Gris García

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

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

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Jari Malta

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

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

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


Anna Bak

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


Anne Szefer Karlsen

Curator and writer, currently Head of Research for Bergen Assembly (2018-) and Associate Professor of Curatorial Practice at the Faculty of Fine Art, Music and Design, University of Bergen (2015-2021). She was Director of Hordaland Art Centre in Bergen, Norway (2008-14).

Postcard from Rio de Janeiro:

“I wake up around 5:30 a.m. on a Sunday morning, roused by a big group of people singing somewhere close by, almost chanting. It is still dark out, and I am in the neighbourhood of Glória in Rio de Janeiro. I learn through «worldtravelguide» that today we will celebrate Santo Antonio – with street markets, food and drinks. As well as couples jumping across bonfires and mock weddings. The same source reveals that this is the first of three saints to be celebrated in June and July – Festa Junina – and that the celebrations are connected to what we in the North know as Midsummer. But across the equator winter is coming. 

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Since I was here in November last year inflation has skyrocketed, electricity is something like 60% more expensive, there is a real possibility of catching dengue fever –  if not the full-fledged version, then certainly what is commonly referred to as ‘baby-dengue’ which confusingly enough also starts with rashes on the chest and arms, intense pain behind the eyes that does not go away until four to seven days later, a dash of high fever and a lack of appetite. The corruption scandal in the semi-public oil company Petrobras doesn’t seem to end, the government has cut the budgets for health and education, and in Rio violence is on the rise. I have learned to distinguish fireworks from gunshots, and I am both happy and scared when passing the drug trafficking bar across the street. Happy because the bar owner and his crew seem to keep the peace in the street, scared because a slice of Brazilian everyday realism can be served up at any time. Museums must cut in their opening hours because they cannot afford the cost of air conditioning, and everyone I meet is complaining about a lack of discourse production in the art. A teacher in the public school system makes just under 2,000 Reais, equivalent to about €350. For parents with high-level education, but no money to put their children through private school, keeping their kids out of public school is a real option, resorting to home schooling and an environment of learning in a network of adults.

I spend every day with a group of 12 artists, curators, educators, writers and producers taking part in the yearlong programme at Capacete: A para-educational initiative with participants from many parts of the world, but also from Brazil. This creates a dynamic in the group where fact is mixed with curiosity.

Wednesdays are particularly busy. This is the day when the students (participants… residents… call them what you like, because no one has really taken the time to name the roles they are inhabiting this year) open the doors and invite the public for presentations, food and drinks. Three weeks ago I was sitting in the hot seat together with my colleague Daniela Castro presenting ’Self Organised, now available in Portuguese’. While we were talking about self-organisation, homemade burgers and the potent mix of lime, sugar and cachaça – distilled sugar cane – was served in the illegal bar. Next week the Wednesday night was a bit louder, resulting in the neighbour throwing eggs with surprising precision at the public and the police showing up. And unlike in Norway, the debate about police carrying firearms is long gone in Brazil: When they knock on the door they come carrying machine guns.

Thursday to Tuesday is typically filled with seminars presented by guests, or small excursions organised by the participants themselves. The week after our seminar we whizz through yet another tunnel, four mountains to the left from Ipanema on the map, and get off at the shopping centre AutoEstrada Lagoa-Barra. We cross the 14-lane motorway and meet the artist Wouter Osterholt, who will guide us around the tower where he and Elke Uitentuis filmed the video work Paraíso Ocupado.

Barra da Tijuca is a neighbourhood in the southwest area of the city. In the 1960s the city planner Lucío Costa drafted a modernist master plan for 76 towers, which were designed by Oscar Niemeyer. Only four towers were realised – one of which collapsed during construction, two are in use today and one is a modern ruin. It was never completed.

The characters in Paraíso Ocupado stage a script in English for a commercial film created to promote the area, geared towards foreign buyers. The artist found the script in the ghost tower, in an ‘archive in chaos’ which still exists today on the second floor. We try not to show too much interest in the two rooms filled with archive folders, blueprints and an old typewriter when we move through the three lower floors, guided by the guard’s flashlight through the dark and spiraling staircases.

Finally, on my last day in Rio I have a chance to go to MAM – Museu de Arte Moderna do Rio de Janeiro. The museum has been between exhibitions the whole time I have been here, but Wednesday last week I went to see designer Manuel Raeder for a sneak preview of the exhibition Marginália 1 – Rogério Duarte. It is, as the title indicates, a survey exhibition of the practice of graphic designer, musician and poet Rogério Duarte. Duarte is the man behind the influential essay ‘Notes on Industrial Design’ (Notas Sobre o Desenho Industrial) from 1965. He also designed and edited several issues of the magazine Movimento 1, which started in 1962 and was seminal for a whole generation. Duarte was thus part of establishing the well-known Tropicália movement. Today he is a man in his late 70s, marked by a long and tumultuous life – largely thanks to the treatment he endured during the military dictatorship in Brazil from 1964 to 1985.

Many on the Norwegian art scene will recognise the name Capacete from a while back when the Office for Contemporary Art Norway offered residencies for artists and curators there. Manuel Raeder and Wouter Osterholt also have links to Capacete.  It was during a residency a few years ago that Osterholt came across the towers and his interest was sparked. And the exhibition at MAM has previously been on display in Europe, then partly produced by Capacete. And like so many guests before and after them, here they are again to continue their projects. There is something about this structure, whose name translates as ‘helmet’, which focuses your senses and directs your gaze. And for a brief moment I also have had the privilege of being part of this – as a stowaway, witness or colleague, my role has been just as ambiguous as everyone else’s – yet it all seems logical. 

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Julia Ayerbe

“I am a freelancer as an Editor and Curator, I have my own publishing house, with Laura Daviña (Edições Aurora) and I am studying a master degree at Museo Nacional Centro de Arte Reina Sofía, in Madrid. “How to live together”, “how to waste my time”, “how to deal with contradictions”? Capacete`s residency gave me some experiences that helps me in these big insoluble questions. Also gave me excelente memories and people, and coexistence with Helmut´s generosity and his special way to live and create community.”


Raphael Fonseca

Crítico, curador e historiador da arte. Atualmente trabalho como curador no Museu de Arte Contemporânea de Niterói, no Rio de Janeiro. Doutor em História e Crítica da Arte (UERJ). Escrevo para a revista ArtNexus. Professor do Colégio Pedro II. Vivo e trabalho entre o Rio de Janeiro e o mundo. [Critic, curator and art historian. Curator at the Contemporary Art Museum of Niterói, in Rio de Janeiro. PhD in History of Art and Critic (State University of Rio de Janeiro). Writes regularly for ArtNexus. Lecturer in Colégio Pedro II. Lives and works between Rio de Janeiro and the world]


Mauricio Marcin

“I live in Mexico City, my full name is Mauricio Marcin Alvarez, that hasn’t changed. I now work in a space I co-funded with 4 other guys and girls called Aeromoto. Recién noto que han pasado cerca de siete años desde que fui a Capacete. Tengo tantas hermosas memorias que me resulta complicado alejarme del sentimentalismo. Ni modo. Diré que descubrí en compañía y en diálogo con los gestores dependientes potencias sensoriales, zonas erógenas, sobre la retaguardia y la fragilidad de la vida. Se abrió el telón que dejó descubiertos todos los miedos. Miré un sapo por un instante eterno y en el brotó la sonrisa de Helmut. ¿Habrá sido místico, todo ello? Simonel.”


Rodrigo Quijano

“Con toda sinceridad, la experiencia con capacete en el 2011 fue un poco confusa, pero nunca olvidaré los días pasados con lxs compañerxs en el piso 21 y 22 del Copan. Ahí hice estupendos amigos, tomé mucho café, escribí poemas y miré mucho por la ventana, pero sobre todo conocí entrañablemente a Mauricio Marcín.”


Joris Lindhout

Co-founder of Deltaworkers, an international residency program in New Orleans, US. Jan van Eyck Academy alumnus and current graduate student and Teaching Assistant in digital media at Tulane University in New Orleans. Our experience at Capacete has shaped our view on how projects can develop and firmed our idea about residencies and how they can be fruitful for both host and resident. The fact that Helmut chose very careful in who he wanted at the residency and how he let everyone go their way however way the best fit to the artist, has proven a good strategy. We had the chance to live at Helmuts house on top of the mountain and see how he devoted his time to art and life. It inspired us to become ambitious in not following the existing paths too much. Another thing that was very inspiring was that Helmut shared a lot of questions he had with us, about how to continue the residency while developing the school. This openess and dedication to art led to the creation and development of the Deltaworkers residency program in New Orleans, which was build with the Capacete principles at its core. We give space to artists from different disciplines and want them to try to understand the city before even thinking of producing anything. It’s the constant dialogue on multiple levels that feeds the projects, which is apparent in the results. After the residency in Capacete we created an installation and performance, for both of us a new step in our careers.


Maaike Gouwenberg

Co-founder of Deltaworkers, an international residency program in New Orleans, US. Curator and producer at the international contemporary art performance biennial Performa in New York City.

“Our experience at Capacete has shaped our view on how projects can develop and firmed our idea about residencies and how they can be fruitful for both host and resident. The fact that Helmut chose very careful in who he wanted at the residency and how he let everyone go their way however way the best fit to the artist, has proven a good strategy. We had the chance to live at Helmuts house on top of the mountain and see how he devoted his time to art and life. It inspired us to become ambitious in not following the existing paths too much.

Another thing that was very inspiring was that Helmut shared a lot of questions he had with us, about how to continue the residency while developing the school. This openess and dedication to art led to the creation and development of the Deltaworkers residency program in New Orleans, which was build with the Capacete principles at its core. We give space to artists from different disciplines and want them to try to understand the city before even thinking of producing anything. It’s the constant dialogue on multiple levels that feeds the projects, which is apparent in the results. After the residency in Capacete we created an installation and performance, for both of us a new step in our careers. Helmut Batista has been an influential person in Maaike’s development as a curator. Even though she don’t speak much to him, his way of looking at the world and at art has been inspiring since the first time she met him in 2006 while being a participant in the Curatorial Program at De Appel in Amsterdam.”


Raquel Guerra

Born in Porto in 1976.

Degree in History (UPT) and postgraduate studies in Museology and Curatorial Studies (FBAUP).
Currently attending a PhD in Contemporary Art (Colégio das Artes, UC).

Curator and researcher. As a researcher, she participated in the projects Anamnese_ Digital Platform on Contemporary Art from/in Portugal between 1993 and 2003 (Ilídio Pinho Foundation, Porto) and IDAP S20_ Digital Interface of Portuguese Art of the 20th Century (Universidade Católica Portuguesa, Porto).

Fellowship in 2011 from Calouste Gulbenkian Foundation for curatorial residency in Brazil (Rio de Janeiro and São Paulo) _Residência Capacete. She lectured at the postgraduate degree in Photography and Contemporary Art at IPA, Lisbon. She has been dedicated to the management of contemporary art collections: Marín.Gaspar Collection, Norlinda and José Lima Collection and Treger / Saint Silvestre Collection. Director of the Oliva Creative Factory’s Art Museum, São João da Madeira, between 2014 and 2017. Director of the São João da Madeira Art Center between 2015 and 2017. She writes regularly for catalogs and art publications.


Adriana Pineda

Adriana es Maestra en Artes Plásticas de la Universidad Nacional de Colombia, Medellín. Es fundadora y gestora de Taller 7, proyecto auto gestionado que se propone como laboratorio y plataforma para la discusión, producción y promoción de las prácticas artísticas y el intercambio de ideas locales y foráneas, desarrollando proyectos colectivos e invitando artistas en calidad de residentes o expositores. Se ha desempeñado como Directora de producción del 44 Salón Nacional de Artistas, Pereira (2016), Coordinadora general de montaje, I Bienal de Arte de Cartagena -Biaci (2014), y productora general de ARCO COLOMBIA (2015). Adriana fue investigadora para el Museo Casa de la Memoria de Medellín, en donde curó la exposición Relatos desde la Frontera (2014).


Santiago Garcia Navarro

Book to read CAPACETE 10 years

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I’m teaching at the Art Program of Torcuato Di Tella University, Buenos Aires. I’m also writing, curating some exhibitions, and organizing two readers on contemporary art.

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