capacete.org/wp-content/uploads/2017/04/7.-Garcia-García-documenta-has-nothing-for-you.pdf”]

She is an artist and an independent curator. Her work is centered around contemporary practices and those hybrid productions that emerge from dialogues and correspondences with the other.

“Eliana and our rooms. Jari and our neighborhood life. Raul and our breakfasts. Gian and his bread. Rodrigo and the silence. Fabiana an her voice. Sol, Michelle and the discussions. Jota and her radical tenderness. Nikos and his walks. Vasiliki surprising. Helmut and his havaianas. Still with me.”

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Gris García

Posted on by Gris

[gview file=”http://capacete.org/wp-content/uploads/2017/04/7.-Garcia-García-documenta-has-nothing-for-you.pdf”]

Artista y curadora independiente. Su trabajo está centrado en las prácticas contemporáneas y en aquellas producciones híbridas que se generan a partir del diálogo y las correspondencias con el otro.

“Eliana y nuestras habitaciones. Jari y la vida de barrio. Raúl y los desayunos. Gian y sus pancitos. Rodrigo y el silencio. Fabiana y su voz. Sol, Michelle y las discusiones. Jota y su ternura radical. Nikos y las caminatas. Vasiliki y las sorpresas. Helmut y sus havaianas. Aún van conmigo.”

Jari Malta

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Jari Malta (Montevideo, Uruguay) estudió filosofía y literatura comparada en Barcelona, así como el Programa de Estudios Independientes del MACBA. Vive, escribe y habla por Skype con sus amigxs en Malmö.

“En 1998, cuando arrancó Capacete, yo tenía 13 años y el pelo teñido de azul. También en el 98 tuve sexo por vez primera y salieron algunos de mis discos favoritos, como The Shape of Punk to Come o Goddamnit.

Hablar en pretérito de lo que supuso la experiencia en Atenas se me hace más difícil: aún me cuesta creer que la plaza de Exarchia no quede a tres cuadras, o que me sea imposible juntarme con Gris para pasear a Gnaki y tomar un helado (ella, yo una Coca-Cola).”

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Jari Malta

Posted on by Gris

Download (PDF, 113KB)

Jari Malta (Montevideo, Uruguay) estudió filosofía y literatura comparada en Barcelona, así como el Programa de Estudios Independientes del MACBA. Vive, escribe y habla por Skype con sus amigxs en Malmö.

“En 1998, cuando arrancó Capacete, yo tenía 13 años y el pelo teñido de azul. También en el 98 tuve sexo por vez primera y salieron algunos de mis discos favoritos, como The Shape of Punk to Come o Goddamnit.

Hablar en pretérito de lo que supuso la experiencia en Atenas se me hace más difícil: aún me cuesta creer que la plaza de Exarchia no quede a tres cuadras, o que me sea imposible juntarme con Gris para pasear a Gnaki y tomar un helado (ella, yo una Coca-Cola).”

Rodrigo Andreolli

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Carta a minha amiga:

“…Esta residência aqui gera um espaço de transição e reorganização interna, é uma continuidade do exercício da presença colaborativa e curiosa, experimentando estruturas de trabalho, de vida. Essa experiência também coloca em perspectiva minha trajetória, meu corpo, minhas práticas e torna palpável as reverberações que me trouxeram até aqui. Estou tentando aprender a direcionar minha atenção para olhar mais de perto quais questões me impulsionam a ação, que gestos eu coloco ou quero colocar no mundo e o que resulta desta interação. Tenho vontade de dançar, acho que quando danço alguma coisa acontece. Mas sinto que na maior parte das vezes essa coisa de criar peça/espetáculo mata a dança. Então como dançar e manter a dança viva nesse esquemão do mundo da arte? Talvez fora dele. Como fazer do corpo o instrumento de transformação do pensamento morto? Como manter-se vibrando os ecos de um campo de criação coletiva, comunicação que atravessa estruturas obsoletas, que traspassa tudo, que liga tudo? 

+

 

Ontem olhei a lua formando um caminho no mar e percebi a concretude desse coisa que é a lua. E como não dá pra viver neste mundo sem olhar pra ela, sem saber dela e sem sentir seu movimento, que influencia tudo aqui. Ela fica lá olhando pra gente o tempo todo e se aproxima e se distancia, tudo muda por conta desta relação. Tudo no mundo é assim. A lua é um destes elementos. Ficou forte pra mim também essa relação da lua, das divindades pagãs, das manifestações divinas no que é concreto. A luz da lua fazia o caminho prata-dourado na superfície da água e também penetrava as ondas pra além da minha visão criando curvas de luz no escuro-azul do mar. Essa mesma luz tocava a terra e o meu corpo numa linha que cortava  e ligava tudo ao mesmo tempo. E essa lua que baixava no horizonte, quase tocando o mar, naquele mesmo momento lançava seu corte sobre outras águas, terras e corpos. Pensei que aquela mesma luz que me tocava, toca também você aí. Deste lugar quero dançar.

 

[no mar Egeu, entre Hydra e Pireos, em 08/maio/2017]” 

-

Rodrigo Andreolli

Posted on by Gris

Download (PDF, 32KB)

Download (PDF, 45KB)

Download (PDF, 59KB)

Download (PDF, 64KB)

Download (PDF, 49KB)

Carta a minha amiga:

“…Esta residência aqui gera um espaço de transição e reorganização interna, é uma continuidade do exercício da presença colaborativa e curiosa, experimentando estruturas de trabalho, de vida. Essa experiência também coloca em perspectiva minha trajetória, meu corpo, minhas práticas e torna palpável as reverberações que me trouxeram até aqui. Estou tentando aprender a direcionar minha atenção para olhar mais de perto quais questões me impulsionam a ação, que gestos eu coloco ou quero colocar no mundo e o que resulta desta interação. Tenho vontade de dançar, acho que quando danço alguma coisa acontece. Mas sinto que na maior parte das vezes essa coisa de criar peça/espetáculo mata a dança. Então como dançar e manter a dança viva nesse esquemão do mundo da arte? Talvez fora dele. Como fazer do corpo o instrumento de transformação do pensamento morto? Como manter-se vibrando os ecos de um campo de criação coletiva, comunicação que atravessa estruturas obsoletas, que traspassa tudo, que liga tudo? 

+

 

Ontem olhei a lua formando um caminho no mar e percebi a concretude desse coisa que é a lua. E como não dá pra viver neste mundo sem olhar pra ela, sem saber dela e sem sentir seu movimento, que influencia tudo aqui. Ela fica lá olhando pra gente o tempo todo e se aproxima e se distancia, tudo muda por conta desta relação. Tudo no mundo é assim. A lua é um destes elementos. Ficou forte pra mim também essa relação da lua, das divindades pagãs, das manifestações divinas no que é concreto. A luz da lua fazia o caminho prata-dourado na superfície da água e também penetrava as ondas pra além da minha visão criando curvas de luz no escuro-azul do mar. Essa mesma luz tocava a terra e o meu corpo numa linha que cortava  e ligava tudo ao mesmo tempo. E essa lua que baixava no horizonte, quase tocando o mar, naquele mesmo momento lançava seu corte sobre outras águas, terras e corpos. Pensei que aquela mesma luz que me tocava, toca também você aí. Deste lugar quero dançar.

 

[no mar Egeu, entre Hydra e Pireos, em 08/maio/2017]” 

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Sol Prado

Posted on by Gris

Download (PDF, 157KB)

“Algunas notas a propósito de los intentos de la izquierda cultural de crear zonas temporales autónomas no productivistas. (Z.T.A.P.)

Intuyo que no basta con cambiar algunas circunstancias, estructuras, paisajes, ni apelar a voluntarismos mágicos.

El neoliberalismo se ha encarnado en nuestros cuerpos, en nuestro inconsciente, en nuestros modos de vida.

Se nos ha vuelto deseable y ha teñido, incluso, las prácticas disidentes. 

+

Dejar de desearlo es un desafío más que complejo, que resuena como una buena pancarta, pero la receta para ejecutarlo se escapa entre los dedos.

“Dejar de desearlo” parece más un imperativo evangelista para dejar de tener sexo que un lei motiv de lobas emancipadas.

Quizá, la cuestión es desear alguna otra cosa o tener otros horizontes a la altura de los ojos.

–

El mercado del arte parece haberse sumido en una práctica cada día más zombie y precaria, donde lo queer y lo trans son nuevos nichos mercado, al igual que reduce a la disidencia en capital simbólico a acumular, como un ábaco de madera donde sumar puntos de visibilidad.

Cierto discurso del odio, grinchy, se ha vuelto moneda común en la política de acumular valor vía uso estratégico de la diferencia, donde la lucha política se roza con la idea de una identidad inmutable, cuasi purista, y le menea la cadera al pre-fascismo.

–

Sin producción no hay dinero, según la lógica del capital en la cual estamos inmersas.

Un tiempo de no productividad (es decir sin producción de dinero en la lógica del valor de mercado) y exploración de un sitio específico, deviene un tiempo de privilegio.

Sin embargo, estos espacios temporales autónomos no suelen ausentarse de la lógica de competencia friendly que se sostiene a base de recursos económicos transatlánticos difusos (R.E.T.D.).

–

Llegar a un sitio desconocido pareciera componer esa utopía idealizante de igualarnos por medio de la ignorancia compartida sobre el lugar a explorar.

Como si esto nos pusiera en igualdad de condiciones para llegar al supuesto

no-objetivo del tiempo no-productivista.

Una conjunción de no-esto y no-lo otro, una conjunción inverosímil, donde reina en la confusión quién más exótica es, deviniendo quién más hashtagueada es.

Un gran hermano capacitista de recursos sociales, risas, buen nivel inglés y opiniones sobre todo tipo, clase, temática que la conversación entre burbujas de cerveza solicite.” 

-

Sol Prado

Posted on by Gris

Download (PDF, 157KB)

“Algunas notas a propósito de los intentos de la izquierda cultural de crear zonas temporales autónomas no productivistas. (Z.T.A.P.)

Intuyo que no basta con cambiar algunas circunstancias, estructuras, paisajes, ni apelar a voluntarismos mágicos.

El neoliberalismo se ha encarnado en nuestros cuerpos, en nuestro inconsciente, en nuestros modos de vida.

Se nos ha vuelto deseable y ha teñido, incluso, las prácticas disidentes. 

+

Dejar de desearlo es un desafío más que complejo, que resuena como una buena pancarta, pero la receta para ejecutarlo se escapa entre los dedos.

“Dejar de desearlo” parece más un imperativo evangelista para dejar de tener sexo que un lei motiv de lobas emancipadas.

Quizá, la cuestión es desear alguna otra cosa o tener otros horizontes a la altura de los ojos.

–

El mercado del arte parece haberse sumido en una práctica cada día más zombie y precaria, donde lo queer y lo trans son nuevos nichos mercado, al igual que reduce a la disidencia en capital simbólico a acumular, como un ábaco de madera donde sumar puntos de visibilidad.

Cierto discurso del odio, grinchy, se ha vuelto moneda común en la política de acumular valor vía uso estratégico de la diferencia, donde la lucha política se roza con la idea de una identidad inmutable, cuasi purista, y le menea la cadera al pre-fascismo.

–

Sin producción no hay dinero, según la lógica del capital en la cual estamos inmersas.

Un tiempo de no productividad (es decir sin producción de dinero en la lógica del valor de mercado) y exploración de un sitio específico, deviene un tiempo de privilegio.

Sin embargo, estos espacios temporales autónomos no suelen ausentarse de la lógica de competencia friendly que se sostiene a base de recursos económicos transatlánticos difusos (R.E.T.D.).

–

Llegar a un sitio desconocido pareciera componer esa utopía idealizante de igualarnos por medio de la ignorancia compartida sobre el lugar a explorar.

Como si esto nos pusiera en igualdad de condiciones para llegar al supuesto

no-objetivo del tiempo no-productivista.

Una conjunción de no-esto y no-lo otro, una conjunción inverosímil, donde reina en la confusión quién más exótica es, deviniendo quién más hashtagueada es.

Un gran hermano capacitista de recursos sociales, risas, buen nivel inglés y opiniones sobre todo tipo, clase, temática que la conversación entre burbujas de cerveza solicite.” 

-

Raul Hott

Posted on by Gris

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Download (PDF, 436KB)

Raúl Hott is a Chilean architect, artist, and educator that does work about the body, designing collective experiences for public spaces and natural environments. His projects are communal initiatives that invigorate democratic access to the arts and public life, injecting horizontal participation and vitality. He is an artist whose work spans architecture, sound, healing, choreography, writing, graphic design, and numerous other fields.

“Time. It has been just two months since I returned from Athens to Santiago, and I think the magnitude of this experience just begins to unfold in me. There are too many fundamental changes that I see in my person. In the same way, my comprehension of time is deeply affected. And so today I understand the need to stop, and by consequence, to rely on lived experiences.”

Raul Hott

Posted on by Gris

Download (PDF, 107KB)

Download (PDF, 436KB)

Raúl Hott is a Chilean architect, artist, and educator that does work about the body, designing collective experiences for public spaces and natural environments. His projects are communal initiatives that invigorate democratic access to the arts and public life, injecting horizontal participation and vitality. He is an artist whose work spans architecture, sound, healing, choreography, writing, graphic design, and numerous other fields.

“Time. It has been just two months since I returned from Athens to Santiago, and I think the magnitude of this experience just begins to unfold in me. There are too many fundamental changes that I see in my person. In the same way, my comprehension of time is deeply affected. And so today I understand the need to stop, and by consequence, to rely on lived experiences.”

Reginaldo Gonçalves

Posted on by Gris

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

+

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

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

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

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

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

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

Régis Gonçalves

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Reginaldo Gonçalves

Posted on by Gris

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

+

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

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

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

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

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

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

Régis Gonçalves

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Gil & Moti

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

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

Gil & Moti

Posted on by Gris

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

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

Vasiliki Sifostratoudaki

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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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Vasiliki Sifostratoudaki

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

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

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Fabiana Faleiros

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

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

Fabiana Faleiros

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

Poeta, performer e pesquisadora. É doutoranda pelo Programa de Arte e Cultura da UERJ, Rio de Janeiro, e Lady Incentivo, cujo disco Lady Incentivo: novas formas de amar e gravar CD foi gravado na Mobile Radio BSP, durante a 30 Bienal de São Paulo. Entre 2015 e 2016 esteve em turnê com o Mastur Bar em Cuba (Fabrica de Arte Cubano, Havanna), Colômbia (Kuir Bogotá, International Festival for Queer Arts and Cinema), e também em cidades do Brasil como São Paulo, Porto Alegre e Belém do Pará. Em 2016 publicou o livro O pulso que cai e as tecnologias do toque, Ikrek: São Paulo. Atualmente participa da residência Capacete em colaboração com a Documenta 14 (Atenas, Kassel).

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Gian Spina

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

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

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

e deixei pra trás uma série de seres que fui.

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

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Gian Spina

Posted on by Gris

Download (PDF, 216KB)

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

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

—

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

e deixei pra trás uma série de seres que fui.

+

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

-

Eliana Otta

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Download (PDF, 99KB)

Download (PDF, 114KB)

Download (PDF, 141KB)

 

Eliana Otta is a multidisciplinary artist. Through drawing, writing, video, installations and participatory projects, she associates simple details from everyday life that can speak about complex processes in specific contexts, inquiring how subjectivities shape public space by relating the personal to the political, as well as individual and shared memories to questions about the present and our possible collective wishes for the future. Economic inequality, precarious labor, gender violence  and our relation with nature in neoliberal extractivist systems, are some of her main focus of interest.

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 “Creo que vinimos a Atenas personas que coincidimos en estar en un momento de nuestras vidas en que no tenemos muy claro dónde ni cómo vivirlas. Aquí hemos pensado al respecto, pues al cuestionar lo macro y lo micro, nos hemos mirado con atención. Compartimos certezas sobre lo que no queremos, ciertas intuiciones sobre lo que deseamos y algunas palabras comunes para verbalizarlo. Compartimos más claramente el lenguaje del baile, el del beso y del abrazo, el de la comida entre risas y el brindis polígloto.

Un día le dije a Helmut que me parecía que lo que más teníamos en común los seleccionados para esta experiencia era la ternura. Afinando la idea, quizá es que cada uno está buscando cómo defender las vulnerabilidades y la intensidad de los afectos en los contextos tan violentos, agresivos e injustos en los que nos movemos, buscando otros lugares a donde pertenecer o cómo hacer que aquellos a los que pertenecemos nos permitan ser. Luego de este año, una nueva certeza es que ahora tengo más cómplices para continuar con ese intento.”

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Eliana Otta

Posted on by Gris

Download (PDF, 1.44MB)

Download (PDF, 99KB)

Download (PDF, 114KB)

Download (PDF, 141KB)

Eliana Otta es una artista multidisciplinaria. A través del dibujo, escritura, video, instalaciones y proyectos participativos, ella asocia detalles simples de la vida cotidiana que pueden hablar de procesos complejos en contextos específicos, indagando cómo las subjetividades dan forma al espacio público al relacionar lo personal con lo político, así como recuerdos individuales y compartidos a preguntas sobre el presente y nuestros posibles deseos colectivos para el futuro. La desigualdad económica, el trabajo precario, la violencia de género y nuestra relación con la naturaleza en los sistemas extractivistas neoliberales son algunos de sus principales temas de interés.

+

 “Creo que vinimos a Atenas personas que coincidimos en estar en un momento de nuestras vidas en que no tenemos muy claro dónde ni cómo vivirlas. Aquí hemos pensado al respecto, pues al cuestionar lo macro y lo micro, nos hemos mirado con atención. Compartimos certezas sobre lo que no queremos, ciertas intuiciones sobre lo que deseamos y algunas palabras comunes para verbalizarlo. Compartimos más claramente el lenguaje del baile, el del beso y del abrazo, el de la comida entre risas y el brindis polígloto.

Un día le dije a Helmut que me parecía que lo que más teníamos en común los seleccionados para esta experiencia era la ternura. Afinando la idea, quizá es que cada uno está buscando cómo defender las vulnerabilidades y la intensidad de los afectos en los contextos tan violentos, agresivos e injustos en los que nos movemos, buscando otros lugares a donde pertenecer o cómo hacer que aquellos a los que pertenecemos nos permitan ser. Luego de este año, una nueva certeza es que ahora tengo más cómplices para continuar con ese intento.”

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Alexandra Baudelot

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Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013 with Dora Garcia and Mathilde Villeneuve, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed Rosascape, a platform for contemporary creation in Paris that straddles multiple spheres as a private art centre and production unit, exploring the contexts of production and reception of works as well as their mode of display by attending to specific notions such as the question of private, intimate space vs public and political space. The decision to house Rosascape in an architecturally defined space — a private, intimate, theatrical space, playing with a tension between interior and exterior space and the domestic character of its surroundings — rather than in a neutral, ‘white cube’ type of exhibition space, stems from a will to perceptibly shift the relationship to artworks and artistic experiences. A critical awareness of the standardisation of exhibition spaces in the context of globalisation, and thus of the standardised relationship between the artwork and the public, led us to seek and occupy a site and experiential sphere of a different kind — a left-field space — and displace, in this way, our relationship to contemporary art. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan and produced several artists books. 

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Since 2013, as co-director of Les Laboratoires d’Aubervilliers, she develops a work with Mathilde Villeneuve and Dora Garcia based on two factors  — a laboratory that research, test out and experiment, and the town of Aubervilliers (at the periphery, on the outskirts, a melting pot of industrial workers, and a major site of immigration). The very particular relationship between these elements is the context in which artists-in-residence make and develop their projects. The collegial approach aims to establish collectives that enable new forms of intersubjectivity to take shape. In collaboration with the co-direction team, she works on developing novel communities that alter and transform according to the shifts and developments in their work. From the very beginning, the Laboratoires d’Aubervilliers has been committed to reducing the gap between informed and uninformed audiences, and to supporting the most complex and hybrid artistic practices while ensuring no one feels excluded. The institution is renowned for the collective productions it has generated, for fostering collaborations between artists across the entire spectrum of disciplines, and for its participatory, community-building projects involving local residents. In 2016 she co-curated the event « Performing Opposition » intiated by Les Laboratoires d’Aubervilliers at Capacete (Rio de Janeiro) and Casa do Povo (Sao Paulo). She is the author of the book “Dispositif chorégraphique” (Les Presses du Réel, Nouvelles scènes collection, 2005) on the work of choreographer Jennifer Lacey in collaboration with the scenographer Nadia Lauro, the editor of the monograph “Grimaces du réél” on the choreographer Latifa Laâbissi (Les Presses du Réel, Nouvelles scènes collection, 2015), “Portraits d’Aubervilliers” by Lenio Kaklea with Lou Forster (Les Laboratoires d’Aubervilliers, 2018), “Zarba Lonsa _o_o__o Mesonya/ » an editorial project by Katinka Bock, (MER. Paper Kunsthalle, 2018)

In 2016 she curated a serie of three exhibitions with Ulla von Brandenburg at The Power Plant (Toronto), The Darling Foundry (Montreal) and ACCA (Melbourne). 

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Alexandra Baudelot

Posted on by Gris

Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013 with Dora Garcia and Mathilde Villeneuve, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed Rosascape, a platform for contemporary creation in Paris that straddles multiple spheres as a private art centre and production unit, exploring the contexts of production and reception of works as well as their mode of display by attending to specific notions such as the question of private, intimate space vs public and political space. The decision to house Rosascape in an architecturally defined space — a private, intimate, theatrical space, playing with a tension between interior and exterior space and the domestic character of its surroundings — rather than in a neutral, ‘white cube’ type of exhibition space, stems from a will to perceptibly shift the relationship to artworks and artistic experiences. A critical awareness of the standardisation of exhibition spaces in the context of globalisation, and thus of the standardised relationship between the artwork and the public, led us to seek and occupy a site and experiential sphere of a different kind — a left-field space — and displace, in this way, our relationship to contemporary art. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan and produced several artists books. 

+

Since 2013, as co-director of Les Laboratoires d’Aubervilliers, she develops a work with Mathilde Villeneuve and Dora Garcia based on two factors  — a laboratory that research, test out and experiment, and the town of Aubervilliers (at the periphery, on the outskirts, a melting pot of industrial workers, and a major site of immigration). The very particular relationship between these elements is the context in which artists-in-residence make and develop their projects. The collegial approach aims to establish collectives that enable new forms of intersubjectivity to take shape. In collaboration with the co-direction team, she works on developing novel communities that alter and transform according to the shifts and developments in their work. From the very beginning, the Laboratoires d’Aubervilliers has been committed to reducing the gap between informed and uninformed audiences, and to supporting the most complex and hybrid artistic practices while ensuring no one feels excluded. The institution is renowned for the collective productions it has generated, for fostering collaborations between artists across the entire spectrum of disciplines, and for its participatory, community-building projects involving local residents. In 2016 she co-curated the event « Performing Opposition » intiated by Les Laboratoires d’Aubervilliers at Capacete (Rio de Janeiro) and Casa do Povo (Sao Paulo). She is the author of the book “Dispositif chorégraphique” (Les Presses du Réel, Nouvelles scènes collection, 2005) on the work of choreographer Jennifer Lacey in collaboration with the scenographer Nadia Lauro, the editor of the monograph “Grimaces du réél” on the choreographer Latifa Laâbissi (Les Presses du Réel, Nouvelles scènes collection, 2015), “Portraits d’Aubervilliers” by Lenio Kaklea with Lou Forster (Les Laboratoires d’Aubervilliers, 2018), “Zarba Lonsa _o_o__o Mesonya/ » an editorial project by Katinka Bock, (MER. Paper Kunsthalle, 2018)

In 2016 she curated a serie of three exhibitions with Ulla von Brandenburg at The Power Plant (Toronto), The Darling Foundry (Montreal) and ACCA (Melbourne). 

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Laura Taves

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No CAPACETE, em julho de 2017, apresentou o projeto das Placas de Rua da Maré, e também, o projeto realizado na Nova Holanda, Maré, em 2016: Correspondências Cariocas – o Rio em 450 azulejos, foi um projeto realizado, a partir de uma edital da Secretaria Municipal de Cultura, para a celebração do aniversário de 450 anos da cidade. Maior do que previsto, o painel artístico revestiu uma casa inteira do bairro, com desenhos e textos de 50 crianças e jovens moradores locais, e sua visão do que é a cidade do Rio de Janeiro hoje. As crianças ainda enviaram postais, com seus desenhos e textos, para diversos amigos/parceiros ao redor do planeta. Os cartões já ganharam o mundo, nossa cidade está em toda parte, transcendendo o projeto e a Maré, ampliando sua abrangência territorial, fazendo novas conexões e se perpetuando no tempo.

Desde 2015 é gerente de Desenvolvimento de Público e Relações Comunitárias do Museu do Amanhã, trabalhando diretamente com os moradores da região da Pequena África, na criação de programas e ações que valorizem e que apresentem ao grande público a cultura popular e sofisticada da Matriz Africana local. O projeto Entre Museus, outro exemplo de atuação da área, trabalha com mais de 1.000 jovens de todas as escolas da região, incentivando sua visitação ao Museu do Amanhã e a outros 22 museus parceiros, um convite para entrar nos museus e também para conhecer esse grande museu à céu aberto que é a própria cidade.

Laura Taves

Posted on by Gris

No CAPACETE, em julho de 2017, apresentou o projeto das Placas de Rua da Maré, e também, o projeto realizado na Nova Holanda, Maré, em 2016: Correspondências Cariocas – o Rio em 450 azulejos, foi um projeto realizado, a partir de uma edital da Secretaria Municipal de Cultura, para a celebração do aniversário de 450 anos da cidade. Maior do que previsto, o painel artístico revestiu uma casa inteira do bairro, com desenhos e textos de 50 crianças e jovens moradores locais, e sua visão do que é a cidade do Rio de Janeiro hoje. As crianças ainda enviaram postais, com seus desenhos e textos, para diversos amigos/parceiros ao redor do planeta. Os cartões já ganharam o mundo, nossa cidade está em toda parte, transcendendo o projeto e a Maré, ampliando sua abrangência territorial, fazendo novas conexões e se perpetuando no tempo.

Desde 2015 é gerente de Desenvolvimento de Público e Relações Comunitárias do Museu do Amanhã, trabalhando diretamente com os moradores da região da Pequena África, na criação de programas e ações que valorizem e que apresentem ao grande público a cultura popular e sofisticada da Matriz Africana local. O projeto Entre Museus, outro exemplo de atuação da área, trabalha com mais de 1.000 jovens de todas as escolas da região, incentivando sua visitação ao Museu do Amanhã e a outros 22 museus parceiros, um convite para entrar nos museus e também para conhecer esse grande museu à céu aberto que é a própria cidade.

Ian Erickson-Kery

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[gview file=”http://capacete.org/wp-content/uploads/2016/05/CAPACETE20ANOS-PAGINAS-ian.pdf”]

…

Ian Erickson-Kery is a PhD student at Duke University, where he researches and writes on Latin American art, literature, territorial conflicts, and geographical imaginaries. In recent years he has moved itinerantly between the north and the south, the art world and academia, and the city and the country, all of which shape the topography of his work. With equal fondness for Praça Tiradentes and Vale do Anhangabaú, he is nonpartisan in the Carioca-Paulista rivalry.

Ian Erickson-Kery

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[gview file=”http://capacete.org/wp-content/uploads/2016/05/CAPACETE20ANOS-PAGINAS-ian.pdf”]

…

Ian Erickson-Kery is a PhD student at Duke University, where he researches and writes on Latin American art, literature, territorial conflicts, and geographical imaginaries. In recent years he has moved itinerantly between the north and the south, the art world and academia, and the city and the country, all of which shape the topography of his work. With equal fondness for Praça Tiradentes and Vale do Anhangabaú, he is nonpartisan in the Carioca-Paulista rivalry.

Soledad Leon

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Coordinator of an collective art project called PIA Michelle http://pia-michelle.blogspot.cl/

Also collaborate with CRAC Valparaiso now and then http://www.cracvalparaiso.org/?lang=en

Soledad Leon

Posted on by Gris

Coordinator of an collective art project called PIA Michelle http://pia-michelle.blogspot.cl/

Also collaborate with CRAC Valparaiso now and then http://www.cracvalparaiso.org/?lang=en

Camilla Rocha Campos

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….

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

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

Camilla Rocha Campos

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[gview file=”http://capacete.org/wp-content/uploads/2016/04/CAPACETE20ANOS-PAGINAS-camilla.pdf”]

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Artista, pesquisadora, ativista micro-política e auto-revolucionária. Como artista transita no campo de uma arte colaborativa na qual o público é convidado a participar de situações performáticas relacionando seu corpo à contextos poéticos carregados de um tipo de humor e crítica. Em janeiro de 2017 ao integrar o Programa Internacional de residência artística AiR Q21 no Museum Quartier em Viena, Áustria, ministrou o workshop “Silent images shout body policies” no espaço de arte Raum_D do Museum Quartier.

É atualmente diretora da residência artística internacional CAPACETE no Rio de Janeiro onde também par- ticipou do programa como artista em 2016, quando realizou em parceira com a artista e também residente Thora Dolven Balke a pesquisa aberta “Respira Conspira”.

Anna Bak

Posted on by Gris

Anna Bak is a visual artist and curator/organizer. She works in different medias, primarily with installation. She took her Master in Fine Arts from The Funen Arts Academy in Denmark, with an supplementing exchange year with a Fulbright Scholarship, at Montana State University in Bozeman, Montana, USA.