20 years CAPACETE


7th December at 7pm


Book Release:

+ 20 years CAPACETE
+ 10 years Metropolitan Gallery (Chile)
+ Lugar a Dudas (Colombia)

With presentations of the following art spaces:

• Lugar a Dudas – Victor Albarracín – Cali
• Galeria Metropolitana – Luis e Ana – Santiago
• Casa do Povo – Marilia Loureiro – SP
• Casa Mario – Sebastian Alonso – Montevideo
• Despina – Guilherme Altmayer – RJ
• CAPACETE – Camilla Rocha Campos, Tanja Baudoin e Helmut Batista – RJ



!!!!!!! LAUNCH OF THE NEW 1 YEAR CAPACETE PROGRAM (2019/2020) !!!!!!!

** in the kitchen Tesuo Hida cooking Maguro Zuke Don (RS 13.99)



To download the book CAPACETE click the link below:

Book of 20 years CAPACETE

Download (PDF, 13.47MB)

Tenzing Barshee

**Photo by Hanna Putz 
Tenzing Barshee (born 1983) is an independant writer and a curator at Sundogs in Paris. In Rio de Janeiro, he reflects on how the idea of „touching and being touched“ can assist and complicate the displacement of one‘s own body. Following different cues, he approaches people and places with a determined willingness to engage, paired with the melancholy inherent to the memory of a childlike curiosity.
As part of the “COINCIDENCIA” program in South America of the Swiss Pro Helvetia Foundation

Fotini Gouseti

Experiencing connecting issues“- CAPACETE Athens 2017

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Fotini Gouseti is a conceptual artist and PhD researcher in anthropology. She studied art at Athens School of Fine Arts (BA), Dutch Art Institute (MA) and she is currently a PhD candidate at the Dept. of History, Archaeology & Social Anthropology, University of Thessaly, Greece. Accordingly, her practice is research-based, socially-engaged and quite often called political. Her learningprocess derives out of her connection with others, while she focuses on the role of art in negotiating issues of memory.

She is the initiator of the art project Renkonto. For the past few years she has been engaged in the research projects The Present as a Result of the Past and The Least Wanted Travel the Most. The artistic outcomes of her projects are presented in various contexts worldwide.

Silvia Rivera Cusicanqui

Silvia Rivera Cusicanqui (born 1949) is a Bolivian feminist, sociologist, historian, and subaltern theorist. She draws upon anarchist theory as well as Quechua and Aymara cosmologies. She is a former director and longtime member of the Taller de Historia Oral Andina (Workshop on Andean Oral History). She is also an activist who works directly with indigenous movements in Bolivia, such as the Katarista movement and the coca growers movement.


The CAPACETE team are:


General direction 
Helmut Batista

Artistical direction
Camilla Rocha Campos

Art direction assistant

Valdinar Fernandes Rocha

Board members

Artistic Board 

 Amilcar Packer is a photographer, visual artist and editor. Its actions and interventions seek to change the grammar of social spaceproposing relational fields that question the dominant discourseshistorically installed and crystallized in language, in the urban organization of space and in behavior. 

 Andrea Fraser is a performance artistknown mainly for her work in the field of institutional criticism. Fraser lives in New York and Los Angeles and is currently head of the department and professor at the interdisciplinary studio at the School of Arts and Architecture at the University of California, Los Angeles. 

 Denise Ferreira da Silva is a philosopher and visual artist, professor and director of the Institute of Social Justice (GRSJ) at the University of British Columbia, adjunct professor of Fine Arts at Monash University (Melbourne, Australiaand visiting professor of law at Birkbeck University in London. 

 Ricardo Basbaum is an artistwritercritic and curatorThrough his works he addresses social and interpersonal relationshipsgiving a relevant role to the personal and individual experience of the participants. He is currently professor at the Institute of Arts and Social Communication at UFF. 




Armando Strozenberg is an advertising and communication consultantMember of the boards of the Brazil Foundation (NY), ESPM (SP), Castro Maya Museum Friends Association, Paço Imperial Friends Association, OSB Foundation and Casa do Saber Rio. Director of CONAR – National Advertising and Associated Self-Regulation Council Senior at MAM Rio. 

Daniel Steegmann Mangrané is an artist and teacher. He has presented his work in numerous museums and international exhibitions. His works are part of collections such as Tate Modern and MAM Rio, among others. 

Genny Nissembaum is a clinical psychotherapistmember of the boards of DIA Art Foudationthe Rio Art Museum and the Eva Kablin House Museum. 

Márcio Fainziliber is a contemporary art collectormember of the Collections Council of the Guggenheim Museum (NY), former chairman of the Rio Art Museum and founding partner of the Casa do Saber, Rio. 

Max Perlingeiro is an editor and entrepreneur. Member of the boards of MIS – Museum of Image and Sound (SP) and Paço das Artes (SP). Founding partner and director of Pinakotheke Cultural. Administrator of several important Brazilian art collections. 

  Pablo Leon de la Barra is curator of Latin America at the Salomon R. Guggenheim Museum and Foundation (NY) and chief curator of MAC Niterói. 



Nacionality: Brasil

Born: 1984

RODRIGO ANDREOLLI transits through the performing arts, especially interested in researching the body as an element for sensitive activation of the visible and invisible layers of the public matter. He acts elaborating production structures in multidisciplinary art projects.

RODRIGO ANDREOLLI (São Paulo/Brazil) is a São Paulo based dancer, actor and producer. He works with Brazilian Theater Company TEAT(R)O OFICINA, directed by José Celso Martinez Corrêa, since 2006. Rodrigo has collaborated with Brazilian choreographer Cristian Duarte on the piece THE HOT ONE HUNDRED CHOREOGRAPHERS in 2011 and  has taken part in experiments on the research frame APT? – A PIECE…TOGETHER? led by Cristian Duarte and Paz Rojo, in 2010 and 2011,  in festivals in São Paulo and Madrid. Rodrigo has created the solo piece CUTOUT (2012 – RESIDÊNCIA FUNARTE OUTRAS DANÇAS); the duet A/R, in collaboration with Brazilian artist Raissa Ralola (2013/2014 – Prêmio Funarte Klauss Vianna); the performance ATTEMPT AT EXHAUSTING [A POINT OF VIEW] (2013 – Centro Cultural São Paulo; the publication ÍNCIDE PARA ESCUTA, with Clarissa Sacchelli (2014- Centro Cultural São Paulo), TRAGÉDIA: UMA TRAGÉDIA, directed by Carolina Mendonça, as assistant director and actor (2014- SESC/SP); He was a resident artist and producer of the Residency Project LOTE#1, LOTE#2 and LOTE#3, coordinate by Cristian Duarte in São Paulo.

He was in the dance pirece TIRA MEU FÔLEGO (Take my breath away), by Elisa Ohtake (2014); BATUCADA, by Marcelo Evelin/Demolition INC (2014) and athe theater piece THE LADY OF THE SEA, by Bob Wilson (2014).

He also developed the research project TERREYRO COREOGRÁFICO, with Daniel Kairoz, framing actions on public spaces to study the crossings of choreography, architecture and digital programming.



RODRIGO ANDREOLLI (São Paulo/Brasil), ator, dançarino e produtor. Desde 2006, integra projetos do TEAT(R)O OFICINA UZYNA UZONA, sob direção de José Celso Martinéz Corrêa. Foi parte do elenco para montagem do espetáculo PARAÍSO SEM CONSOLAÇÃO, sob direção de Constanza Macras (2008). Participou dos experimentos realizados pelo campo de trabalho APT? – A PIECE…TOGETHER?  coordenado por Cristian Duarte e Paz Rojo nos anos de 2010 e 2011, em São Paulo, Madrid e Viena. Foi colaborador de Cristian Duarte para a criação HOT 100 – THE HOT ONE HUNDRED CHOREOGRAPHERS. Em 2012 foi artista residente do Projeto OUTRAS DANÇAS FUNARTE – Porto Alegre- RS, onde iniciou a pesquisa de trabalho solo CUTOUT. No mesmo contexto iniciou uma parceria com Raissa Ralola (MG) para a criação de A/R, contemplado pelo Prêmio Klauss Vianna 2013. Criou para Centro Cultural SP, o trabalho TENTATIVA DE ESGOTAMENTO [DE UM PONTO DE VISTA] (2013) e a publicação ÍNDICE DE ESCUTA (2014) em colaboração com Clarissa Sacchelli. Foi artista-residente e produtor do projeto LOTE#1, LOTE#2 e LOTE#3 (2011-2014). Foi assistente de direção e ator da montagem TRAGÉDIA: UMA TRAGÉDIA, de Will Eno, direção de Carolina Mendonça.  Integrou elenco de TIRA MEU FÔLEGO, de Elisa Ohtake (2014), participou de BATUCADA, de Marcelo Evelin/Demolition INC (2014) e A DAMA DO MAR, de Bob Wilson (2014).

Em 2014/15, integrou o projeto TERREYRO COREOGRÁFICO, proposto por Daniel Kairoz, subsidiado pelo programa de Fomento à Dança para a Cidade de São Paulo.

Cursou o Intesive Course SNDO – SCHOOL OF NEW DANCE DEVELOPMENT (Amsterdam, 2009) e foi artista selecionado para o programa DANCEWEB 2015 no IMPULSTANZ VIENNA INTERNATIONAL DANCE FESTIVAL.

Jari Malta

Name: Jari Malta

Nationality: Uruguay

Born: 23/10/1985

Jari Malta (Montevideo, Uruguay) researches about issues like gender, sexuality, race, migration, subcultures, belonging and critical animal studies. His investigations have brought him into different fields, from fictional writing and theory to curatorship or theater.

He holds a BA in Philosophy, a BA in Comparative literature and a MA in Creative Writing. He also took part of the Independent Studies Programme at the Museum of Contemporary Art of Barcelona (MACBA) and conformed the research group Critical Genealogies of Sexual Disobedience from the South (National University of La Plata).

He worked in different cultural institutions like the Center of Contemporary Culture of Barcelona (Spain), MACBA, Fundació Miró (Spain) or Smålands Nation (Sweden). As a result of his collaboration with Marta Echaves he co-curated the exhibition Casa Matriz (Espai Colona and Angels Gallery, Spain) and participated in the publication of Anales Coloniales.

Jari Malta (Montevideo, Uruguay) studied Philosophy and Comparative Literature. He took part of the Independent Studies Programme at MACBA and conformed the research group Critical Genealogies of Sexual Disobedience from the South (National University of La Plata, Argentina) . Combining creative and theoretical writing, his work mainly deals with questions like gender, race and its subcultural expressions.

Jari Malta (Montevideo, Uruguay) es licenciado en filosofía y literatura comparada. Participó en el Programa de Estudios Independientes del MACBA y formó parte del proyecto de investigación Genealogías Críticas de las Desobediencias Sexuales desde el Sur (Universidad Nacional de La Plata, Argentina). Combina la escritura literaria con la teoría, prestando especial atención al género, la raza y sus manifestaciones subculturales.

Raúl Hott

Name: Raúl Hott      

Nationality: Chilean

Born: 1984

Website: http://raulhott.net/

Raúl Hott is an architect, artist and educator that does work about the body. He designs collective experiences for public spaces and natural environments. His projects are communal initiatives and actions that invigorate democratic access to the arts and public life, injecting horizontal participation and vitality. He is an artist whose work spans ephemeral architecture, sound, choreography, writing, graphic design, and numerous other fields. Raúl holds an MFA in New Forms from Pratt Institute.

Longer version:

Raúl Hott is an 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.

Raúl holds an MFA in New Forms from Pratt Institute. He has been particularly drawn by pedagogy, teaching in different Art and Architecture Schools since 2007. He is currently based in Athens, Greece, where he participates as a fellow resident of Capacete, a Brazilian experimental education program featured in Documenta 14. To participate in this Residency Program, Raúl was awarded with the Motel Capacete Fellowship from Chile.

Raúl Hott’s work has been featured at the Point Centre for Contemporary Art (Cyprus), Art in Odd Places Festival (NY), Trestle Gallery (NY), Ed. Varie Gallery (NY), Blackburn 20/20 Gallery (NY), Mykonos Biennale (Greece), Espacios Revelados (Chile), NAVE (Chile), and HALLE14 (Germany), among many others

Vasiliki Sifostratoudaki

Name: Vasiliki Sifostratoudaki

Nationality: Greek

Born: Athens

Vasiliki Sifostratoudaki (Athens, GR, 1979) earned a bachelor in Fine Art and Education from Athens Schools of Fine Art (2012) and received a Master of Fine Arts from the Piet Zwart Institute, Rotterdam (2015), she participates in CAPACETE Athens (2017), founder of Yellow Brick project (2016). Recent exhibitions include: TAF Foundation “The place in the End” (2017), Art Fair Rotterdam (2017), “Rocks in Stock”(Solo show) at Joey Ramone, NL (2016), “Reframe Memory” at Benaki Museum, Athens, GR (2015); “An island folded as a dry bread” at Upominki, Rotterdam, NL (2015); “Performative Labour-ISM”, Month of performance at ZK/U Centre for Art and Urbanistics, Berlin, DE (2014); “Pantone Green and a Glass of Lemonade” in collaboration with Jessica Dunleavy supported by Snehta Residency and funded by British Council EUNIC, at Bhive, Athens, GR (2014). She lives and works in Rotterdam (NL) and Athens (GR.)

Gian Spina

Name: Gian Spina

Nationality: Brazilian

Born: 1984

More information: http://gianspina.com

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).

From 2003 to 2005 at the Vancouver Film School, from 2005 to 2006 film-theory with Prof. Carlos Augusto Calil at the University of São Paulo and from 2007 to 2008 architecture at the Escola da Cidade.

In 2010 he moved to Germany, where he studied at the Vilem Flusser Archive at the Berlin University of the Arts,  later on with Prof. Burghart Schmidt and Prof. Juliane Rebentisch at the Academy of Art and Design in Offenbach am Main (Germany) he received a scholarship from the Rotary-Club Offenbach am Main in 2011.

He has finished his master thesis oriented by the Philosopher Prof. Fabien Vallos at the École des Beaux Arts de Bordeaux.

In 2015 he started working as a professor at the art department at the Escola da Cidade where he taught for one year. He works part-time with the platform lanchonete.org.

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.

Has crossed the Balkans and the Central Asia with a bike, the West Bank, the Himalayas walking and speaks fluently 5 languages.

Nikos Doulos


Name: Nikos Doulos

Nationality: Greek

Born: 1978

Nikos Doulos is an Amsterdam based artist, born and raised in Athens, Greece. He obtained a bachelor degree (BFA) in painting from the Athens School of Fine Arts (ASFA) and a Masters (MFA) in public space art from the Dutch Art Institute (DAI) in the Netherlands.

Doulos’ interest lies on inclusive modes of knowledge production achieved through discursive practices 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 collectively practiced nocturnal walking project investigating the contemporary identity of the flanêur. NIGHTWALKERS has been performed in the Netherlands, Serbia, Sweden, Italy, Hungary and South Korea to name a few.

Doulos predominantly engages on research trajectories under the umbrella of Expodium – an ‘urban do tank’ that utilizes artistic means to address urban challenges and the ever-changing nature of cities.

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 among others.

He is a co-curator of ‘Unmaking The Netherlands’ program initiated by Expodium and a co-editor of the Unmaking or How To Rethink Urban Narratives publication. He teaches periodically at the University of the Arts, Uniarts in Helsinki. He works collaboratively.

Nikos Doulos’ participation at Capacete-Athens is generously supported by Mondriaan Fonds.




Longer version

Nikos Doulos is an Amsterdam based artist, born and raised in Athens, Greece. He obtained a bachelor degree (BFA) in painting from the Athens School of Fine Arts (ASFA) and a Masters (MFA) in public space art from the Dutch Art Institute (DAI) in the Netherlands.

Doulos’ interest lies on inclusive modes of knowledge production achieved through discursive practices 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 collectively practiced nocturnal walking project investigating the contemporary identity of the flanêur. NIGHTWALKERS has been performed in the Netherlands, Serbia, Sweden, Italy, Hungary and South Korea to name a few.

Doulos predominately engages on research trajectories under the umbrella of Expodium – an ‘urban do tank’ that utilizes artistic means to address urban challenges and the ever-changing nature of cities.

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 among others.

He is a co-curator of ‘Unmaking The Netherlands’ program initiated by Expodium and a co-editor of the Unmaking or How To Rethink Urban Narratives publication. He teaches periodically at the University of the Arts, Uniarts in Helsinki. He works collaboratively.

Nikos Doulos participation at Capacete-Athens is generously supported by Mondriaan Fonds.




Jota Mombaça

Name: Jota Mombaça

Nationality: Brazil

Born: 1991

Writer and performance artist

Is a non-binary bicha, born and raised in the northeast of Brazil, who writes, performs and academically studies on the relations between monstruosity and humanity, kuir studies, de-colonial turns, political intersectionality, anti-colonial justice, redistribution of violence, visionary fictions, the end of the world and tensions among ethics, aesthetics, art and politics in the knowledge productions of the global south-of-the-south. Current works are the collaboration with Oficina de Imaginação Política (São Paulo) and the artistic residency along with Capacete’s 2017 at Documenta (Athens/Kassel).

Alternative Bio

Jota Mombaça, 1991

Writer, performance artist and researcher

Is a non-binary bicha, born and raised in the northeast of Brazil, who owns a master degree in Social Sciences by UFRN (BR). At the bachelor degree, s/he had researched the topics of subaltern voice and knowledge, anal studies, negative anthropofagie, de-colonial thinking and cuir aesthetics in a dialogue with the artist Pêdra Costa; and hers master’s project was on the relations between monstruosity and humanity, specially in what concerns the topics of social inexistence, the end of the world as a political demand against normative violence and hers own experience as an impoverished non-binary fat racialized person of brazilian periphery. Besides, s/he is interested in kuir studies, de-colonial turns, political intersectionality, anti-colonial justice, redistribution of violence, visionary fictions and tensions among ethics, aesthetics, art and politics in the knowledge productions of the global south-of-the-south. Current works are the collaboration with Oficina de Imaginação Política (São Paulo) and the artistic residency along with Capacete’s 2017 at Documenta (Athens/Kassel

Musa Michelle Mattiuzzi

[gview file=”http://capacete.org/wp-content/uploads/2017/04/3.-Musa-Michelle-Mattiuzzi-Dissident-Black-Written-for-an-Error-Contained-Narrative.pdf”]

Name: Musa Michelle Mattiuzzi

Nationality: Brazil

Born: 19

Musa Michelle Mattiuzzi  Ex-bank clerk , ex-receptionist, ex-employee in telemarketing, ex-assistant to xxx, ex-child carer, ex-dancer, ex-wife, ex-, ex-insurance broker, ex-student. She was expelled from the Universidade Federal da Bahia due to institutional racism. Black, author, performer, she moves interdisciplinarily across the arts.

Musa Michelle Mattiuzzi


Skype: michelle.mattiuzzi


Gris Garcia

Name: Gris García

Nationality: Mexico

Born: 1986

Gris García (1986/Monterrey, Mexico).

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. She studied Visual Arts at the UANL, Mexico. She has exhibited her work in México, Spain, Russia, Colombia and Canada. She has also studied the MA in Artistic Research and Production by the UB thanks to the study grant offered by FONCA CONACULTA. She has also been part of MACBA’s PEI (Independent Study Program) a Master’s program in Museistic studies and critical theory. She has curated projects such as Balmes 88 for a3bandas and Las condiciones posibles and amongst her most recent Casa entera. She was curator-in-residence at Lugar a dudas September-2014/ March-2015  and professor in curatorial and critical studies at ITM University in Medellin, Colombia. Currently is part of TuerCo. a multidisciplinary team who gives technological advisory for artistic projects.

Sol Prado

Name: Sol Prado

Nationality: Argentinia

Birthdate: 1985

They artwork and research is focus on create fictions (writing, performance, installations, workshops) through the use of ironic and parody procedures to dismantle, by intensification method, the perverse structure of the neoliberal paradigm.

It considers that the re-actualization of fascism´s mechanisms is expressed by means of a fine and cosmetic artillery of domestication whose final objective is the privatization of the common forces and thinking.

Sol Prado. Artist, independent researcher and performer.

Currently working in Capacete – Documenta 14 art and politics program, Athens – Kassel.

Studied at the Independent Program Studies in Barcelona Museum of Contemporary Art (MACBA), directed by Paul B. Preciado. Her works of art and collective research have focused on create fictions (writing, performance, installations, workshops) through the use of ironic and parody procedures to dismantle, by intensification method, the perverse structure of the neoliberal paradigm.

She considers that the re-actualization of fascism´s mechanisms is expressed by means of a fine and cosmetic artillery of domestication whose final objective is the privatization of the common forces and thinking.

The Cooperativist Society Tools for a Cooperative Ecosystem: Circular Economy in Practice


Public Programs, Friday and Saturday, March 17 and 18, 2017

The Cooperativist Society
Tools for a Cooperative Ecosystem: Circular Economy in Practice
Workshops, Talks, and Discussion
Athens School of Fine Arts, Giorgio De Chirico Amphitheater, 256 Pireos Street
The ideas of a circular economy and a fair ecosystem (economy and ecology) are concerned with building a new type of world, connecting and establishing a network of self-employed people, collectives, and committed individuals, beyond borders and nations through structures like FreedomCoop and digital crypto-currencies like FairCoin. The goal is to replace the present profit-oriented economic system with one centered around fairness, ideas of cooperation, and environmental sustainability. The aim of the event hosted by the Cooperativist Society is to raise awareness, share knowledge, and spread information concerning the use of FairCoin and other aspects of the circular economy’s network structures, as well as to help establish and strengthen local initiatives, incubating new cooperative projects and sharing new potential ideas.It is, after all, necessary to move past rhetoric and build practical and viable alternatives to today’s financial establishment. In the specific case of Greece and the political issues concerning the threat of a so-called Grexit, any radical movement will have to think very seriously about economic alternatives to the Euro, and, more broadly, to present concrete and coherent choices instead of the austerity-driven, export-dominated, and ecologically unsustainable course of the “official” Greek economy. If leaving the eurozone implies total economic chaos and dislocation, it is clear that, for lack of an alternative, Greece will be trapped in the vicious cycle of further austerity. Ultimately, the brakes will be put on any form of serious social resistance. Solving this difficulty implies thinking about different currencies instead of relying on the Euro, ways of living and thinking that are different from the consumerism of the establishment, and progressing in the social direction advocated by cooperative ecosystems like FairCoop.

The two days of events will focus on practice, on learning to build your cooperative project, on meeting and collaborating with others with the same interests, on learning how to use FairCoin as a digital currency for a fair economy, and on creating a process within which a circular economy in Athens and beyond could become a reality.

You are welcome!


Friday March 17, 2017
4–9 pm

4–4:55 pm
Introduction to the concept of circular economies

5–6:55 pm
Open cooperation tools: members of the Open Collaborative Platform (OCP) showcase projects and speak about economic management within an ecosystem
Cooperative incubator: open space to share ideas for cooperative projects (artist cooperatives, Fairbnb, and more)

7:10—9 pm
Cooperative incubator: legal coop framework in Greece
FreedomCoop: general introduction

Circular economy
FairCoin: Wallet Party. Bring your phone or your laptop (the event will be repeated on Saturday)

Saturday March 18, 2017
11 am–8 pm

11 am–12:45 pm
Circular economy mapping: add your project to the map

11 am–3 pm
Cooperative incubator: open development meetings for selected projects

1–3 pm
FairCoin: Wallet Party. Bring your phone or your laptop

4–5:45 pm
Open cooperation tools: OCP (Open Collaborative Platform), learn to configure your project
Circular economy: Fairpay cards and POS workshop

6 pm
Cooperative incubator and circular economy: plenary, conclusions, synergies, and planning of follow up meetings


Em 2017 o programa CAPACETE vai desdobrar sua programação em Atenas (e parte em Kassel), no contexto da documenta 14, na académia de belas artes de Athenas e em eventos relacionados aos programas e atividades culturais regulares da cidade. 
No Rio de Janeiro o CAPACETE continuará em funcionamento sob a direção de Camilla Rocha Campos e a programação será lançada em breve.

Por 19 anos o CAPACETE recebeu atores ativos em diferentes campos e provenientes de todo o mundo para experimentar, trocar, pesquisar, amar, produzir, apresentar, publicar e compartilhar. Agora é a vez do CAPACETE se deslocar: um grupo de 12 participantes foi selecionado para participar em um programa de 9 meses de duração em e com Atenas, num contexto estrangeiro às atividades originais e regulares do CAPACETE.

A abordagem do CAPACETE em relação à aprendizagem e à pesquisa baseia-se numa prática coletiva, discursiva, performática e experimental, que requer tempo e envolvimento estreito, de modo a formar um sistema de intercâmbio e produção descentralizado e menos hierárquico.

A comissão de seleção dos residentes para o programa foram: Xafos Xagoraris (Académia de Belas Artes/Athenas), Paul B. Preciado (documenta14/Athenas), Lígia Nobre (São Paulo), Amilcar Packer (São Paulo) e Helmut Batista (CAPACETE/Rio de Janeiro).

Proposta completa


“Escolas que se posicionam como lugares de “produção de conhecimento” privilegiados ou exclusivos apenas reafirmam as desigualdades sociais e as hierarquias existentes.”

Paulo Freire,

(Pedagogia da Autonomia – Saberes Necessários à Prática Educativa)



“Os quatro pontos cardeais são três:

Sul e Norte.”

Vicente Huidobro, Altazor

De março a dezembro de 2017, o Capacete vai desdobrar sua programação em Atenas (e parte em Kassel), no contexto da documenta 14 e em eventos relacionados, como a Bienal de Atenas e os programas e atividades culturais regulares da cidade.

Se, em um mundo integrado, tudo parece fundir-se homogeneamente, os processos hegemônicos:

• O que significa deslocar uma aprendizagem experimental, coletiva e uma iniciativa baseada na investigação de um continente para outro – especificamente a partir do hemisfério sul para o Sul do Norte? O que motiva tal deslocamento e o que isso implica?

• 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?

Por 19 anos o CAPACETE recebeu atores ativos em diferentes campos e provenientes de todo o mundo para experimentar, trocar, pesquisar, amar, produzir, apresentar, publicar e compartilhar. Agora é a vez do CAPACETE se deslocar: um grupo de até 12 participantes será selecionado para participar em um programa de 9 meses de duração em e com Atenas, num contexto estrangeiro às atividades originais e regulares do CAPACETE.

A abordagem da CAPACETE em relação à aprendizagem e à pesquisa baseia-se numa prática coletiva, discursiva, performática e experimental, que requer tempo e envolvimento estreito, de modo a formar um sistema de intercâmbio e produção descentralizado e menos hierárquico.

Estrutura do programa:

– Convocatória aberta para de seis a oito participantes latino-americanos e de três a quatro participantes gregos, que irão engajar-se em escutar, aprender, vivenciar e trocar experiências.

– Duração: de março a dezembro de 2017

• Dois capítulos diferentes relacionados a momentos e marcos conceituais separados:

Primeiro Capítulo (quatro meses): dedicado à escuta ativa e ao olhar. Começará antes da abertura da documenta 14, em Atenas, e continuará através de seus 100 dias *. O foco deste período será a abordagem do contexto local em encontros com agentes locais, profissionais e instituições; bem como o estabelecimento de vínculos na cidade e o desenvolvimento de um modo intenso de conversação para abordar as dinâmicas socioculturais e políticas na Grécia e em Atenas, especificamente.*Este período será dedicado também à compreensão da relação emaranhada entre Kassel e Atenas, dentro do marco da documenta 14. Para isso, está prevista uma viagem à Kassel e a colaborações com parceiros locais.

Segundo Capítulo (seis meses): dedicada à (re)ação, começando pela conclusão da documenta 14 em Atenas e seguindo até dezembro. Durante este período, diferentes profissionais – entre os interlocutores regulares do CAPACETE, os profissionais e agentes locais do contexto ateniense – serão convidados a colaborar com o grupo selecionado de participantes em programas públicos. Esta série de programas se estabelecerá sem um tema específico, abrangendo o fato de que o deslocamento gera problemas (tais como as colocadas acima), mais do que frameworks organizados. Nossa situação é um estudo de caso que precisa ser experimentado, a fim de chegar a conclusões. Nosso interesse está em como reagir às questões provocadas pela nossa dada situação.

A comissão de seleção é: Xafos Xagoraris, Paul B. Preciado, Lígia Nobre, Amilcar Packer e Helmut Batista

A visão do CAPACETE

Nossos contextos globalizados estão estruturados pela desigual distribuição do trabalho e das riquezas, e são crescentemente moldados pela economia dos mercados especulativos. Atualmente, inúmeras das manifestações culturais são eventos de grande escala, e freqüentemente estão direcionadas para um público genérico ou restritas à elite. Tal situação reduz e neutraliza o alcance ético e político da arte, assim como o seu potencial em promover e inspirar outras formas de trabalho, pensamento, relacionar e de viver.

Nossa intenção é constituir situações e desenvolver estratégias que forneçam uma alternativa concreta e real para este estado de coisas. Nosso programa é desenhado para refletir o caráter interdisciplinar das práticas estéticas contemporâneas, trabalhando com artistas e pensadores cujos esforços articulam o mundo teórico com apresentações artísticas em diversos formatos e dinâmicas, e para diferentes públicos. Ao desafiar o estado atual da cultura, economia e educação, nossa função será principal será elaborar auto-organização e gestão artísticas, participação e modos colaborativos de ação, como parte fundamental do conteúdo e da estrutura de nossas atividades.

Estas iniciativas somente podem ser desenvolvidas ao longo do tempo, por meio simultâneo de ativação e avanço de diversas formas de troca, distribuição e produção. Nossa intenção é manter atentos e fluidos ao longo deste processo, ajustando nossas estratégias, táticas, e objetivos à medida que nos desenvolvemos. Um dos objetivos integrais de nosso programa é expandir continuamente nossa plataforma de troca, trazendo novos participantes e interlocutores, fomentando as relações entre diferentes instituições e organizações, bem como aprofundando os laços e relações com colaborações estabelecidas.

CAPACETE age na intercessão de diversos campos sociais e profissionais, exigindo, portanto, que os participantes selecionados embarquem plenamente em um diálogo aberto e horizontal, se envolvendo ativamente nas atividades do programa, instigando que por sua vez, possam funcionar como plataformas para a disseminação da informação, promovendo respostas ativas e gerando o debate público.

Zafos Xagoraris

Athens, 1963

Zafos Xagoraris has studied at the Athens School of Fine Arts and the Massachusetts Institute of Technology. His Ph.D. from the National Technical University of Athens was about the construction of miracles by Hero of Alexandria. He has presented various personal exhibitions and his work consists by drawings, obstructing devices of visual or other signals and public installations of sound amplification mechanisms (for example at the deserted villages of Cyprus, 2003-5). He has participated in exhibitions such as: 4th Athens Biennial, ETICO_F, Manifesta 7, 1st Bienal Fin del Mundo, 1st Thessaloniki Biennale and the 27th Sao Paulo Bienal. He has recently presented the installation “Downhill Classroom”, Benaki Museum, Athens and was one of the curators of the Greek Pavilion of the 9th Venice Biennale of Architecture and the 2nd Athens Biennial. He’s an Associate Professor and Head of the Visual Arts Department of the Athens School of Fine Arts and was a Visiting Professor at the University of Sassari and Patras as well as a Scholar at the Columbia University, NYC. He has been invited to present his work and organize workshops at the University of Michigan, University of Illinois at Chicago, Academy of Fine Arts, Munich, D’Annunzio University, Pescara, IUAV, Venice, Academy of Fine Arts, Palermo, School of Visual Arts and others. 

Ligia Nobre

1973, Sao Paulo

Arquiteta, pesquisadora, curadora, artista e agenciadora de projetos e espaços artísticos, opera nos cruzamentos entre arte e arquitetura. Graduada pela Faculdade de Arquitetura e Urbanismo – Universidade Mackenzie (São Paulo, 1996), mestre em Teoria e História da Arquitetura e do Urbanismo pela Architectural Association School of Architecture (Londres, 1999) e doutoranda no Programa In. Atualmente é professora da Escola da Cidade e integra O grupo inteiro (ogrupointeiro.net). Curadora e coordenadora geral com Carol Tonetti do projeto Contracondutas (São Paulo/Guarulhos, 2016-17) e do projeto-exposição Mano Fato Mano no Centro Cultural São Paulo (Nov.2014-Fev.2015). Participa com o trabalho Condutores da exposição “Playgrounds 2016” no MASP e Sesc Interlagos (São Paulo, 2016). Curadora com Ana Luiza Nobre e Guilherme Wisnik da X Bienal de Arquitetura de São Paulo (2013). Curadora São Paulo com Urban Think Tank (NY/Zurique/SP) para o Audi Urban Future Award (Istanbul, 2012). Consultora do Ministério da Cultura junto aos setores de artes visuais, design e arquitetura e o Programa Espaços e Bibliotecas Mais Cultura (Brasília, 2009-10). Pesquisadora e assistente de ensino dos arquitetos Jacques Herzog e Pierre de Meuron na Universidade ETH Studio Basel – Contemporary City Institute (Basel, 2007-08). Co-fundou e dirigiu a plataforma sem fins lucrativos exo experimental org. (arquivoexo.org) que promoveu pesquisas urbanas e artísticas, residências artísticas, publicações, exposições, encontros discursivos e oficinas (São Paulo, 2002- 07). Contemplada com bolsa-residência na Akademie Schloss Solitude (2006) e os editais Funarte Conexões Artes Visuais (2012) e Exposições da Prefeitura de São Paulo-CCSP (2014). Coordenadora Editorial de Trabalhando no Copan/Working at Copan, de Peter Friedl (Sternberg Press, 2007), co-editora de Monolito #17 – X Bienal de Arquitetura de São Paulo (2013), com ensaios publicados nos periódicos Bamboo, TANK, Abitare, ArtReview, Urbania, Item, dentre outras publicações. 

Paul B. Preciado

Burgos, 1970

Paul B. Preciado is a philosopher, curator and transgender activist and one of the leading thinkers in the study of gender and sexual politics. An Honors Graduate and Fulbright Fellow, he earned a M.A. in Philosophy and Gender Theory at the New School for Social Research in New York where he studied with Agnes Heller and Jacques Derrida. He holds a Ph.D. in Philosophy and Theory of Architecture from Princeton University. His first book, Contra-Sexual Manifesto (forthcoming by Columbia University Press in 2016) was acclaimed by French critics as “the red book of queer theory” and became a key reference for European queer and trans activism. He is the author of Testo Junkie. Sex, Drugs and Biopolitics (The Feminist Press) and Pornotopia (Zone Books) for which he was awarded the Sade Price in France. He has been Head of Research of the Museum of Contemporary Art of Barcelona (MACBA) and Director of the Independent Studies Program (PEI). He is currently Curator of Public Programs of documenta 14 (Kassel/Athens).

Amilcar Packer

Chile, 1974

Amilcar Packer nasceu em Santiago do Chile em 1974 e vive em São Paulo desde 1982. É licenciado em Filosofia pela USP e mestre em Psicologia Clínica pela PUC-SP. Packer desenvolve práticas que operam reconfigurando e subvertendo o campo semântico de objetos, arquitetura e o corpo humano, assim como tradições de pensamento e imaginação. Suas atividades se extendem em formatos discursivos e perfomativos, aulas e oficinas, encontros e conversas, comidas, passeios e seminários públicos que estabelecem espaços e estados provisórios para dinámicas coletivas menos hierarquizadas, onde predominam a busca pela construção da horizontalidade, o debate crítico, o aprendizado mútuo e a convivência. É co-fundador do Programa de Ações Culturais Autônomas e colabora regularmente com o CAPACETE, assim como com a Casa do Povo.

Helmut Batista

Rio de Janeiro, 1964

Helmut Batista direção de ópera ma ESAT na França. Em 1998 fundou o CAPACETE que ele dirige desde então. CAPACETE tem produzidos novos trabalhos de arte, seminários, oficinas, residencias e livros com parcerias de diferentes paíse. Em 2015 CAPACETE inaugurou o projeto experimental com duração de 1 ano. Para mais informações por favor consulte: www.capacete.org.

Caetano Carvalho e Jonas Lund


Wednesday the 14 of december

O que nos cerca

by Caetano Carvalho e Jonas Lund

Jonas Lund is a Swedish artist that creates paintings, sculpture, photography, websites and performances that incorporate data from his studies of art world trends and behavior. He earned an MA at Piet Zwart Institute, Rotterdam (2013) and a BFA at Gerrit Rietveld Academy, Amsterdam (2009). He has had solo exhibitions at Whitechapel Art Gallery, London (2016), Steve Turner, Los Angeles (2016, 2015, 2014); Växjö Konsthall Sweden (2016), Boetzelaer|Nispen, Amsterdam (2014); Showroom MAMA, Rotterdam (2013); and has had work included in numerous group exhibitions including at Eyebeam, New York; New Museum, New York, XPO Gallery, Paris; Van Abbemuseum, Eindhoven, Witte De With, Rotterdam, De Hallen, Haarlem and the Moving Museum, Istanbul.
His work has been written about in Artforum, Kunstforum, Metropolis M,
Artslant, Rhizome, Huffington Post, Furtherfield and Wired.



Solo Shows (selection)

2016 Your Logo Here, Steve Turner, LA, US
2016 Versus, Växjö Konsthall, Växjö, SE
2016 Fair Warning, Whitechapel Art Gallery, London
2016 MiArt with Steve Turner LA, Milano, IT
2015 Legacy of the Void, Boetzelaer|Nispen, Amsterdam, NL
2015 Contemporary Gallery, New Shelter Plan, Copenhagen, DK
2015 Strings Attached, Steve Turner, LA, US
2014 Studio Practice, Boetzelaer|Nispen, Amsterdam, NL
2014 Flip City, Steve Turner Contemporary, Los Angeles, US
2013 The Fear Of Missing Out, Showroom Mama, Rotterdam, NL
2013 Curate This, Galerie van Gelder, Amsterdam, NL
2012 Public Access Me, First Look, New Museum, New York
2012 1,164,041 Or How I Failed In Getting The Guinness World Book Of
Record Of Most Comments On A Facebook Post, W139, Amsterdam, NL

Open Call Club


Open Call Club
Galeria Cavalo, Rio de Janeiro
December 1st, 2016 – January 21st, 2017

Participating Artists:
Cleiton Almeida (1998 Brazil), Amanda Andersen (1981 Brazil), Fabiano
Araruna (1987 Brazil), Tatiane Araujo (1984 Brazil), Felipe Barsuglia
(1989 Brazil), Ingrid Bittar (1989 Brazil), Louise Botkay (2016),
Paolo Brambilla (1990 Italy), Marina Caverzan (1981 Brazil), Beatriz
Cazal (1967 Brazil), Carolina Costa (1989 Brazil), Antonio Da Silva
(1948 Brazil), Polliana Dalla Barba (1988 Brazil), Kadija de Paula
(1980 Brazil), Vita Evangelista (1985 Brazil), Felipe Fernandes (1983
Brazil), Claudia Figueredo (2016 Brazil), Mario Grisolli (1963
Brazil), Mariana Kaufman (1982 Brazil), Viviane Laprovita (2016
Brazil), Letícia Lopes (1988 Brazil), Mirela Luz (1974 Brazil), Luisa
Marques (1985 Brazil), Darks Miranda (1909 Brazil), Eden Mitsenmacher
(1987 France), Ana Marta Moura (1978 Brazil), Bruno Neves (1991
Brazil), André Niemeyer (1969 Brazil), Gabriela Noujaim (1983 Brazil),
Angela Od (1973 Brazil), Martin Ogolter (1969 Austria), Mahyrah Paes
(1990 Brazil), Cláudia Porto (1975 Brazil), Eduarda Ribeiro (1981
Brazil), Pilar Rocha Rodrigues (2016 Brazil), Euro S.R. (1947 Brazil),
Gustavo Romeiro (1985 Brazil), Allan Sieber (1972 Brazil), Juliana
Tobar Leitão (1979 Brazil), Chico Togni (1981 Brazil), Natali
Tubenchlak (1975 Brazil), Rafael Uzai (1985 Brazil), Pedro
Vasconcellos (1980 Brazil), Juliana Wähner (1979 Brazil)

Cavalo e Jonas Lund estão felizes em apresentar Open Call Club, uma exposição coletiva que faz parte da exposição ‘The Unique Institutional Critique Pop-Up Boutique’. Open Call Club é composto por 44 artistas que têm conexão com o Rio de Janeiro e que responderam a uma chamada aberta para participar da exposição Open Call Club.

The Unique Institutional Critique Pop-Up Boutique é uma exposição que assume a posição de criar uma loja no interior da galeria, abordando campos como a autenticidade, originalidade, a força e influência de um mercado de arte para a produção artística. Cada trabalho no show também será oferecido para venda através de uma loja online relacionada à exposição. Dentro desse contexto, a exposição Open Call Club irá criar um show dentro do show, uma exposição para questionar os méritos de sua exposição matriz, uma exposição que vai estender suas posições no seu limite lógico. O que é originalidade? O que é uma edição única? Qual é o valor de escassez? Como artistas podem subverter um mundo da arte e mercado onipresentes? Devem os artistas abraçar, desmistificar ou criticar o mundo da arte e rede de mercado em que operam? Até onde pode um artista distanciar-se das instituições do sistema para criar e controlar o valor que estamos todos relativamente inscritos?

Todos os artistas do show foram selecionados através de uma chamada aberta, que usou um algoritmo para determinar quais artistas seriam incluídos no show. O algoritmo inverteu o viés típico de todas as galerias do Rio de Janeiro – em que, como exemplo, artistas masculinos estão fortemente super-representados, o algoritmo Open Call Club favoreceu os artistas de sexo feminino ou não definido. Todos os detalhes pessoais, bem como a proposta foram levados em consideração, para fazer a última lista de artistas que agora faz parte do show.

O resultado é uma exposição de grupo muito atípica que se estende por toda a parte em muitas práticas artísticas diferentes, desde pinturas, desenhos, fotografia, vídeo, instalações, esculturas e performances. Open Call Club mostra obras de artistas que merecem uma plataforma para expressar suas idéias e desejos.

O Jardim Secreto por Oliver Bulas


Final de semana do dia 10 e 11 de dezembro de 2016

O artista Oliver Bulas os convida à todos para participarem de um workshop, que será realizado durante um final de semana, num maravilhoso sítio em Lídice. Lá vocês terão a oportunidade de explorar as características biológicas e geológicas ambientais de Mata Atlântica.

Inscrições: http://www.wcw-gallery.com/jardimsecreto.html

PLETORA por Hôtel Beau Rivage & Paula Dykstra


Quarta-feira, dia 30 novembro
As 20h

Wi-Fi, Filmes & mais
Na rua Benjamin Constant, em frente do 131

“Pode ser um corpo com uma história, um corpo como história, uma história que está viajando e que chega em lugares diferentes. Um corpo usado, um corpo abusado, um corpo cego, um corpo destruído. Um corpo que resiste, que tá ali ainda…”
Lia Rodrigues
PLETORA nasce do desejo de apresentar imagens em movimento fora dos espaços normalmente dedicados à sua apresentação e de trabalhar apenas com filmes disponíveis na internet.
Um esboço proposto por Hôtel Beau Rivage & Paula Dykstra
Com as mãos criadoras da Julia Retz e Soledad Leon

Silvia Federici e George Caffentzis in Capacete


Quarta-feira dia 31 de Agosto s 19:30

Silvia Federici e George Caffentzis:

It is an honour and a great pleasure to welcome Silvia Federici and George Caffentzis to Capacete, as part of their first visit to Brazil. Silvia Federici and George Caffentzis are two of the most important political thinkers today. Their activism and political thinking has its roots within the Marxist, feminist and autonomous movement and since the 1960’s, they have been part of hugely influential groups such as Wages For Housework and Midnight Notes. Together they have been deeply engaged with struggles related to feminism, domestic labour, the commons, debt and the anti-nuclear movement.

It is no secret that we are going through a critical time in the history of Brazil; the genocide on the indigenous is continuing, the violence against women and their reproductive rights are worsening and the environment is suffering; all part of the capitalist crisis we are living through. This calls for reflection and action. We have invited Silvia and George to share their experiences and ideas for a way to approach these struggles. We hope to create a meeting that will inspire and hopefully create new thoughts and links between groups and individuals.


Silvia Federici is a professor emeritus at Hofstra University (NY) and has worked as a teacher in Nigeria. Federici is co-founder of the International Feminist Collective (1972) and the Committee for Academic Freedom in Africa (1990). She is the author ofRevolution at Point Zero (2012) and Caliban and the Witch: Women, the Body, and Primitive Accumulation (2004).

George Caffentzis is a founding member of the Midnight Notes Collective. Caffentzis has written several books, among them are A Thousand Flowers: Social Struggles Against Structural Adjustment in African Universities (2010), Auroras of the Zapatistas: Local and Global Struggles in the Fourth World War (2012) and In Letters of Blood and Fire: Work, Machines, and Value (2013).

Note: the talk will be held in English.

Link to a lecture by Silvia Federici: Women, Reproduction and the Construction of Common


Link to a collection of texts by George Caffentzis:


With support from: Revista DR, the Department of Philosophy / PUC-RJ and Goethe-Institut São Paulo

Laura Taves

laura taves

Quarta-feira dia 13as 19:30

Laura Taves é artista, arquiteta e urbanista. Vive e trabalha na cidade do Rio de Janeiro, onde desenvolve projetos nos quais, através da arte e da educação procuram discutir e atuar na cidade e em suas fronteiras sociais, culturais e urbanas. Trabalha atualmente como gerente de Relações Comunitárias do Museu do Amanhã, atuando diretamente com os moradores da região portuária do Rio.

Em 2003 fundou a AZULEJARIA – um coletivo de artistas, artesãs e educadoras, que une a tradição da azulejaria com a produção contemporânea na criação de painéis artísticos e intervenções urbanas. Os projetos são produzidos de forma coletiva e participativa. Para isso, a Azulejaria desenvolve atividades de educação e arte para crianças, jovens e adultos, na sua maioria em parceira, há 10 anos, com a ONG Redes de Desenvolvimento da Maré, coordenando oficinas de azulejaria e ações de intervenção urbana, política, artística e coletivas.

No CAPACETE irá apresentar o projeto das Placas de Rua da Maré, um projeto que é fruto de uma ação coletiva de mais de 10 anos, e ainda encontra-se em  processo de desenvolvimento. Esse foi um dos 15 projetos selecionados para representar o pavilhão brasileiro da atual Bienal de Arquitetura de Veneza, na mostra JUNTOS, cujo ‘projeto busca evidenciar histórias de pessoas que lutam e alcançam mudanças na passividade institucional das grandes cidades do País, conquistando arquitetura em processos lentos cujo vagar não é problema, mas um apontamento de soluções ao esfacelamento político do planejamento do território.’


E também, como parte desse processo, apresentará o mais recente projeto realizado na Nova Holanda, Maré. Correspondências Cariocas – o Rio em 450 azulejos, foi um projeto realizado através do Programa de Fomento à Cultura Carioca, para a celebração do aniversário 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.

Falke Pisano


Quarta-feira dia 6 as 19:30

Falke Pisano

It might or it might not be the right moment, but my talk will be about disintegration.
Falke Pisano lives and works in Sao Paulo and Amsterdam. Her installations, sculptures, drawings, diagrams and speech-performances often reflect on, and bring into question, the institutions and structures that shape the social political and narrative space within which individuals negotiate their relation to, and engagement with, the world.

In the publication ‘’Figures of Speech’’ (designed and co-edited by Will Holder, published by JRP- Ringier, Christoph Keller Editions, 2010) Pisano brought together her work focusing on the act of speech in relation to different forms of agency in artistic production.

The artist second cycle of works (2011-) “The Body in Crisis” looks into continuous and repetitive occurrences of moments where the body is thrown into a state of crisis through violent shifts in the conditions of life, and the formal possibilities of representing this body in art.

Her latest work “The value in mathematics” (2015-2016) addresses the relation between culture and mathematics, questioning the universality of mathematical discourse and the implications of a heterogeneous approach to mathematics. It constitutes a first part of a new research cycle on the development of the sciences in modernity and the way its institutions have contributed to a restricted and exclusive idea of knowledge.

Pisano’s latest solo exhibitions include Badischer Kunstverein, Karlsruhe (2016), CAC Synagogue de Delme, Delme (2016), REDCAT, Los Angeles (2015), Praxes, Berlin (Jan.-Jun. 2014), ar/ge Kunst, Bolzano (with Archive Books, 2014), The Showroom, London (2013), Ellen de Bruijne Projects (Amsterdam, 2007, 2011, 2015) Hollybush Gardens (London, 2009, 2012, 2015), De Vleeshal (Middelburg, 2012). She participated in major groups shows such as the Sidney Biennial (2016), Istanbul Biennial (2013), Venice Biennial (2009) and Manifesta (2008). She performed at Museo Reina Sofia (2012), the 5th Berlin Biennale (2008) and Lisson Gallery, London (2007). In 2013 she won the Prix de Rome, the most important Prize for artists under 40 in the Netherlands.

Julien Bismuth

julien fotos

Quarta-feira dia 6 de abril as 19:30


Julien Bismuth will be discussing different forms of interaction and spectatorship in some of his recent work. Focusing on the difference between text and image, Bismuth will engage with the complexities of working in and between different mediums.

Julien Bismuth

French artist Julien Bismuth (*1973, lives in New York and Paris) works at the interface of visual art and literature.  Bismuth’s approach combines words with objects, photographs and film material, integrating them within collages, installations, performances, and video works. Bismuth also founded an independent publishing house Devonian Press together with Jean-Pascal Flavien in 2005. He has recently published three books with Motto in Berlin. His work has been shown in venues including the Tate Modern, Kunsthalle Wien, Schirn Kunsthalle Frankfurt, CRAC Alsace, Bloomberg Space London, ICA Philadelphia, the Palais de Tokyo, and the IAC in Villeurbanne, Emanuel Layr Galerie in Vienna, Simone Subal in New York, and The Box in Los Angeles.

Max Hinderer

max site

Quarta-feira dia 30 de março as 19:30

Max Jorge Hinderer Cruz
What is ideology? And what is the critique of ideology? Does ideology always come before our talking? Does it necessarily determine our thoughts? Does it determine who we love and with whom we fight? Is it only in our heads, or does it also have to do with our feelings, with our bodies, with our desires, and the psychoactive substances we consume? Starting from some 1960s philosophical discourses the course will try to understand what the so-called “aesthetic turn” of post-marxist ideology critique is all about, and talking about sex and drugs and rock’n’roll, we will articulate aesthetic and artistic practices with concepts such as “micropolitics” and “microphysics of power” in order to understand the forms and forces that govern our everyday lives.

Max Jorge Hinderer Cruz is a German-Bolivian writer and editor based in São Paulo. Together with Suely Rolnik, Pedro Cesarino and Amilcar Packer he is coordinator of P.A.C.A. (Program for Autonomous Cultural Action). He was curator of the exhibition and publication project “Principio Potosí / The Potosí Principle”, presented at Museo Reina Sofia Madrid, Haus der Kulturen der Welt Berlin, and Museo Nacional de Arte and MUSEF in La Paz in 2010 and 2011; he’s the author of the book “Hélio Oiticica and Neville D’Almeida: Cosmococa” published by Afterall/MIT Press in 2013 and Capacete Entretenimentos and Editora Azougue, Rio de Janeiro in 2014.

Mabe Bethônico


Quarta-feira dia 23 de março as 19:30

Mabe Bethônico
BR 122 – Notícias de viagens à caatinga
“Conheci o arquivo fotográfico do geólogo Aubert de la Rüe no Museu de Etnografia de Genebra enquanto buscava imagens dos Alpes suíços, e encontrei fotografias de paisagens do sertão nordestino. Trabalhando com sua coleção de documentos descobri traços de sua viagem ao sertão e seu bestseller, “Brésil Aride: La vie dans la caatinga”, desconhecido no Brasil. Decidi traduzi-lo para português e o volume,  aumentado com uma reflexão sobre tradução e fotografias inéditas do autor, foi publicado pela Editora Capacete. O livro me levou a conhecer uma parte do percurso descrito, num projeto de residência. Visitando lugares por onde de la Rüe esteve nos anos 50 descobre-se um nordeste que não mais corresponde à imagem de miséria, mesmo em longa seca. Acabei me interessando por radiestesia, misticismo e relatos ufológicos ligados às importantes reservas minerais da região.” Mabe Bethônico

HIJACKED FUTURES VS. ANTI-HIJACK OF DREAMS OR An attempt to contribute to the new multiversal plex

MAY 20th – 30th, 2016. Rio de Janeiro

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TAGS: Futurology, cybernetics, tecno-primitivism, sci-fi, tecno-shamanism, anthropocene, ritual practices, onto-ficcion, interwriting, noise, pancinema, anarcheology, onirism, self-ficctionalisation, performance, experimental self-study, subjetivity, fantastical narrative.

TEAM: Peter Pál Pelbárt, Fabiane M. Borges, Leandro Nerefuh, Rafael Frazão, Marcelo Marssares, Paola Barreto, Giseli Vasconcelos, Rafael Frazão


We shall start from the toxic mud: echo of the neo-developmentalist violence in Brazil and worldwide, killing life and grabbing land for the sake of… The mononatural private-public enterprises and the contamination of all waters. In the strategic scenario thinking of governments, riot police gets ready to deal with peoples who claim access to sources – open source. We are in the mud and the mud is not a metaphor. In this context of ‘end of the world’ due to the destructive human activity on earth systems – resulting even in a new geological period: the anthropocene; the capitaloceno; the metabolic rift, etc. – this course/clinic will try to divert from our collision course and point to some future alternatives or futurologies that carry a technological turn of difference. By techno appropriation and invention of all orders: ultra, low-tech, hidden, primitive, occult, mainstream technologies that can provide possibilities to envision other kinds of relationships between humans, non-humans and the earth (interespecifics).

The course serves as a clinical treatment, based on ritualistic, theoretical and practical ecounters with the forces of telluric insurgency (the insurgent human body in and with the earth). How to create therapeutic treatments to remedy the toxic mud, the carbon imaginary, the floods and droughts of climate and thought? We think of the engineering of the future: a geo-engineering and engineering of the body. We think in what’s to come, relative to the current civilizational failure. We think of the urgency of metarecycling in the fields of fiction, and in the production of free cosmogonies.

COURSE (clinic)

Based on the current scientific and theoretical speculative discussions about the era of anthropocene and the ‘end of the world’, and in contrast to alternative futurologies, we plan to create an immersive dynamic conducted based on different techniques of performance, noise, listening, construction of fictional narratives, and clinical proposals (subjectivity).

Dreams, indigenous cosmogonies (amerindians and aboriginal), listening spectra (electronics diy), production / listening noises, ritual immersion, self-experimentation, gestualization, fictionalization, performing and storytelling, will be the basic elements of the course. With the aim to create a ten-day working process which will then be presented to an audience in Rio de Janeiro.

The course will be led by researchers of subjectivity, performance, film, electronics and music, which will be promoting a radical experimentation process, based on the pressing issues that populate the social imaginary in regards to the anthropocene.


MAY 20th – 30th, 2016

16h as 22h daily

The course has a theoretical, practical and technical basis and includes the construction of an experimental work process, which will take place on two main locations: a natural land in Lidice – RJ, and in Capacete, Rio de Janeiro, where participants will have 5 hours a day of immersive practices, making use of :

  1. Performing Languages: use of body techniques, improvisation scene , building individual and collective actions from auto-biographical studies , building expressive languages , ritualization , gestualization , states of presence, among others.
  2. Ruidocracia: use of techniques of sound language , noise production ( digital and analog) , vocalization, narrative improvisation , building collective states of listening . Understanding the noise and disruption of communication beyond intelligibility: emission – redundancy – reception. The idea here is to build languages ​​which exist between humans and other species .
  3. Fictional narratives: fictionalization, development of collective writing transnarrative characters, character development, environments, contexts. Interescritures, cosmogonical production, mythical, metaphysical, several ontologies, treaties, free association writing.
  4. Live-Cinema: improvised narrative, composition of visual landscapes, noise and light textures, nuclear assembly, ideogrammic assembly, free association sign images. Different imagery ontologies in collision – File / live / image media / picture exception / error image. Free exercise of audiovisual grammar, cinemusic of light.
  5. Spectrology: creation of simple electronic devices (associated with coil, battery, audio output, cables, etc.) to listen to magnetic fields. From the construction of the device (each develop their own apparatus), we will propose a series of drifts that enable spectral listening noise of the most diverse elements, from lights, appliances until antennae, plants, trees, water, etc.
  6. Clinic: esquizodrama, group dynamics, listening skills, free association, questioning the issues raised by the group, self-knowledge, the intellect and the collective unconscious, story-dreams, concentration techniques, imaginary production, fable, deepening expressive languages, compared with the future, etc.
  7. Communitas: collective living, network construction, conversation circles, practical tasks, intensive communication, sharing of everyday processes, problem solving, food, collaborative management, etc. (This part will be developed during our stay in Rio de Janeiro)



As a way of completing the work developed over the 10 days of clinic practice, the course includes a public presentation of the working process in a format to be decided: a multimedia presentation, a revue , a live cinema session, a show of performances, choreography, agitprop experiment, a sci-fi novel, a variety show…. Everything will depend on the formation of the group.

PROGRAM (possible changes may occur)

DAY 1 – Innaugural talk with Peter Pál Pelbárt

DAY 2 – Presentation of the strucutre of the course, and individual presentations of the participants in pecha kucha format (5 minutes each)

DAY 3 – Experiments in performative languages, self-knowledge, inter-writing, gestural and narrative improv, fictionalization of personal stories

DAY 4 – Experiments in ficcional narratives, noisecracy and sound production

DAY 5, 6 and 7 – Trip to Lídice (interior of Rio de Janeiro) in a ritual immersion with walks, waterfalls, fire, and live cinema

DAY 8 – Workshop for building electronic devices for listening to spectres

DAY 9 – Summing up and preparation for the presentation of process/results

DAY 10 – Conclusive presentation in a format to be determined by the group

Daily Methodologies: practice of scriptwriting; study of text and hypertext (text, sound, image); annotation and telling of dreams; roundtable; individual and colective clinic.



The course is offered to people over 15 years old, from anywhere in Brazil, Latin America and the world. Transportation is the responsibility of each person. Minimum 10 and maximum 30 people.



  1.  Letter of interest (max. two pages) telling your experience and interest in the course. CV.
    Name, document, address, contact details. TO: imersaocapacete@gmail.com
  2.  Presencial or virtual (via skype) interview
  3.  Course fee R$ 500,00 (BR real)



We offer two grants for persons who are interested but do not have the means to pay the course fee. The grant covers the course fee only.




Individual bedrooms available in Capacete – R$500 (BR real) for 10 days

Shared bedrooms (for two people) in Capacete – R$600 (BR real) for ten days

*not included in the course fee



Irrestricted access to Escola Capacete – library, wifi, kitchen, bathrooms, space for encounters, basic audio/visual equipment. Alos includes coffee, tea, water and banana.


Transport (Rio – Lídice – Rio) and accommodation included.

Acommodation in tent or hammock – It’s necessary to take a sleeping back and/or blankets (it gets cold in May), and towels.

Lidice is located in the mountains of Angra dos Reis, two hours away from Rio de Janeiro. * In case of rain, the trip will not happen because the access is restricted.



  1. Letter of interest of no more than two pages talking about you experience and interest in the course. Curriculum vitae . Personal contact details.
  2. Send to the following email : imersaocapacete@gmail.com
  3. Interview in person or virtual (via skype )
  4. Pay course fee R$ 500,00


The course is offered to persons over 15 years old, from anywhere in Brazil , Latin America and the world. Minimum 15 and maximum 30 people


Fabiane M. Borges is an artist, psychologist and essayist. PhD in Clinical Psychology (Subjectivity Center PUC / SP – with residency in Visual Arts at Goldsmiths University of London). Research on art and technology, subjectivity, shamanism and immersive processes. Works with groups, collectives and networks since 2000 developing a series of actions as ACMSTC (Contemporary Art in no center ceiling Movement (Occupation Prestes Maia – São Paulo / 2003), Seamless integration Posse (Occupation Prestes Maia – São Paulo / 2004 -2007), Festivals of Submidialogy (Brazil / 2006-2010), Tecnoxamanismo festivals (Brazil-Ecuador-Denmark / 2014 -…) Between exhibitions include:. Transmedialle (Berlin / 2014 to 2016), Art in orbit (curator at the CAC – Ecuador / 2015), Poetic SEA Dissent (Rio de Janeiro / 2013) and Arid Poetry Zone (Rio de Janeiro / 2015), Malm (Goethe Institute – Porto Alegre 2015)., etc. Works with . individual and group clinical makes and virtual therapeutic care – https://about.me/FabianeMBorges

Giseli Vasconcelos has handled programs with collectives, activists, thinkers and organizations in Brazil, for the past ten years. She organized the “Festival Midia Tatica Brasil” (“Tactical Media Lab Festival”), as a node from The Next Five Minutes Festival – N5M4 (Amsterdam) – that spread the concept of tactical media in Brazilian electronic art and activism. She co-organized the publication Net_cultura 1.0: DIGITOFAGIA, a collection of essays inspired on discussion lists of the DIGITOFAGIA Festival that brought together the context of Brazilian digital electronic culture in its first decade; and was also responsible for the conception and management of Autolabs – prototype labs providing media literacy workshops in radio, video, hardware, graphic design, and event production, based on tactical concepts using cheap DIY media. Since 2011, she is a project leader of the collaborative documentation “Dossier: clip/process in art, politics and accessible technologies” that brings together a geopolitical and creative context in the Amazon. She lives between the US and Brazil experiencing a geographical journey of systems for sustainable living and geopolitical creative actions. http://comumlab.org

Leandro Nerefuh is constructivist artist who works with the formal translation of speculative theories and historical narratives, with special interest in Latin America. He was a professor of art history at Zumbi dos Palmares University, São Paulo (2011-2012), and is currently a collaborator of Escola Capacete, Rio de Janeiro. Nerefuh is also the founder of PPUB , active political party in Brazil , Paraguay and Uruguay . Recent exhibitions include: Banana Archive, 12 Havana Biennial, Cuba; Umbelina cave, Solo Shows, São Paulo; Abyssal agitprop, Zacheta National Gallery, Warsaw ; Calil Trouvé, 33 Brazilian Art Panorama MAM, São Paulo; Mobile Radio BSP, 30th São Paulo Biennial; Disruptive Memories, Reina Sofia Museum, Madrid; Talk Show, ICA, London. http://www.nerefuh.com.br

Marcelo Marssares is an artist who works with sound and image in their physical contact relationships – the sound as an activator of an altered vision, the sound field as an immersive possibility, music seen as vibratory surge of violent expansion. The context and environment are factors that contribute to the creation of his performing, environmental and participatory proposals. In Uguanda Compressive Files, he lived for nine days in the gallery’s exhibition space providing instruments for those who were willing to create a chaotic gathering of music – not – music and collective improvisation.

Paola Barreto is an audiovisual artist and researcher. Degree in Cinema ( UFF ) and Master in Technology and Aesthetics ( PPGCOM / UFRJ ) , is currently dedicated to an Interdisciplinary PhD in Poetics ( PPGAV / UFRJ ) . Her work unfolds between electronic and digital video circuits, phantasmagoria and hybrid systems, and develops theoretical and practical research on live cinema and vitality of the image. Participated in exhibitions at SESC circuit in several Brazilian cities, as well as international festivals like Vorspiel / Transmediale in Berlin, Live Performers Meeting in Rome and Live Cinema in Rio de Janeiro.

Peter Pál Pelbart is a philosophy professor and coordinator of the philosophy department at PUC- SP. He writes mostly about crazyness, time, subjectivity and biopolitics. Among his publications are: The non-reconciled Time , Life Capital, and more recently, The Other Side of nihilism : a cartography of exhaustion. He translated several works of Gilles Deleuze into Brazilian Portuguese, and is a member of the Theatrical Company Ueinzz.

Rafael Frazão is a visual artist and develops work in film, internet content and new media. Frazão has experience in creating and producing short and feature films, video, projection mapping, vjing , streaming, generally applied installations, theater, dance and events. He participated in the creation of the collective House of Digital Culture, the festival Low center and a number of actions related to critical appropriation of technology and free culture. Currently, he researches neuroscientific approaches to the scenic performance with the work Discontinuous Object, and develops the feature sci-fi film São Pan.



  • “A Arte do Sonhar”, Carlos Castañeda
  • “A Queda do Céu – Palavras de um Xamã Yanomami” –  Davi Kopenawa e Bruce Albert
  • “Antes o Mundo não existia” Mitologia dos antigos Desana-Kehíripõrã” – Umusi Pãrõkumu (Firmiano Arantes Lana) e Tõrãmú Kehíri (Luiz Gomes Lana). Ed. ed. — São João Batista do Rio Tiquié : UNIRT ; São Gabriel da Cachoeira : FOIRN, 1995. (Coleção Narradores Indígenas do Rio Negro).
  • “Devires Totêmicos – Cosmopolíticas dos Sonhos” – Barbara Glowczewski
  • “Comunidade dos Espectros – I. Antropotecnia” –  Fabián Ludueña Romandini
  • “Três Ecologias” – Félix Guattari – Ed. Papiros – 1990
  • “Caosmose –  Um Novo Paradigma Estético” – Félix Guattari – Ed. 34 – 1992
  • “Metafísicas Canibais” – Eduardo Viveiros de Castro – Ed. Cosac Naify – 2015
  • “Há Mundo Por Vir?: Ensaio Sobre os Medos e os Fins” – Debora Danowski e Eduardo Viveiros de Castro – Ed. Instituto Sócio-Ambiental  – 2015
  • “Linguagem e vida” – Antonin Artaud – Ed. Perspectiva – 2005
  • “O Teatro e Seu Duplo” – Antonin Artaud –  Ed. Martins Fontes. 1999
  • “Performance como Linguagem” – Renato Cohen – Ed. Perspectiva, 1989
  • “Work in Progress na Cena Contemporânea” – Renato Cohen – Ed. Perspectiva, 2004
  • “Arte da Performance: Do Futurismo ao Presente” – Ed. Martins Fonte – 2012
  • “Em Busca de um Teatro Pobre” – Jerzy Grotowski – Ed. Civilização Brasileira – 1987
  • “Testo Yonqui – Sexo, Drogas e Biopolítica” – Beatriz Preciado – Ed. Espasa – 2008
  • “Jamais Fomos Modernos” – Bruno Latour
  • Tudo e qualquer texto de Waly Salomão
  • “Aspiro ao Labirinto” – Helio Oiticica
  • “Cyclonopedia” – Reza Negarestani
  • “O Contrato Natural” – Michel Serres

Queer Vegan Manifesto

Asia Komarova Capacete 2015

Quinta-feira dia 17 de dezembro as 19:30

Queer Vegan Manifesto


Open doors : 17:30

Reading group starting 18:00

Restaurant opens at 20:00

Musical intervention 21:00


chef: Mari Pitkanen

drinks: Bar de Amanha x Felix Luna & Oliver Bulas

musical intervention: Bruno Guinle and Lucas Sargentelli

The night should offer the possibility for small groups to have a talk on the theme discussing it through the reading of the text written by Rasmus Rahbek Simonsen:


With the contribution of:

Jorge Menna Barreto

Asia Komarova

Kimi Yamagata

Chris Pinho

Giseli Vasconcelos

Holmes Wilson

Michiel de Roo

Kadija de Paula

Joen Vendel

Christoph Keller

visuals: Holmes Wilson




Ser e vir a ser



Ser e vir a Ser:
O filme explora o conceito e a opção de não escolarização dos filhos, a confiança de deixá-los descobrir livremente o que realmente lhes motiva.
A cineasta viaja entre os EUA, Alemanha (onde é ilegal não ir à escola), França e Reino Unido para conhecer famílias que estão vivenciando ou tenham vivenciado esta experiência. Este filme é uma busca pela verdade sobre o desejo inato de aprender. Duração: 99 minutos.

A diretora:
Nascida em Paris, Clara Bellar é atriz, cantora, cenógrafa, realizadora e produtora. Ela começou sua carreira como atriz com Eric Rohmer, que a descobriu em cena em Bela Adormecida, e com quem ela filmou Les rendez vous de Paris.

Ela também atuou no filme Inteligência artificial, A.I., de Steven Spielberg, e em Dominion, a Prequel to the Exorcist, de Paul Schrader, e em filmes independentes como Kill the Poor, Romance and Rejection, This Space between Us, Sleepy Time Gal, e, na França, Oranges amères e Le pharmacien de garde.

Ela gravou dois discos no Brasil, Meu coração brasileiro e Meu coração francês, com arranjos de Dori Caymmi e participações de Chico Buarque, Ivan Lins, João Bosco e Milton Nascimento.

Depois de estudar cinema na New York Film Academy, Clara Bellar escreveu, produziu e realizou o curta-metragem Watermelon Man. O filme participou de vários festivais norte-americanos: M.A.L.I Women’s Film & Performance Arts Festival; International Family Film Festival; Kids First; Carolina Film Festival; Buffalo Niagara Film Festival.

Ela escreveu, produziu e realizou em seguida o documentário Ser e vir a ser, filmado na França, Alemanha, Inglaterra e Estados Unidos durante dois anos.


Saiba mais em: https://sereviraser.wordpress.com/sinopse/

Christoph Keller

christoph keller4xAnarcheology

Thursday the 3rd of december at 19:30


Presentation by Christop Keller


Christoph Keller (b. 1967 in Fribourg) studied mathematics and physics in Fribourg, Berlin and Santiago, and holds a humanities degree from HdK Berlin, where he was a student of Katharina Sieverding. He later continued his artistic training at Media-Art Academy in Cologne. His key projects include Cloudbuster-Projects (since 2003), which re-enact Wilhelm Reich’s experiments aimed at influencing the weather through orgone energy. In Encyclopaedia Cinematographica (2001) and Archives as Objects as Monuments (2000), Keller focuses on the archaeology of scientific film and the impossibility of objective documentation. More recently, in the video installations Interpreters (2008) and Verbal/Nonverbal (2010), he has explored themes related to language, communication, and altered states of consciousness. His works have been exhibited at the Biennale de Lyon (2011), the Museum für Kunst und Gewerbe, Hamburg (2010), the Bienal del Fin del Mundo, Argentina (2009), the Bienal do Mercosul, Porto Alegre (2009), and the Musée des Abattoirs, Toulouse (2009); his recent solo shows include “Observatorium” at the Kunstverein Braunschweig (2008) and “Æther” (2011) at the Centre Georges Pompidou in Paris, in which he interweaves his artistic practice with curating in an institutional context.

Sistema lento

Sistema Lento copyimagen a contornear

Sexta-feira dia 27 de novembro das 17 até 20 horas

Sistema Lento

uma proposição para conversar e experimentar juntos e talvez… inventar um playground!

Asia Komarova, Adeline Lépine, Caroline Valansi

com contributos de Camilla Rocha Campos e Betânia Furtado

+ Joen e Paola na pipoquera !

Desde março deste ano, estamos vivendo e convivendo na rua Benjamin Constant na Glória. Uma rua sem saída que tem uma vida ativa, onde seus moradores interagem nesse ambiente vivo de uma pequena cidade do interior. Uma característica interessante dessa rua é a amizade dos moradores, que conversam nas calçadas, produzem chorinho nas 4ª feiras e manifestações espontâneas são comuns por todos os lados, mas apesar de tanto, ela não possui uma área exclusiva de coexistência para crianças locais, um espaço de convivência segura e motora, lúdica e feliz.

Percebendo essa carência tanto na rua como na região, nós do Pequeno Laboratório, começamos a apresentar para as crianças que participam do workshop, pequenas reflexões e percepções sobre a cidade e a rua que vivemos. Perguntas como o que é uma cidade? Como é a arquitetura e as ruas do nosso bairro? Como podemos viver felizes na nossa cidade? Quais são os problemas da nossa cidade? Estas entre outras, foram questionamentos que estimularam os pequenos a pensarem e discutirem sobre o ambiente a sua volta, seu corpo e a cidade.

Como parte do exercício de pensar a cidade, as crianças criaram desenhos e produziram imagens de como seria a “nossa” cidade perfeita e como construiríamos ela. A partir desses traçados, decidimos traduzi-lós no espaço da rua. Numa área específica, onde os moradores já conseguiram mudar de estacionamento de carro para uma átrio de cimento e poucas árvores. Já manifestando a necessidade de um espaço de convivência entre os moradores.

Durante a semana, coletamos caixas de papelão. No espaço escolhido espalhamos as caixas e pedimos para as crianças criarem algo que faltasse naquele lugar. Intuitivamente cada criança foi dominado o espaço e percebendo o que desejava. Uns queriam escorregar numa rampa e criar um tobogã, enquanto outras começaram a construir uma casa com passagens secretas e labirintos. Formando uma amalgama de possibilidades onde só o corpo da criança pode passar e entender.

Com esse experimento, resolvemos transformar esse desejo em realidade. Projetamos a partir do que foi feito pelas crianças o projeto Sistema Lento.

Sistema lento porque queremos colocar suas experiências, desejos, ideias, depoimentos e ter o tempo por isso ; um processo ao longo do tempo para discutir, experimentar, e criar juntos com as crianças


Sexta 27 de Novembro das 17 até 20

Ladeira da rua Benjamin Constant [ escada da rua do Fialho ]

Workshop com crianças e o seus pais com questões como : Quais são os espaços para brincar ?

Durante o workshop os brinquedos serão distribuídos e as crianças podrão montar o seu playground. Entretanto os pais farão parte de Laboratório de Observações. O workshop será iniciado com uma atividade proposta em perguntas para crianças do artista francês Robert Filliou na sua obra “Sculpture Gouvernementale” interpretada com o jogo de Vovô Robert

Mais informações

Pequeno Laboratorio : https://capacetepequenolaboratorio.wordpress.com/

Betânia Furtado : https://vimeo.com/becafurtado

Asia Komarova : www.asiakomarova.com

Adeline Lépine e a Maquina de Aprender Performances : http://lamachineaperformer-world.tumblr.com/

Camilla Rocha Campos : http://www.escavador.com/pessoas/4563986

Caroline Valansi : http://carolinevalansi.com.br/Curriculo-CV

Dieter Roelstraete


Sexta-feira de 13 de novembro as 19:30

DIETER ROELSTRAETE é membro do time curatorial convocado por Adam Szymczyk para organizer a Documenta 14, program ado  para abrir em Athenas na primavera de 2017. De 2012 a 2015 els foi o Manilow Senior Curator at the Museum of Contemporary Art Chicago, e de 2004 a 2011 els era o curator no Antwerp museum of contemporary art M HKA, once els organizou A Rua: Rio de Janeiro & the Spirit of the Street, entre outras exposições. Ele é treinado como filósofo e tem escrito sobre arte contemporanea e assuntos filosóficos relacionados as artes em diferentes publicações.

Leituras sugeridas

1a. quentin meillassoux, “after finitude”
1b. simon critchley, “the faith of the faithless”
should be kind of read together.
2a. david joselit, “after art”
could be read along with
2b. maurizio lazzarato, “signs and machines”
to lead us to a discussion of
3. karl ove knausgaard, “my struggle”

Rosa Melo & Cabelo apresentam Brasil Visual


Quinta-feira, 12 de novembro as 19h30

Rosa Melo e Cabelo nos apresentam BRASIL VISUAL, uma série de documentários inédita sobre o universo das artes visuais brasileira, idealizada e dirigido pela produtora pernambucana. São oito episódios, de 26 minutos cada um, apresentado pelo artista performático e multimídia Cabelo, em linguagem acessível e dinâmica, abrangendo o universo das artes visuais brasileira e seus expoentes de diversas gerações, em suas mais variadas expressões artísticas. A série conta com uma trilha sonora original do Chelpa Ferro, e vinhetas de abertura, encerramento e passagem criadas por Lia Letícia com colaboração de Fernando Peres.  Com a presença de Jarbas Lopes, Marcos Cardoso, Paulo Paes exibiremos o EPISÓDIO 6: A ARTESANIA NA PRODUÇÃO CONTEMPORÂNEA que discute as relações entre artesania e arte e como a artesania está presente na produção artística brasileira a partir de entrevistas com artistas, críticos e curadores de diversas regiões do Brasil. A Série Brasil Visual  é exibido pela TV Brasil/EBC todos sábado, às 00h (do sábado para o domingo). Alguns episódios estão disponíveis online em: http://tvbrasil.ebc.com.br/brasilvisual


Episódio 1 – Arte Política: 10/10 – 00h
Episódio 2 – Arte Correio: 17/10  – 00h
Episódio 3 – Homem, Arte e Meio Ambiente: 24/10  – 00h
Episódio 4 – Performance: 31/10  – 00h
Episódio 5 – Intervenção Urbana: 7/11  – 00h
Episódio 6 – Artesania na Arte Contemporânea: 14/11  – 00h
Episódio 7 – Videoarte no Brasil: 21/11  – 00h
Episódio 8 – Formas Híbridas da Videoarte: 28/11  – 00h

Julien Bismuth

julien bismuth2

Quinta-feira dia 5 de novembro as 19:30


Por Julien Bismuth

Participação no fogão: Daniel Steegman Mangaré (paelha) e Jorge Menna Barreto (sorvetes)


French artist Julien Bismuth (*1973, lives in New York and Paris) works at the interface of visual art and literature. Most of his oeuvre builds on texts found or penned by the artist. Bismuth’s approach combines words with objects, photographs and film material, integrating them within collages, installations, performances, and video works. Bismuth also founded an independent publishing house Devonian Press together with Jean-Pascal Flavien in 2005. He has recently published three books with Motto in Berlin. His work has been shown in venues including the Tate Modern, Kunsthalle Wien, Schirn Kunsthalle Frankfurt, CRAC Alsace, Bloomberg Space London, ICA Philadelphia, the Palais de Tokyo, and the IAC in Villeurbanne.

Excavating the Anthropocene in Amazonia: Archaeology and Climate Science as Politics

paulo tavares

Sexta-feira dia 30 e sábado dia 31 de outubro – Seminario com projeções (em ingles)

Excavating the Anthropocene in Amazonia: Archaeology and Climate Science as Politics


Sexta-feira dia 30 (em ingles)

14:00: Archaeologia como ciência política, palestra de Eduardo Neves (Museu de Arqueologia e Etnologia da USP)

Eduardo Goes Neves is Professor of archaeology at the Museum of Archaeology and Etnology at the University of São Paulo, and a leading researcher working in Amazonia. He co-curated the exhibition and catalogue Unknown Amazon: Culture in Nature in Ancient Brazil, British Museum, 2001.

17:30hs: Forensis in Amazonia (presentation/discussion with Eduardo Neves, Eduardo Cadava, Eyal Weizman, Paulo Tavares, Armin Linke, Princeton Students and Capacete)

19:30: Projeção do filme Serras da Desordem (2006) de Andrea Tonacci,

Teremos comida e bebida  oferecida a preços módicos


Sábado dia 31 (em ingles)

14:00: Amazonia in the Earth System: Impacts of climate change in Amazonia, palestra por Paulo Artaxo (climate scientist, University of São Paulo, UN-IPCC)

 Paulo Artaxo is Professor of Environmental Physics at the University of São Paulo (Brazil). He is a member of the IPCC Working group, and has participated in several major international research efforts, such as IGBP, IGAC, CACGP, IPCC, WMO and others. He has received several awards, among them the title of Doctorate of Philosophy Honoris Causa of the University of Stockholm, Sweden.

19:30: Projeção do filme Corumbiara (2009) de Vincent Carelli

Teremos comida e bebida  oferecida a preços módicos


leituras sugeridas

Eduardo Neves, What is Marginal? Archaeology as political science in ancient Amazonia

 Michael Heckenberger and Eduardo Neves, Amazonian Archaeology, http://www.annualreviews.org/doi/abs/10.1146/annurev-anthro-091908-164310

 C. Roosevelt, The Amazon and the Anthropocene: 13,000 years of human influence in a tropical rainforest, http://www.sciencedirect.com/science/article/pii/S2213305414000241

 Paulo Artaxo, The Amazon Basin in Transition, http://www.mara-stream.org/wp-content/uploads/2015/09/NATURE_2012-The-Amazon-Basin-in-Transition.pdf

Paulo Artaxao, Air quality and human health improvements from reductions in deforestation-related fire in Brazil

 Déborah Danowski and Eduardo Viveiros de Castro, Is there any world to come?, http://supercommunity.e-flux.com/authors/deborah-danowski/

 Marison de la Cadena, Uncomming Nature, http://supercommunity.e-flux.com/authors/marisol-de-la-cadena/



Laura Burocco

Laura burro

Quinta-feira 29 de outubro às 19:30

Laura Burocco: The Creative Control: Rio & Joburg


Conversa pública com a pesquisadora Laura Burocco, num encontro regado a cozinha sul-Africana preparado por Refilwe Nkomo e Kasia Anna

Laura Burocco investiga a criatividade como um dispositivo de controle nas cidades do Rio de Janeiro e de Johannesburg, consideradas duas novas cidades criativas no Sul Global. Através de dois projetos de revitalização urbana (Porto Maravilha e Maboneng), a pesquisadora analisa a homogeneização dos espaços e a neutralização da experiência urbana que esta sendo promovida neles. Além das formas que a espetacularização da cidade pode se tornar uma forma de bio poder exercitado sobre as vidas das pessoas que habitam estes espaços.

O projeto de doutorado tem origem em dois estudos anteriores: “Do Porto Maravilha as Olimpíadas 2016: analise do olhar ao Porto do Rio de Janeiro” (2008) UERJ Rio de Janeiro (pós em Sociologia Urbana)| “People’s Place in the World Class City: the case of Braamfontein’s Inner City Regeneration Project” (2013) WITS Johannesburg (dissertação em Planejamento Urbano). A Trilogia da Gentrificação: Joburg | Milano | Rio de Janeiro, é um projeto de pesquisa acadêmica e de prática artística apresentada em diferentes etapas: a primeira em Braamopoly, Room Gallery, Johannesburg 2013; a segunda etapa (em andamento): Isola Art Center, Milano 2015; e a terceira etapa (em pensamento) a ser realizada no Rio de Janeiro.

Laura Burocco (1974) é pesquisadora em Políticas Urbanas e Desenvolvimento. É formada em Direito pela Universidade de Milão, possui especialização em Políticas Internacionais e Desenvolvimento pela Universidade de Roma, pós-graduação em Sociologia Urbana pela Universidade Estadual de Rio de Janeiro UERJ e um MBE Master in Housing – Building Environment pela Witwatersrand University de Johannesburg WITS. Entre 2004 e 2011 coordenou no Instituto Brasileiro de Análises Sociais e Econômicas – IBASE um projeto de cooperação internacional voltado ao reforço de participação comunitaria com foco especial nas temáticas de gênero e direito à moradia. Entre 2012 e 2014, residiu em Johannesburg atuando no IBSA Working Group in Human Settlements do South African Cities Network – Sacities, programa financiado pelo Banco Mundial e City Alliance. Està desenvolvendo um projeto entre Sul Africa, Italia e Brasil “Trilogia da Gentrificação”, que começou em 2013 com a exposição individual “Braamopoly” realizada na Room Art Gallery de Johannesburg. Atualmente é doutoranda pela ECO/UFRJ, aonde integra o LabTec. Sua área de pesquisa: desenvolvimento urbano, criatividade e vigilância, açoes coletivas e cidadania insurgente, intervenções políticas em arte publica.

//English Version//

The PHD project investigates and attempts to understand creativity as a control device in the cities of Rio de Janeiro (Brazil) and Johannesburg (South Africa), considered two new creative cities in the Global South. Through two projects of urban revitalization [Porto Maravilha (Rio) and Maboneng (Joburg)] it analyzes the homogenization of spaces and the neutralization of the urban experience that is propagated through such spaces. Finally the researcher interrogates the ways that spectacularization of and in the city can become a form of bio-power exercised over the lives of the people who inhabit these spaces.

The project originates from two previous studies: “From the Porto Maravilha Olympics 2016: An Analytical Look at the Port of Rio de Janeiro” (2008) UERJ Rio de Janeiro-Post in Urban Sociology | “People’s Place in the World Class City: The Case of Braamfontein’s Inner City Regeneration Project” (2013) WITS Johannesburg Master in Urban Planning

The project is part of an academic research and artistic practice called Trilogy of Gentrification: Joburg | Milano | Rio de Janeiro. First step: Braamopoly, Room Gallery, Johannesburg 2013; Second stage (in progress): Isola Art Center, Milano 2015; Third stage (in thought): Rio de Janeiro

Laura Burocco (1974) is a researcher in Urban Policy and Development. She graduated in Law from the University of Milan, with a specialization in International Policy and Development at the University of Rome, postgraduate studies in Urban Sociology at the State University of Rio de Janeiro UERJ and an MBE Master in Housing – Building Environment by Witwatersrand University in Johannesburg WITS . Between 2004 and 2011 she coordinated at the Brazilian Institute of Social and Economic Analyses – IBASE an international cooperation project aimed at strengthening communal participation with a special focus on gender and housing rights. Between 2012 and 2014, she resided in Johannesburg acting in the IBSA Working Group in Human Settlements of the South African Cities Network – Sacities, program financed by the World Bank and City Alliance. She is currently developing a project between South Africa, Italy and Brazil “Gentrification Trilogy” which began in 2013 with the solo exhibition “Braamopoly” held in Room Art Gallery in Johannesburg. She is currently a doctoral student by the ECO / UFRJ, which forms part of the LabTech. Her areas of research: urban development, creativity and surveillance, collective actions and insurgent citizenship, political interventions in public art.

Thierry Raspail


Quinta-feira dia 22 de outubro as 19:30

Fala: Thierry Raspail

Na comida: Tatsyua Hida

Art historian, Thierry Raspail starts his career of Conservator at the Musée of Grenoble. After numerous trips to West Africa, he also conceptualises the museography of the Musée National of Bamako (Mali).

Since its creation in 1984, he is the Director of the Musée d’art contemporain of Lyon. During this period, he determines a museographic project built on the principle of a collection of moments composed by generic art pièces, monumental ones, most of the time. He is the curator or co-curator of many exhibitions: Robert Morris, Joseph Kosuth, Louise Bourgeois, Andy Warhol, Keith Haring, Cai Guo Qiang, Ben, Pascale Marthine Tayou, Jan Fabre. With Hans-Ulrich Obrist and Gunnar Kvaran, he had been recently curator of Indian Highway and Imagine Brazil. He is preparing the rétrospective in France of Yoko Ono for Mars 2016.

In 1991, he creates the Biennale d’Art Contemporain of Lyon of which he is the Artistic Director. After being the co-curator of the first three éditions, he invites many international curators who are working with a word-theme. After, Après Harald Szeemann, Jean-Hubert Martin, Hans Ulrich Obrist, Hou Hanru, Victoria Noorthoorn, Gunnar B. Kvaran, Ralph Rugoff, Director of the Hayward Gallery of London is the invited curator in 2015. The 13th edition of the Biennale d’Art Contemporain of Lyon, currently presented in France is titled, La vie moderne.

He will present his work as a director and curator in the contemporary art field in France and its Relationship with the international network.


Jean-Pascal Flavien

jean pascal flavien

Quinta-feira dia 15 de outubro as 19:30

Jean-Pascal Flavien
Vai falar sobre a “casa” de modo geral e em particular sobre “statement house (temporary title)” de Londres e “folding house” de Monaco.
Jean-Pascal Flavien nasceu na França 1971. Ele vive e trabalha em Berlin. O trabalho do Flavien mistura arquitetura experimental com outran mídias. Seu trabalho foi apresentado, entre outras, na Galerie Catherine Bastide, Brussels; Galerie Esther Schipper, Berlin; Galerie Giti Nourbakhsch, Berlin; South London Gallery, London, Centre d’Art Contemporain du Parc Saint Léger (Fr); Kunstverein Langenhagen (De); Capacete, Rio de Janeiro; Musée d’Art Contemporain de Rochechouart (Fr), e em em exposições de grupo como, Kunsthaus Bregenz, MUSAC Leon (Sp); Witte de With, Rotterdam; Tate Modern, London; Villa Arson, Nice; Palais de Tokyo, Paris.
Flavien completou 5 casas até o momento, “viewer”, 2007 Rio de Janeiro; “no drama house”, Berlin 2009; “two persons house”, São Paulo, 2010;  “breathing house”, 2012 France; e “statement house” (titulo temporary) 2015 em Londres.
Jean-Pascal Flavien é representado pela Galerie Catherine Bastide, Bruxellas, e Galerie Esther Schipper, Berlin. Ele está neste momento construindo o “folding house” no Nouveau Musée de Monaco para 2015.
Leituras sugeridas:
Henri Michaux, Le nuit remue

Jean-Pascal Flavien nasceu na França em 1971; vive e trabalha em Berlim e Rio de Janeiro. Recentes exposições individuais: Catherine Bastide, Bruxelas (2002, 2005, 2008), Museu do índio Rio de Janeiro (2003), Hussenot Gallery, Paris (2003), Museum of Rochechouart (2007),: e exposições coletivas na Esther Shipper Gallery, Berlin (2004), Lyon Biennial (2007), Freidrich Petzel, New York (2008), Art Focus, Jerusalem (2008).


Peter Pal Pelbart

peter pal pelbart

Quinta-feira dia 8 de outubro as 19:30

Peter Pal Pelbart

Palestra: Linhas de errância

bio do Deligny
Conhecido na França como pedagogo, Fernand Deligny (1913–1996) preferia ser chamado “poeta e etólogo”. Durante mais de cinquenta anos trabalhou na isolada região francesa das Cevanas, num centro de acolhimento informal de crianças que não se adaptavam à sociedade: crianças delinquentes, psicóticas, autistas ou, nas palavras do pensador, simplesmente “crianças à parte”. Deligny preferia o termo “etólogo” à educador pois o utilizava como imagem para a sua forma de atuar, buscando, a todo momento, novas maneiras de dar a essas crianças uma oportunidade de sobreviverem em uma sociedade excludente e normativa. Seu método questionava a centralidade da linguagem, a educação formal e o emprego caricatural das teorias freudianas. Repudiava qualquer tipo de encarceramento, preferindo a criação de circunstâncias e de espaços para trocas e encontros. Para dar voz àqueles que são carentes de linguagem e comunicação verbal, Deligny inventou um sistema de transcrição que considerava uma das suas principais contribuições, espécie de cartografia sobre papel na qual registrava os percursos “espontâneos” da criança autista, seus hábitos, gestos e percepções, livres de qualquer desejo de representação. É desse fora da linguagem cotidiana, numa espécie de linguagem do infinitivo, sem sujeito, que o autor francês rompeu com os paradigmas de sua época e criou uma antropologia alternativa, política, a qual inventou incessantemente formas inéditas de viver junto. Por esse e por tantos outros motivos é que sua obra desperta um interesse crescente, não só em clínicos e educadores, mas também em literatos, artistas e filósofos
A prática da escrita foi uma constante na vida de Deligny e o laboratório permanente de sua atuação como educador. Escreveu mais de uma centena de ensaios, artigos, scripts e contos que se somam a fotografias, desenhos, mapas e filmes, entre os quais Ce gamim, là (1976) e Le moindre geste (1971). Em 2007, Sandra Alvarez de Toledo reuniu e publicou num volume imponente parte significativa da produção textual do pensador (Ouvres, Paris: L’Archanéen, 1850 pps.).

sobre o livro O aracniano, a ser lançado
Como existir aos olhos daqueles que não nos olham?
A partir de sua experiência singular no cuidado de crianças autistas, o poeta e pedagogo francês Fernand Deligny tateia outros modos de vida: abertos a circunstâncias, repletos de entrecruzamentos, trocas e encontros — um viver em rede, como numa espécie de teia de aranha. Não à toa, Deligny deixou sua marca na obra de Gilles Deleuze e Félix Guattari,  sobretudo no conceito de rizoma. Ao longo dos 15 ensaios desta coletânea — organizada por Sandra de Toledo e com posfácio do filósofo Bertrand Ogilvie — é possível vislumbrar a radicalidade de seu pensamento,  tanto através de sua escrita poética, aforística e aguda; quanto através de suas cartografias — um dispositivo astucioso para desbancar a primazia da linguagem. É nessa abordagem não invasiva, sem interpretação nem “interpelação”, numa distância deliberada em relação à psicanálise, que Deligny percorre o espaço-tempo silencioso no qual habitam crianças que não falam, que vibram diante do brilho da água e que agarram as abelhas pelas asas, sem machucá-las.

Peter Pál Pelbart é professor titular de filosofia na PUC-SP. Escreveu principalmente sobre loucura, tempo, subjetividade e biopolítica. Publicou O Tempo não-reconciliado (Perspectiva), Vida Capital (Iluminuras) e mais recentemente, O avesso do niilismo: cartografias do esgotamento (n-1 edições), entre outros. Traduziu várias obras de Gilles Deleuze. É membro da Cia Teatral Ueinzz, e coeditor da n-1 edições.

Bik van der Pol

Bik van der Pol

Thursday the 1st of october at 19:30

Bik van der Pol

We will talk about Turning a blind eye, a programme of public workshops, events, lectures and walks during the 31st Biennale of Sao Paulo (2014) that explores different notions of the `unseen´ (the non-visible and the non-existent), and the ways in which we look at things or choose what we look at. Departing from recent events in Brazil and worldwide, the program seeked to investigate the idea of ‘publicness’ and the tensions that arise from increasing exploitation of urban and natural space.
Turning a blind eye emphasized on the temporary visibility, the ‘visible bundling’ of learning practice as the production of future capital, united in a temporary structure that not only accommodates these dynamics but also renders them visible, both as an image literally reflecting the energy going on as well as on the value of participation; a space where learning, leisure, hanging out and around and focused experiences are anticipated in continuous change. The spaces of the school were loosely ‘marked’ by a continuously transforming theatrical and performative element, a full size live-scoreboard that functions as display and stage set, animated live by activators follows the developments of the Biennale and invited the publics to become participants.Bik Van der Pol invited several universities and organisations, such as PUC, Escola da Cidade, Parque Augusta, and others, as well as the students of the School of Missing Studies to engage with the program.
Above, aside and intertwined, they will, through a few examples of their work, unfold how site-sensivity and learning is related to  their artistic practice.


Reading suggestions

Guattari, Three Ecologies
http://www.amielandmelburn.org.uk/collections/newformations/08_131.pdf (or the longer version here: http://monoskop.org/images/4/44/Guattari_Felix_The_Three_Ecologies.pdf)
Bruno Latour, Agency at the time of the Anthropocene
Bernd Scherer, The Monsters
On the concept of history, Walter Benjamin
Toward a Lexicon of Usership
A Lexicon as a Tool. Download from: http://museumarteutil.net/tools/

Bik Van der Pol work collectively since 1995. They live and work in Rotterdam (NL) Through their practice they aim to articulate and understand how art can produce a public sphere, and to create space for speculation and imagination. This includes forms of mediation through which publicness is not only defined but also created. Their working method is based on co-operation and research methods of how to activate situations as to create a platform for various kinds of communicative activities.
Bik Van der Pol’s  mode of working consists of setting up the conditions for encounter, where they develop a process of working that allow for continuous reconfigurations of places, histories and publics. Their practice is collaborative where dialogue is used as a mode of transfer, understood in its etymological meaning of “a speech across or between two or more people, out of which may emerge new understandings” or “passing through”1. In fact, they consider the element of “passing through” as vital. It is temporal, implying action and the development of new forms of discourse. Their collaborative practice is both instigator and result of this method.

Recent shows and projects include:
The Power Plant, Toronto (Can); PAMM (Perez Art Museum) Miami, Jakarta Biennale, Mauritius Pavillion, Venice Bienal; Future Light, MAK, Vienna; Decolonized Skies, ADNPlatform, Barcelona (2015); Public art project, Ternitz (Austria), 31st Sao Paulo Bienale, Sao Paulo; Museum of Arte Util, Van Abbe Museum, Eindhoven; The Crime Was Almost Perfect*, Witte de With Centre for Contemporary Art, Rotterdam, Apex Art ,Decolonised Skies, NYC, CAFA Art Museum, The Missing Stories, Beijng, The Part In The Story, Witte de With Centre for Contemporary Art, Rotterdam, The Crime was almost Perfect, PAC Padiglione d’Arte Contemporanea. Milano (it) (2014); 25 years City Collections, Museum Boymans van Beuningen Rotterdam, Biennale of Mercosul, Porto Alegre, Brazil, Call of the Mall, project for Hoog Catarijne, Utrecht, CAPACETE entretenimentos ROAD/BOAT 3.1.8 at  the school Xapomi, Amazon, Brazil (2013); You talking to me? 98Weeks (Beirut, Lebanon); Between a Rock and a Hard Place, Sudbury (Ca), Musagetes (2012); Living As Form, Creative Time, New York ; Accumulate, Collect, Show, Frieze Projects, Frieze Art Fair, London; (2011); Are you really sure a floor can’t also be a ceiling? ENEL Award 2010, MACRO museum, Rome (2010). It isn’t what it used to be and will never be again, CCA Glasgow; Xth Lyon Bienniale, Lyon (2009); Plug In 28, Pay Attention, Act 1, 2, 3, Van Abbe Museum, Eindhoven (2008); Xth Istanbul Biennale ; Fly Me To The Moon, Rijksmuseum, Amsterdam (2007); Secession, Vienna (2005)
What if the moon were just a jump away? Published by Bik Van der Pol and Labin Imprint/Jan van Eijck Academie (2013); As Above, So Below (2011), published by Bik Van der Pol; It isn’t what it used to be and will never be again (2009), published by CCA Glasgow; Public Arena (2009), published by Bik Van der Pol/Context3, Dublin; Catching Some Air (2002), published by Henry Moore InstituteWith Love From The Kichen (2005), 010 publishers; Past Imperfect (2005, 2007), published by CascoProjects; Fly Me To The Moon (2006), published by Sternberg Press ; The Lost Moment (2007), self-published
Curated: Deze sokken niet wit, Van Abbemuseum (2012); Too late, too little, (and how) to fail gracefully, Kunstfort Asperen, ww.kunstfortasperen.nl (2011); Neverodoreven (2009) Piet Zwart institute in Rotterdam ; Plug In, collection Van Abbe Museum, Eindhoven (2007-2009); I’ve got something in my eye, collection Marie Louise Hessel Museum/CCS Bard (2008); Teasing Minds, Kunstverein Munich (2004); Married By Powers TENT/collection Frac Nord Pas Calais, Dunkerque (2002). Bik Van der Pol ran the temporary Master program The School of Missing Studies (2013-2015 at Sandberg Institute, Amsterdam). They are advisors at the Jan van Eijck Academy in Maastricht. Liesbeth Bik is an advisor at The Appel ICP (Amsterdam), and a tutor at Piet Zwart Institute (Rotterdam).

Jarbas Lopes, Ducha e Marssares

marssares maquina 3 23:04

Quinta-feira dia 24 de setembro as 19:30

Jarbas Lopes, Ducha e Marssares



Nasceu em Nova Iguaçu, Rio de Janeiro, 1964
Vive e trabalha em Marica, Rio de Janeiro, Brasil
Bacharel em escultura pela Escola de Belas Artes da Universidade Federal do Rio deJaneiro.

Exposições Individuais
2015 – Elastica, Galeria Andrea Baginski, Lisboa – 2013 – A line – Park Central – Jack Tilton Gallery,  New York  – Vamos a Marte, Galeria A Gentil Carioca, Rio de Janeiro – 2010 – A Line, Jack Titon Gallery, New York – 2009  Padedeu, galeria Luisa Strina, Sao Paulo – 2008  Estacao Cicloviaerea, Centro Cultural Sao Paulo e Galeria A Gentil Carioca – 2007  Novas Utopias,  – MAMAM – Recife – PE – Brasil – 2007   Cicloviaérea- ASU Museum of Art, Phoenix, Arizona, USA –

Exposições Coletivas
2015 – Bonne Chance, CRAC Alsace, Altkirch – Franca – 2014 – Expo 1 , MAM, Rio de Janeiro – 2011 XXI Bienal de Lyon, Franca – 32 Panorama da arte Brasileira, MAM , Sao Paulo – 2009  look.look.again., The Aldrich Contemporary Art Museum, USA – 2008  Somethink for Nothink, CAC, New Orleans, USA – 2008 Gwangju Biennial, Korea – 2006  27a. Bienal de São Paulo  – SP, Brasil – 2003  Octava Bienal de La Habana, Cuba – “Materia Prima”, Novo Museu, Curitiba, Brasil

Coleções selecionadas
MOMA , Museum of Modern Art, New York , USA – Instituto Cultural Ilhotim, Minas Gerais – Bronx Museum of the Art, New York, USA – Museum Victoria  Albert Museum, Londres – Arizona State University Museum – The Cisneros Fontanals Art Foundation – Henry Moore Foundation, Londres – Coleção Gilberto Chateaubriand – MAM, Rio de Janeiro – Coleção Ester Emílio Carlos, Rio de Janeiro – Museu de Arte da Pampulha, Belo Horizonte, Minas Gerais – Funarte

Casa Nuvem & Barraco#55

Quinta-feira dia 17 de setembro as 19:30


Casa Nuvem



Na transversalidade da cidade, espaços independentes são agentes fundamentais para troca de informações, experimentações, proposições artísticas e crítica, congregando uma comunidade de forma livre. São experiências que buscam outras relações de trabalho, práticas colaborativas e de sobrevivência que não se engessam em modelos institucionais ou no mercado de produção de cultura e artes –  realizando, por vezes, no limite de (r)existir. A existência dos espaços independentes está sempre por um triz!
Para trocar experiências reunimos dois espaços do Rio de Janeiro: o Barraco#55 (Complexo do Alemão) apresentado por Ellen Sluis  – e a Casa Nuvem (beco do rato, Lapa) apresentado por Lívia Diniz, Eduardo Bonito, Hevelin Costa e Indianara Sophia Fênix – juntando tod@s para uma roda de conversa sobre sustentabilidade e enfrentamentos nos territórios que estes espaços ocupam na cidade.
Leituras/Links sugeridos:



Espaços Independentes




Doris Criolla – Diaspoesiar

photo 1prato amilcar

Sabado 12 de setembro

Doris Criolla* – Diaspoesiar

Das 16:30 às 22hs

Uma sessão de Doris Criolla que improvisará um sarau de poesia, com apresentações e contribuições diversas, tendo como musa a descolonização. Como todo bom sarau, “soirée”, o microfone estará aberto para quem quiser (se) pronunciar.

Quem tem medo de poesia?
Quando poesia é ação?
Como fazer coisas com palavras? (Austin)

Amilcar Cabral, Aimée Césaire, Léopold Sédar Senghor, Édourad Glissant tiveram em comum não somente a paixão pela liberação africana, pela descolonização da vida, mas também partilharam o amor pelas palavras, pela literatura, pela poesia.

Diaspora e poesia? Desterritorialização e poesia? Territorialização e poesia? Independência e poesia? Amor e poesia? Africas e poesias? Américas do Sul e poesias? Criolização e poesia? Autonomia e poesia? Revolução e poesia? Vida, morte e poesia?


Jantar a preços módicos, será servido;
Macaxeira & Maxixe com costela de porco; acompanha farofa;

Com a participação de:
Adeline Lépine, Andrew de Freitas, Asia Komarova, Caroline Valansi, Disk Musa Coletiva, Féliz Luna, Giseli Vasconcelos, Jennifer Fréville, Joen Vedel, Lucas Sargentelli, Maricruz Alárcon, Oliver Bulas, Refilwe Nkomo, Tanja Baudoin, Walter Reis e Amilcar Packer.

* Doris Criolla é uma máquina performativa de investigação, um seminário em andamento que tem como balizas, pesquisas etimológicas e históricas sobre os significados, usos e derivações contextuais das sinónimas palavras: crioulo (português), criollo (espanhol), créole (francês), creole (inglês). Doris Criolla se manifesta em dinámicas diversas, dentre almoços e jantares, apresentações e performances, assim como por meio de produção textual. Os encontros e sessões buscam discutir as implicacões e potências desses termos enquanto ferramentas para pensar a complexidade de processos políticos, sociais, linguísticos e alimentares em contextos coloniais – pós-, des-, de-, -para, -coloniais –, racistas e escravagistas, de extremada exploração e violência, onde paradoxalmente se instauram fenêmenos de emancipação e apropriação, subversão e incorporação, como pode ser observado nas diversas línguas, cozinhas, literaturas e músicas crioulas. A cada nova edição, Doris Criolla aborda uma de suas linhas de pesquisa


Sugestões de leitura:
Frantz Fanono – Pele negra máscaras brancas

Laura Lima

laura lima

Quinta-feira dia 10 de setembro as 19:30

Laura Lima – Mineira, formou-se em Filosofia (UERJ) e frequentou a Escola de Artes Visuais do Parque Lage. Em 2003, funda com Ernesto Neto e Márcio Botner, A Gentil Carioca, no Rio de Janeiro.

Participou em exposições nacionais e internacionais, entre elas, a 24ª e 27ª Bienal de São Paulo; 2ª e 3ª Bienal do Mercosul, Porto Alegre, RS; Instâncias To Age, Chapter Art Centre, Cardiff, País de Gales; A Little Bit of History Repeated, Kunst Werke, Berlim, Alemanha; Spectacular, Kunst Palast, Dusseldorf; Alegoria Barroca na Arte Contemporânea, CCBB-RJ; Panorama da Arte Brasileira 2001, 2007; La Centrale, Montreal; Casa França Brasil, Rio de Janeiro; 11, 12, 13 e 14 Rooms na Inglaterra, Alemanha, Austrália e Suíça, respectivamente; 11 Bienal de Lyon, Migros Gegenwartskunst, Zurique, Suíça; Lilith Performance Studio em Malmo e Bonniers Konsthall, Estocolmo, Suécia e Bonnefanten Museum, Maastricht, Holanda; Museu de Arte Moderno de Buenos Aires, SMK-National Gallery of Copenhagen, Dinamarca. Artista-Curadora Adjunta da 7 Bienal do Mercosul Grito e Escuta do Pavilhão Absurdo. Prêmio BACA para Artes Visuais dos Paises Baixos, 2014.


leituras sugeridas:

“O Diário Rosa de Lory Lamb” de Hilda Hilst 

“Cães Heróis” e “Flores” do Mário Bellatin 

“O Iluminado” do Stephen King.

“Teoria King Kong” da Virginie Despentes. 

“A parte que falta” de Shel Silverstein.

“Casa das Feras”de Márcia Bechara. 

Arto Lindsay e Anri Sala

anri salaarto lindsay

Quinta-feira dia 3 de setembro as 19:30

Arto Lindsay e Anri Sala

AL é músico e artista Norte Americano q mora no Rio de Janeiro.
AS é artista Albanês que mora em Berlim.
Anri é um artista cuja matéria de trabalho muitas vezes é a música. Acaba conseguindo, entre outros resultados, música. Arto é músico que usa estratégias vindos das artes na sua música. Acaba proporcionando uma experiência de arte.
O diálogo no Capacete é um a continuação duma conversa de vários anos  sobre estruturas da música, de nacionalidades, e dos trabalhos de artistas  amigos que os dois tem em comum.
Arto Lindsay nascido em Richmond, Virginia, EUA, 1953 vive e trabalha no Rio de Janeiro
Arto Lindsay é artista. Compositor, produtor e performer, gravou onze discos solo e diversos outros com as bandas DNA, Lounge Lizards, Golden Palominos e Ambitious Lovers. Produziu discos e faixas de Caetano Veloso, Marisa Monte, Laurie Anderson, David Byrne, entre outros. Colaborou com artistas visuais, tais como Vito Acconci (na performance “Women’s Business” no The Kitchen, NYC), Dominique Gonzalez­Foerster (na instalação “1958” na Tate Modern em 2009), Rirkrit Tiravanija ( “What Are We Doing Here?”, apresentado em Manchester e Basel). Arto realiza instalações, tais como “Noise Mass”( Milão), “I’ll Bring the Thunder” (Musée d’Art Moderne de la Ville Paris e no Multiplicidade/ Oi Futuro no Rio de Janeiro, 2009) e “Segure Este Andamento” (Inhotim, 2009). Recentemente, o artista vem juntando música, tecnologia, coreografia e elementos alegóricos no formato de desfile de rua. O primeiro, “De Lama Lâmina”, foi feito em parceria com Matthew Barney (Salvador, 2004), seguido por “I Am a Man” (Frankfurt, 2008), “Multinaural [Blackout] (Bienal de Veneza, 2009) e “Somewhere I Read” (Nova York, 2009). Participou ainda das exposições “Everstill ­ Siempretodavía”, curadoria de Hans Ulrich Obrist (Granada, 2007/2008); “Tropicalia”, curadoria de Carlos Basualdo (MAC Chicago, MAM­RJ, 2005/2006) e “Tristes Tropiques”, curadoria de Pablo Leon de la Barra (Lisboa, 2010).
sugestão de leituras: 
Ta Nahesii Coates    Between the world and me
Maggie Nelson   Art of cruelty
Anne Carson An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides

Feijoada and feminism

CONVITE_final 2

Feijoada: Celebration and evocation of feminism. 08/30 from 2pm to 9pm

Meetings and cooking sessions also open to those who wish to participate on the 28th and 29th of August, from 7pm to 9pm at CAPACETE, rua Benjamin Constant 131, Gloria – Rio de Janeiro

With participation of the Collective FF (Adeline Lépine, Caroline Valansi, Refilwe Nkomo, Tanja Baudoin), Aleta Valente, Aline Bahia, Ane Hupe, Bianca Bernard, Camilla Rocha Campos, Carla Zaccagnini, Daniela Mattos, Disk Musa Coletiva, Fabiana Faleiros, Gabriela Maciel, Giseli Vasconcelos, Idalina Silva, Joen Vedel, Juliana Wahner, Kadija de Paula, Kenia Nattrodt, Kiritiana Freelon, Leandro Nerefuh, Louise Botkay, Luisa Marques, Maya Inbar, Millena Lizia, Mulheres de Pedra, Nayana Sganzerla, Paola Marugane and Angela Domini , Steffania Paola (Workshop of Digital Self Defense), Thiago Andries and more!

How do we live feminism? How do we eat feminism?

We, Adeline Lépine, Caroline Valansi, Refilwe Nkomo and Tanja Baudoin, would like to learn how feminism exists in Rio de Janeiro today and we also want to learn how to cook a feijoada.
We are calling upon ‘the woman in the kitchen’, a traditional figure that persists and that we don’t want to dismiss. We need to look at her again, perhaps to de-construct or re-construct her anew.  
We will be gathering around the pot where the beans and meat are slowly cooking to share recipes and stories. Everyone can stir or add spice as they wish. We take time – one weekend – and on the last day will collectively consume and digest what has been prepared and produced.

On Sunday afternoon 30th of August from 2pm to 9pm
, we will eat the feijoada together with all who want to share this moment in a warm and creative atmosphere. The food will be sold (for a very fair price) and the profits will go to a charity organization supporting women.

Ingrid Hapke and Wouter Osterholt

Die Rapper Pxcentro-da-barra

Thursday the 2th of august at 19:30

Ingrid Hapke and Wouter Osterholt

Territórios contestados

O titulo resume duas palestras que enfocam distintas batalhas culturais e territoriais que tem ao seu modo grande importância no Brasil da atualidade.
Ingrid Hapke apresenta resultados da sua pesquisa acadêmica sobre o movimento atual da literatura marginal/ periférica de São Paulo. Quando a periferia invade o centro: Batalhas culturais na literatura brasileira contemporânea.
Wouter Osterholt apresenta a pesquisa artística Paraíso Ocupado sobre a primeira Urbanizacão da Barra da Tijuca.

When the periphery invades the center

Ingrid Hapke will speak about a contemporary literary movement called literatura marginal/ peripherica, which manifests itself since the late 90s principally in the slums and poor suburbs of São Paulo.  Poor and often poorly educated people from these marginalized neighbourhoods  were until then mainly excluded from Brazilian cultural life -as authors and consumers. The appearance of these “new” authors, who  write and publish their own topics, in their own language without mediation from academics and intellectuals, provoke a lot of conflict in the literary establishment and the need of rethinking literature and literary critique as cultural practices that are “exclusive”.

Parting from the aesthetic production of this cultural and political movement Ingrid Hapke will reflect upon the  changes aesthetic production and concepts undergo in contemporary literature and art.The literary practices of the marginal movement are not restricted to paper and the book. To understand the new, complex aesthetics it is necessary to look at the (political) context and the specific publication and distribution practices,  like the  ‘sarau” (“open stages”) in the bars of the peripheries, the blog and other independent publishing formats. 

Paraíso Ocupado 

The presentation by Wouter Osterholt will shed light on the different stages of the Paraíso Ocupado project and its future ambition. The work in progress aims to revive a little-known architectural plan designed by Oscar Niemeyer, called Centro da Barra. This urban center was part of Lucio Costa’s master plan for Barra da Tijuca, a neighborhood in the South West zone of Rio de Janeiro. In this integrated city a varied composition of different social classes would live together. Major construction began in the late 1960s, and soon Barra da Tijuca turned into an urban El Dorado for real estate developers. Amid rampant speculation and endemic corruption, the project failed, the natural landscape got polluted and the neighborhood became a fortress of gated communities for Rio’s nouveau riche. Many of the proposed public facilities were never realized and almost everything got privatized. From a diversified neighborhood on the drawing board to a fortress of gated communities in reality, Barra da Tijuca symbolizes the takeover of private profits over public interests.

With Barra as the main center for the Olympic games it seems that history repeats itself. Over the last few years land prices have tripled and Barra is again being sold as the new paradise in similar ways as in the early seventies. As recent history shows no end to the fraudulent scams in the real estate market. the project proposes a permanent awareness of the corruption and lack of transparancy by proposing the construction of a museum dedicated to the failure of Centro da Barra. The collection of the museum is planned to consist of documents found in an abandoned archive left behind in a vacant tower in Barra.

In the end the connection -consisting of a territorial battle that manifests itself in different ways- between these two seemingly very different projects will be discussed.Also the role of the researchers/ artists and their venture into/ intervention in foreign and conflictive territories shall be reflected upon.

Paraíso Ocupado is a work in progress initiated by the artists Wouter Osterholt and Elke Uitentuis during a stay at Capacete in Rio de Janeiro in 2010. The project is further developed in close collaboration with Raphi Soifer and Ingrid Hapke. It is made possible with financial support of the Mondriaan Foundation and the Federal State of Berlin. In 2016 the project will be exhibited in Studio X Rio together with a publication (Onomatopee).


Wouter Osterholt develops site-specific projects in which he explores the public sphere as a domain where different communities collide. By adopting a research approach similar to investigative journalism, he seeks to reveal and unravel conflicting interests that define local politics and the organization of the public. Through direct interaction with people, both bystanders and those immediately involved, the artist opens up delicate topics of debate. As a result his projects often take the shape of a public platform that activates individuals to articulate their personal relation to the political. It seeks to exceed the parameters of public dialogue and politics by entering the realm of imagination, unexpressed thoughts and dreams.

Ingrid Hapke
é pesquisadora da àrea de Letras, autora. intérprete e traductora. 

Passou um ano e meio fazendo pesquisa de campo nas periferias paulistanas e escreveu a sua tese de doutorado sobre o actual movimento da literatura marginal/ periférica de São Paulo na Universidade de Hamburgo/ Alemanha. Em 2013 organizou junto ao colectivo cultural Urban Artitude a primeira Semana de Literatura Marginal/periférica na Alemanha. Em 2015 será publicado Polifonias Marginais (Aeroplano Ed.) em colaboração com pesquisadores do Brasil e da Argentina reunindo as entrevistas editadas dos autores com actores e autores dos movimentos literários negros e marginais. Colabora com Wouter Osterholt em distintos projeitos artísticos.


Wendelien van Oldenborgh

bete daisy
Thursday 13 of August at 19:30
Wendelien van Oldenborgh will talk about Bete & Deise (2012) and more recent works and want to address some questions regarding method of production. These are on the one hand related to performance: What occurs in front of the camera? Which role does the camera play? And there are also questions of how forms of politics are worked out through a piece and how ethics and politics are part of a production method.
The production process, especially the moment of the shoot, are ways to look into a question, to elaborate issues and to learn about things and people whose knowledge I do not and cannot have. One could say that the production process is the proper research process. I woud like to see this process as polyphonic, open and relational and at the same time very structured.
Wendelien van Oldenborgh develops works, whereby the cinematic format is used as a methodology for production and as the basic language for various forms of presentation. She often uses the format of a public film shoot, collaborating with participants in different scenarios, to co-produce a script and orientate the work towards its final outcome. With these works, which look at the structures that form and hinder us, she participated in various large biennials, and in smaller dedicated shows. Recent presentations include Form Left to Night (2015), solo at The Showroom London, Beauty and the Right to the Ugly (2014)  at the Berlinale Forum Expanded 2015, Collective Gallery Edinburgh 2015 and in van Abbemuseum, in ‘Confessions of the Imperfect’ 2014; La Javanaise at CAPC Bordeaux 2015, the 12th Biennial of Cuenca (EC) (2014); Après la reprise, la prise in ‘Blue Times’, Kunsthalle Wien 2014 and  ‘Art Turning Left’, Tate Liverpool 2013; Cinema Bete & Deise in ‘Dear Art’ by What How and for Whom, Calvert 22, London 2013;  Supposing I love you. And you also love me (2011) in ‘Speech Matters’, Danish Pavilion, Venice Biennial 2011. Van Oldenborgh has exhibited widely including in RAW Material Company Dakar (SN) van Abbemuseum Eindhoven (NL), Muhka Antwerp (B), Generali Foundation Vienna and Museum Muzeum Sztuki in Lodz (PL) as well as the 2nd Biennial of Kochi-Muziris 2014, 4rth Moscow Biennial 2011, the 29e Bienal de Sao Paulo 2010 and at the 11th Istanbul Biennial 2009. In 2014 she was the recipient of the prestigious Heineken Prize for the Arts, presented by the Royal Dutch Academy of Sciences.

Ricardo Basbaum

ricardo bsbaum

Wednesday the 24th of june at 19:30

“a produção de si como artista” em 4 vídeos

Ocupar um lugar como artista no tecido social implica em experimentar e administrar um ‘intervalo’ entre a ‘construção de si’ e a ‘construção de si como artista’ – nos termos da produção de um sujeito coletivo mas, sobretudo, em deixar-se ser constituído através de uma alteridade social e seus jogos de legitimação da figura do artista. Está em permanente negociação a produção de uma ‘imagem do artista’ – que se é ou se quer ser, que nos captura, ou mesmo nos coloca em fuga. É importante que se perceba que há diferentes modelos de artista sendo exercidos a cada momento.

1. Egoclip 14’49” (1985)
Entre 1981 e 1990 os artistas Alexandre Dacosta e Ricardo Basbaum formaram a Dupla Especializada, realizando uma série de ações, performances e intervenções, dentro do projeto de “intervir em meios de comunicação de massa”.

2. É a questão? 10’48” (1987-1991)
Uma logomarca simples, na forma de um Olho, é disseminada pelo campus da Universidade, através da utilização de suportes como cartazes e filipetas. Este vídeo registra o trabalho desenvolvido por Ricardo Basbaum em sua temporada como artista-residente na Universidade Estadual de Campinas (Unicamp), de abril a novembro de 1987.

3. E: anotações sobre contatos com: re-projetando + sistema-cinema + superpronome 24’00” (2003) Ações do projeto eu-você: coreografias, jogos e exercícios ocorrem em diversos espaços da Uerj, em conjunto com uma exposição individual de Ricardo Basbaum.

4. sistema-cinema: série membranosa 21’39” (2009)
Quatro câmeras de circuito fechado instaladas no hall de entrada do mam-sp.

Algumas referências:
– Michel Foucault, O Governo de Si e dos Outros, São Paulo, Martins Fontes, 2010.
____. ”About the beginning of the hermeneutics of the self – two lectures at Dartmouth”, Political Theory, Vol. 21,

nº 2, maio 1993, pp. 198-227.
– Allan Kaprow, “The education of the un-artist, part I, part II, part III”, Essays on the blurring of art and life, Berkeley, University of California Press, 1993.

– Francisco Ortega, Para uma política da amizade: Arendt, Derrida, Foucault, Rio de Janeiro, Relume-Dumará,2002.
– Vilém Flusser, “Texto/imagem enquanto dinâmica do Ocidente”, Rio de Janeiro, Cadernos Rioarte.

– Gilles Deleuze, “Décima Oitava Série: das três imagens dos filósofos”, Lógica do Sentido, São Paulo, Perspectiva, 1974.

– Ricardo Basbaum, Manual do artista-etc, Rio de Janeiro, Azougue, 2013.

– rbtxt.wordpress.com

– www.nbp.pro.br

Ricardo Basbaum é artista e atua a partir da investigação da arte como dispositivo de relação e articulação entre experiência sensória, sociabilidade e linguagem – suas ações se dão no limite de uma abordagem comunicativa para impulsionar a circulação de ações e formas. Tem desenvolvido um vocabulário específico para seu
trabalho, aplicado de modo particular a cada novo projeto. Gosta de trabalhar em projetos de longa duração, tais como Você gostaria de participar de uma experiência artística? (desde 1994), eu-você: coreografias, jogos e exercícios (desde 1998) e conversas-coletivas (desde 2010). No ano passado realizou as exposições individuais nbp-etc: escolher linhas de repetição (Galeria Laura Alvim, Rio de Janeiro) e The production of the artist as a collective conversation (Audain Gallery, Vancouver). Participou da 30ª e 25ª Bienal de São Paulo (2012, 2002), e da documenta 12 (2007). Autor de Manual do artista-etc (Azougue, 2013) e Ouvido de corpo, ouvido de grupo (Universidade Nacional de Córdoba, 2010), entre outras publicações. Professor do Instituto de Artes da Uerj. Artista residente da Simon Fraser University, Vancouver, em outubro de 2014. Professor visitante da Universidade de Chicago entre outubro e dezembro de 2013.


Les Laboratoires d’Aubervilliers

les laboratoire

Wednesdqy the 17th of june at 19:30

Alexandra Baudelot will speak about the way Les Laboratoires works, and the Printemps and the Performing Opposition edition. Why and how we are going to work in relation with another political, sociological and cultural local context, the Rio and Sao Paulo’s one, and the links we can build through our respectives structures. The importance to think in term of locality more than glogablity, localisation than globalisation. The importance to confront specific local knowledge and practices with other cultural and historical context to go farther than the national point of view.

Les Laboratoires d’Aubervilliers

Les Laboratoires d’Aubervilliers is a place for research and creation, for resources and experimentation, developed in intimate cooperation with its setting (from the most local to the international sense) and with its audiences, and in relationship with the artists. It invents the tools to conceive artistic practices from all fields – visual art, dance, performance, theatre, literature, etc. – viewing them as a process of learning, sharing and experiencing; an intermediary object that is capable of investigating and taking the measure of the most urgent contemporary issues, reinventing ways of being together, while taking a risk and upsetting our approach and our conception of art.

Les Laboratoires d’Aubervilliers is one of those rare places where art is never disconnected from cultural, social and political reality, one of those places committed to differences and plural identities, a place in perpetual motion that takes shape around the artistic projects that it upholds and works to defend.

Setting up projects with artists involves an often lengthy time of research, an absolute must to create strong connections between the artistic projects, the region and people. It is also this concept of time that Les Laboratoires d’Aubervilliers observes and works in in order to invent new methods for public visibility that go beyond simple exhibitions and showings of finished works.
Le Printemps des Laboratoires
Le Printemps des Laboratoires is a yearly invitation to the public. It was developed to be the ideal moment to bring up and debate, both in theory and in practice, the issues that guest artists at Les Laboratoires d’Aubervilliers address. In the form of an artistic tool, it takes place over two days and includes discussions intended to be moments for sharing, performances and workshops, on different scales and in different formats.

This meeting is the opportunity to break down the divide between audiences and specialists, to roll out a singular tool that encourages experiences of art and politics rather than representations of them, the circulation and comparison of ideas rather than their authoritative forms of transmission. While being a critical and artistic condensation and development of les Laboratoires d’Aubervilliers project, this year’s

Printemps des Laboratoires offers an opportunity to nurture research and explore a variety of current artistic, historical and critical contexts, both French and international.

The first instance of the Printemps des Laboratoires (2013), entitled “Commune, Commons, Community”, raised the issue of the commons. Second instance (2014), “Ne travaillez jamais!”, was about links that unite art and work. “Performing Opposition”, the third instance of the Printemps des Laboratoires (June 2015) will explore the forces and shapes of the revolts that left a mark on History in the past ten years, and their role in social transformations. “Performing Opposition” will be particularly interested in practices and strategies developped by artistic performances, as well as political and civil manifestations.

Performing Opposition

The third edition of the Printemps des Laboratoires, Performing Opposition, will be devoted to exploring how art relates to the ‘polis’, in opposition to instituted powers. From the emergence of avant-garde movements in the nineteenth century to artists’ engagement in more recent protest- and social revolt movements, art has been renewing its strategies and its forms of opposition. By putting into perspective certain historical and artistic legacies (agit-prop, spaßguerilla, Situationism, Indignados), Performing Opposition seeks to bring into focus a current dynamic that contributes to opening up gaps in the regulated continuum of public space in order to (re)occupy and appropriate it. The question of ‘performing public space’ is central, especially in the digital age with its changing strategies of visibility and representation. Performing Opposition will be foregrounding the antagonistic movements that reconfigure, across the globe and from one local to another, the map of a power that is now diffuse and molecular — an art that is also capable of eluding its ties to the institution in order to continue to develop therein, in spite of everything, critical and operative strategies.

This edition of the Printemps des Laboratoires will set up a dialogue between diverse experiences and perspectives. Our guests include specialists in the fields of activist movements (Brian Holmes), avant-garde movements (Marc Partouche), digital cultures (Marie Lechner, Nathalie Magnan), and also the links between theatre and political modernity (Diane Scott). These theoretical perspectives will link in with the artists’ testimonies, which will include artists engaged in popular revolts (Burak Arikan), artists participating via their practice in building communities of thought and action (Marinella Senatore), artists using the art institution to propose ways of occupying public space (Thomas Hirschhorn, Renata Lucas) or artists working in the field of theatre, literature or poetry, as a privileged site for observing society and its injustices (Motus, Nathalie Quintane). Finally, we believe it crucial to investigate these problematics from the perspective of the institution, that of the Laboratoires d’Aubervilliers, of course, which seeks to establish the conditions of emergence and support for free artistic forms, but also from the perspective of like-minded centres engaged, via the work they carry out in their site, in building a slow revolution (Beirut, in Cairo).

These discussions will take shape amid a varied programme which will include a musical accompaniment by pianist Alexey Aasantcheef, presenting a set composed of works by Cornelius Cardew, punctuated by revolutionary pieces which the audience will be invited to sing; performances by students of the Oslo Academy of Fine Art; an evening meal open to all; a screening juxtaposing contemporary films (Egyptian filmmakers Jasmina Matwaly and Philip Rizk and the Palestine-based DAAR collective) and a documentary about a major 1970s play (Paradise Now by Living Theater). Prior to this edition of the Printemps des Laboratoires, Turkish artist Burak Arikan will be running a workshop titled “Graph Commons”.

Co-director of les Laboratoires d’Aubervilliers (Paris northern suburbs) since 2013, Alexandra Baudelot has worked for several years as an exhibition curator, editor and author. In 2009 she created and managed the contemporary art platform Rosascape, an independent art centre based in Paris. At Rosascape she curated exhibitions with Katinka Bock, Ulla von Brandenburg, Raymond Gervais, Benoît Maire, Vittorio Santoro, Berger&Berger, and Adrian Dan. She is interested in production strategies, the artistic research process and reflections on the role of artwork and ways of sharing it with the public – through formats such as exhibits, performances, conferences, and publications – for all disciplines.


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.


Suggestion de publications et films en lien avec le Printemps des

Laboratoires #3


La Tribune des Laboratoires

Printemps des Laboratoires #3

Performing Opposition

 Edition online : http://fr.calameo.com/read/004372567dbb8e55eab41

Multitudes n°50, Spécial soulèvements, automne 2012

Renverser l’insoutenable, Citton, Yves, 2012

 Dictature des marchés, politiques d’austérité, inégalités sociales criantes, catastrophes environnementales, crises démocratiques : de toutes parts nous arrivent les signes de la fin d’un monde. Pour Yves Citton, ce sont les pressions insoutenables que nous inflige un mode de développement fourvoyé qui rendent la situation actuelle invivable. Yves Citton prend la mesure de cet insoutenable à la fois environnemental, éthique, social, médiatique et psychique et propose un nouveau vocabulaire pour nous aider à appréhender les pressions qui nous traversent et nous rendent la vie de plus en plus intenable. À la croisée de la philosophie morale et politique, de l’économie et de la théorie littéraire, cet essai drôle enlevé prend le contre-pied du misérabilisme ambiant en révélant que le renversement de l’insoutenable est déjà inscrit dans la dynamique de nos gestes les plus communs et que tout geste politique prend sa source dans ces deux questions : Comment fais-je pression sans le vouloir ? Comment faire pression en le voulant ? Attentif au rôle de l’image et à l’évolution du discours politique, Yves Citton livre ici les moyens de repenser notre place et notre action dans un processus qui apparemment nous dépasse en montrant que l’on peut tirer parti des dispositifs médiatiques plutôt que de les subir et ainsi, une fois fait le deuil du Grand Soir, de proposer des alternatives à la politique du pire. ?

 Le nouvel esprit du capitalisme, Boltanski, Luc, Chiapello, Ève, 2011

Le capitalisme prospère ; la société se dégrade. La croissance du profit s’accompagne de celle de l’exclusion. La véritable crise n’est pas celle du capitalisme, mais celle de la critique du capitalisme. Trop souvent attachée à d’anciens schémas d’analyse, la critique conduit nombre de protestataires à se replier sur des modalités de défense efficaces dans le passé mais désormais largement inadaptées aux nouvelles formes du capitalisme redéployé. Cette crise, Ève Chiapello et Luc Boltanski, sociologues, l’analysent à la racine. Ils tracent les contours du nouvel esprit du capitalisme à partir d’une analyse inédite des textes de management qui ont nourri la pensée du patronat, irrigué les nouveaux modes d’organisation des entreprises : dès le milieu des années 70, le capitalisme renonce au principe fordiste de l’organisation hiérarchique du travail pour développer une nouvelle organisation en réseau, fondée sur l’initiative des acteurs et l’autonomie relative de leur travail, mais au prix de leur sécurité matérielle et psychologique. Ce nouvel esprit du capitalisme a triomphé grâce à la formidable récupération de la «critique artiste» – celle qui, après Mai 68, n’avait eu de cesse de dénoncer l’aliénation de la vie quotidienne par l’alliance du Capital et de la bureaucratie. Une récupération qui a tué la «critique artiste». Comme, dans le même temps, la «critique sociale» manquait le tournant du néocapitalisme et demeurait rivée aux vieux schémas de la production hiérarchisée, on la trouva fort démunie lorsque l’hiver de la crise fut venu. C’est à une relance conjointe des deux critiques complémentaires du capitalisme qu’invite cet ouvrage sans équivalent.

Unleashing the Collective Phantoms : Essays in reverse Imagineering, Holmes, Brian, 2008

 These insurgent essays develop and critique some of the cultural and artistic projects that first arose with the worlwide wave of protests, around the turn of the millennium, against what the global South has long called neoliberalism. Dissent and the refusal of a programmed existence return continually to the street, but they also unfold in the intimacy of the imagination. Complex discourses and elaborate fictions pass through images, works, ideas and wild scenarios that hover around the edges of reality; museums, cinemas, books and theatres are only temporary homes for such things, and authors only a convenience. Times leaches away the graffiti of revolt, and the cynicism of power lays a new coat of paint. Yet still the collective phantoms return. These essays engage with the politics of aesthetics and artistic practice. They include “Cartography of Excess,” “Flexible Personality and Networked Resistance,” “Psycho-geography and the Imperial Infrastructure,” “The Revenge of the Concept,” “Artistic Autonomy and Communicaton Society,” “Reverse Imagineering,” “Transparency and Exodus,” “Three Proposals for a Real Democracy,” and more, from an author who is becoming a vital contributor to contemporary cultural theory and global political struggles.

New Public Spaces: Dissensual Political and Artistic Practises in the Post-Yugoslav Context, 2010

 Other Possible Worlds : Proposals on this Side of Utopia [texte imprimé] / Rüb, Christine, Editeur scientifique. – Berlin : argobooks, 2011

 Which roles can art projects, art spaces, self-organized academies and labs play in developing conceptions of the world that go beyond purely economic globalization? Projects from various parts of the world are invited to propose and test out other realities of life and world views, from small artistic attempts to social experimentation. Topics such as dealing with cultural differences, climate change, processes of levelling out and confusing complexities form the basis for a common space in which to rise questions.

The basis for Other Possible Worlds – Proposals on this Side of Utopia is a collection of ideas, concepts, models, terms, projects, kits and modes of acting. It is conceived as a pool for further projects in other parts of the world, it is open to further extension and it allows for varied formats. The NGBK is considered as a common and active space of inquiry for different formats like artistic contributions and installations, workshops, presentations, talks and video screenings.

Le Mouvement – Performing the City [texte imprimé] / Cvejic, Bojana, Auteur; Lepecki, André, Auteur; Petresin-Bachelez, Natasa, Auteur; Verwoert, Jan, Auteur. – Berlin : Distanz, 2014.

Since 1954 this quinquennial is a must in the field of contemporary art in public space. For its 60th anniversary in 2014 the Swiss Sculpture Exhibition in Biel/Bienne will replace the static presentation of artworks by performances in public space thus questioning the state of static representation and public involvement. Curated by Gianni Jetzer and Chris Sharp.

Public sphere by performance [texte imprimé] / Cvejic, Bojana, Auteur; Vujanovic, Ana, Auteur. – Berlin [Allemagne] : B_books ; Aubervilliers : les Laboratoires d’Aubervilliers, 2012. – 181p.: dessins N&B.

 Cet ouvrage livre les réflexions de deux membres du collectif de Belgrade Teorija koja Hada (Walking Theory), élaborées au cours d’une résidence aux Laboratoires d’Aubervilliers. Bojana Cvejić et Ana Vujanović y explorent les manifestations de l’idéologie politique dans l’espace public, étayant leur réflexion par des exemples puisés dans l’histoire des régimes fascistes et communistes du XXe siècle, de l’ethno-nationalisme serbe et du système capitaliste néolibéral. S’éloignant d’une critique linguistique de l’idéologie basée sur une analyse de l’acte discursif, elles suggèrent qu’elle est incarnée et performée par les corps, notamment sous la forme de chorégraphies collectives et individuelles.

L’imaginaire de la Commune, Kristin Ross, ed. La Fabrique, 2015 : Traduit de l’anglais par Étienne Dobenesque

 William Morris, Élisée Reclus, Pierre Kropotkine : ce ne sont pas les premiers noms qui viennent à l’esprit s’agissant de la Commune de Paris. S’ils tiennent dans ce livre un rôle important, c’est que pour Kristin Ross, la Commune déborde l’espace-temps qui lui est habituellement attribué, les 72 jours écoulés et les fortifications sur lesquelles elle a combattu. L’Imaginaire signifie que cet événement révolutionnaire n’est pas seulement international mais qu’il s’étend bien au-delà du domaine de la politique, vers l’art, la littérature, l’éducation, la relation au travail. Ce n’est pas un hasard si les trois personnages principaux du livre sont un poète-artiste, un géographe et un scientifique-anarchiste russe : la Commune n’est pas un simple épisode de la grande fable républicaine, c’est un monde nouveau qui s’invente pendant ces brèves semaines, un monde qui n’a pas fini de hanter les uns et d’inspirer les autres.

 Eric Hazan, La dynamique de la révolte, Sur des insurrections passées et d’autres à venir, La Fabrique éditions, mars 2015

 Partout dans le monde les peuples se rebellent. Partout en Europe, les peuples se révoltent. Sauf en France… Le seul pays occidental à se doter d’une loi de surveillance de ses citoyens digne des pires dictatures, sans que cela ne provoque d’explosion de colère -à peine une vague d’inquiétude vite rabrouée par des socialos plus réactionnaires que jamais.

Partout dans le monde les peuples tentent de se saisir de leur destin. Sauf en France, où aucune révolution ne paraît possible. Où il ne se passe rien. Bien que le quotidien y devienne invivable. Faut-il repenser l’action commune ?

Eric Hazan s’est penché, moins sur cette question que sur celle du surgissement de l’étincelle qui viendra à coup sûr mettre le feu à la plaine française.

 Living as Form: Socially Engaged Art from 1991-2011 by Nato Thompson, 2012

 Over the past twenty years, an abundance of art forms have emerged that use aesthetics to affect social dynamics. These works are often produced by collectives or come out of a community context; they emphasize participation, dialogue, and action, and appear in situations ranging from theater to activism to urban planning to visual art to health care. Engaged with the texture of living, these art works often blur the line between art and life. This book offers the first global portrait of a complex and exciting mode of cultural production–one that has virtually redefined contemporary art practice. Living as Form grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a thirty-person curatorial advisory team; each project is documented by a selection of color images. The artists include the Danish collective Superflex, who empower communities to challenge corporate interest; Turner Prize nominee Jeremy Deller, creator of socially and politically charged performance works; Women on Waves, who provide abortion services and information to women in regions where the procedure is illegal; and Santiágo Cirugeda, an architect who builds temporary structures to solve housing problems.

Living as Form contains commissioned essays from noted critics and theorists who look at this phenomenon from a global perspective and broaden the range of what constitutes this form.

 Théâtres en lutte : le théâtre militant en France des années 1960 à nos jours, Olivier Neveux, ed. La Découverte, 2014

 Depuis les années 1960, de nombreuses expériences théâtrales ont revendiqué en France un clair dessein politique. Inscrit au cœur des luttes (anti-impérialistes, ouvrières, féministes, immigrées, homosexuelles, altermondialistes, etc.), ce théâtre militant s’est donné pour but de contribuer, à sa manière, aux combats d’émancipation de son temps. Injustement déprécié ou ignoré, il constitue pourtant tout un pan de l’histoire théâtrale. Et c’est cette histoire inédite et passionnante que l’on découvrira dans cet ouvrage extrêmement documenté. Comment représenter la colère, l’injustice et l’espérance ? Quelles formes pour dire la lutte ou expliquer les mécanismes du capitalisme ? Et à qui de telles représentations doivent-elles être destinées ? Contrairement aux idées reçues, le théâtre militant n’a jamais cessé d’inventer des solutions dramaturgiques et scéniques pour mettre en scène le présent : un présent à transformer. Héritier d’Erwin Piscator, de Bertolt Brecht et des troupes d’agit-prop soviétiques, ce théâtre n’est pas homogène : il est traversé d’options politiques et esthétiques diverses, voire contradictoires, d’Armand Gatti à Augusto Boal, en passant par Alain Badiou, André Benedetto et de nombreux collectifs (la Troupe Z, Al Assifa, le Levant, le Groupov…). Revenir sur ces propositions, sur leurs richesses et leurs impasses, c’est tout autant s’opposer à l’oubli que tenter d’ouvrir des pistes pour le théâtre militant d’aujourd’hui.

 Politiques du spectateur : les enjeux du théâtre politique, Neveux, Olivier, 2013

 Face au monde, ses crises et son devenir, un théâtre s’invente. Il réagit, dénonce, explique, illustre, propose : ce théâtre est politique. À ce titre, il s’inscrit dans une longue histoire, bien souvent déconsidérée : celle d’un théâtre qui prend acte des batailles de son temps. Mais ce théâtre d’aujourd’hui n’est pas homogène, il défend des orientations politiques dissemblables et fait en particulier de la place accordée au spectateur le lieu d’enjeux différents. En effet, la politique au théâtre se découvre aussi, de façon décisive, dans le rapport que le spectacle entend entretenir avec son spectateur. C’est à travers ce prisme qu’Olivier Neveux propose d’analyser le champ théâtral politique à l’heure du néolibéralisme. Comment le théâtre « transgressif » conçoit-il ses spectateurs ? Quelles facultés le théâtre « postdramatique » entend-il solliciter ? Que nous apprennent ces volontés de brusquer, sensibiliser, éclairer, mobiliser le spectateur ? Dans leur diversité, quelles conceptions de l’émancipation tous ces théâtres soutiennent-ils ? Car c’est bel et bien une interrogation sur la possibilité de l’émancipation et la part que peut y prendre le théâtre qui anime cet ouvrage : celle du spectateur, de l’artiste et de l’oeuvre émancipés. Réfléchir aux politiques du spectateur signifie alors s’intéresser tout autant aux politiques que le théâtre défend, à celles qu’il applique et aux définitions implicites qu’il propose, par là, de la politique.

 Performing Opposition : Modern Theater and the Scandalized Audience by Neil Blackadder

Modern theater history is punctuated by instances of scandalized audience members disrupting and in some cases suspending the first production of a new play. Such incidents are usually dismissed as riots, as self-evident displays of philistinism. Neil Blackadder’s intriguing new study reveals them in fact to be multifaceted conflicts, showing the ways in which these protesters-acting against plays by such notables as Jarry, Synge, and Brecht-creatively devised and enacted resistance through verbal rejoinders, physical gestures, and organized group demonstrations.

Performing Opposition draws on reviews, memoirs, interviews, and court records to present engaging and insightful accounts of these clashes—clashes that Blackadder proposes as a unique and distinct category of event in a time when unprecedentedly restrained norms of auditorium behavior coincided with a regeneration of writing for the stage. Offering the first detailed examination of affronted theatergoers’ counter-performances, the volume represents an intriguing illumination of a largely overlooked aspect of performed drama and its history.

 Le théâtre des opprimés, d’Augusto Boal, 1971

L’être humain devient humain quand il invente le théâtre. La profession théâtrale, qui appartient à quelques-uns, ne doit pas cacher l’existence et la permanence de la vocation théâtrale, qui appartient à tous. Le théâtre est une vocation pour tout être humain. 
Le théâtre de l’opprimé est un système d’exercices physiques, de jeux esthétiques, de techniques d’images et d’improvisations spéciales, dont le but est de sauvegarder, développer et redimensionner cette vocation humaine, en faisant de l’activité théâtrale un outil efficace pour la compréhension et la recherche de solutions à des problèmes sociaux et personnels.

 Les années 10 de Nathalie Quintane (ed. La Fabrique), 2014

 Marc Partouche, La ligne oublié, ed. Al Dante, 2004

 De la « vie de bohème » au situationnisme, une histoire de l’art surprenante et indispensable : celle des regroupements dits « secondaires » qui n’ont cessé, depuis le milieu du XIXe siècle, de saper l’ordre social et culturel. Des Hydropathes au Surréalisme, en passant par le cabaret du Chat Noir et la Pataphysique, Marc Partouche renoue le fil subversif et humoristique liant la modernité du XIXe siècle et les avant-gardes du XXe. 
La « lignée oubliée » est celle des artistes classés comme « mineurs » par une histoire officielle qui oppose systématiquement sérieux et humour, culture haute et culture basse. Refusant l’académisme sclérosant, Marc Partouche s’attache à ces pratiques artistiques nées dans les cabarets de Montmartre et Saint-Germain-des-Prés, et considérées comme inassignables et infréquentables : l’art de la Bohème, des Hydropathes à Fluxus en passant par le lettrisme et le surréalisme, des salons caricaturaux du XIXe aux foires internationales d’Art contemporain du XXe siècle. 

Playgrounds, Reinventing the square, ed. Museo Nacional Centro de Arte Reina Sofía and Siruela, 2014

 Judith Butler : Excitable Speech. A Politics of the Performative


Walter Lippmann, Public Opinion (1922)

Walter Lippmann, Phantom Public (1925)

John Dewey, Le public et ses problèmes (1927)

Jürgen Habermas, L’espace public (1962)

Hannah Arendt, La condition humaine (1958 – cf distinction faite entre sphère privée et public)

Judith Butler, Qu’est-ce qu’une vie bonne (2012) – un résumé du livre là: http://www.franceculture.fr/emission-l-essai-et-la-revue-du-jour-judith-butler-revue-vacarme-2014-05-06)

Bojana Cvejic, Ana Vujanovic, Public Sphere By Performance (2012, publié par Labos)

Hannah Davis Taïeb et autres, Espaces publics, Paroles publiques au Magrheb et au Machrek, 1997

Dorothea von Hantelmann, How to Do Things with Art – The Meaning of Art’s Performativity

Jan Zienkowski, Analysing political Engagement

J.L Austin, How TO DO Things With Words

Augusto Boal, Theater of the Oppressed

Hacker, Hoaxer, Whistleblower, Spy / The many faces of the anonymous

Mikkel Bolt Rasmussen & Jakob Jacobsen, Expect Anything, Fear Nothing / The Situationnist Movement in Scandinavia and Elsewhere

Molly Sauter, The Coming Swarm

Schechner, Performance theory

 Film online

Paradise Now : The Living Theatre (1969)

Marty Topp et Melvin Clay [ 46 mn ]


Common Assembly: Deterritorializing the Palestinian Parliament

DAAR [ 15 mn ]


Out on the streets (2013)

Jasmina Metwaly et Philip Rizk  [ 70 mn ]





Mirada ao Norte, por Giseli Vasconcelos


Quarta-feira, dia 10 de junho as 19:30

Mirada ao Norte é a primeira edição de encontros e situações que abordam o Norte – às proximidades da linha do Equador, ou um Norte, de sensores, sabores e pensamentos. Para esta edição — na cozinha Roosivelt Pinheiro, entre o Polígono da ARTE, as redes, a maniçoba e o piracuí – batucação, storytelling e performances por CAPACETE Entretenimentos.

— Prato: maniçoba (também em versão vegana), bolinhos de piracuí, sacolés (chopp) de coco e cupuaçu.

Mirada ao Norte is the first edition of meetings to discuss the NORTH – bordering the Equator Line, or a northward of sensors, flavors and thoughts. For this edition — in the kitchen, the chef Roosivelt Pinheiro talking about Polígono da ARTE, fishing nets, maniçoba and piracuí (dry fish flour), batucação, storytelling and performances  by Capacete Entretenimentos.

— Dish: maniçoba (plus vegan version), fried balls of piracuí, sacolés (chopp) de coco e cupuaçu.    

Cinema with Talk


Cinema with Talka with Cesar Oiticica

“Helio Oiticica was one of the artists that most united reflection with artistic creation. His ideas and propositions, expressed not only in texts but also in statements and interviews, revolutionized art and culture, transforming him into one of the most important artists of the second half of the twentieth century. The documentary by Cesar Oiticica Filho, by using the voice of the artist as a narrative thread, permits a unique immersion into the thought and intimacy of Helio Oiticica.

The extensive image research makes the spectator accompany the evolution of the artist, the initial connection with the Grupo Frente, then the surge of Neoconcretism, the creation of the Bolides, Penetraveis, Nucleos, and Parangoles, next the involvement with Tropicalia, expanding into the New York period, until the return to Brazil.

It is a document, not solely about one of the greatest artists that Brazil has yet produced but also about only about one of the periods of greatest effervescence of our culture, which means that this film is crucial to an understanding of not only our culture but what we are today.

Helio Oiticica is a 94 minute documentary, directed by Cesar Oiticica Filho and produced by Guerrilha Films.

Direção e roteiro: César Oiticica Filho
Pesquisa de imagem: Antônio Venâncio
Produção executiva” João Villela,  Juliana Carapeba, Felipe Reinheimer e César Oiticica Filho
Direção de Produção e coordenação de finalização: Juliana Carapeba
Direção de fotografia: Felipe Reinheimer
Montagem: Vinicius Nascimento
Consultoria de montagem: Ricardo Miranda
Consultoria biográfica: Roberta Camila Salgado
Edição de som e mixagem: Ricardo Cutz
Produtor musical: Vinicius França
Trilha sonora: Daniel Ayres e Bruno Buarque
Participação especial na trilhaL Macalé, Celso Sim e Pepê Machado
Figurino: Julia Ayres
Coordenadora de lançamento: Barbara Vida

Epiphyte Program

programa epifita

Agência Transitiva is a landless space-vehicle that, as lives an epiphyte plant, at suit 3301 of jardin CAPACETE, where it germinates work, encounters, exchanges and co-living. Without removing nutrients from the hull the epiphyte program utilizes this space-situ as a support to reach its ideal environment in the forest strata. Common in tropical forests, this practice allows for herbaceous plants to cooperate circularly for light, air, and space prospering even without soil.

Agência Transitiva came about in 2013, as a multiple organism formed by artists, researchers, translators, hackers, designers, students, managers, dancers, etc., that reconfigure itself according to each action. In 2015, in addition to piloting this prototype plant the agents Pedro Victor Brandão, Maíra das Neves, Kadija de Paula and Thais Medeiros also cultivate CAPACETE’s bookstore, from Wednesday to Friday from 15:00 to 19:00 together with participants of CAPACETE’s annual program.

Agência Transitiva creates co-living experiences, shared auto-education, socio-economic experiments, and chain reactions.




Rua Benjamin Constant, 131/ 3301 Glória – Rio de Janeiro – RJ 20241-150 Brasil

Daniela Castro & Anne Szefer Karlsen

danielaanne sverszen

Quarta-feira dia 3 de junho as 19:30

Self Organised, now available in Portuguese 

Para a fala desta quarta aconselhamso a leitura de: Self-organisation as Institution? Anne Szefer Karlsen



Daniela Castro is a writer and curator based in São Paulo. A graduate in Art History from University of Toronto (2003/Canada). She is currently co-curating the 3rd Aichi Triennial (Japan), has co-curated with Jochen Volz The Spiral and the Square: exercises on translatability at Bonniers Konsthall, Stockholm, which interchanged and travelled to Trondheim and Kristiansand, both in Norway (2011-12). Curated A Radically Condensed History of Post-Industrial Life LADO A/LADO B, an exhibition in LP format for the “Impossible Show” at El Spacio, Madrid, Spain (2010-11) and the TEMPORARY GALLERY in Köln, Germany (ongoing). Curated Lights Out, the inaugural exhibition at the Museum of Image and Sound – MIS (2008/São Paulo). Conceived and curated the Recombining Territories, an itinerant and interchanging exhibition that’s travelled seven capitals of Brazil (2006-2010). She’s been publishing widely in national and international art publications, and taught workshops on art writing and curatorial practices throughout Brazil.  Published her first book, co-authored with Fabio Morais, titled ARTE E MUNDO APÓS A CRISE DAS UTOPIAS, assim mesmo, em CAIXA ALTA e sem notas de roda-pé (Florianópolis: Par(ent)esis Art Book Publisher, 2010).

Anne Szefer Karlsen was curator for Lofoten International Art Festival – LIAF 2013 (with Bassam El Baroni and Eva Gónzalez-Sancho) and Associate Curator for Research and Encounters, Biennale Bénin 2012 (Artistic Director Abdellah Karroum). In 2015 she is the curator of the 8th Norwegian Sculpture Biennial. As Director of Hordaland Art Centre in Bergen, Norway (2008-2014) she curated several exhibitions and seminars, as well as further developed its residency programme. She initiated, and is Series Editor of, the book seriesDublett – a book series of twin publications consisting of a new artist book by and an anthology of commissioned texts on contemporary artists (2012-2015) and co-edited Self-Organised (Open Editions/Hordaland Art Centre, 2013, with Stine Hebert). Her interests are in artistic and curatorial collaborations as well as developing the language that surrounds art productions of today, linguistically, spatially and structurally.


Recomended reading

http://digamo.free.fr/dhbrief.pdf (Freedom’s Just Another Word chapter)


Manuela Moscoso


Quarta-feira dia 20 de maio as 19:30

Senna & Jones & Navarro: o fazer e o feito

Em 1931, Alfred North Whitehead retoma a noção de concern [1] tal como utilizavam os quakers [2] para conceber uma relação dinâmica, provocativa e oscilante entre sujeito e objeto. Graças a esta referência, Whitehead propõem as relações do sensível com base na estrutura da experiência, que, somente com o exercício da abstração, concretiza-se cognitivamente. O conceito de concern desestabiliza o equivalente e estabelecido sujeito/objeto por conhecedor/conhecido para entende-lo como um evento onde o sujeito não é estável nem o objeto permanente, onde os efeitos são sempre produzidos por provocações. Assim, o conhecimento entre entidades não se restringe necessariamente aos seres humanos.

A conversa será sobre o fazer e o feito e centra-se em nosso entender do que pode ser “coletivo”, intercedida por três casos contemporâneos extraídos da cultura visual e da arte de sacudir, dinamizar ou problematizar nosso entendimento do que é fazer e o que é feito com a finalidade de gerar esquemas dinâmicos dentro dos quais se pode promover e falar sobre o pensar artístico.

[1] texto original em espanhol utiliza a expressão da língua inglesa concern, pode ser traduzido como preocupação.

[2] texto em espanhol utiliza-se cuáqueros, em português denomina-se quaker ou quacre, movimento protestante britânico do século XVII.

Jorge Menna Barreto

Jorge Menna Barreto

Wednesdat 13 th of may at 19:30

Unearthed taste
Notes 1: I find apples to sell in every supermarket and grocery store in Brazil. I find apples for sale all over the world. To cultivate apples in Brazil we need around 60 pesticide sprays; colonized taste. Notes 2: On Benjamin Constant, while going to CAPACETE, I observe the greens that grow spontaneously on the sidewalk. Among them, Caruru (Amaranthus viridis) and Beldroega (Portulaca oleracea), two wild edibles which are very rich in nutrients. Visible to our ancestors, they have become invisible to our gaze. Keys: Wild edibles, agroecology, site-specificity, eating locally, locavore, food activism, Robert Smithson: let the site determine what I would build, green smoothies, food as the main mediator of our relationship to the soil, what we eat determines the landscape where we live, the mouth as sculpture tool, plant-based diet, colonial taste, systemic thinking, thinking like a forest, the digestive system does not begin in the mouth nor does it end in the ass.
Jorge Menna Barreto is an artist and researcher. For 18 years, he has let the site determine what he will do, and, more recently, what he eats. PHD in Visual Poetica at USP-São Paulo, he has just finished a post-doctoral research at UDESC, where he researched on possible relations between agroecology and site-specificity in the arts. He is a professor at the Art Department of UERJ since April 2015.
1. Agrofloresta, ecologia e sociedade: http://goo.gl/dxDAxj
2. Plantas Alimentícias Não Convencionais (PANC) no Brasil: http://goo.gl/F0zCTo
3. Carta de Pero Vaz de Caminha, maio de 1500: http://educaterra.terra.com.br/voltaire/500br/carta_caminha.htm
4. Raízes do Brasil: Sérgio Buarque de Holanda, 1935. 
5. Writings of Robert Smithson.  
6. Valdely Kinupp, especialista em PANC: https://www.youtube.com/watch?v=iieB_jhhaC0
7. Café Educativo: Paladar Cego http://www.31bienal.org.br/pt/events/1849
8. An introduction to thinking like a forest: http://shikigami.net/forest/introduction-thinking-like-forest/
11. Elaine Azevedo: Alimentos Orgânicos: Ampliando os conceitos de saúde humana, ambiental e social: http://livraria.folha.com.br/livros/culinaria-e-gastronomia/alimentos-organicos-elaine-azevedo-1188407.html

Tatiana Roque


Wednesdat 6 th of may at 19:30

Subjectivities and diagrammatic action in contemporary capitalism: the need for a diagnosis beyond the human, representation and language

Tatiana Roque is a professor at UFRJ, works with contemporary French philosophy, history and philosophy of science. She wrote History of Mathematics: a critical view, dispelling myths and legends, Zahar, 2012.



Acácio Augusto


Wedneaday the 29th of april at 19:30

Anarchy as anti-political, ethical and aesthetic experimentation.

Acacio Augusto - Doctor of Social Sciences (Political) at PUC-SP and CAPES post-doctoral student in Sociology and Master Policy UVV (University of Vila Velha), researcher at Nu-Sun (Libertarian Sociability Center of PUC-SP) and NEUS (Center for Urban Studies and Social and Environmental UVV). Author of Politics and police: controls, penalties and care of young, Publisher Oil Lamp, Rio de Janeiro, 2013

Anarchy is a political force that in modern history, broke the representative limits placed by and around the state. Their struggles are not intended to take it or reform it, but to abolish the state. For this, anarchists put the urgency of abolishing the power in us. More than a political utopia, this is an associative practice that values ​​and revolt and the production of ethical and aesthetic trials for a life in combat with the forces that seek to govern the conduct. I propose a conversation from the exhibition of educational experiences, making newspapers, cultural associations and life of some militants, voided throughout history, to talk about the relevance of anarchy today as way of life, one anti-political force that inhabits existence of bodies in revolt.

Textos sugeridos para leitura:

Acácio Augusto. Política e antipolítica: anarquia contemporânea, revolta e cultura libertária. Tese de Doutorada. São Paulo: PUC-SP, 2013.

Edson Passetti & Acácio Augusto. Anarquismos e educação. Belo Horizonte: Ed. Autêntica, 2008.

Christian Ferrer. “Átomos soltos – a construção da personalidade entre os anarquistas no início do século XX” In Revista Verve. São Paulo: Nu-Sol, vol. 5, 2004, pp. 157-184.

Pietro Ferrua. “Jonh Cage, anarquista fichado no Brasil” In Revista Verve. São Paulo: Nu-Sol, vol. 4, 2003, pp. 20-31.

Restaurant on thursday

home-20home-22home-24home-52home-38home-21home-19home-42home-36home-17home-51home-15 15:25:03-0215:25:03-0615:25:03-09

Deguste nossa culinaria caseira a precos acessiveis: R$ 15

10 de junho – Roosevelt Pinheiro

3 de junho – Joen Vedel, Kadija e Oliver Bulasch

20 de maio –

13 de maio – Jorge Menna Barreto

6 de maio – Tatsuo Hida

29 de abril –

23 de abril – Helmut Batista

17 de abril – Amilcar Packer

10 de abril –

3 de abril –

25 de marco – Felix

18 de marco – Asia Komarova

Fabiane Borges

Wednesday the 22th of april at 19:30
Ruidocracia and Tecnoxamanismo (Ancestrofuturismo)

A conversation about ancient and contemporary technologies from the ruidocracia ( intensified attack listen in a world in which all issues ) . Cannibalism ritual practices to expand the fields of perception , sensation and transhumanas relationship.
Neo materialism and perspectivism, inconscientização policies : Network shares - creating immersive processes for care of themselves and the Earth.
Waste earth, friendly places for the production of dirtyshamanism (Estamira as garbage prophet - this mirada / Mirage).
The waste ground and orbital as a paradigm for thinking the technical models. vampires Corrogênese , the desire of immortality eroding human genesis.
The future and the civilizational failure. The urgency of metareciclagem the field of fiction.
Fabiane M. Borges é artista, psicóloga e ensaísta. Fez doutorado na Puc/SP cuja tese dedicou a Cultura Espacial – Utopias humanas intra e extra-terrenas. É autora de dois livros: Domínios do Demasiado (Hucitec 2010) e Breviário de Pornografia Esquizotrans (Ex. Libris 2010). Organizou dois livros com a rede de arte, mídia e software livre Submidialogia) Ideias Perigozas (Descentro 2011) e Peixe Morto (Imotirô 2011). Participa e colabora em redes como Metareciclagem, Tecnoxamanismo, Tecnomagias, Bricolabs, MSST (Movimento Sem Satélites).
Indicações para leitura:
– Bruno Latour – War and peace in an age of ecological conflicts Paris – Lecture prepared for the Peter Wall Institute Vancouver – 2013
– Davi Kopenawa and Bruce Albert – The Falling Sky – Ed. Harvard University Press. USA/2013
– Eduardo Viveiros de Castro. Metafisica Canibales – Líneas de Antropología Postestructural. Ed.Kats. Espanha. 2010
– Fabian Ludueña Romandini. Comunidade dos Espectros; I Antropotecnia. Ed. Cultura e Barbárie. Florianópolis SC/2012-2013
– Jeremy Narby. “The Cosmic Serpent: DNA and the Origins of Knowledge”. Ed. Georg. França/1998
– Laymert Garcia dos Santos – “Amazônia transcultural – xamanismo e tecnociência na ópera”. Ed. N-1, SP/2013
– Luis Lana – Antes o Mundo não Existia: A mitologia Heróica dos índios Desâna Ed. Livraria Cultura, SP/1980
Guaranis: do jejuvy à palavra recuperada, Fabiane Borges e Verenilde Pereira – Dourados MS/2008 https://www.diplomatique.org.br/acervo.php?id=2473
Eduardo Viveiros de Castro “Filosofia, Antropologia e o Fim do Mundo” – – – – – https://vimeo.com/78892524
História da Aldeia Maracanã, de Cabral a Cabral, Rio de Janeiro/2013 http://www.youtube.com/watch?v=0W5BVt2N6uo
Santuário dos Pajés – Brasília 2011 http://santuariodospajes.blogspot.com.br/
Fabiane Borges – Xamanismo Transversal, Sujo ou dos Ruídos – SEU (Semana Experimental Urbana) Porto Alegre – 2012 http://www.youtube.com/watch?v=Hj3TOIesxPw
Terra Vermelha – Dir. Marco Bechis – Itália-Brasil – 2008
Xapiri – Filme experimental (Documentário) sobre o xamanismo Yanomami – Diretores: Leandro Lima, Gisela Motta, Laymert Garcia dos Santos, Stella Senra, Bruce Albert.

Pequeno Laboratório

cartaz Pequeno Laboratorio 2016

Pequeno Laboratório : Colocando a mão na massa

Em 2016, o Pequeno Laboratório do CAPACETE volta a funcionar para crianças de 3 a 12 anos. 
Gostaríamos de construir juntos um espaço especial para as crianças, os pais e nós onde trocaremos saberes em um ambiente em que todos podem aprender uns com os outros compartilhando suas habilidades! Oferecemos um espaço de livre brincar, experimentar, ver, falar, sentir, pesquisar, manipular e agir, criado a partir da convivência legítima com o outro! 

Na nossa vivência estarão presentes: música, línguas estrangeiras, visitas à ateliês, bicicleta, plantas, yoga, comida saudável e mais! Junte-se a nós para descobrir os novos experimentos do Pequeno Laboratório!

Toda quarta-feira de manhã 09 às 12h ou de 13 às 16h no CAPACETE, Rio de Janeiro

Preço: 220 reais por mês (com almoço incluído)

Começaremos logo depois do carnaval, dia 17/02

Informações: capacete@capacete.org
Visite nosso blog: https://capacetepequenolaboratorio.wordpress.com/

Mais informações

Pequeno Laboratório nasceu da constatação de que poucas atividades manuais e artísticas são oferecidas no Rio de Janeiro para crianças fora dos horários das escolas, e que, quando existem, são muito caras.
Além disso, na Rua Benjamin Constant, onde a residência CAPACETE está localizada, não há infraestrutura que permita as crianças a terem um lugar para praticar atividades de lazer perto de casa. Pequeno Laboratório pretende permitir que crianças tenham acesso a trabalhos criativos e educação artística proposta por profissionais da arte por um custo razoável, em ordem a ter uma abertura à outras formas de aprendizado; outros espaços sociais e criativos no dia-a-dia.

As interlocutoras das crianças:

Adeline Lépine (1984, Lyon, França)

Adeline Lépine cria situações, momentos específicos e espaços que permitam a reunião entre alguns alteridades (uma obra de arte, uma instituição, um artista, um  » público « , etc) para desencadear novas formas de convivência, pensamento coletivo, diálogo, ação e capacitação por focalizando os links que podem ser forjadas entre a criação e a vida cotidiana. Após estudar História da Arte e trabalhar com crianças em centros sociais, ela trabalhou em vários Centros de Arte e Museus na França como responsável pela parte educativa, programas culturais e eventos. Dês de 2002, ela faz parte da Mediation Culturelle Association, uma rede francesa de profissionais que estão interessados em programar para audiências de instituições da arte e cultura. Ela também é membro-fundadora do coletivo Máquina de Aprender Performance, um projeto artístico e interdisciplinar relacionado à ‘performance art’, iniciado em 2012. Adeline Lépine foi residente do Capacete em 2015 e é a fundadora associada com Caroline Valansi do Pequeno Laboratório.

Camilla Rocha Campos (1985, Barbacena, Brasil)

Artista, produtora, professora e pesquisadora, Camilla Rocha Campos transita num campo de uma arte colaborativa que acontece com a contribuição de pessoas em contextos carregados por ela de um tipo de humor e crítica. Nesse campo relacional, proposto por ela, se engendram experiências da arte contemporânea em produções artísticas, projetos em escolas e universidades e criação de contextos culturais envolvendo um público diversificado em jogos e viagens. Camilla é Mestre em História e Crítica de Arte pelo Instituto de Arte da UERJ (2011) e graduada em Gravura pela Escola de Belas Artes da UFRJ (2007). Professora da Universidade Cândido Mendes desde 2010, Camilla foi professora contratada da UERJ (2014) e UFF (2013). Trabalhou como pesquisadora e escritora auxiliar no projeto Radix-arte da autora Beá Meira para a Editora Scipione, elaborando materiais paradidáticos do ensino médio e fundamental (2008-2015). Em projetos autônomos e autorais como Workshop em curso, Camilla propõe um circuito de visitas em grupo a museus, centro culturais e bienais, dentro e fora do país, fomentando e mediando discussões in-loco enquanto experiências ali são vividas. Em 2016 é residente do programa Capacete.


Helmut Batista, diretor do Capacete!


Fundadora associada

Caroline Valansi (1979, Rio de Janeiro, Brasil )

Vive e trabalha no Rio de Janeiro. Graduada em Cinema, com pós­graduação em Arte e Filosofia. Sua produção artística caminha entre o espaço coletivo e as histórias íntimas, trabalhando num fluxo transtemporal onde são borradas as fronteiras entre documento e ficção. Esta residente do CAPACETE neste ano.
Exposição individual: Memórias Inventadas em Costuras Simples, no CCJE – Centro Cultural Justiça Eleitoral, RJ, 2009. Exposiçoes collectivas: Parque Lage. Encruzilhada. Rio de Janeiro, 2015 ; El Parqueadero. Sin Querer Saberlo a cargo de Laagencia, dentro do Ciclo de videos Tutoriales. Bogotá, Colombia, 2015 ; Museu Nacional Honestino Guimarães, Situações Brasília – Prêmio de Arte Contemporânea do Distrito Federal. Brasília, 2014 ; etc. Integrou o coletivo OPAVIVARÁ! [www.opavivara.com.br] (2007­2014) e é professora de fotografia e arte para alunos do ensino fundamental e médio. Rio de Janeiro.


Amilcar Packer & Jarbas Lopes

Wedneday 15th of april at 19:30
Doris Criolla is a search engine, a public seminar that part of the genealogy of Creole words, Creole , Creole and Creole , proposing a reflection on historical, cultural and political contexts in post -colonial processes. Betting on the edibility , the work manifests itself in relational trials during lunch and dinner where food dishes are served " Creole " accompanied by presentations that expand and update the research , they also unfold through textual production and rely on collaboration agents of various practices and disciplines.
On April 15, 2015 , starting at 19 : 30h , Doris Criolla will make the first of a series of presentations as part of the 2015 HELMET program. That day will be served with ceviche dishes and a special drink.
No mesmo dia apresentamos o livro do Jarbas Lopes
jarbas livro

Faça parte e apoie

O CAPACETE é um espaço de arte e pesquisa aberto ao público, sem fins lucrativos. Ele promove o pensamento contemporâneo através de residências de pesquisa, oficinas, workshops, seminários e palestras semanais. Com 20 anos de existência, o CAPACETE realizou inúmeros projetos de profissionais nacionais e internacionais na cidade do Rio de Janeiro, em outras cidades do Brasil e também no exterior.


O CAPACETE faz parte de uma rede internacional de espaços de pesquisa e tem apoio de ínumeras instituições governamentais e privadas tais como: Mondrianfunds (Holanda), DCA (Dinamarca), GASWORKS (Londres), OCA (Noruega), Fundação Onassis (Grêcia), Gulbekian (Portugal), Lugar a dudas (Cali/Colômbia), entre muitos outros

Para continuar mantendo sua programação e comprometimento público o CAPACETE depende de contribuições variadas, dentre elas do programa Amigos do CAPACETE. Amigos do CAPACETE é um grupo de apoiadores que reunimos mensalmente para visitas exclusivas a estúdios de artistas, galerias de arte ou palestras de especialistas. O grupo é composto por pessoas que acreditam na missão da instituição e desejam ter um envolvimento mais direto no apoio a nossas atividades.

Em 2017 tivemos palestras e/ou visitas a: Beatriz Milhazes, Daniel Steegman Mangaré, Andrea Fraser, Coleção Fainzliber, Luis Zerbini, Marcos Chaves, Laura Lima, Ernesto Neto, Andrea Fraser, Antônio Manuel, Jorge Menna Barreto, Abraham Palatnik, Waltercio Caldas, Camilo Osório etc.


Com uma doação anual, você incentiva o desenvolvimento da arte e da cultura do Rio de Janeiro e do Brasil e ainda recebe uma série de benefícios. Escolha abaixo a melhor categoria para você e junte-se ao círculo de amigos que generosamente já colaboram com a manutenção do CAPACETE.

Entre em contato conosco pelo e-mail  member@capacete.org  para obter mais informações e fazer sua doação.

MANTENEDOR ou “adote um residente”– A PARTIR DE R$15.000 (POR ANO)

São mantenedores: Frances Reynolds (2016/2017), Mara e Marcio Fainzliber (2016/2017) e Esther Schipper(2016)

1 – 50% de desconto no Bar do CAPACETE

2 – 50% de desconto em livros da nossa livraria

3 – Menção no site e na parede do CAPACETE

4 – Convidado para todos eventos internos do CAPACETE como jantares com os participantes. Participação de visitas agendadas a studios de artstas, palestra de curadores convidados etc.




São Patronos: Sabina Matz, Florencia Balestra e Fabiano Robalinho, Martha Castilho e Fred Carvalho, Renata e Marcelo Fadel, Elisabethe Floris, Renata e Alexandre Roesler, Mariana Iindio Da Costa e Sergio Werlang, Natalia Coutinho Brisolla, Georgiana Rothier, Rhanne Pessoa, Daniel Abbud Sarquis Aiex e esposa, Maria Cassia Bomeny, Leonardo Martins Moraes e Luma Cosra M. Moraes, Carmen Guarani e Marcelo Mesquita, Ana Maria e Luis Eduardo Indio da Costa, Felipe Gutterrres e Daniela Nery, Paulo Bitencourt e Lucilla Queiroz

1 – 50% de desconto no Bar do CAPACETE

2 – 50% de desconto em livros da nossa livraria

3 – Menção no site do CAPACETE

4 – Participação de visitas agendadas a studios de artstas, palestra de curadores convidados etc.




1 – 20% de desconto no Bar do CAPACETE

2 – 10% de desconto em livros da nossa livraria



1 – 10% de desconto no Bar do CAPACETE

2 – 10% de desconto em livros da nossa livraria








Costs and fees


All participants must pay a fixed participation fee of R$ 6.000 (approximately U$2.400 / Euros 2.000 per year), to be paid in two instalments (please see the application for more information). This fee corresponds to 15% of the total cost of running the program. The other 85% of the program costs will be dealt with on a case-by-case basis requiring that candidates, together with CAPACETE, apply to foundations and institutions in their home country for funding. In our 2015 program all participants received the 85% grants and 3 received a 100% full grant.

The total cost of running the program is R$ 40.000 (approximately U$ 17.000 / Euros 13.000) per participant. CAPACETE and its supporters are granting 85% of these costs (R$ 34.000). This cost does not include housing, food, transportation or other expenses that may be incurred by participants.

It is the intention of CAPACETE to find financing for the cost of the program for all participants through fellowships from foundations, governments, and the private sector. CAPACETE will work with each selected candidate to find the best financial solution for their participation in the program on a need-base system. While this financial assistance cannot be guaranteed, it is our ambition to help each and every accepted candidate to be financed for the remaining 85% of the program fees.

CAPACETE will offer 2 to 3 grants to applicants who do not have access to scholarships and other financial aid through national and international institutions or private donors. These grants will not cover the fixed participation fee of R$ 6.000 (approximately U$2.400 / Euros 2.000 per year)*. These fees will remain the responsibility of the grantees.

*Although in our 2015 program we had 4 grants covering 100% of the fee, we ask the candidate not to consider this as an option as decisions on these situations do vary a lot.

CAPACETE may offer opportunities for up to 15 hours a week of paid work to interested participants to help them finance their stay in Rio de Janeiro. In 2015 we are collaborating* with Antônio Dias, Ernesto Neto, Tiago Carneiro da Cunha, Daniel Steegmann, Galleria Nara Roesler Rio de Janeiro and Arto Lindsay. More opportunities are being organized. These will include paid internships with local artists and institutions. Participants can rent a living space in our structure (private or shared room and not available for all) or may find their own accommodation (see application form). All participants will also be asked to dedicate 8 hours a week to the maintenance of the space (library, program planning, planting, cooking, cleaning etc.).

*at the moment when we are launching this new open call, these were the names involved in the program! It is to be noticed that this prgram can not garantee a job while you are here.




The program is designed as a fluid and adaptive platform of exchange between the participants and the lecturers and advisors. The program will offer 9 seminars given by 9 lecturers from different backgrounds. Seminars will extend from 3 days to up to 5 days duration. Each lecturer will also do a public talk open to the main public. In addition, different talks, presentations and events will be organized throughout the year with other guest lecturers.

One of the ambitions of our program is to have each yearly program culminate in a collective project, designed by the participants, one that can take on any number of forms (presentation, performance, publication, exhibition, seminar etc.). However, in keeping with the participative logic of our project, rather than frame this as a requirement, we prefer to conceive of it as a potential whose actualization will be decided by the participants themselves.

Participants are also encouraged to develop individual projects. Use of the facilities of CAPACETE resort office and exhibition space and other infrastructure will be made available for such projects, and contact with local institutions and agents will also be facilitated. The program will organize trips to different sites of interests in accordance with the selected group of participants (walks, seminars in different sites); and for this, will collaborate with similar organizations in Brazil and South America.

Studio visits with local and visiting professionals, as well as visits to the studios of local artists will also be organized. It is important to note that CAPACETE is not a studio-based program. Work facilities are available and can be organized on a case-by-case basis, but designated workspaces are not automatically provided for each participant.

Travels will be organized once the group is composed and must take into account the general program of the year. Example : study trip to Minas Gerais, a project that is part of the lecture of Carla Zaccagnini ; a trip to another country in latin america ) should be carried forward as finances allow ) etc.

Our residency place in the Copan building in Sao Paulo, will be of full advantage for participants on their visits to Sao Paulo and also should provoke different forms of collaboration with professionals in this city.




CAPACETE operates at the para-academic level and applications for the program are free and open for applicants of any age that are active in the cultural field from all over the world. Priority, however, will be given to researchers in beginning of their career. It is not imperative that applicants possess a BFA or MFA for eligibility, but a consistent dedication to their own research is required. Candidates can have an educational background or interest in different disciplines (anthropology, choreography, dance, etc.) nevertheless it is important that the applicants understand the program directives. It should be noted that this program inherits and transforms sixteen years of activities of CAPACETE entertainment. Thus, in order to have a better understanding of CAPACETE, we recommend that you look at the attached document in order to understand this background and context.

CAPACETE brings together professionals from different backgrounds that are fully invested in their practice of choice. Therefore, we require the participant to give full dedication to the program’s overall activities.



CAPACETE launches the second edition of its yearly program in the city of Rio de Janeiro, Brazil, for up to 12 international participants dedicated to research and practice in the arts and critical thought. It will start its second edition in March 2016. Thought is action.

Our globalized contexts are structured by an unequal social distribution of labour and wealth, increasingly moulded by speculative market-based economics. Many of today’s cultural manifestations are large-scale events that are too often either directed at a generic public or a restricted elite. This reduces and neutralizes the concrete ethical and political reach of art, as well as its potential for fostering discussion and inspiring other ways of working, thinking, relating, and living.
Our intention is to build situations and develop strategies that provide a concrete and actual alternative to this state of affairs. Our program is designed to reflect the cross-disciplinary character of contemporary aesthetic practices, by working with artists and thinkers whose endeavours articulate the theoretical world with artistic presentations in several formats and dynamics and for different audiences. By challenging the actual state of culture, economy and education, our primary function will embrace self-organized, artist-run, participatory and collaborative modes of action as a fundamental part of the content and structure of its activities.
Such initiatives can only be developed over time, by means of the simultaneous activation and advancement of various forms of exchange, distribution, and production. Our intention is to remain responsive and fluid throughout this process, adjusting our strategies, tactics, and aims as we develop. An integral aim of our program is to continually expand our platform of exchange, by bringing in new participants and interlocutors, fostering relationships with different institutions and organizations, as well as by deepening our ties and relationships with established collaborators.
CAPACETE acts at the intersection of various social and professional fields, thus requiring the selected participants to fully embrace an open and “horizontal” dialogue, and to actively engage in program activities by instigating projects that can in turn act as platforms for disseminating information, promoting active responses, and generating public debate.

Brazil’s paradoxical reality has been moulded by colonial power structures, as can be seen in its asymmetrical class structure, regular incidents of state violence, and in its unexamined logic of unrestrained exploitation and profit, all of which were reinforced by two military dictatorships in the 20th century and more recently by Latin-style neo-liberalism. Constantly undergoing economic changes and political transformations, the government’s predilection for short- term cultural policies added to a lack of investment in cultural institutions, has generated a fragile cultural context. Meanwhile, corporations have been actively investing in and dominating the cultural landscape, motivated in large part by tax deduction policies and federal laws (cf. Lei Rouanet, 1995). This has generated high-profile venture and publicity but very little in the way of productive and continuous critical and political discussion, hence weakening an already fragile cultural context. In a country that has one of the highest wealth concentrations in the world, this has contributed to accentuate and maintain socio-cultural disparities.
One perverse result of a weak cultural scenario is the isolation of autonomous cultural producers and authors who, despite having a strong and important practice, cannot find the means to articulate their research and knowledge with other practices, actors and systems. CAPACETE intends to operate on a micro-scale, raising different modes of representation and production by means of intimate connections. Its cross-disciplinary approach aims to challenge and reinvigorate the actual Brazilian context and give it a different visibility, by creating actual alternatives to the existing cultural networks and formats. Working on a small scale is an essential part of our endeavour, as was also the case with the Capacete Entertainment Residency Program. In that sense, CAPACETE can be seen as the continuation and reactivation of practices and strategies developed by its former residency program, both designed to thicken socio-political and cultural practices by providing an active ground for discussion, debate, and cultural reflection.

CAPACETE has its own infrastructure: a house located in the neighbourhood of Glória, Rio de Janeiro, which consists of a fully equipped apartment for visiting contributors, a library (in different languages), a small flexible multi-purpose exhibition space, a lecture room, multi-purpose rooms, a garden, 2 fully-equipped kitchens (one in open air for bigger events). CAPACETE also co-runs a hotel-like structure where many professionals have been hosted during their visit to Rio de Janeiro. This structure will stay in close contact with CAPACETE and provide support for its activities.
Program Aims
+ To build on the legacy of 16 years of activity by the CAPACETE entertainments international residency program within a different program and structure;
+ To contribute to the local context by providing an educational research program of public interest for national and international young practitioners;
+ To foster new modes of operation and instigate a collective sensibility;
+ To rethink modes of production in an accelerated society;
+ To shape different labour relations based on conviviality and exchange;
+ To promote cross-disciplinary research within the different spheres of the social, establishing a forum for continuous public debate and exchange related to contemporary aesthetical practices and socio-political issues;
+ To establish and maintain a specialized archive and database on local and international cultural practices, including publications, dossiers, exhibitions, seminars and a website;
+ To create an environment that is accessible to participants from different economical backgrounds by helping finance their living expenses and participation in the program;
+ To interact with the local art context and community;
+ To collaborate with other similar national and international initiatives;
+ To operate in a sustainable and environmentally-conscious manner, and foster awareness by means of specific events, such as seminars, events, use of eco-friendly technologies, etc.;

12 participants will be selected for the program. Our aim is to reserve 4 positions for Brazilians, 4 for South Americans, and 4 for the rest of the world. The duration of the program is 10 months, from the 1st of March to the 16th of December, with a one-month break in August during the Olympic games, which will be held in Rio de Janeiro.
The program is designed as a fluid and adaptive platform of exchange between the participants and the lecturers and advisors. The program will offer 9 seminars given by 9 lecturers from different backgrounds. Seminars will extend from 3 days to up to 5 days duration. Each lecturer will also do a public talk open to the main public. In addition, different talks, presentations and events will be organized throughout the year with other guest lecturers.
One of the ambitions of our program is to have each yearly program culminate in a collective project, designed by the participants, one that can take on any number of forms (presentation, performance, publication, exhibition, seminar etc.). However, in keeping with the participative logic of our project, rather than frame this as a requirement, we prefer to conceive of it as a potential whose actualization will be decided by the participants themselves.
Participants are also encouraged to develop individual projects. Use of the facilities of CAPACETE resort office and exhibition space and other infrastructure will be made available for such projects, and contact with local institutions and agents will also be facilitated. The program will organize trips to different sites of interests in accordance with the selected group of participants (walks, seminars in different sites); and for this, will collaborate with similar organizations in Brazil and South America.
Studio visits with local and visiting professionals, as well as visits to the studios of local artists will also be organized. It is important to note that CAPACETE is not a studio-based program. Work facilities are available and can be organized on a case-by-case basis, but designated workspaces are not automatically provided for each participant.

Office sharing

Venha trabalhar no nosso “office sharing

office sharing

Você pode usar nosso espaço para fazer reuniões ou simplesmente trabalhar algumas horas com internet banda larga.

Nossa casa fica perto do metro Gloria e de facil alcance com o metro ou outros meios publicos. Estacionamento interno para bicicleta. Estacionamento para carro tambem existe. A casa fica em uma rua sem saido portanto tem silencio e os espacos de trabalho podem ser tanto internos como externos. Ar condicionado nos espacos internos.

Preco por hora: R$ 10

Preco por dia: R$ 50

Preco por temporadas mais longas por favor consultar com: hotel@capacete.org

Cachaça Capacete e outros produtos

Experimente nossas incríveis cachaças artesanais

foto cacahaca 2

doce de leite    queijo    geleiasmel chique   queijo

CAPACETE Cachaça: 12, 18 e 25 Reais a garrafa

Queijo tipo parmesan: Kg 60 Reias

Geleias: pote por 16 Reais

Goiabada: pote por 16 Reais

Mel: potes por 15 e 30 Reais

Comprando os nosso produtos você estará contribuindo ao projeto como um todo. Faça parte!

Reciclamos a garrafa e você recebe a nova garrafa com o desconto (garrafa a 3 R$, 6R$, 7R$)

Livro para ler

livro para ler 2008

Livro para ler – 10 anos de capacete – publicado em 2008

Com textos de Jean-Pascal Flavien, Leonor Antunes, Teresa Riccardi, Hans Cristian Dany, Marcia Ferran, Olivier Zahm, Juan Valentin, Ligia Nobre & Kazuo Nakano

Frederikka Hansen, Peio Aguirre, Tatiana Roque & Paulo Oneto


Who we are

CAPACETE exists through the many professionals that have come through our organization (1998 to 2017) and these are (selection):

São estes: Arto Lindsay, Marssares, Dominique Gonzalez-Foerster, Ricardo Basbaum, Ana Infante, Andrea Fraser, Marcel Dzama, Rubens Mano, Tiago Carneiro da Cunha, Bruno Serralongue, Pierre Huyghe, Ducha, Hans-Christian Dany, Miyuki Kawamura, Nobuyoshi Araki, Tsuzuki Kyoichi, Sharon Lockhart, Eija Liisa Ahtila, Brígida Baltar, Joachim Koester & Matthew Buchinkham, Uri Tzaig, Enrico David, Marie-Ange Guilleminot, Camila Rocha, Christian Lemmerz & Michael Kvium, Marepe, Stephen Dean, Jun Nguyen-Hatsushiba, Johan Grimonprez, Seppo Renval, Caspar Stracke, Paulo Vivacqua, Vimukti Jayasundera, Marcos Chaves, Brice Dellsperger, Tiago Carneiro da Cunha, Pierre Bismuth, Chelpa Ferro, Tetine, Felipe Lacerda, Miklos Gaál, Mika Taanila, Jari Haanperä, Anu Pennanen, Tellervo Kalleinen, Gabriel Lester, Michael Roy, Hasou Hongxiang, Susan Norrie, Duplus, Sanna Kannisto, Soni Kum, Angela Detânico e Rafael Lain, Thiago Rocha Pitta, Laura Erber, Lisa Rovner, João Modé, Carla Zaccagnini, Falke Pisano, Max Hinderer, Bik van der Pol, Amilcar Packer, Manuela Mosocos, Pablo Pijnappel, Yael Davids, GIA, Jonas Delaborde, Julien Previeux, Dorothée Dupuis, Stephen Pederson, Christodoulos Panayiotou, Pauline Bremmer, Clara Gensburger, Olga Robayo, Wolf von Kries, Francesca Macri, Irene Pittatori, Maaike Gouwenberg, Joris Lindhout, Eduardo Guerra, Marcel Türkopfsky, Elsa Bourdot, Trine Mee Sook Gleerup, Paola Anziché, Estelle Nabeyrat, Elise Florenty, Jonas Staal, Julia Ayerbe, Vivian Caccuri, Wouter Osterholt e Elke Uitentuis, Daragh Reeves, Daniele Marx, Massimiliano de Serio, Gianluca de Serio, Christoph Keller, Jacob Jurgensen, Jimmy Robert, DAG Nordbrenden, Thelmo Cristovam, Nicolas Robbio, Bernardo Stumpf, Alexandre Vogler, Jorge Menna Barreto, Wendelyn van Oldenborgh, Leandro Nerefuh, Silvia Frederici, Marie Homer Westh, Cinia Guedes, Gil&Moti, Silvia Rivera Cusicanqui, Jari Malta, Sol Brado, Gris Garcia, Raul Hott, Eliana Otta, Michelle Mattiuzzi, Jota Mombaça, Gian Spina, Fabiana Faleiros, Rodrigo Andreolli, Nikos Doulas, Vassiliki Sifostratoudake, Fotini Gouseti, Kalliopim Alliopim Tsipni Kolaza etc.


A infra-estrutura principal do CAPACETE é uma casa no bairro da Glória, localizada na Rua Benjamin Constant, 131. O espaço é um antigo casarão destruído e reformulado com algumas técnicas ecológicas como captação de água da chuva, refrigeração através de teto verde e horta urbana. A casa dispõem de vários ambientes como 2 cozinhas, 3 quartos, uma varanda generosa, um pátio grande, um jardim de plantio, uma biblioteca e uma livraria.

Nesta casa acontecem a maior parte dos eventos do CAPACETE, tais como seminários, as apresentações das quartas-feiras, nossa livraria aberta ao público (sempre às quartas e quintas das 15h às 20h), assim como outras atividades dos participantes.

O espaço pode ser alugado para diferentes propostas. Por favor entrar em contato através do email: rent@capacete.net



We will answer frequent questions on this page

What is the real cost for the participant?
The total cost of the program is USD 17.000 (on todays rate april 2014). For each participant, depending from which country he or she is, we will have a specific solution for the grant that covers 85% of the total cost (grant = USD 15.000). The USD 2.400 must be paid by the participant in two installment. It is up to the participant, together with the team of CAPACETE, to work to find funding to cover the 85% (USD 15.000). After the selection process we will start fundraising with the selected candidates. Each case will be treated separately. For those candidates that have no option to find funding, due to lack of institution in their home country for example, CAPACETE is offering 2 to 3 grants of 85% of the total cost (USD 15.000). It is important to notice that the remaining USD 2.400 must still be contributed by the selected candidate even if he or she has no possibility of finding funding for these costs. As written in the program, we will offer payed work for these situations.

We also advice that the cost of Visas can vary from 40 to 60 USD for the first process (while still in your home country when applying to the visa at the Brazillian embassy) and another 100 USD while arriving in Brazil as for local bureaucracy work at the federal police. Laws have been changing quiet a lot and therefor we advice that these numbers can vary.

Is there an age limit for applying?
No, we accept application by all ages. It is important to notice that this program was designed for candidates in their beginning of their career. Individuals that already have a certain focus in their work and are searching to contribute to this program in a collective sense.

How do the working possibilities work? How many hours? How much is payed?
After the selection process and together with the selected candidate we will discuss whom it might interest to work as an internship for an artist (please see the list of participating artist in the program link). These internships will have different formats and are designed according to the needs of the artists or organization that are offering these possibilities and the need of our selected candidates specific qualities (graphic design, manual work, translation etc.). Each case will be treated individually. The internships will vary from 10 to 20 hours weekly and designed according to the necessities of both partners. The per/hour value of the payment is discussed individually with each professional and CAPACETE has no insight into this. It is important to understand that not everybody can have such a situation as this depends very much on the matching situation wich is unpredictable. We also advice that such a work may only start in April 2016 as the participants needs time to adapt to local conditions and needs time to meet the professional and see what can be done practically. We can not garanteed that all participants will find a place.

Is the rent included in the program?
Rents are not included in the program and it is up to the participant to find his or her solution. The CAPACETE team will help to find solutions. At this very moment we have 4 rooms in a generous and comfortable apartment for disposal with a monthly rent of about USD 500 (all included: internet, water, electricity etc.). These rooms will be at the disposal of the selected candidates for those that may want and need to share a common place. After the selection process e will help to find other solutions for individual or collective rents. For 2015 we have collaborated with another artists that has a beautiful house in the neighborhoods of Cosme Velho with 5 rooms and we have therefor had all our participants hosted in good conditions with same price USD 500 all included. This situation might not be here in 2016, but we will do our best to help each of our candidate. It is important to notice that Rio has turned into an expensive renting city, like most big capitals in the world (now for the upcoming Olympics in 2016), meaning that expectation by the renting person must be much more flexible. CAPACETE is very conscious about this problem and we are already working to have different solutions on hand, but we have to underline, that CAPACETE can not be responsible to find a perfect and equal solution for each selected candidate.

When and where shall the selected participant arrive?
Once we have the list of the selected participants we will organize housing and other bureaucracies (funding and visa etc.). In the case of the Brazilian participant that might choose to find his own housing we advice to be here right after Carnaval 2015. The exact dates will be briefly announced after the selection process. It is very possible that the 2016 program starts in Lima/Peru or another capital of a south american country. This will be decided together with the selected candidates (probably around September 2015).

Is it possible to participate in the seminars separately?
No. We expect that all participant attend most seminars and talks of the program., beside case of external exhibition or other personal related issues. All collaborators will have an talk open to the general public.

In which language are the seminars?
Most seminars will be in English but we highly recommend that the participant comes with a basic knowledge of Portuguese or Spanish. We will organize Portuguese classes for the interested participants with a small contribution. We hope that all participant come out of the program speaking basic Portuguese. For this year of 2015 we have 7 participants taking portugues class in a collective way (7 USD per head per 1 and a half hour).

Is it possible to work during the program?
The seminars will happen in different hours of the day and are still beeing elaborated by our team and the collaborators. We will try to adapt the best to the participants agenda. Nevertheless this is a full program requiring that all participants are fully focused in participating in most offered programs. All workshops will have a duration of around 20 hours per week making it almost impossible to have another fix full time job besides attending this program (this is more for a local resident). Otherwise we are looking forward to have all particpant working on other jobs, projects etc. as much as possible. We underline that the offered internships are already part of that strategy while offering an economical solution.

What are these 8 hours dedication to the program?
This program was designed to have a good, reasonable prices and collective spirit. To achieve this we think that active participation is important meaning working at the library (which will be open for the general public, organizing events (fundraising etc.), maintenance of the webpage, translation of texts etc. The 8 hours per week, depending on the group, may be completely different from this first stipulation. We will discuss this problem in a collective from once the program starts.

Will the participant have an individual studio?

CAPACETE in its 16 years of existence and more than 300 professionals, has never had individual studios. We are not a studio focused program. CAPACETE has a house which is its head quarter and where we will arrange tables according to the need of the collectivity and also individual needs. CAPACETE is focused on the collective process. The participants private house/room should fulfill these specific individual needs.


Posted in FAQ



The Escola de Cinema DARCY RIBEIRO is an institucional partner of CAPACETE with whom we collaborate on the coneceptual level and exchange of participants;

Our main collaborators on institutional level are:

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As also (institutional level): Bancomer (Mexico), Fundação Jumex (Mexico), ARTS Collaboratory (Casa Tres Patios, Medellín; Cráter Invertido, Mexico City; Más Arte Más Acción, Chocó; Platohedro, Medellín; Picha, Lubumbashi; Raw Material Company, Senegal; and Ruangrupa, Jakarta), Consulado Francés do Rio de Janeiro, Danish Art’s Council, Oticon Fonden, Grosserer L.F. Foghts Fond, Blix Fonden e Tranes Fond


The partnerships of CAPACETE are on different levels and to whom we are very thankfull:

1 – The lectures: Carla Zaccagnini, Suely Rolnik, Amilcar Packer, Manuela Mosocos, Andrea Fraser, Jorge Menna Barreto, Bik van der Pol, Christoph Keller, Daniela Castro, Anne Szefer Karlsen and Pedro Cesarino;

2 – The board: Marcia Fortes, Krist Gruijthuijsen, Marcio Fainziliber , Ronaldo Lemos , Arto Lindsay , Suely Rolnik, Esther Schipper , Ana Sokoloff and Frances Reynolds;

3 – Working partnerships (participants as assistent):  Antônio Dias, Daniel Steegman, Daniel Roesler/Galleria Roesler, Arto Lindsay, Thiago Carneiro da Cunha, Laura Lima and Ernesto Neto;

4 – Partnerships as doners “adopt a resident”: Mara e Marcio Fainziliber, Marcia Fortes, Ana e Luiz Guilherme Magaldi Affonso, Frances Reynolds, Tanit Galdeano and Esther Schipper

5 – Partnerships in Chile “adopt a resident”: Alfredo Jaar, Luis Hermosilla, Max Marambio, Ricardo Solari, Jorge Tacla, Alejandro Albertini, Alvaro Buzeta, Felipe Velasco, Gino Tapia, Sergio Parra, Catalina Mena, Javiera Parada

6 – Partnerships in Mexico “adopt a resident”: Kurimanzutto

7 – Partnerships “adopt a young artist”: Anonimous, Ernesto Neto, Monika Batista

8 – Conceptual partnerships: Denise Milfont, Irene Ferraz, Ivan Navarro, Florence Bonnefous, Javiera Parada, Amilcar Packer/Pedro Cesarino/Max Hinderer/Suely Rolnik com P.A.C.A., S.M.S (School for missing studies / Elisabeth Bik and Jos van der Pol);

9 – Partnerships with similar structures and organisations: Galeria Metropolitana (Chile), Gasworks (Londres), Lugar a Dudas (Cali/Colômbia), C.R.A.C. (Valparaiso/Chile), Motel Produções (Santiago/Chile), SMS (School of missing studies/Amsterdam/Holanda), Sandberg Institute (Amsterdam/Holanda), Studio X (Rio de Janeiro).


Perguntas frequentes

Qual o custo do programa 2017 para cada participante?

O custo total do program é o custo de transporte até Athenas e os custos locais menos a moradia que sera oferecida. O custo de vida em Athenas é menor que na cidade do Rio de Janeiro ou em São Paulo. Acreditamos que com algo em trono de 300 a 500 euros.

Existe uma idade mínima ou máxima para se inscrever?
Não, aceitamos inscrições de candidatos de todas as idades. O importante é ressalatar que estamos focando nosso porgrama para participantes em ínicio de carreira. Individuos que já tenham algum processo elaborado de trabalhar e buscam esta possibilidade de se aprimorar e contribuir de maneira coletiva.

A hospedagem está incluída no programa?
A hospedagem está incluida no programa e neste momento iremos oferecer quartos compratidos. Ao longo deste ano iremos trabalhar para conseguir mais fundos para que cada participante tenha seu próprio quarto.

Quando devem chegar os participantes?
A data deve ser em torno do ínicio de março 2017

Qual o custo do visto?
Uma vez selecionados os participantes estrangeiros deverão procurar a embaixada ou consulado brasileiro mais perto (normalmente nas capitais) para ver quais documentos são necessários. A questão do visto é um porblema de constantes mudanças uma vez que respondem a lógicas políticas e podem ser muito diferentes para cada país em questão. O visto pode levar 2 meses para serem preparados e o custo gira em torno de 150 Reais no Brasil (oficialização dos papeis para pedir o visto), mais 100 Euros nos países em questão, e finalmente outros 230 Reais de custos de imigração uma vez que o participante estiver no Brasil onde precisa se registrar na Policia Federal. Estes valores estão sujeitos a mudanças!

Os seminários serão em que língua?
Os seminários serão em lingua inglesa. É indispensável uma razoável compreensão da língua inglesa para participar deste programa. Lembramos que iremos ter muitas palestras, e visitas de outros profissionais estrangeiros que terão as mesmas exigências.

É possível trabalhar durante o ano?
Os seminários ocorrerão em horários diferentes e ainda serão elaborados com os seminaristas e iremos adaptar ao máximo possível às exigências dos participantes. Visto que ao menos 8 participantes não serão da cidade de Athenas, e muitos dos seminaristas também não vivem na cidade e terão carga horária bastante exigente (média de 20 horas por seminário), acreditamos que caberá ao participante se ajustar as exigências da programação. Sublinhamos que o visto que receberemos não permite trabalho legalizado.

As horas exigidas pelo programa consistem em que?
Para o bom funcionamento, preços módicos e um espírito coletivo, o CAPACETE exige participação efetiva do candidatos de forma prática: manutenção da biblioteca que terá horário de abertura ao público, organização dos eventos, manutenção do site, tradução de textos etc. Esta carga horária de 8 horas semanais pode, dependendo do grupo, ter uma exigência completamente diferente desta estipulação inicial. Iremos debater esta problemática com os candidatos selecionados.


Qual o custo do programa 2016 para cada participante?
O custo total do programa é de do valor total de R$ 40.000,00. Para cada participante, dependendo do seu país de origem, haverá uma solução específica de bolsa que cobrirá 85% do valor anual total do programa por participante (bolsa = R$ 34.000,00). R$ 6.000,00 deverão ser pagos pelos participantes. Caberá aos candidatos, junto com a equipe do CAPACETE, trabalhar para conseguir os fundos que irão cobrir os 85% (R$ 34.000,00). Após a seleção dos finalistas, daremos inicio à fase de captação, jutno com os selecionados. Os casos serão analisados e tratados individualmente. Para candidatos que não possuam qualquer possibilidade de financiamento junto a seus países de origem, o CAPACETE irá disponibilizar 2 a 3 bolsas referentes a 85% do valor total do programa. Vale ressaltar que neste caso também, caberá aos candidatos, com ou sem bolsa, contribuir com o valor de R$ 6.000,00, que deverá ser pago em 2 vezes; respectivamente no início do programa, em março, e em julho de 2015.

Existe uma idade mínima ou máxima para se inscrever?
Não, aceitamos inscrições de candidatos de todas as idades. O importante é ressalatar que estamos focando nosso porgrama para participantes em ínicio de carreira. Individuos que já tenham algum processo elaborado de trabalhar e buscam esta possibilidade de se aprimorar e contribuir de maneira coletiva.

Como funcionam as oportunidades de trabalho? Qual a carga horária? Quais os valores de remuneração?
Após a seleção, iremos analisar e discutir com os finalistas que estiverem interessados em fazer um estágio remunerado, junto a profissionais na cidade do Rio de Janeiro (veja lista dos nossos colaboradores de 2015 no programa). Estes estágios terão formas variadas, dependendo da necessidade dos profissionais envolvidos em oferecer estas vagas, e das capacidades de cada participante do programa (suas qualidades específicas; design gráfico, tradução, habilidades manuais etc.). Os casos serão analisados e tratados individualmente. Os estágios poderão ter de 10 s 20 horas semanais, ou outras equações, dependendo das necessidades dos profissionais e participantes envolvidos. O valor da remuneração serão elaboradores com cada profissional envolvido e independe do programa do CAPACETE. Sublinhamos que estes estágios se iniciam somente no més de abril uma vez que existe o més de adaptação do participante selecionado na cidade do Rio de Janeiro.

A hospedagem está incluída no programa?
A hospedagem não está incluida no programa e cabe a cada participante resolver esta equação. A equipe do CAPACETE irá, na medida do possível, ajudar a resolver esta questão. Neste momento, o CAPACETE tem à disposição 4 quartos, em um apartamento generoso no bairro da Gloria, com um preço mensal de R$ 1.500,00 por quarto, com tudo incluído (eletricidade, gas, internet etc.). Estes quartos serão postos à disposição para os interessados neste tipo de equação coletiva. Em 2015 conseguimos também uma colaboração com um artista local que se dispos a alugar sua casa com 5 quartas no bairro do Cosme Velho; portanto todos nossos participantes do programa 2015 foram confortavelmente hospedados. Esta equação, porém, esta sujeito a revisão para 2016. Iremos, após consulta dos candidatos finalistas, procurar outras soluções individuais ou coletivas referentes a moradia. É importante ressaltar que a moradia, na cidade do Rio de Janeiro, vem se tornando um problema cada vez mais agudo, exigindo maior flexibilidade dos inquilinos e forçando novas formas de convivência. Ciente deste problema, o CAPACETE, investirá esforços para conseguir solucionar da melhor maneira possível este ponto, ressaltando porém, que não pode se responsabilizar por achar uma solução perfeita e igualitária para todos os participantes selecionados.

Quando devem chegar os participantes?
Uma vez selecionados os participantes, iremos organizar as moradias e as respectivas burocracias (financiamento, vistos etc.). Caso um candidato brasileiro preferir buscar sua próprio hospedagem, aconselhamos que esteja aqui logo após o carnaval de 2015. As datas exatas do programa serão anunciados mais adiante no ano.

Qual o custo do visto?
Uma vez selecionados os participantes estrangeiros deverão procurar a embaixada ou consulado brasileiro mais perto (normalmente nas capitais) para ver quais documentos são necessários. A questão do visto é um porblema de constantes mudanças uma vez que respondem a lógicas políticas e podem ser muito diferentes para cada país em questão. O visto pode levar 2 meses para serem preparados e o custo gira em torno de 150 Reais no Brasil (oficialização dos papeis para pedir o visto), mais 100 Euros nos países em questão, e finalmente outros 230 Reais de custos de imigração uma vez que o participante estiver no Brasil onde precisa se registrar na Policia Federal. Estes valores estão sujeitos a mudanças!

É possível participar dos seminários separadamente?

Não. Exigimos dos candidatos participação em todas as oficinas, a não ser por razões de ordem maior e/ou profissional (exposição ou outras formas de trabalho). Todos os seminaristas irão realizar uma fala aberta ao público.

Os seminários serão em que língua?
Os seminários serão em lingua inglesa. É indispensável uma razoável compreensão da língua inglesa para participar deste programa. Lembramos que iremos ter muitas palestras, e visitas de outros profissionais estrangeiros que terão as mesmas exigências.

É possível trabalhar durante o ano?
Os seminários ocorrerão em horários diferentes e ainda serão elaborados com os seminaristas e iremos adaptar ao máximo possível às exigências dos participantes. Visto que ao menos 8 participantes não serão da cidade do Rio de Janeiro, e muitos dos seminaristas também não vivem na cidade e terão carga horária bastante exigente (média de 20 horas por seminário), acreditamos que caberá ao participante, carioca neste caso, se ajustar as exigências da programação. Por conclusão, os candidatos que tenham um emprego fixo, terão problemas reais de adaptação as exigências do programa. Por outro lado, outros trabalhos ou projetos com carga horária mais flexíveis, são muito bem vindos. Iremos discutir isto com os finalistas na medida que isto possa se tornar um dilema.

As 8 horas exigidas pelo programa consistem em que?
Para o bom funcionamento, preços módicos e um espírito coletivo, o CAPACETE exige participação efetiva do candidatos de forma prática: manutenção da biblioteca que terá horário de abertura ao público, organização dos eventos, manutenção do site, tradução de textos etc. Esta carga horária de 8 horas semanais pode, dependendo do grupo, ter uma exigência completamente diferente desta estipulação inicial. Iremos debater esta problemática com os candidatos selecionados.

Teremos um estudio individual para trabalhar?
O CAPECETE dispõe de uma sede/casa no bairro da Gloria onde funciona a biblioteca e onde irão acontecer a maior parte dos programas (seminários, oficinas, falas, encontros, comidas etc.). A casa/sede tem espaços flexiveis, e iremos adaptá-los às necessidades coletivas (mesas etc.). Não teremos espaços que atendam exigências individuais. O programa CAPACETE esta focado no pensar coletivo e as ações daí oriundas.


Posted in FAQ

Participantes do programa de 1 ano

O CAPACETE opera no nível do para-acadêmico e as inscrições para o programa são gratuitas e abertas para candidatos de qualquer idade, de todo o mundo, e que atuam na área da cultura. No entanto, a prioridade do programa é para pesquisadores em início de carreira. Não é imperativo que os candidatos possuam diploma universitário para sua elegibilidade, mas espera-se que o candidato tenha dedicação consistente em relação a sua própria investigação. Os candidatos podem ter uma formação educacional ou interesse em diferentes disciplinas (antropologia, dança, etc.), no entanto, é importante que os candidatos entendam as diretrizes do programa. Note-se que este programa herda e transforma 16 anos de atividades do CAPACETE Entretenimento. Assim, a fim de que se tenha uma melhor compreensão do CAPACETE, recomendamos olharem o documento em anexo, a fim de entender as especificidades deste cenário e contexto.

O CAPACETE reúne profissionais de diferentes formações e que estão totalmente investidos em sua prática. Portanto, será exigido que o participante conceda dedicação integral às atividades globais do programa .

Os participantes do programa de 1 ano em 2017 em Athenas são:

Jari Malta (Uruguai)

Sol Brado (Argentina)

Gris Garcia (México)

Raul Hott (Chile)

Eliana Otta (Peru)

Michelle Mattiuzzi (Bahia / Brasil)

Jota Mombaça (Natal / Bahia)

Gian Spina (São Paulo / Brasil)

Fabiana Faleiros (Porto Alegre / Brasil)

Rodrigo Andreolli (São Paulo / Brasil)

Nikos Doulas (Grécia)

Vassiliki Sifostratoudake (Grécia)

Os participantes do programa de curta diração (3 ou 6 meses) no Rio de Janeiro em 2017 são:

Marie Homer Westh (Dinamarca)

Cinia Guedes (Bahia / Brasil)

Gil&Moti (Isreal/Holanda)

Fotini Gouseti (Grécia)

Kalliopim Alliopim Tsipni (Grécia)


Os participantes do programade 1 ano em 2016 foram:

Anna Bak (Dinamarca)
Aurélia Defrance (França)
Caetano Maacumba (Brasil)
Camilla Rocha Campos (Brasil)
Ian Erikson-Kery (E.U.A.)
Jonas Lund (Suécia)
Julia Retz (Brasil)
Marilia Loureiro (Brasil)
soJin chun (Korea/Canadá)
Soledad Leon (Chile)
Tali Serruya (Argentina)
Thora Doven Balke (Noruega)


Os participantes do programa de 1 ano em 2015 foram:

Caroline Valansi (Brasil),
Daniel Jablonski (Brasil),
Giseli Vasconcelos (Brasil),
Lucas Sargentelli (Brasil),
Joen Vedel (Dinamarca),
Adeline Lepine (França),
Oliver Bulas (Alemanha),
Tanja Baudoin (Holanda),
Félix Luna (México),
Andrew de Freitas (Nova Zelândia),
Asia Komarova (Russia),
Refilwe N Nkomo (Africa do Sul),
Maricruz Alarcon (Chile)

History 1998-2014


CAPACETE Entertainment is an autonomous non-profit art initiative founded in Rio de Janeiro in 1998 and active in São Paulo since 2009. Our activities gravitate around an international artistic research-based residency program for artists, critics and curators, among other professionals related to culture and critical thinking, to spend a period of 3 up to 6 months in the cities of Rio de Janeiro and/or São Paulo, Brazil. Over the past 15 years our programs received more than 300 professionals and included the organization of public presentations and screenings, talks and seminars, workshops and performances, publications and exhibitions among different events, actions and strategies to provide content, and develop the local context. CAPACETE Entertainment is a platform for research and time-based practices that seek to engage with different systems of production and address local communities and practitioners from a diverse range of disciplines. We support different speeds for production and research by providing the residents with a priviledged situation for exchange in continuous conversations, facilitating the interaction with the local context thus understood as the urban spaces of the city, its history and inhabitants.

CAPACETE Entertainment cooperates in a regular basis with several governmental agencies, foundations and art institutions as the Danish Art Council, Office Contemporary Art Norway, Mondrianfund, Goethe Institut – São Paulo, French Embassy in Rio de Janeiro, Cyprus Government, Resó/Piedmont in Italy, GASWORKS (London) among others and has recently started a partnerships with CALQ (Québec/Canada) and AIR-WARSAW (Poland). CAPACETE has participated in 8 editions of the International Film Festival of Rio de Janeiro, 3 editions of the São Paulo Biennial of Art, and 2 editions of the Mercosul Biennial, among other festivals and exhibitions.

Between 2010 and 2012, CAPACETE received in its program more than 70 professionals, published 5 books, offered more than 20 workshops, and organized over 150 public presentations. CAPACETE Entertainment activities are public and free, and the participation in the programs is made by a procedure of selection by open free calls related to specific programs designed with our partners. In 2010, as part of the program developed for the 28th Bienal de Arte de São Paulo, CAPACETE organized s series of workshops called “Answering machine” coordinated by Jorge Menna Barreto and Helmut Batista, and which included 9 workshops taught by a group of international critics and curators.

A quik view of artists, curators, writers and critics with whom CAPACETE Entertainment has made exhibition and new work under its research program (selection):

Andrea Fraser, Ricardo Basbaum, Marcel Dzama, Rubens Mano, Tiago Carneiro da Cunha, Bruno Serralongue, Pierre Huyghe, Ducha, Hans-Christian Dany, Nobuyoshi Araki, Sharon Lockhart, Eija Liisa Ahtila, Brígida Baltar, Joachim Koester & Matthew Buchinkham, Uri Tzaig, Enrico David, Marie-Ange Guilleminot, Marssares, Marepe, Dominique Gonzalez-Foerster, Jun Nguyen-Hatsushiba, Johan Grimonprez, Seppo Renvall, Jonas Ohlson, Caspar Stracke, Paulo Vivacqua, Vimukti Jayasundera, Marcos Chaves, Brice Dellsperger, Tiago Carneiro da Cunha, Pierre Bismuth, Chelpa Ferro, Tetine, Sasha Huber, Sanna Kannisto, Gabriel Lester, Michael Roy, Sanna Kannisto, Angela Detânico and Rafael Lain, Thiago Rocha Pitta, Laura Erber, Lisa Rovner, Will Holder, João Modé, Carla Zaccagnini, Rodney Graham, Harun Farrocki, Wendelyn van Oldenburgh, Raimond Chaves, Kasper Pederson, Brigida Baltar, Daniel Steegman, Arto Lindsay, Siri, Mariana Castillo Deball, Falke Pisano, Manon de Boer, Siri, Alexandre Vogler, Manuel Raeder, Julien Bismuth, Daragh Reeves, Luca Frei, Max Hinderer, Renata Lucas, Amilcar Packer, Daniela Castro,……




October (18/10) – “CAPACETE” with Siri, Amilcar Packer and Helmut Batista – NBK /Berlin
October (13/10) – “CAPACETE” with Siri, Amilcar Packer and Helmut Batista – Museu Mario Marini /Firenze
Setembro (29/09-20/10) – “CAPACETE” with Arto Lindsay, Amilcar Packer and Helmut Batista – CRAC/Altkirch
September (21/09-20/10) – “CAPACETE” with Arto Lindsay, Siri, Daniela Castro, Alexandre Vogler, Rogério Duarte and Amilcar Packer – PORTIKUS/Frankfurt
September/October – Seminars at Staedelschule with Pedro Cesarino, Amilcar Packer and Helmut Batista
May (05) – “Ligia Clark Pavillion” with Falke Pisano and Luca Frei – at CAPACETE
April (21) – “Cerveja do GIA/CAPACETE” with GIA – at CAPACETE


Installation view at Portikus





December (4/12) – “Exposição 02” with Clara Lee Lundberg, Daniele Marx, Felipe Abdala, Fernanda Furtado, Lucas Sargentelli, Luiza Crosman, Marcia Ferran, Marianna Olinger, Pedro Moraes, Sofia Caesar and Vivian Caccuri / direction Helmut Batista / sound and harmony Vivian Caccuri / Conduction Daniela Marx – at Teatro Ipanema


October (16/10) – “Exposição 01” with João Modé, Ducha, Daragh Reeves, Pablo Pijnappel & and particpants of AULA, Daniele Marx, Jarbas Lopes, Nicolas Robbio, Runo Logomarsino, Renata Lucas, Luiza Marcier, Aleta Valente, Lucas Sargentelli, Sofia Caesar, Vivian Caccuri, Pedro Victor Brandão and otheres / direction Helmut Batista / – at Teatro Ipanema


Teatro Ipanema with Arto Lindsay, Lisette Lagnado and Vivian Cacurri


July (04/10) – Campos de Reconfigurações Eletromagnéticas, Thelmo Cristovam and Fernando Torres


July (04/10) – Imprevisibilidade e Justeza – Lisette Lagnado, Arto Lindsay, Vivian Caccury and Pedro Sá


July (04/10) – Paraíso Ocupado – a project by Wouter Osterholt & Elke Uitentuis, exhibition in an abandonned showroom, Avenida Evandro Lins e Silva / Barra da Tijuca, Rio de Janeiro, Brasil.






May (505) – NO SOUL FOR SALE at TATE Modern Turbinhall
March through December – Presentations and projects with Christodoulos Panayiotou (Chipre), Alexander Vaindorf (Russia/Suécia), Raquel Guerra (Portugal), Falke Pisano (Holanda/Alemanha), Max Hinderer (Bolivia/Alemanha), Pauline Bremmer (Holanda), Trine Mee Sook Gleerup (Dinamarca), Macrì Pittatore (Italia/RESO), Irene Ninika (Italia/RESO), Paola Anziché (Italia/RESO), Estelle NABEYRAT (França), Elise FLORENTY (França), Olga Robayo (Colombia/Noruega), Wolf von Kries (Alemanha), Maaike Gouwenberg (Holanda), Joris Lindhout (Holanda), Eduardo Guerra (Portugal), Marcel Türkopfsky (Alemanha), Elsa Bourdot (França), Clara Gensburger (França).












Capacete Entretenimentos program for the 29ª São Paulo Art Biennial.


Teatro Arena with the curator of the 28th SP Biennial


For the 29a São Paulo Biennial, CAPACETE produced a series of events during 9 month transforming its head quarters of Rio to the city of São Paulo


Talks and special programs (from march through December)
10/03 – Anri Sala.
11/03 – Jeremy Deller and Amilcar Packer.
24/03 – Cristine Ribas and Wouter Osterholt & Elke Uitentuis.
14/04 – Daniela Casto, Inti Guerrero, Luisa Duarte and Sarah Farrer.
28/04 – Renata Lucas and Carlos Bunga.
29/04 – Milton Machado and Martin Beck.
12/05 – Santiago Garcia Navarro and Carla Zaccagnini.
26/05 – Teresa Riccardi and Julia Rometti & Victor Costales.
02/06 – Rina Carvajal, Moacir dos Anjos, Agnaldo Farias, Chus Martínez, Yuko Hasegawa, Fernando Alvim and Sarat Maharaj.
22/06 – Raquel Garbelotti com Cauê Alves, Ilana Feldman and Ismail Xavier.
24/06 – Jimmie Durham and Maria Thereza Alves.
14/07 – Ducha and Jean-Pascal Flavien.
22/07 – Adria Julià com Madalena Bernardes, Carlos Alberto Franzoi, Gleison Vieira.

04/08 – Wendelien van Oldenborgh and Raquel Garbelotti.
12/08 – Romulo Fróes, Eduardo Climachauska, Nuno Ramos e Keila Kern.
18/08 – Tiago Carneiro da Cunha and Mariana Castillo Deball.
26/08 – Sasha Huber, Maria Helena Machado and John Monteiro.
08/09 – Andrea Fraser.
09/09 – Louidgi Beltrame and Wagner Morales.
15/09– Suley Rolnik and Manon de Boer.
17/09 – Raimundas Malasauskas, Gabriel Lester, Bik van der Pol, Otto Bersham, etc.
18/09– Hans Ulrich Obrist
22/09 – Yuko Hasegawa, Qui Anxiong and Chen Chieh-jen / Lars Bang Larsen & Joachim Koester / Dora Garcia and Chus Martines.
23/09 – Kendell Geers, Nastio Mosquito and Fernando Alvim / Raqs Media Collective and Sarat Maharaj / David Claerbout and Pedro França.
24/09 – Afredo Jaar e Agnaldo Farias / Cildo Meireles e Moacir dos Anjos.
29/09– Tamar Guimarães and Kasper Akhøj.
06/10 – Marta Bogeá and Jean Pascal Flavien.
28/10 – Hans Christian Dany / Arto Lindsay, Lisette Lagnado, Vivian Caccuri and Pedro Sá.
04/11 – Geir Haraldseth, Anders Smebye, Roberto Winter and Luiza Proença
27/11 – Agnaldo Farias and Moacir dos Anjos

Teatro Arena – São Paulo


Library space / exhibition space

This space was used for meetings, library with all the books of the São Paulo biennial etc.
Projects at the library space:

24/06 – Wouter Osterholt & Elke Uitentuis.
14/06 – Santiago Garcia Navarro.
26/08 – Sasha Huber.
In residency for the SP Bienial Program


01/03 – 30/04/2010 – Cristina Ribas (Brasil).
01/03 – 30/04/2010 – Sarah Farah (Nova Zelândia / Holanda).
01/03 – 30/05/2010 – Julia Rometti e Victor Costales (Equador/ França).
01/03 – 30/06/2010 – Santiago Garcia Navarro (Argentina).
01/05 – 30/05/2010 – Kasper Pederson (Dinamarca).
18/05 – 17/11/2010 – Adriana Pineda (Colombia).
01/06 – 30/09/2010 – Adria Julia (E.E.U.U. / Espanha).
01/07 – 30/07/2010 – Ducha (Brasil).
01/07 – 30/10/2010 – Jean-Pascal Flavien (França).
10/07 – 15/10/2010 – Mariana Castillo Deball (México / Holanda).
19/07 – 02/09/2010 – Sasha Huber (Suissa / Finlândia).
02/08 – 31/08/2010 – Adriana Lara (México).
20/08 – 26/09/2010 – Gabriel Lester (Holanda).
15/08 – 31/10/2010 – Jonas Ohlsson (Holanda / Suécia).
15/08 – 31/10/2010 – Daniele Bersham (Holanda / Alemanha).
01/09 – 31/09/2010 – Otto Berchem (Holanda /E.E.U.U.).
01/10 – 31/10/2010 – Hans Christian Dany (Alemanha).
01/10 – 31/01/2010 – Mako Ishizuka (Japão).

01/03 – 30/04/2010 – Carla Zaccagnini (Brasil).
01/03 – 30/04/2010 – Liz Linden (E.E.U.U.).
01/03 – 30/06/2010 – Wouter Osterholt (Holanda).
01/03 – 30/06/2010 – Elke Uitentuis (Holanda).
01/04 – 30/05/2010 – Amilcar Packer (Brasil).
01/05 – 30/06/2010 – Vitor Cesar (Brasil).
01/06 – 30/06/2010 – Kasper Pederson (Dinamarca).

01/06 – 30/09/2010 – Adria Julia (E.E.U.U. / Espanha).
01/07 – 30/09/2010 – Louidgi Beltrami (França).
01/07 – 30/09/2010 – Elfi Turpin (França).
01/07 – 30/09/2010 – Tamar Guimarães (Brasil / Dinamarca).
10/08 – 26/09/2010 – Raimundas Malasauskas (Lituania).
01/08 – 30/12/2010 – Bart Lodewijks (Holanda).
01/09 – 31/12/2010 – Lise Harlev (Dinamarca).
01/09 – 31/12/2010 – Anders Smebye (Noruega).
01/10 – 31/12/2010 – Daniel Salomon (França).




March to December – Workshops realized with Afonso Luz, Marcia Ferran, Guilherme Bueno, Daniela Labra and Mariana Dell Castillo
September (6/9) – Bienal of Mercosul; – CAPACETE invited Raquel Garbelotti (São Paulo) and Adria Julia (USA/Barcelona) insertion the program “El arbore magico” by Mario Navarro
March – “aonde o rio” by Danilo Volpato – installation at Clube dos Democráticos – rua Riachuelo # 91/93, Lapa, Rio.
March (24/03) – “book to read” book launch with text by Leonor Antunes (Portugal), Teresa Riccardi (Argentina), Olivier Zahm (France), Hans Cristian Dany 
(Alemanha), Ligia Nobre&Kazuo Nakano (SãoPaulo), JuanValentin (Argentina), Marcia Ferran (Rio de Janeiro), Frederikka Hansen (Denmark), Tatiana Roque & Paulo Oneto (Rio de Janeiro), Jean Pascal Flavien (France) and PeioAguirre (Spain) in three languages (portugues,englishand spanish).
March (24/03) – “In living contact” – book launch of workshop 2008 – “The institution , A Novel” by  Krist Gruijthuijsen
March – DJ Lonly&BabaEletronica&friends at Plano B, Lapa, Rio de Janeiro




December (14/12)
 MATTER OF FACT: AFTERMATH with Adam Pendleton, Falke Pisan, Will Holder, Renzo Martens, Ricardo Valentim, Jeremiah Day, Olaf Nicolai curated by Krist Gruijthuijsen at Parque Lage.

December (12/12)
- MATTER OF FACT: AFTERMATH with Adam Pendleton, Falke Pisan, Will Holder, Renzo Martens, Ricardo Valentim, Jeremiah Day, Olaf Nicolai curated by Krist Gruijthuijsen at Galeria Vermelho (São Paulo).

November (28/11) – Book launch “book to read – 10 years of capacete” with text in three languages by Leonor Antunes (Portugal), Teresa Riccardi (Argentina), Olivier Zahm (França), Hans Cristian Dany (Alemanha), Ligia Nobre & Kazuo Nakano (São Paulo), Juan Valentin (Argentina), Marcia Ferran (Rio de Janeiro), Frederikka Hansen (Dinamarca), Tatiana Roque & Paulo Oneto (Rio de Janeiro), Jean‐Pascal Flavien (França) and Peio Aguirre (Espanha)

October ‐
28ª Biennial of São Paulo ‐ “CINEMA CAPACETE Loop ‐ its not cinema, its not video and neither television” with Harun Farocki (Germany), Rodney Graham (Canada), Wendelyn Van Oldenborgh (Netherlands), Kasper Akhøj Pedersen (Denmark)
and Raimond Chaves (Colombia). Ocupation of three different location: Casa Modernista, a “Praça” at the Iberapuera building and several cinema rooms in the city.

June (19/06)
 A one day project in Santa Teresa with Mohamed Bourouissa (France)

June/July (10/07) – “architectura” ‐ the portugues artist Leonor Antunes exhibits her piece at Mueum da Republica

February/March (09/02 – 09/03) – CAPACETE 10 years in New York at Friedrich Petzel and ART IN GENERAL with artists DUCHA (Rio de Janeiro), Jean‐Pascal Flavien (France) and Gabriel Lester (Netherlands)



October (12/10) – Bábá Eletronica &  DJ Lonely ‐ performance by Jonas Ohlsson and Daniela Abershan during the Festival CENACONTEMPORANEA

October (11/10) – “Popcorn” by Liisa Lounila during the Festival CENACONTEMPORANEA

September (29/09) -“Nova Paraíso” by Julia Rometti with DJ KASSIN and BERNA during the Festival of Cinema do Rio 2007 at Cinema ODEON

August – “Linea de Hormigas” with Felipe Mujica, Johanna Unzueta, Diego Fernandez and Cristobal Lehyt at Galeria GENTIL CARIOCA March –

March (fort 4 years) – “The Viewer” by Jean‐Pascal Flavien ‐ Maricá/Rio de Janeiro – in exhibition for unlimited time

April 10/04
- ROAD Version 1.6 with Julia Rometti&Victor Costales ‐ from Aguas Verdes/Peru to Medellin/Colombia – project for  MED07 ‐ Encuentro de Medellin 2007 April
10/05 – Residency and exhibition with João Modé in Medellin for the MED07 ‐ Encuentro de Medellin/Colombia



Outubro (09/10) – CINEMA CAPACETE VI – 2006 ‐ loop VI ‐ não é cinema, não é vídeo e nem televisão with  Gregor Passens, João Modé, Anri Sala19/09

Setembro (21/09
Internacional de Cinema do

Maio 29/05
25/06 – ROAD Version 1.5 with Gabriel Lester and Helmut Batista ‐ from Lima/Peru to Quito in Equador.

February (02/02)
- Book launch “CARNAVAL DO RIO DE JANEIRO” with fotography by Helmut Batista and with text byTatiana Roque&Paulo Oneto and Felipe Ferreira.



December – Cinema Capacete V – “loop // not video, nor cinema, neither television” – Soni Kum (Korea do Norte), Sanna Kannisto (Finlândia), Angela Detânico e Rafael Lain (São Paulo), Thiago Rocha Pitta (Rio de Janeiro), Laura Erber (Rio de Janeiro), Dominique Gonzalez-Foerster (France), Lisa Rovner (New York), Carla Zaccagnini (São Paulo) e Eli Sudback (New York) – screened at Cinema in Florianopolis

September/October – Cinema Capacete V/Festival de Cinema do Rio – “loop // not video, nor cinema, neither television” – Soni Kum (Korea do Norte), Sanna Kannisto (Finlândia), Angela Detânico e Rafael Lain (São Paulo), Thiago Rocha Pitta (Rio de Janeiro), Laura Erber (Rio de Janeiro), Dominique Gonzalez-Foerster (France), Lisa Rovner (New York), Carla Zaccagnini (São Paulo) e Eli Sudback (New York)

September – ROAD Version 1.4 with João Modé and Helmut Batista – exhibition/mobile project at Galeria La Cupable / Lima-Peru – trip from La Paz/Bolivia to Lima/Peru

May – “Field studies” by Sanna Kannisto – Museum of Biology Helio Beltrão – Santa Teresa/Espirito Santo

April – Project ROAD Version 1.3 with Olivier Poujade – trip from Valpariaso to La Paz/Bolivia

March – “Museu das vistas” project ROAD Version 1.2 by Carla Zaccagnini – exhibition/mobile project at EiEi meeting for independent spaces in Valparaiso/Chile



December – “Diários de Bicicleta e aquarelas” project ROAD Version 1.1 by Ducha and Helmut Batista – exhibition/mobile project at Galeria Metropolitana in Santiago de Chile

September/October – Cinema Capacete IV/ Festival de Cinema do Rio / “loop // not video, nor cinema, neither television” – with Brigida Baltar, Gabriel Lester, Michael Roy, Hasuo Hongxiang, Duplus and Susan Norrie – together with the Festival Rio 2004, Instituto de Audiovisual Escola de Cinema Darcy Ribeiro, RJ

May – Shooting of “Maria Farinha” film by Brigida Baltar

May – Heavy Snowfakes / Raios Calientes – Miklos Gaál, Mika Taanila, Jari Haanperä, Anu Pennanen and Tellervo Kalleinen – Escola de Cinema Darcy Ribeiro



September – TO FREE THE CINEMA – Program 4 curated by Karyn Riegel – Cinema Tropical New York.

September/October – Cinema Capacete III / “loop // not video, nor cinema, neither television” – with Marcos Chaves, Brice Dellsperger, Tiago Carneiro da Cunha and Pierre Bismuth – together with the Festival Rio 2003, Instituto de Audiovisual Escola de Cinema Darcy Ribeiro, RJ

August – TO FREE THE CINEMA – Program 3 curated by Karyn Riegel – Cinema Tropical New York

August – Vimukti Jayasundera (Sri Lanka) – “Vide pour l’amour”

June – TO FREE THE CINEMA – Program 2 curated by Karyn Riegel – Cinema Tropical New York

June – with Paulo Vivacqua – instalação sônica

May – TO FREE THE CINEMA – Program 1 curated by Karyn Riegel – Cinema Tropical New York

May – with Caspar Stracke “No Damage”

March/April – with Taro Shinoda (Japan) and Tsuyoshi Ozawa (Japan)



September/october – Cinema Capacete II / “not video, nor cinema, neither television”

with Christian Lemmerz & Michael Kvium (Dinamarc), Marepe (Brazil), Stephen Dean (France), Jun Nguyen-Hatsushiba (Vietnam), Johan Grimonprez (Belgium), Ducha (Rio de Janeiro), Andrea Fraser (USA), Seppo Renval (Finland). – togther with the Festival Rio BR 2002, Instituto de Audiovisual Escola de Cinema Darcy Ribeiro, RJ

July – A BANCA N.2 – Bienal de São Paulo – with Brígida Baltar (Rio de Janeiro) and Camila Rocha (São Paulo) – colaboration project with CAPACETE Entretenimentos and the Festival de Inverno do – Rio de Janeiro.

March – A BANCA N.2 – with Marie-Ange Guilleminot (França) and Marssares (Rio de Janeiro) – Participation at the XXV Bienal de São Paulo.


December/January – Tiago Carneiro da Cunha (São Paulo) and Enrico David (Inglaterra)

September/october – Cinema Capacete / Filmes de Artistas – with Joachim Koester & Matthew Buchinkham (Dinamarca) and Uri Tzaig (Israel)

September – Cinema Capacete I / Films by artists / Festival de Cinema BR 2001 – with Sharon Lockhart, Eija Liisa Ahtila, Dominique Gonzáles-Foester and Brígida Baltar

June/July – with Miyuki Kawamura (Japan), Nobuyoshi Araki + Tsuzuki Kyoichi (Japan).

February – with Ducha (RJ) and Hans-Christian Dany (Germany)



December/january – Executive production of PLAGE, third short film in 35mm by Dominique Gonzalez-Foerster (France)

November – “Blanche Neige, Lucie” e “L’ellipse” by Pierre Huyghe (France)

and “Riyo”, “Ipanema Theories”, ”O Quarto” by Dominique Gonzalez-Foerster (França).

March – “EUVOCÊ (superpronome)” de Ricardo Basbaum (RJ) e – “UGUANDA COMPRESSIVE FILES” by Marssares (RJ).


December – with Shimabukuro (Japan)

October/november – Project with Bruno Serralongue (France) – “Jornal do Brasil series”

August – Project with Marssares (RJ) e Tiago Carneiro da Cunha (São Paulo)

March – “White Cue” de Rubens Mano (São Paulo)



November – with Andrea Fraser (USA) and Marcel Dzama (Canada)

July – with Ricardo Basbaum (RJ) e Ana Infante (RJ)




– ROAD : mobile residency –



Road is a mobile residency program designed to serve as a platform for projects researching in the Southamerican territory.


Anne Bellester Soares at the Yanomami for the road/boat project with Bik van der Pol, Cristoph Keller, Amilcar Packer, João Modé, Mariana Lanari and Helmut Batista


2013 – Version BOAT 3.1.8. – with Christoph Keller, Mariana Lanari, Bik Van der Pol, João Modé, Helmut Batista e Amilcar Packer, a convite de Anne Ballester Soares and escola Xapomi/Puraquêquara, Manaus > Santa Isabel do Rio Negro, Amazonas).


2012 – Version 2.7.1 – with Sofia Caesar, Lucas Sargentelli, Ícaro Lira e Bruno Jacomino (from Rio de Janeiro > Fordlândia, Pará)


– Version 1.6. – with Julia Rometti & Victor Costales (Peru > Colombia).


– Version 1.5. – with Gabriel Lester (from Lima, Peru > Quito, Ecuador).


– Version 1.4 with João Modé and Helmut Batista – exhibition at Galeria La Culpable, Lima, Peru (from La Paz, Bolivia > Lima, Peru).


– Version 1.3 with Olivier Poujade (from Valpariaso, Chile > La Paz, Bolivia).


– Version 1.2 with Carla Zaccagnini (in Valparaiso)


First road trip with Ducha and Helmut Batista


– Version 1.1 with Ducha and Helmut Batista, – exhibition at Galeria Metropolitana, Santiago, Chile (from Rio de Janeiro to Santiago do Chile).




























Public talk by Ricardo Basbaum


CAPACETE supports the specific research of its residents and to simultaneously provide local context free educational programs in various formats and durations. These activities include the presentation of the work performed by residents, and presentations from other local and foreign guests. Since 2007, CAPACETE promotes continuiada a training program, lasting 10 months, and for a select group of up to 15 young professionals.


In January 2012, in collaboration with the Spanish artist Daniel Steegmann Mangrané was organized the first edition of the Summer University, and lasting 3 weeks, promotes six workshops for a group of 14 young professionals, and 4 public performances. In January 2013 came the second edition.


The workshops aim to give local professionals the opportunity to work with a diverse range of professionals and practitioners from a wide range of disciplines that are connected with critical thinking in art. In turn, the public presentations seek to open the program of research to a wider audience, thus promoting critical public debate.


The ROAD program also contributes to expand our educational commitment, as participants realize that residents lectures and workshops in some of the cities visited. ROAD / BOAT was an edition held in the Upper Rio Negro, Amazonas, in which seven artists who work at education, met with teachers Yanomami 4 and 5 of his students, to discuss the challenges of education in specific contexts.





Workshops and educational programs






Study groups and working in curatorship and critical writing. (with support from the Secretariat of Culture of the State of São Paulo, Institut Français, Goethe Institut – SP, Casa do Povo).


Universidade de verão

6 workshops – Max Hinderer (critic / Germany), Falke Pisano (artist / Holand), Kaira Cabañas (historian / Columbia University, NY/E.E.U.U.), Manuel Raeder (designer / Germany), Benjamnin Mayer-Khramer (art historian / Universidade de Leipzig, Germany), Amilcar Packer (artist / Brazil).

4presentations – Luis Camilo Osorio (curator, director MAM-RJ / Brazil), Sergio Martins (critic / Brazil), Fernanda Gomes (artist / Brazil) and Pedro de Niemeyer Cesarino (antropolog / Brazil).





Universidade de verão

6 workshops – Amilcar Packer (artist / Brazil), Suely Rolnik (critic / Brazil), Renata Lucas (artist / Brazil), Kaira Cabañas (art historian / Columbia University NY/E.E.U.U.), Manuel Raeder (designer / Germany), Benjamnin Mayer-Khramer (art historian / University of Leipzig)

4 palestras – Pablo Léon de la Barra (curator / Mexico), Sergio Martins (critic / Brazil), Ricardo Basbaum (artist / Brazil), Ernesto Neto (artist / Brazil).


Programa Aula 2012 Rio de Janeiro

6 workshops – Pablo Pijnappel, Vivian Caccuri, Daniele Marx, Nicolas Robbio, Bernardo Stumpf and Thelmo Cristovam




Máquina de Responder

(for the 29a Bienal de Arte of São Paulo)

9 workshops coordinated by Jorge Menna Barreto (artista / Brazil) and Helmut Batista (artist / Brazil) – Marcia Ferran (urbanist / Brazil), Mariana Castillo Deball (artist / Mexico), Afonso Luz (cultural agent / Brazil), Raimundas Malasaukas (curador / Lithuania), Carla Zaccagnini (artista / Argentina), Ana Paula Cohen (curator / Brazil), Santiago García Navarro (writer / Argentina).









– Group Shows –


2011 – “Itinerários / Itinerâncias” Panorama da Arte Brasileira no MAM – SP, Brasil

2010 – “NO SOUL FOR SALE”, projeto na TATE Modern, Londres Inglaterra

2010 – “Há sempre um copo de mar para um homem navegar”, 29ª Bienal de Arte de São Paulo, Brasil

2009 – “Grito e escuta” – 7ª Bienal do Mercosul, Porto Alegre, Brasil

2008 – “Em vivo contato” – 28ª Bienal de Arte de São Paulo, Brasil

2008 – “Micro-State CAPACETE”- Friedrich Petzel gallery, NY, E.U.A.

2004 – “PR04”- 1a Bienal de Arte de Puerto Rico, San Juan, Puerto Rico

2003 – To Be Political It Has To Look Nice, Apexart, Nova Iorque, E.U.A.

2003 – “Desarrumado”, Panorama da Arte Brasileira”, Museu de Arte Moderna-SP, Brasil

2002 – “Iconografías metropolitanas” – 25ª Bienal de Arte de São Paulo, Brasil



– Publicacations –


The publications made ​​by CAPACETE editorial projects are organized in collaboration with artists and other agents of critical thinking. Express our commitment in the medium and long term residents with professionals, their research projects and knowledge production.








Nosso Lar Brasília (2013/2014)
Project by Jonas Stall
180 pages full colour
Price: Euros 20

Block Experiments in Cosmococa – program in progess – (2013/2014)
Project by Max Hinderer and Sabeth Buchmann
116 pages full colour
Price: Euros 20

Morder para cima – (2013/2014)
Project by Arto Lindsay
180 pages full colour
Price: Euros 20



Jean-Pascal Flavien – Re-two person house, ed. CAPACETE e Devonian Press

Jean-Pascal Falvien – Landscape house, ed. CAPACETE e Devonian Press

Jean-Pascal Flavien – Dialogues, ed. CAPACETE e Devonian Press



– Máquina de Responder, texts on the São Paulo Biennial, vários autores.



– Road, for the “Panorama da Arte Brasileira 2011”, MAM-SP, Brasil



– Julia Rometti e Victor Costales – Without Rain Partial Nights Aerial Days –

– Tamar Guimarães – Um Homem Chamado Amor –

– Sasha Huber – Rastros e raças de Louis Agassiz: fotografia, corpo e ciência, ontem e hoje.

– Hans Christian Dany – Speed



Livro para ler : 10 anos do CAPACETE.


– Jornal PLANETA CAPACETE 2001 / 2004

PLANETA CAPACETE was a quarterly publication with a circulation of 5,000 copies per issue, with free distribution. Each edition was produced in collaboration with an artist


– Jornal nº 12 / 2004 – por Kelly Santos

– Jornal nº 11 / 2004 – por Kelly Santos – catálogo de Efrain Almeida.

– Jornal nº 10 / 2004 – por Edson Barrus – catálogo de Marepe.

– Jornal nº 09 / 2004 – por Angela Detanico and Rafael Lain – catálogo de Carla Zaccagini.

– Jornal nº 08 / 2003 – por Camila Rocha – catálogo de Jarbas Lopes.

– Jornal nº 07 / 2003 – por Ana Infante.

– Jornal nº 06 / 2003 – por Carla Zacanigni – catálogo de Ducha.


– Jornal nº 05/ 2003 – with Lucia Koch – with texts from Lemmerz & Michael Kvium, Andrea Fraser, Johan Grimonprez, Jun Nguyen-Hatsushiba, Stephen Dean, Ducha, Marepe, Simone Michelin, Shirin Neshat, Dino Raymond Hansen, Catherine Bernard, Paula Toppila, Seppo Renvall, Lars Movin, Catherine Bernard, HAPAX, Camillo Osório, among others.


– Jornal nº 04 / 2002 – Helmut Batista – with texts from Agnaldo Farias, Francisco Farias, Ducha, Cristiana Tejo, Eduardo Frota, Elida Tessler, Jeff Koons, Christian Viveros-Fauné, Rubens Mano, Marcos Chaves, Elein Fleiss, Julião Sarmento, Lisette Lagnado, Celso Favaretto, Daniela Labra among others.


– Jornal nº 03 / 2002 – with Laura Lima – with texts from Guilherme Vergara, Maurício Dias, Eduardo Azevedo, Ivo Mesquita, Laura Marsiaj, Luiz Andrade, Maria Eugênia, Agnaldo Farias, Yuki Kamiya, Ducha, Newton Goto, Rosângela Rennó, Nicola von Senger, Christian Lemerz, Daniela Labra, Ernesto Neto and Simone Michelin.


– Jornal nº 02 / 2002 –Helmut Batista – with texts from Cecília Cotrim, Luiz Andrade, Márcia X, Glória Ferreira, Marc Pottier, Ana Teresa Jardim, Márcio Ramalho, Hans-Ulrich Obrist, Navin Rawanchaikul, among others.


– Jornal nº 01 / 2001 – Taro Amano – with texts from Newton Goto, Camila Rocha, Dominique Gonzáles-Foester, Sharon Lockhart, Eija-Liisa Ahtila, Brígida Baltar, Uri Tzaig among others.








Cinema CAPACETE are screening programs of artist films organized work in collaboration with other initiatives, fetivals and exhibitions, such as the International Film Festival of Rio de Janeiro and the São Paulo Biennial.




Cinema Capacete V – Florianópolis Cinema, “loop // not video, nor cinema, neither television” – Soni Kum (Korea do Norte), Sanna Kannisto (Finlândia), Angela Detânico e Rafael Lain (São Paulo), Thiago Rocha Pitta (Rio de Janeiro), Laura Erber (Rio de Janeiro), Dominique Gonzalez-Foerster (France), Lisa Rovner (New York), Carla Zaccagnini (São Paulo) and Eli Sudback (New York).

Cinema Capacete V/ International Film Festival of Rio de Janeiro – “loop // not video, nor cinema, neither television” – Soni Kum (Korea do Norte), Sanna Kannisto (Finlândia), Angela Detânico e Rafael Lain (São Paulo), Thiago Rocha Pitta (Rio de Janeiro), Laura Erber (Rio de Janeiro), Dominique Gonzalez-Foerster (Franca), Lisa Rovner (New York), Carla Zaccagnini (São Paulo) and Eli Sudback (New York).



Cinema Capacete IV / “loop // not video, nor cinema, neither television” – com Brigida Baltar, Gabriel Lester, Michael Roy, Hasuo Hongxiang, Duplus e Susan Norrie – within the Festival Rio 2004, Instituto de Audiovisual Escola de Cinema Darcy Ribeiro, RJ



Cinema Capacete III / “loop // not video, nor cinema, neither television” – with Marcos Chaves, Brice Dellsperger, Tiago Carneiro da Cunha and Pierre Bismuth – junto com the Festival Rio 2003, Instituto de Audiovisual Escola de Cinema Darcy Ribeiro, RJ



Cinema Capacete II / “not video, nor cinema, neither television”

com Christian Lemmerz & Michael Kvium (Dinamarca), Marepe (Brasil), Stephen Dean (França), Jun Nguyen-Hatsushiba (Vietnam), Johan Grimonprez (Belgium), Ducha (Rio de Janeiro), Andrea Fraser (USA), Seppo Renval (Finland). – togther with the Festival Rio BR 2002, Instituto de Audiovisual Escola de Cinema Darcy Ribeiro, RJ.




Cinema Capacete I – with Joachim Koester & Matthew Buchinkham (Dwnmark) and Uri Tzaig (Israel)


Cinema Capacete I – Festival de Cinema BR 2001 – with Sharon Lockhart, Eija Liisa Ahtila, Dominique Gonzáles-Foester and Brígida Baltar


Arto Lindsay

Três convites do Capacete
Em 2010,ano em que o Capacete organizou as publicações da Bienal de São Paulo, fui convidado pelo Helmut para participar de uma serié de palestras e atividades no Teatro Arena. Decidi realizar uma idéia de 1984 e fazer  uma trilha sonora para uma palestra. Convidei Lisette Lagnado para contribuir com texto e leitura  e Pedro Sá e Vivian Caccurri para tocarem comigo. Lisette nos  forneceu o seu texto “Desvios de la deriva”. Estudamos o ensaio e organizamos os sons de acordo com o desenvolvimento do argumento, espelhando e contrastando com suas idíéias e com sua pontuação e síntaxe .
Para deixar claro a função da música como trilha,pelo menos para mim, adaptamos o tema de”Le Mepris” (Desprezo) do Jean Luc Godard. Assumimos como modelo uma trilha que sem deixar de intensificar ou pelo menos sinalizar emoções cria dúvidas e ambiguidades sobre aquilo a que se subordina.
Esta performance foi repetida no Teatro Ipanema em 2013
Helmut me convidou para fazer uma publicação. Demorei par ter um idéia. Dois artistas residentes em Salvador, Joãozito Pereira e Lanussi Pasquali, estavam envolvidos na recuperação do então fechado Bar Coaty da arquiteta Lina Bo Bardi. Joãozito sugeriu que fizessemos alguma coisa que envolvesse o Coaty. Pensei em fazer um livro refletindo sobre uma serie de desfiles que venho fazendo, escrevendo  e desenhando sobre fotos dos desfiles. Joãozito tinha adiquirido uma escultura da Maria Martins  num sebo em São Paulo . Pensamos em levar la para encontrar a Lina.Daí surgiu a idéia de tomar emprestado do Museu de Arte Moderna da Bahia o “Boi” da Tarsila Amaral. Juntando uma outra peça da coleção de João e Lanussi, uma cabra daSonia Ebling, fariamos um pequeno encontro de  tres artistas brasileiras com a Lina. Convidei outros amigos para aparecerm nas fotos, Nívea Luz e James   e Ícaro Sá. As fotos foram feitas por Mayra Lins,por Joãozito e por mim. Não consegui fazer das fotos um livro que me satisfizesse. O ano passado perdemos Joãozito.  Completaremos o livro numa homenagem a ele.
O Capacete tambem me chamou para fazer duas falas de artista, uma na sua antiga residencia no apartamento na Rua do Russel atrás da praça onde fica a estátua de São Sebastião e a outra na sua nova sede na  Rua Benjamin Constant. Nesta segunda dividi a mesa com Anri Sala.

Esteban Alvarez

Buenos Aires, 1966. Artist and curator graduated from Escuela Nacional de Bellas Artes P. Pueyrredón, BA(1992), Master of Middlesex University (London,2000). Artist in Residence at Gasworks (London,2000), participated in Hwei-Lann Workshop (Taiwan,2003). He received awards including: 2 First Prize, Second Biennial of Printmaking(Colombia,1998), Awards: British Council(1999), FNA(2002), Fundación Antorchas(2003) & Pollock-Krasner(NY, 2004). Curated exhibitions: A finger on the River, CCEBA(BA,2006). Participated in exhibitions such as: Biennial of the End of the World (Ushuaia,2009); Variation Time (Munich, 2009); Alucine Video Festival (Toronto,2009); SAR07 Macro (Rosario, 2007) Levity (NY,2007); ACC Gallerie (Germany,2006), Art and Engagement (Spain,2005), PR04 (Puerto Rico,2004), False Impressions (England, 2003) Contemporary Art Biennial das Americas (Fortress,2004); Contemporáneo1 Malba (BA,2002) Unterwegs nach Timbuktu (Berlin,2002) Solo Exhibition: Gallery-UECLAA Essex (Colchester,2000).