Arte para não ser vista


“Arte para não ser vista” is an exhibition of Ducha e Isabelle Arthuis, who both present works
that have resulted from their time with CAPACETE.

Isabelle Arthuis presents a new piece based on her long-term research on Parque do
Flamengo and her desire to highlight the concrete structure “Teatro para brincar” as a work
of art that in the near future will be revisited, restored and reactivated.

Ducha shows a model of a sustainable sailing boat, a first step of what may become a
vehicle for the transport of people and organic products over long distances. This new work
sits alongside earlier works and documentation of actions, trips and collaborations, many of
which reach back two decades, with stories by those who were there with Ducha at the time.

A new film, “Apocalypso” (2020) by Mariana Bley with Ducha, premieres online on the day of
the opening. “Apocalyspo” proposes a visionary idea of inverting the colonization process by
promoting a fair trade from Brazil to Europe.

The exhibition is the first instance of a historical review of CAPACETE that brings together
artists who have taken part in the residency over the last twenty-three years, in a changing
constellation that will combine Brazilian and foreign ex-residents.

The show is approached as a choreography: the idea is to set something in motion, in
collaboration with others – a way of working that CAPACETE has been practicing over the
years. The audience is invited to make their own reading of the works and the connections
that exist between the artists. The title of the exhibition comes from a recent comment by the
artist Jarbas Lopes about the work of Ducha.

For health safety reasons, the exhibition opens in the virtual realm. Visits to the space will be
soon be announced, including a conversation between Thiago Fernandes e Ducha.

Cureography: Helmut Batista with Tanja Baudoin

• “Apocalypso” (2020), a film by Mariana Bley and Ducha:

• MAM-Rio Channel on YouTube, with
o Conversation between Isabelle Arthuis and Helmut Batista

o Conversation between Ducha and Helmut Batista

o Conversation between Tanja Baudoin and Helmut Batista

•Isabelle Arthuis, “Flamengo Park and Teatro para brincar

• A conversation between cureographers: Helmut Batista e Tanja Baudoin

• Thiago Fernandes, “Clandestinidade e performatividade da imagem no “Cristo Vermelho” de Ducha” (PT)

MAM | CAPACETE Institutional Partnership


The Museum of Modern Art in Rio and the CAPACETE residency and artistic-cultural exchange program started an institutional partnership in March 2020, when the project to transfer part of CAPACETE’s activities to the museum began to be developed. Initially designed to take place in the museum’s physical space, at its headquarters in Parque do Flamengo, the project had to undergo adaptations in order to be able to start in virtual spaces while the quarantine resulting from the Covid-19 pandemic lasts. The partnership between CAPACETE and MAM is leveraged by the PetraGold Group’s sponsorship of MAM.

The partnership is part of the broader project of MAM to restore education to a central role in the institution, defined early as a school museum. The goal is to reopen the School Block, the pavilion dedicated to teaching and artistic practice, which was the first building to be construct at the museum’s final headquarters.

The purpose of the MAM partnership | CAPACETE is to develop artistic residencies, to foment research, international exchanges and carry out public programming of dialogues and other activities in the museum space. The partnership is expected to last two years.

“The MAM partnership | CAPACETE brings the opportunity to open the museum for a new interaction with cultural projects of great relevance on the national and international scene ”, says the executive director of MAM, Fabio Szwarcwald. “MAM is supporting the processes that support the theory-practice of art, seeking reflection. MAM allows itself to be a more organic institution, more connected with society ”.

Created in 1998 by the artist Helmut Batista, in the city of Rio de Janeiro, CAPACETE is the oldest and most structured program of artistic and cultural exchange and residency in Brazil. Headquartered in the neighborhood of Glória, next to the center of Rio, CAPACETE makes public presentations in various models, training for professionals (CAPACETE School) and for children (Small Laboratory), open courses, experimental cuisine, library, collection and publications. More than 450 professionals from different countries have already gone through the program.

“CAPACETE really has a very strong international tradition and trust and many international partnerships that can help to leverage a specific program within MAM. I think Fabio Szwarcwald knew how to understand this and wants to join forces to make a bigger program ”, says Helmut Batista. “We always considered that CAPACETE’s performance should be in your region. MAM is within our reach. The School Block was the flagship of its time – it belonged to the School of Visual Arts of Parque Lage – it is there hibernating and now it will go through a transformation ”, says Helmut. “The invitation came in very handy in the process that CAPACETE had been going through: a transformation phase, with Camilla Rocha Campos at the helm, CAPACETE becoming less and less my person. This is a desired, provoked and encouraged process. ”

“Despite its longevity, CAPACETE is a small program, which operates in a very restricted field. The visibility that MAM can give to CAPACETE is also incredible, we will be able to insert ourselves more in the Brazilian context. The programs that we designed for MAM are basically what we have always done: residences in the format of seminars, ”says Helmut.

“We have around 20 to 25 residents each year from different countries; we offer programs of 3, 6 and 12 months in duration ”, says Camilla Rocha Campos, artistic director of CAPACETE. “Our 1-year program is the backbone of our activities. We act as a center of thought where seminars, public speeches, workshops, personalized visits, study trips and experimental art projects take place. The MAM partnership | CAPACETE will be an exercise in cohabitation and respect between a Brazilian historical organization and an independent (historical) space. CAPACETE brings dialogue on new strategies on how to create partnerships that work with less bureaucratic, community structures, and aims to support research and artistic practices that dialogue critically and beyond the mainstream art system ”.

Through continuous activities, CAPACETE’s mission is to create situations and develop strategies that provide concrete and real alternatives to the shifting field of art. The updates and residency programs already carried out were designed to reflect the interdisciplinary character of contemporary ethical-aesthetic practices and promote efforts that articulate the theoretical world with artistic presentations in different formats and dynamics, and for different audiences.

Fabio Szwarcwald, Lucimara Letelier, Helmut Batista, Camilla Rocha Campos, Luis Marcelo Mendes, Fernanda Lopes e Márion Strecker.

Summer Teas >> Nacional Trovoa

Summer Teas – Collective reviews ///

Summer Teas Trovoa happens this season at Capacete, with format aimed to talks dedicated to reviewing critically the artwork of each otherso we can together evolve in our poetics and languages. The proposal is the exchange as the discourse construction about our researchesbeing comfortable for everyone in a collective wayThuswe invite all racialized artists that feel at ease to brig a artwork (original, printed or digital formto share and talk about art without white or masculine interferences ✨ while we eat and drink our tea ??? 

“The idea for National Trovoa had your beggining in march of 2019 with four artistsracialized womeneach one of them reflecting about the presence of their bodies in the world. Black or non-white womenall of them involved with construction of art. They come from a movement that draws attention for the lack of visibilityspaceremuneration, in other words, for the context of artist racialized women. 

The discussion has grown and resulted in a collective as space of possible exchange, as the project’s manifesto says: “We are a group of artists and curators that got together with the intention of making a national visual arts exhibition produced by black and non-white womenWe realized the need to talk and show our plurality of languagesdiscoursesresearches and medias produced by us as racialized women”.” 

(Free translation of fragment from text by Keyna Eleisonindependent curator and member of National Trovoa, published originally in portuguese in 

Photographies by Loli Brito. @ondadouro


support: @sui

Nómadamente / Recorrido



Nómadamente / Recorrido

Graciela De Oliveira + Cinthia Mendonça

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

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

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

Millena Lízia




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

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

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


Dorota Gawęda & Eglė Kulbokaitė

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


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


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










Seminar Indigestion Languages ​​and Visual Policies

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

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



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

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

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

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

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

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.


Serpent Rain – a talk about time and the elements

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

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

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

Anormal pocket – CAPACETE Program #3


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

*** @anormalfestival

*** @capacete_capacete


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





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


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

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

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

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






The Illusions of care




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

Lecture Performance by Bonaventure Soh Bejeng Ndikung

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

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

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

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

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


Reverse Ritual



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

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

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

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

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

Everybody is welcome.

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


Centro Cultural Pequena África

Rua Camerino, 5 – Centro
Rio de Janeiro – RJ




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

Maneiras de trabalho #3


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


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

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

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

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


Maneiras de Trabalho

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

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


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

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

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

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


What’s a (art) school to do?




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

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

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







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



Fundação Ford

More about Expulsión:

Blackout: The Necropolitics of Extraction



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

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

Risco Cinema

Cinema KUIR . 28

On Friday, September 29, Cinema KUIR is up to a gathering at Capacete. We’re screening “Arremate” and having a conversation with Luciana Vasconcellos, Evelym Gutierrez, Ethel Oliveira and Lidi de Oliveira.

Throughout the process of thinking and designing clothes beyond gender, affectionate plots are constructed between Baixada Fluminense and Lapa.


Cast: Andrey Chagas, Christina Aguiar, Danny Santos, Evelym Gutierrez, Indianara Siqueira, Juliana Providência, Lidi Oliveira, Lorena Braga, Luiza Alves, Kaique Theodoro, Leoni Albuquerque, Livinha, Luciana Vasconcellos, Martinha do Coco, Naomi Savage, Renatinha, Rosangela Braga, Tainá Gamelheiro, Tertuliana Lustosa, Tia Angélica, Wescla Vasconcelos, Yasmin Falcão.

Roteiro e Direção: Éthel Oliveira Câmeras: Érika Villeroy , Éthel Oliveira, Gabrielle de Souza e Rafael Mazza Film editing: Elena Meirelles

Design: Ilana Paterman Brasil 2017




Silvia Rivera Cusicanqui em CORPO PÁ



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


corpo pá com silvia rivera cusicanqui

GAE Expande #04


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


*imagem e foto Joe Bugila


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

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

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

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




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.


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

Arquivos de Resistência


Wed 16 Nov, 19h to 22h

Thu 17 Nov, 17h to 21h

Fri 18 Nov, 17h to 21h

Arquivos de Resistência

November 16 to 18

Arquivos de Resistência consists of a three-day program bringing together artists, activists, and other members of the public to discuss strategies for narrating social movements and raising political consciousness. The program will be joined by three invited artists, each of whom work with photographic and material archives to mine particular histories of anti-colonial and anti-normative resistance, and in turn devise tools for current struggles. The main focus of the program is to open dialogue on wide-ranging narratives of struggle across communities, and establish points of connection and alliance.

November 16: Wednesday 7-9pm

Film Screening + Discussion

A film screening of Joyce Wieland, Cecilia Estalles (Argentina), Jaime Araya (Chile), Manuel Carrión (Chile) and Marton Robinson (Costa Rica) to be followed by a discussion with Laure Howes (CFMDC) and invited artists.

Executive Director of Canadian Filmmakers Distribution Centre (CFMDC), Lauren Howes, will present a selection of Wieland’s 16mm films made using archival material from the 1930s to the 1970s.  Joyce Wieland described herself as a “cultural activist” and was acclaimed for her works that addressed the Canadian national identity with a feminist perspective in the midst of a male-dominated artistic milieu.

November 17: Thursday 5 – 9 pm  

Presentation of work by Araya-Carrión, a collective composed of Jaime Araya and Manual Carrión.  The artists will propose a group dynamic activity which will take place close to Capacete.

November 18: Friday 5 – 9pm

Presentation of work by Marton Robinson, who will propose a group dynamic activity based on a discussion with the participants.


CFMDC has been a distribution leader in getting independent artist films on screens everywhere since 1967. They are a full-service, non-exclusive distributor with over 3850 titles in our catalogue including some of Canada’s most original and well-respected works of art on film. They distribute all genres of independent film by more than 1000 members. CFMDC is a critical resource for curators, programmers, educational institutions, festivals, museums and broadcasters worldwide.

Cecilia Estalles is an artist and photographer whose work predominantly focuses on collective and activist practices, specifically in the documentation of queer and feminist movements.  She created the Archivo de Memoria de Mujeres Trans, for which she collects and digitizes photographs of trans women in Buenos Aires from the 1970s to 2000s, many of whom were killed by police. Despite the passage of a gender identity law in Argentina in 2012, trans women continue to face various forms of discrimination.

Collective Araya-Orión consists of Chilean artists Jaime Araya Miranda and Manuel Carrión Lira.  In the context of this workshop, they will present their project in Neptume, a community in southern Chile where they have collected photographic and material archives while collaborating with the community.  Their archive includes samples from an 80-year old mountain of woodchips from a sawmill in this town, as material witness to the transformation of this community through colonization.

Martón Robinson is a second-generation descendent of Jamaican immigrants to Costa Rica. He grew up in San José, where the history of struggle is evident today in Afro-Latino heritage and identity.  Robinson’s work addresses the problematic nature of Afro-diasporic representations in popular culture through video, installation and printmaking.  His research on the Afro-Latino identity narrates the struggles of the Afro-diasporic populations in Costa Rica.

Respira Conspira

Respira Conspira - cartaz A3



␣␣␣␣␣␣ tudo  que ␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ -­  Paulo  Leminski            Conspire:   From   Latin   Conspirare;;   to   act   in   harmony,   conspire,   equivalent   to   con   +   spirare;;   to   breathe:   breathing   together.

          Conspiring  often  has  a  negative  connotation;;  a  strategic  game  in  the  shadows,  an  alliance  to  plot  against  another   power  or  person.  But  it  can  also  be  interpreted  as  coming  close  together  to  sharpen  the  senses,  to  be  more  attentive   to  the  other’s  signals  and  thoughts;;  lowered  voices  breathing  the  same  air.            RESPIRA  CONSPIRA  is  an  ␣␣␣␣␣␣␣␣␣␣␣␣␣  initiated  by  Camilla  Rocha  Campos  and  Thora  Dolven  Balke,  both  2016   residents   of   Capacete,   concerning   the   practice   of   thinking   together   –   with   the   aim   to   create   moments   of   action,   ␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣ movements  to  change  a  given  situation.

This  open  research  will  manifest  during  7  days  between  the  7th  and  14th   of  November  2016  at  CAPACETE.            All  the  events  are  free  and  will  be  live  whisper  translated  between  English  and  Portuguese.


Mon  &  Tue  7/11  &  8/11  from  5  to  8  pm Workshop  with  artist  Humberto  Velez  (PA/UK) Participativo  –  A  workshop  about  public  and  participatory  art  projects  developed  for  Respira  Conspira  presented  at   Capacete.  Examining  the  possibilities  of  collaboration  and  collectives,  why  and  how  do  artists  work  with  groups  or   communities;;   as   intuitive   formations   out   of   necessity   or   common   interest,   or   as   projects   commissioned   by   outside   ␣␣␣␣␣␣␣␣ ␣␣␣␣ ␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣ ␣␣␣␣␣␣␣␣␣ ␣␣␣ ␣␣␣␣␣␣␣␣ creating  something  together.


Wed  9/11  from  7:30  to  10:30  pm Group  talk  with  Capacete  residents  2016 Starting  from  the  conspiration  that  is  the  residency  Capacete,  this  conversation  with  the  2016  residents  will  consider   questions,  movements,  other  conspirations  and  experiences  that  have  manifest  throughout  the  8  months  we  have   spent  together  so  far,  inside  and  outside  Capacete  itself.

Niqui  Tapume Artist   Marssares   (BR)   is   building   a   new   structure   within   Capacete,   changing   the   usual   movements,   encouraging   new  places  to  meet,  talk,  listen  and  observe  from.  This  new  set-­up  will  stay  throughout  Respira  Conspira.     

Cooking  Respira  Conspira   Self-­revolutionary  and  resident  chef  of  Capacete  Kadija  de  Paula  (BR)  will  bring  nourishment  to  the  Respira   Conspira  participants,  together  with  other  invited  chefs,  for  the  duration  of  the  events.


Thur  10/11  from  3  to  5  pm Conversation  with  Ella  (BR)  and  surprise  guest  (?) Ella  is  a  collective  of  women  artist-­researchers.  Ella  is  an  experience  in  creating  a  medium  for  activating  thoughts   and  actions  in  artworks.  The  group  was  formed  from  an  encounter  between  women  artists,  students  and  researchers   from  Escola  de  Belas  Artes  da  UFRJ  with  the  desire  to  deconstruct  traditional  hierarchies  of  academic  art  education,   exploring  spaces  for  art  around  the  city.

5:30  to  8  pm Group  conversation  with  Dominic  Barter  (BR/UK)   Dominic   Barter   plays   with   social   innovations   based   on   dialogue,   empathy   and   partnership.   In   the   mid-­90s   he   was   instrumental  in  the  development  of  Restorative  Circles,  a  community-­based  and  -­owned  practice  for  dynamic   ␣␣␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣␣␣␣␣␣ ␣␣␣ ␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣␣ ␣␣␣␣␣ ␣␣␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ Council  resolution.  A  long  time  theatre  practitioner,  Dominic  has  developed  daily  practices  for  artists,  a  gift  economy   model  called  Financial  Co-­responsibility  and  currently  collaborates  daily  with  Espaço  Beta,  a  high  school  devoted  to   conviviality  and  relational  intelligence.    At  Respira  Conspira  he  will  hold  a  group  conversation,  taking  its  starting  point   from  an  encounter  on  a  bus  during  the  political  demonstrations  in  2013,  a  moment  where  an  unspoken  connection,   a  kind  of  conspiration,  manifest  between  himself  and  a  fellow  passenger.


Fri  11/11  from  5:30  to  7:30  pm Reading  group  with  Ian  Ericksson-­Kery  (US) Ian  is  a  writer,  researcher,  and  translator,  with  a  focus  on  the  intersection  of  art  and  political  activism.  He  is  currently   a  resident  at  Capacete.  He  organizes  a  regular  reading  group  in  Rio  de  Janeiro,  carried  out  in  translation  and  through   collective   enunciation.   One   postulate   of   these   meetings   is   having   time   together   to   articulate   desires   in   the   face   of   an  ever-­privatized  present  and  future.  On  this  day  he  will  propose  a  text  to  be  read  out  loud  and  discussed  together.

From  7:30  to  10:30  pm Conversation  through  sound,  with  Marssares  (BR),  Lilian  Zaremba  (BR),  Caetano  (BR),  Gaby  Hartel   (DE),  Thora  Dolven  Balke  (NO),  Leandro  Nerefuh  (BR)  and  Daniel  Sant’Anna  (BR)   This  conversations  participants  work  with  sound  and  music  in  various  ways;;  as  artist,  curator,  broadcaster,  teacher,   ␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣-­ formed  live  -­  to  start  a  conversation,  as  an  extension  of  their  own  thinking  and  a  reaction  to  the  questions  posed  by   Respira  Conspira.


Sat  12/11  from  5  to  7pm Final  presentation  and  talk  about  the  workshop  with  Humberto  Velez  (PA/UK) The  participants  will  collectively  present  their  research  and  impressions  from  the  topics  raised  during  the  workshop.

From  7  to  10:30  pm Conversation  through  movements  and  actions  with  Trine  Falch  (NO),  Michelle  Mattiuzzi  (BR),  Camilla   Rocha  Campos  (BR)  and  Tali  Serruya  (AR/FR) A  day  dedicated  to  performance,  to  the  body,  and  conversation  between  artists  and  an  audience  as  a  reaction  to  the   notion   of   conspiring   -­   of   creating   new   movements   based   current   situations   and   history   from   various   geographical   perspectives.

Trine   Falch␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣ ␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣␣ ␣␣␣ ␣␣␣␣␣␣␣␣␣␣␣␣ ␣␣␣␣ ␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣␣ ␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣ the  participants.  Michelle  Mattiuzzi  is  an  artist  who  uses  her  own  body  to  visualise  historical  and  current  narratives.   Through  people’s  contribution  Camilla  Rocha  Campos  will  make  bubbles  and  build  a  context  loaded  by  humor  and   criticism.  Tali  Serruya  will  create  an  exercise  around  the  contagious  physical  and  emotional  reactions  that  tend  to   spread  through  groups  of  people.


Mon  14/11  -­  time  to  be  announced Caminhada  de  mulheres  with  Julia  Retz  (BR)  and  Aurelia  Defrance  (FR) ␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣  are  invitations  to  take  a  moment …to  gather,  to  drift  collectively  or  to  be  guided …to  trust  intuition  and  knowledge  of  others …to  understand  the  urban  fabric  we  are  part  of ␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣ ␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣␣

Performando Oposições

Dia 26 de Outubro as 19h


Um pessoal do Les Laboratoires d’Aubevilliers de Paris, da Casa do Povo de São Paulo, e do Capacete, dão início ao projeto Performando Oposições, que começa dia 26 mesmo e continua até dia 29, com uma programação extensa e conjunto com vários colaboradores. Veja o programa anexo:

Download (PDF, 937KB)

Performance Andrea Fraser – tuesday 18 oct

Dia 18 de Outubro – terça-feira, as 19hs
no auditório da EAV Parque Lage

Museum Highlights: A Gallery Talk 1989 Andrea Fraser born 1965 Presented by the American Fund for the Tate Gallery, courtesy of the American Acquisitions Committee 2012

O Capacete, em colaboração com a Escola de Artes Visuais do Parque Lage apresenta um performance-palestra da artista norte-americana Andrea Fraser, na próxima terça feira 18 de outubro, no auditório da EAV Parque Lage, às 19 horas.


Em inglês, sem tradução



Andrea Fraser, nascida em Billings, Montana, em 1965, é professora titular de novos gêneros na Universidade da Califórnia em Los Angeles (UCLA).

Seu trabalho utiliza vídeo e performance, com uma perspectiva engajada na crítica institucional. Fazendo uma análise crítica das instituições que se envolvem na venda, exibição, e comércio de sua própria produção, os projetos de Andrea Fraser desvendam as políticas, economias e narrativas que legitimam o trabalho de arte, incluindo as hierarquias e os mecanismos de exclusão do circuito. Apesar da seriedade dos assuntos tratados, o resultado se apresenta frequentemente de forma humorística, satírica, e até mesmo ridícula.

Intensa ativista, Fraser foi uma das fundadoras do grupo feminista de performance The V-Girls (1986-1996), participou da iniciativa Parasite (1997-1998) e da galeria cooperativa Orchard (2005-2008).

Suas instalações têm sido mostradas em bienais e museus do mundo inteiro, tais como a Bienal de São Paulo, a Bienal de Veneza, a Tate Modern, o Whitney Museum, o New Museum, o MoMA, a Dia Art Foundation, a Kunsthalle de Bern e o Centre Pompidou, para citar os mais proeminentes. No início de este ano o Museu d’Art Contemporani de Barcelona organizou a maior retrospectiva de seu trabalho até hoje (em cartaz atualmente no MUAC da Cidade do México).

Apoiada em conceitos extraídos da Psicanálise, Fraser é autora de importantes ensaios publicados na Artforum, Art in America, October, Texte zur Kunst, Critical Quarterly e Documents, entre outras revistas.

Artist’s Film – premiere

Wednesday, 5 October,
19h to 22h




Ficha técnica


FILME DE ARTISTA é um documentário que aborda a obra de alguns dos mais significativos artistas brasileiros da atualidade (Nelson Felix, Laura Lima, Ricardo Basbaum, Virginia de Medeiros e o Grupo EmpreZa), tendo como perspectiva principal uma reflexão sobre o estatuto que o objeto assume na arte contemporânea. Filmado entre novembro de 2013 e abril de 2015, o documentário dá um panorama bastante instigante da produção brasileira no campo das artes visuais.

Um filme de Roberto Corrêa dos Santos, Renato Rezende e Cláudio Oliveira

Direção: Cláudio Oliveira e Renato Rezende

Roteiro: Cláudio Oliveira e Renato Rezende

Elenco: Nelson Felix, Laura Lima, Ricardo Basbaum, Virginia de Medeiros e Grupo EmpreZa

Direção de Produção: Stefania Fernandes

Produção Executiva: Stefania Fernandes e Juliana de Moraes

Direção de Fotografia: Bernard Lessa

Som direto: Caio César Loures, Caíque Mello e Paulo Anomal

Edição: Bernard Lessa

Correção de cor e finalização de imagem: Denis Augusto

Trilha sonora: Armando Lôbo

Edição de som e mixagem: Thiago Piccinini

Ano de produção: 2016

Gênero: Documentário

Cor: Colorido

Duração: 120 minutos

Formato de captação: Digital

Formato de exibição: Digital

Janela: 16:9

País de origem: Brasil

Mungunzá – Materializations in canjica of Cosme and Damian

Wednesday, 28 de September,
19:00h – 22:00h


Aparições captadas pelo olfato, paladar e radiofrequências

Um comida cósmica uma comida constelação uma comida transe uma comida projeção uma comida pra Cosme e Damião uma comida pra agradecer e pra oferecer e pra entregar a tese Cine Fantasma.

Kadija – panelas
Thelma – fogo
Bel – tambores

Trabalho de entrega da tese Cine Fantasma:
Fantasmagorias, circuitos eletrônicos e digitais, sistemas híbridos
de Paola Barreto Leblanc

Tecnomagia e Tecnoxamanismo – lançamento de livros

Quarta, dia 21 de Setembro 2016, das 19h as 22h


Oriundos de uma tradição de antropofagia, digitofagia, midia tática, cultura digital, esses livros mostram um panorama de ações e pensamentos que questionam a fronteira entre ciência e magia, entre o místico e a tecnologia, e traduzem a efervescência de encontros e festivais como o submidialogia, tecnoxamanismo e tecnomagia.

Se de fato houve uma contracultura proliferante no país, nas primeiras décadas deste milênio, ela estará fermentando nessas páginas.


E nos caldeirões: Gastroxamanismo e Tecnobar com Kadija de Paula & Wallace Masuko

* TECNOMAGIA – Organizaçao Adriano Belisario – NUVEM – Hacklab Rural Ed. Imotirô

* TECNOXAMANISMO – Organizaçao Fabiane M. Borges – REDE TECNOXAMANISMO – Ed. Invisiveis Produçoes.


livro tecnoxamanismo para download: –

livro tecnomagia para download:


14 September at 19:30 


Essa quarta,

This wednesday,

traga suas leguminosas, frutas, vegetais, soros e bebidas para cozinhar,

bring you vegetables, fruits, greens, stocks and drinks to cook,

bater, comer, beber, deglutir, sugar, chupar, mastigar. 

blend, eat, drink, swallow, suck, lick, chew.

<< O fogão no centro da arena e todos em volta >>

<< fire in the centre of the arena and everyone around it>>

traga seus instrumentos e análogos que não requerem energia elétrica, de

bring your instruments and analog sounds, no electrical energy available,

sopro, vento, percussão, canto e resonância para a bateção.

wind, soufle, precussion, chant, resonating sounds.

Das 19h as 22h comida e som feito por todos e qualquer um.

From 19 to 22h, food and sound made by all and anyone.

Entrada livre com uma contribuição de vegetais, frutas, grãos, bebida, tudo para o caldeirão

Free entrance with a contribution of vegetables, fruits, grains, drinks, all for the pot

A cargo dos residentes Capacete 2016

Made by Capacete residents 2016

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

Conversa sobre hospitalidade com The Search Party and Transburger


Quarta-feira, dia 20 de julho às 19h30 – the search Party + Transburger + Bar de amanhã

Para este último evento do semestre apresentamos o filme “the search Party”, da artista dinamarquesa Anna Bak, produzido durante sua residência no Capacete este ano. O filme é composto por fragmentos visuais de diferentes lugares que Bak visitou nos últimos 5 meses. O voice over é de conversas entre os participantes do Capacete, feitas a partir de entrevistas individuais sobre viagens, migrações, observações, experiências e trabalhos em diferentes lugares, e sobre estar em uma residência artística.

A partir deste filme se propõem uma conversa para pensar o tema da hospitalidade, desde o ponto de vista ético-individual da pessoa ao invés do tradicional foco político-institucional do espaço.

Este framework proposto por Marcia Ferran, em “Entre fronteiras impingidas e cidades afet(u)adas: hospitalidade” publicado em 2008, em “Livro para ler: 10 anos de Capacete” será usado como ponto de partida para pensar a relevância das residências artísticas frente às migrações e imigrações contemporâneas em uma conversa mediada pela artista-digestora Kadija de Paula.

Para esta conversa, foram convidamos alguns artistas, pesquisadores e gestores de residências artísticas no Rio de Janeiro. Já estão confirmadas as presenças de Bruno Vianna da Nuvem: Estação Rural de Arte e Tecnologia, Nadam Guerra da Residência Artística Terra UNA, Virginia Muller da Casa Rio, Eduardo Bonito da Casa Comum e ComPosições Políticas, e da pesquisadora Márcia Ferran.

Para comer: Transburguers, um projeto de intervenção artística que relaciona impacto ambiental e hábitos alimentares. Esta proposta de Jorge Menna Barreto, Joelson Bugila, Kadija de Paula e Van Holanda, provoca os participantes a se engajarem em uma escultura ambiental. Em outras palavras, aquilo que comermos – ou deixamos de comer – transformará a paisagem e o mundo no qual vivemos.

 Os Transburgers desta quarta serão preparados por Kadija de Paula e Van Holanda as 17:30hrs em uma coreografia culinária de automação gestual dirigida por Tali Serruya e David La Sala como parte do seminário Sandwich Generation – uma pesquisa artística sobre vida e trabalho – organizada pela artista e residente Tali Serruya entre os dias 18 e 21 de julho no Capacete.

Para beber: Oliver Bulas vai agitar, ritmicamente, um menu selecionado de coquetéis refrescantes do Bar de Amanhã.

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.

A Monstra Errática


Wednesday 29 June – 19h

The Colonial Wound Still Hurts is a performance project in which the artist writes with their own blood the geopolitically dominant frontiers (USA, BRICS, EU, Israel) on the worldmap. Ferida Colonial Ainda Dói é um projeto de performance iniciado em Veneza (ITA) no ano de 2015 durante a Residência Nomádica Transnational Dialogues. A primeira performance foi realizada no dia 11 de Outubro de 2015, véspera do Dia da Dor Colonial, e consistia na re-inscrição de algumas fronteiras geopoliticamente dominantes (EUA, U.E., BRICS, Israel) com meu sangue sobre um mapa-mundi.

Regina Tchelly: Favela Orgânica e Ingrid Hapke: Polifonias Marginais

Regina Tchelly no Como Será
Quarta-feira dia 22 as 19:30

Regina Tchelly apresenta o projeto Favela Orgânica, uma iniciativa pioneira que teve origem nas comunidades da Babilônia e Chapéu Mangueira, na zona sul da cidade do Rio de Janeiro. Surgiu em setembro de 2011, com apenas R$140,00, com os objetivos de modificar a relação das pessoas com os alimentos, evitar o desperdício, cuidar do ambiente e mostrar que é possível acabar com a fome.

Ingrid Hapke lança o livro Polifonias marginais (2015) e falará sobre o processo de criação e o conteúdo deste livro de entrevistas que ela co-organizou com Lucía Tennina, Érica Peçanha do Nascimento e Mário Medeiros da Silva. Polifonias marginais surge do encontro de estudiosos de diferentes percursos, motivações e países que se debruçaram sobre as chamadas literaturas negra, marginal e periférica, e agora expõem as entrevistas feitas em seus trabalhos individuais para além das páginas de suas teses.
Um livro que apresenta múltiplos discursos. Escritores, rappers, poetas, organizadores de saraus e donos de bares onde acontecem recitais literários conversam, direta ou indiretamente, segundo temas distribuídos em quatro capítulos.
Ingrid Hapke mora em Berlim e fez o seu doutorado em Letras sobre a literatura marginal/ periférica na Universidade de Hamburgo. Se considera artista “con-textual”, como analísa e trabalha (com) textos e contextos. Atualmente está mostrando (com Wouter Osterholt) a exposição Paraíso Ocupado sobre a primeira urbanização da Barra da Tijuca, no Studio-X Rio.

Na cozinha: Asia Komarova e Martha Pedalino, ofereceram receitas ancestrais feitas com produtos ecológicos cultivados nas vizinhanças do Rio de Janeiro

DUB Janta e NOIS E Juice

Quarta 15 Junho
as 19h


Ecos, ruídos e dub sobre pratos a mesa. Comemos juntos numa mesa em rotatividade, noise para comer. Afastados do chão e fechados entre paredes o corpo quer tentar estar nessa experência-sem-progresso. Nessa quarta: bar, arena, sala de jantar e noise para sentantes. Uma proposta do composé Marssares + Caetano Macumba + Libidiunga Cardoso + Kadja de Paula + Camilla Rocha Campos.

Art-media: artistic interventions in the brazilian mass media

WEDNESDAY 8 JUNE 2016 – 19hs

Marcia X_Antenas da Raça
Art-media proposes to reflect on the use of the press as public art. Between the emergence of TV in Brazil in the 1950’s  – concurrent with the first sao paulo biennial and the popularization of the internet, in the end of the 1990’s – with the coming of activism of midia tática brasil –  the there inumerous cases of ocupation of newspapers, magazines, radio and TV by artists, with the aim of disturbing the media languages and problematising teh narratives that build a status quo.

The author Ana Maria Maia will be joined by media activist Giseli Vasconcelos and the artist Antonio Manuel for a presentation and Q&A session.




1 de Junho 2016, a partir das 19h

** cada pessoa deve trazer dois sacos de sal grosso para entrar **

Compartilhando o processo de trabalho feito durante a ‘Imersão no Capacete’, do dia 24 de maio a 02 de junho/2016)

Como criar tratamentos clínicos e estéticos atuais que ajudem a enfrentar
a lama tóxica, o imaginário carbônico, as enchentes e as secas do clima e do pensamento? Pensamos na engenharia do futuro: a geo-engenharia e a engenharia do corpo. No devir criador para fugir do modelo fracassado de civilização e sua rota apocalíptica. Na urgência da metareciclagem no campo das ficções. E na produção de cosmogonias livres.

Quizemos criar dispositivos de resistência ao sequestro do futuro, assim como fortalecer o imaginário e os sonhos.

A imersão começou no dia 24 de maio. Teve como uma das suas funções
potencializar o universo onírico de seus participantes, mixá-lo, tirá-lo de qualquer autoria, devolvê-lo para o campo da experiência, afim torná-lo plataforma de lançamento de um processo coletivo de produção de ficções e imaginários.

Como é impossível finalizar um processo desse tipo, optamos por
compartilhá-lo em seu atual estágio, afim de ampliar o campo de
experiência dos participantes, ao abri-lo para o público. É uma cerimônia de finalização do curso, mas não do processo, que esperamos que seja continuado.

Organização: Fabiane M. Borges e Leandro Nerefuh

Equipe: Giseli vasconcelos (Produção), Marcelo Marssares (som), Paola
Barreto (espectrômetros), Peter Pál Pelbárt (consultoria) e Rafael Frazão (imagens).

Construção do working process (anti-sequestro dos sonhos): Franciele Castilho, Julia Lameiras, Mariana Kaufman, Raisa Inocêncio, Sue Nhamandu, Oliver Bulas, Mariana Marques, Anna Costa E Silva, Luisa Marques, Thelma Vilas Boas, Cecilia Cavalieri, Rodrigo Krul, Patricia Chiavazzoli, Kadija de Paula, Caetano EhMaacumba, Ian Erickson-Kery, Aurélia Defrance, SoJin Chun, Julia Retz, Camilla Rocha Campos



1 June 2016
from 19h to 22h

** each person must bring 2kg of thick salt (sal grosso) **

Sharing the working process of the immersive course which took place from 24 May to 2 June 2016

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.

We wanted to create devices of resistance against the hijacking of dreams, as well as strengthen the imaginary and the dreams.  

The course proposes to potentialiase the oniric universe of the participants, remix them, take them out of authorship, and bring them back to the field of experience, with the aim of creating a collective process of production of fictions and imaginaries.

This wednesday you are invited to experience a closing ceremony of the process.

Organiz: Fabiane M. Borges e Leandro Nerefuh

Team: Giseli vasconcelos (production), Marcelo Marssares (sound), Paola Barreto (espectrons), Peter Pál Pelbárt (consulting) and Rafael Frazão (imgs).

Participants constructors of the working process (anti-jack of dreams): Franciele Castilho, Julia Lameiras, Mariana Kaufman, Raisa Inocêncio, Sue Nhamandu, Oliver Bulas, Mariana Marques, Anna Costa E Silva, Luisa Marques, Thelma Vilas Boas, Cecilia Cavalieri, Rodrigo Krul, Patricia Chiavazzoli, Kadija de Paula, Caetano EhMaacumba, Ian Erickson-Kery, Aurélia Defrance, SoJin Chun, Julia Retz, Camilla Rocha Campos


18 May 2016, 19h

with Tobi Maier, Helion Povoa Neto and Dra. Roberta Ladeira

Screen Shot 2016-05-14 at 4.55.52 PM

In 2013, Brazil welcomed around 940 thousand permanent immigrants. Less than 0.4% of the world’s migrant population. 940 thousand might seem like an impressive number, however, if we consider that Brazil is the fifth most populous country in the world, with 200 million inhabitants, we realise tha Brazil is not as attractive as it seems to be portrayed. Historically a country that was shaped by migration, today Brazil has a legislation of migration from the time of military dictatorship, 1980’s, which is very little favourable for any type of immigration. So we wonder, how is the current immigration situation in Brazil different from the past? How does the current Brazilian law considers immigrantion, in counterpoint with previous policies?

In the form of a round table, we will talk about the situation of immigrants in Brazil and about practical-legal concerns of immigration in Brazil, and their implications in the field of culture, art and economy. Why the immigration situation in Brazil has complicated so much, why Brazil ahs closed itself so much to immigration? And how does Brazil relate to the current waves of world migration and migratory crisis?


Round table with

Helion Povoa Neto, NIEM – Núcleo Interdisciplinar de Estudos Migratórios, UFRJ, Rio de Janeiro
Tobi Maier, curator and art critic, São Paulo
Dra. Roberta Silva Araujo Ladeira, Cesnik, Quintino e Salinas Advogados, Rio de Janeiro

Gilda Mantilla & Raimond Chaves

raimond&gilda11 May 2016, 19h
Gilda Mantilla and Raimond Chaves

Gilda Mantilla and Raimond Chaves, will be talking about their participation at the recent Venice Biennale 2015, in which was inaugurated the Peruvian Pavilion with their installation Misplaced Ruins. It address issues related to the representation of the national, while facing the problems derived from the translation of cultural contexts. They will also talk about the vicissitudes of the process that involves the insertion of the country in the dynamics inherent in major international exhibitions at a time when market forces coexist with the decline or the mere absence of cultural policies.

Mantilla and Chaves live in Peru and work together since 2001.


GILDA MANTILLA (1967, Los Angeles, USA)

RAIMOND CHAVES (1963, Bogota, Colombia)

Live and work in Lima, Peru.


Mantilla and Chaves’ work is based on questioning the nature of the images and their chances of being reprocessed and re-contextualized, and intersects with questions of political, social and cultural nature fostered by the Latin American context, as shown in projects as Dibujando America (2005 – 2009) or  An Uncomfortable Eagerness (2010 – 2012). They have also developed other proposals as Hangueando-Periodico con patas (2002 – 2004), Mobile Workshops (2004), or Cabinet of Curiosity (2006 – 2015) among others, willing to stake the capacity for understanding and agreement on the construction of the artistic field and the collective exercise of sharing experiences that enhance public arena.

From 2003 to 2008 Mantilla and Chaves were members of the artist run space Espacio La Culpable, and co-founders of the artists collective Comité 1º de Mayo, 2013 to 2015, both in Lima, Peru.

In 2015 Mantilla and Chaves represented Peru at the 56th Venice Biennale, where for the first time the country had its own pavilion, with the installation Misplaced Ruins.

Marina Fokidis


Marina Fokidis (Greece)

Sexta, as 19h
Dia 6 de Maio 2016
A fala será em lingua inglesa

Marina Fokidis is the head of the artistic office in Athens for Documenta 14. She will be talking about the artistic scene in Athens and the “Kunsthalle Athena” as an independent institution which emerged within the crisis

She will also present her magazine “south as a state of mind” which was relaunched by the Documenta 14:

Na cozinha as residentes Camilla Rocha Campos e Thora Dolven Balke vão reinterpretar a ideia de simpósio como um encontro que considera em primeira instância a importância de beber, para então comer, a fim de estimular uma boa conversa, novos pensamentos e inesperados resultados.



head of the artistic office in Athens in Documenta 14
Founding director of Kunsthalle Athena and South as a State of Mind magazine.

Fernanda Nogueira



Wednesday dia 27 de abril as 19:30

Fer Nogueira falará sobre o processo de pesquisa de arquivos artísticos que resistem
ao esquecimento e sobre as memórias políticas eliminadas pelas perspectivas
normativas que dominam as narrativas hegemônicas da história da arte. Estarão em
foco o movimento do poema/processo, a rede de arte postal e o Movimento de Arte
Pornô no Brasil nas décadas de 60-70-80.

Fernanda Nogueira (São Paulo) é crítico literário, pesquisadora e historiadora.
Desde 2008 integra a Red Conceptualismos del Sur. É mestre em Teoria Literária e
Literatura Comparada pela USP e em Estudos de Museu e Teoria Crítica pelo programa
de Estudos Independentes do MACBA (Barcelona). Atualmente desenvolve sua pesquisa de
doutorado em Filosofia, Estudos Culturais e Prática Artística na Academia de Belas
Artes de Viena.

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

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:

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 :

Betânia Furtado :

Asia Komarova :

Adeline Lépine e a Maquina de Aprender Performances :

Camilla Rocha Campos :

Caroline Valansi :

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:


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,

 C. Roosevelt, The Amazon and the Anthropocene: 13,000 years of human influence in a tropical rainforest,

 Paulo Artaxo, The Amazon Basin in Transition,

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?,

 Marison de la Cadena, Uncomming Nature,



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 (or the longer version here:
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:

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, (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.



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 :

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:

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.    

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 (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:
2. Plantas Alimentícias Não Convencionais (PANC) no Brasil:
3. Carta de Pero Vaz de Caminha, maio de 1500:
4. Raízes do Brasil: Sérgio Buarque de Holanda, 1935. 
5. Writings of Robert Smithson.  
6. Valdely Kinupp, especialista em PANC:
7. Café Educativo: Paladar Cego
8. An introduction to thinking like a forest:
11. Elaine Azevedo: Alimentos Orgânicos: Ampliando os conceitos de saúde humana, ambiental e social:

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.

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
Eduardo Viveiros de Castro “Filosofia, Antropologia e o Fim do Mundo” – – – – –
História da Aldeia Maracanã, de Cabral a Cabral, Rio de Janeiro/2013
Santuário dos Pajés – Brasília 2011
Fabiane Borges – Xamanismo Transversal, Sujo ou dos Ruídos – SEU (Semana Experimental Urbana) Porto Alegre – 2012
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

Visite nosso blog:

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! [] (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

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


Anna Bella Geiger

Wednesday the 25th of march at 19:30

Inserts in the field of anthropology ? or work in the field of art ?

ana bella geiger

Anna Bella Geiger Artist. Degree in Anglo – German studies at UFRJ , in Sociology of Art from New York University and the New School for Social Research ( 50 ) . Held solo exhibitions and participated in group in Brazil and abroad, as in the Biennial of Sao Paulo and Venice. His works are part of collections like the MoMA (New York ) , the Centre Georges Pompidou (Paris) , Tate Modern ( London) , among others. Published , with Fernando Cocchiarale , the geometric abstractionism book and informal ( Funarte , 1987).

Reading indication by Anna Bella Geiger
1 – Tristes Trópicos, Lévi-Strauss
2 – Naissances Mystiques, Mircea Eliade
3 – Samoa: The Adolescent Girl, Margaret Mead


Leandro Nerefuh

Quarta dia 18 de março as 19:30

Leandro Nerefuh

The Telepathic Motion Picture of ‘The Lost Tribe’


Sinopse: Com o propósito de contribuir para a evolução social e humana no continente americano, empreendemos a expedição telepática ou psicocênica da tribo perdida, que somos nós. Nós que habitamos os trópicos e fomos enganados pela promessa de progresso e crescimento anual. Começamos nossa jornada beyond caverna. Nosso sentido evolucionário não principia no mocó de pedra, em volta da fogueira, e na imitação da caça animal nos chapadões. Tampouco na grande descida da árvore nas florestas, que aparenta o humano ao macaco em busca do missing link. Seguimos a deusa branca da selva, que vem pregar uma nova insurgência telúrica. Profere Umbelina:

O humano beyond-caverna é o sentido da terra

Exorto-vos a permanecerem fiéis à terra

e a não acreditar em quem vos fala de esperanças supraterrestres.

O humano beyond-caverna só poderá existir na terra e com a terra.

Leandro Nerefuh (1975) vive em São Paul / Brasil – Graduado em História da Arte (Goldsmiths College, 2007) e mestrado em Estudos Culturais (London Consortium, 2009), Leandro trabalha com a tradução formal de material histórico, com especial interesse pela América Latina. Desde 2009, apresentou projetos em W139, Amsterdam; MAM – SP; Zacheta Galeria Nacional, Varsóvia; Palácio das Artes, Belo Horizonte; 30 Bienal de São Paulo; Festival Sesc VideoBrasil; CCSP, São Paulo; Museu Reina Sofia, Madrid; ICA, Londres; CCCB, Barcelona, entre outros. Leandro é membro- fundador do PPUB, Partido pela Utopia Brasileira, atuante no Brasil, Paraguai e Uruguai.

Leitura indicada por Leandro Nerefuh

Kodwo Eshun, More Brilliant than the Sun: Adventures in Sonic Fiction
Oswald de Andrade, Obras Completas Volume 6
(os textos: A crise da Filosofia Messiânica e A Marcha da Utopia)
Waly Salomão, Babilaques e Alguns Cristais Clivados (ou qualquer outro dele)