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, among others.



Daniel Sepúlveda

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

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

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

Eglė & Dorota

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


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

Yasmine Ostendorf

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



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

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

Tatyana Zambrano

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


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

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

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


Tiago de Abreu Pinto

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

Margarita del Carmen + Kristian Byskov

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





Katherine MacBride

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

Prerna Bishnoi


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





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


Ina Hagen

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

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




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

Sol Archer


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

Download (PDF, 100KB)

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.

Pêdra Costa



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



Valentina Desideri

foto: Daniela Pinheiro



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

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




Kalliopi Tsipni-Kolaza

Independent curator and researcher based in Athens, Greece.

Between 2012- 2015 she held curatorial positions in public art institutions in London including at 
the Serpentine Galleries, The Architecture Foundation and the Contemporary Art Society. In 2016-2017 
Tsipni-Kolaza worked as a Curatorial Assistant for documenta 14 in Athens and Kassel. Her recent 
projects include: Orange Trees that Talk, a mediated performance by Cooking Sections at the Botkyrka 
Konsthall in Stockholm and “Sonic Revolutions Vibrations from the Levant” presented at Haus der 
Kulturen der Welt Berlin, 2016. Having received the Forecast Platform award Tsipni-Kolaza developed 
Sonic Revolutions as a two day exhibition in the form of an album, exploring issues of spatial justice,
collective memory and history through the detour of popular culture.

For her four months residency with Capacete in Rio, she will be continuing her research in underground
 and popular culture and its various forms of artistic expressions with a focus on music, sound, 
performance and film. She aims to look at the history of art collectives, artist-run spaces,curatorial 
initiatives and institutional frameworks to investigate the formats they employ in order to survive 
the rapid changes they occur in the city’s economic and political landscape

Bruna Kury



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

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

foto por Rafael Marques



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.

Gil & Moti

 Gil & Moti


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





© studio Hans Wilschut