morani. Born in Nilópolis, BXD, RJ, 1997. Participates in the International Residency Program at Capacete (2019/2020). Graduated in Art History at the School of Fine Arts – UFRJ. Worked as art educator at the Museum of Contemporary Art in Niterói and School of Visual Arts Parque Lage. Researcher at the African Philosophy Group Geru Maa / UFRJ. Participated in group exhibitions at the Paço Imperial, EAV – Parque Lage, Caixa Cultural Rio de Janeiro, Atelier Organi.co, among others.
Millena Lízia is a person living this world in search of a walk with dignities and health. She seeks the simplicity, because the most trivial things come to her with layers of challenges and complexities. Among her institutionalized backgrounds are the postgraduate degree in Contemporary Arts’ Studies (2018) from the Universidade Federal Fluminense, the Film and Video Editing course (2012) from the Escola de Cinema Darcy Ribeiro and the Graphic Design degree from the Instituto Federal Fluminense (2009). She has been collaborating since 2011 with various meetings, productions, talks, collective exhibitions and educational propositions. She is a researcher and contemporary-ancestor artist-after-the-2000-year, which has been organized since the diasporic agitations of pictorial-epidermic lived experiences – just another possible way of presentation, which wants to point out that her field of action is in existence, in relationships, displacements, confrontations and escapes since the the imaginary production.
Coups, rising extreme poverty, labor reform, military intervention, dismantling of public education and affirmative action programs, increasing black murder while there is a decrease in white homicide rates, execution of university students across racial and gender differences outside and inside university campus, all sorts of symbolic obliterations and waste of life. Faced with such circumstances, of so many vulnerabilities, surely are not questions such as what is art?, what is the art object?, what is contemporary art? or how to make art? that have been taking the energies of an entire population that in recent decades has seen itself in social mobilities and occupying spaces of power that previously were deprived for them, but, instead, how to produce life?, because in this times in which we are living is the struggle for our existence and the understanding of our fragilities that mark our urgencies. What kind of designs have these risky conditions been produced? And what are the escape lines?
Millena Lízia’s proposal at Capacete is interested in promoting regular meetings with artists and researchers in the field of visual arts (and related areas) whose existences are crossed by colonialities in order to strengthen networks, to think about strategies of maintenance and resistance in historically elitist spaces, to back our attention to our health, to exchange research, to strengthen ties, to interchange our productions, to think about the dialogues that our productions make between them and to answer, perhaps, with aesthetic propositions these meetings, knowing that it is the struggle for life, in all its power, our main focus.
Dorota Gawęda and Eglė Kulbokaitė in YOUNG GIRL READING GROUP 146 featured in Gruppe Magazine. Photo: FRITZ SCHIFFERS
**** This residency is possible thanks to Pro-Helvetia (https://coincidencia.net/pt/)
Lenguajes de la Indigestión: Dos espíritus,
Research
Hospice of Utopian Residences is a space whose itinerant capacity allows its unfolding
collaboratively depending on the conditions of the physical space that hosts the project.
On this occasion he supports the Bi-national Indigestion Languages research and action project:
Contrapedagogies and Visual Resistance Laboratory whose main research space is the hegemonic
imaginary generated by political, aesthetic, visual and ethical hegemonies.
Dorota Gawęda (nascida em 1986, Lublin, PL) e Eglė Kulbokaitė (nascida em 1987, Kaunas, LT)
são uma dupla de artistas fundada em 2013, com sede em Basileia (Suíça). Ambas são graduadas no
Royal College of Art, Londres (2012). Elas trabalham em uma variedade de mídias, incluindo
instalação, vídeo, escultura e performance. Elas são as fundadores do YOUNG GIRL
READING GROUP - YGRG (2013-), um projeto que busca uma maneira horizontal de abordar textos e
compartilhar conhecimentos, proporcionando um espaço discursivo íntimo na experiência da leitura
coletiva. A dupla também é a fundadora do avatar pós-corpo de Agatha Valkyrie Ice (2014-2017),
cujo nome co-curou o espaço do projeto OSLO1O em Basel (2015-2017). Gawęda e Kulbokaitė exibiram
seus trabalhos internacionalmente, incluindo: FUTURA, Praga (solo); Projetos Schimmel, Dresden (solo);
Antecipações de Lafayette, Paris; HKW, Berlim; Spazio Maiocchi, Milão; Galeria Lucas Hirsch,
Düsseldorf (solo); Les Urbaines, Lausanne; ANTI - 6ª Bienal de Atenas; Suíça; Arte em geral,
Nova York; Martin Gropius Bau, Berlim; Musée d'Orsay, Paris; Cell Project Space, Londres (solo);
MMOMA, Moscou; Palácio de Tóquio, Paris; Galeria Amanda Wilkinson, Londres (solo); 13ª Trienal do
Báltico, Centro de Arte Contemporânea, Vilnius; Kunsthalle Basel; ACI, Londres; SMK - Museu Nacional
da Dinamarca, Copenhague; Kunstverein für die Rheinlande und Westfalen, Düsseldorf (solo); MOMA,
Varsóvia; SALTS, Basileia; Bienal de Berlim 9; Kunsthalle Zürich; entre outros. As próximas
exposições individuais da dupla incluem: Coleção Julia Stoschek, Düsseldorf, On Curating, Zurique
e FriArt / Kunsthalle Fribourg, Trafo Gallery, Budapeste.
Pesquisa
Atualmente, Gawęda Kulbokaitė está focada em seu projeto serial em andamento YOUNG GIRL
READING GROUP, que busca o ato de ler como uma experiência íntima, mantendo a potencialidade
de se tornar uma performance pública por meio da “difusão” de palavras que, de outra maneira,
seriam sub-asfixiadas. Este projeto acumulativo investiga a incorporação da linguagem, postulando
a interdependência do texto, do corpo de leitura, do ambiente e da tecnologia, onde os leitores
e seus arredores são representados como o local de um conjunto ativo e contínuo de relações.
Pensar através de uma instabilidade de limites, incompletude formal, porosidade e a idéia de
fragmentariedade, em vez de holismo, é importante para a abordagem da dupla na leitura e em sua
prática material. Gawęda e Kulbokaitė pretendem continuar suas pesquisas sobre a performance, uma
mídia que se presta a criar ambientes especulativos.
Researcher/curator Yasmine Ostendorf has been undertaking research across Asia and Europe on artists proposing alternative ways of living and working – ways that ultimately shape more sustainable, interconnected and resilient societies and peripheries. She has extensively worked on international cultural mobility programmes and on the topic of art and ecology, having worked for expert organisations such as Julie’s Bicycle (UK), Bamboo Curtain Studio (TW), Cape Farewell (UK) and Trans Artists (NL). She runs the Green Art Lab Alliance, a network of 35 cultural organisations in Europe and Asia that explores, questions, and addresses our social and environmental responsibility, and is the author of the series of guides “Creative Responses to Sustainability,” published by the Asia-Europe Foundation (SG) and the Ecologic Institute (DE). She is an associate curator for Valley of the Possible (CL), for the Centre for Contemporary Art and the Natural World (UK), and for C-Platform (CN). Since 2017 she is the Head of the Lab for Nature Research at the Jan van Eyck Academy in Maastricht (NL) and the initiator of the Van Eyck Food Lab (2018); a research placement for an artist/chef, understanding food in the light of current ecological, social and political developments. She has been organising Food Art Film Festivals collecting, showcasing and celebrating inspiring food/art practices from across the globe and has been organising regular Reading Groups to bring together theory and practice. She tries to write a monthly blog for www.artistsandclimatechange.
Research
My initial plan was to spend my time expanding on partnerships for the Green Art Lab Alliance in Latin-America; connecting dots, redistributing resources and organising exchanges and so on. Soon it turned out that above all, Capacete is a personal opportunity to enjoy a second education; a chance to carefully dissect and review Eurocentric perspectives and expand on my theoretical and cultural framework in active anti-colonial and anti-racist ways. More than anything my ‘project’ here is to listen, absorb and internalise. And more than it being about a subject it’s become to be about recognising underlying systems and structures and curating alternative methodologies accordingly.
**Yasmine Ostendorf's residence is possible with the support of Mondriaan Fonds
(https://www.mondriaanfonds.nl/)
Tatyana Zambrano, 1982, Medellin-Colombia. Publicist and visual artist.
Master in Movement digital art and information technologies from UNAM Mexico.
She currently lives in Rio de Janeiro-Brazil doing the one-year program in Capacete.
She was part of the SOMA 2016 educational program CDMX. She works on projects that deal
with the transition of ideologies and the institutionalization of rebellion. Her work has
been recognized in Les Rencontres Internationales New Cinema and Contemporary art in Berlin,
Official Selection of Latin American video art by the Getty Research Institute and the
National Artists Salon of Colombia.
Research
My search is about Black tourism (tourism of mourning or thanatos-tourism), is a form of tourism in which the main attraction are the places where deaths, tragedies or catastrophes have occurred; it is also called morbid tourism. There is a tourist market niche in which people seek to experience these strong emotions first-hand. An example of this type of tour, which are almost reality shows, is in Hidalgo Mexico where people pay to have the experience of being “mojado” in an artificial scenario on the dessert, these people experience the passage from Mexico to the United States, going hungry and psychological abuse.
The project aims to exceed this imaginary of Latin America through the creation of an amusement workshops in order to show a cynical and ironic, but paradigmatic situation where black tourism immorally represents what morality wants to communicate.
Finally, I am moved to be part of the program because I feel arts as a affair state, where we are accomplice in this thing called contemporary arts, shared guilt, sometimes hard, sometimes fun, but is the capacity of exploring into yourself, taking risks, affections, and probably the challenge of deal with more human beings doing the best thing #arts.
In Rio, I'll be chatting with artists. Listening, mainly. Henceforth, said artists, will be the basis
of fictional texts (perhaps, not so much, because everything they say is incorporated into the text
and therefore not fictional and more real). The aforementioned artists should not be excluded from the
dialogue after the text has been completed since I believe that contact with the artist must be
continuous and permanent. In other words, I will connect the artist's message (or, better said, voice)
to the public through texts that incorporate features of his idiosyncrasy. In the sweet slopes of this
communication, the allusion to Mikhail Bakhtin's dialectical and dialogical forms will become clear to
explore new forms of critical mediation. Furthermore, this process will transform the different voices
of the artists into a fictional mass that sheds light on various themes such as: (a) interpretation
and neutrality, (b) the limits between fiction and reality and (c) different ways in which contemporary
artists incorporate your ideas.
Tiago de Abreu Pinto is an independent writer and curator, Ph.D in Art History from the Complutense
University of Madrid. He won the Art Curatorship Scholarship awarded by the Gwangju Art Biennial,
South Korea in 2012, and the Art Se Busca Comisario Art Curator Award from the Community of Madrid,
Spanish Government in 2014.
