Project title
Estabilidade Provisória
Place
Fundação Eva Klabin
Address
Av. Epitácio Pessoa, 2480 – Lagoa, Rio de Janeiro
Visiting information
04/29/2005 – 05/29/2005
Artists
Chelpa Ferro
- Barrão
- Luiz Zerbini
- Sergio Mekler
Curator
Marcio Doctors
Assembly
- Diogo Maia
- Julio Callado
Consultancy
Maria Regina do Nascimento Brito
Execution of the dinner table
André Alvim
Flowers
Iso Milman Ateliê de Flores
Lighting project
Zé Luiz
Press consultants
Afflalo comunicação
- Claudia Afflalo
- Paula Musa
Graphic design
Tira Linhas Studio
Photography
Fabio Ghivelder
Video
Limite Produções
Monitors
- Diogo Maia (coordenação)
- Ana Maria Monteiro de Carvalho
- Felipe Pereira
Estabilidade Provisória (Provisional Stability) was the third exhibition produced by Automatica for Projeto Respiração (Breathing Project), which is organized by Marcio Doctors and has been held at the Fundação Eva Klabin since 2004. As suggested by the title, the exhibition of this collective of artists consisted in actions of dislocation, intervention, and erasure, subtle and provocative at the same time, in the space of the house-museum and its collection.
Working with a series of banal elements of our daily life — such as pots, aluminum paper, cigarette butts, beer glasses, thermos bottles — side to side with sophisticated antique pieces, the installation of the exhibition was fundamental to allow the artists’ ideas to achieve their aesthetic and poetic intentions.
TITLE OF THE PROJECT
Luiz Zerbini – Trees
WHERE
Fondation Cartier pour l’art contemporain
ADDRESS
261, Boulevard Raspail 75014 Paris
VISITATION
07/12/2019 – 11/10/2019
ARTISTS AND CONTRIBUTORS OF THE EXHIBITION
- Efacio Álvarez
- Herman Álvarez
- Fernando Allen
- Fredi Casco
- Claudia Andujar
- Eurides Asque Gómez
- Thijs Biersteker
- José Cabral
- Johanna Calle
- Jorge Carema
- Alex Cerveny
- Raymond Depardon Claudine Nougaret
- Diller Scofidio + Renfro
- Mark Hansen
- Laura Kurgan
- Ben Rubin
- Robert Gerard Pietrusko
- Ehuana Yaira
- Paz Encina
- Charles Gaines
- Francis Hallé
- Fabrice Hyber
- Joseca
- Clemente Juliuz
- Kalepi
- Salim Karami
- Mahmoud Khan
- Angélica Klassen
- Esteban Klassen
- George Leary Love
- Cesare Leonardi
- Franca Stagi
- Stefano Mancuso
- Sebastián Mejía
- Ógwa
- Marcos Ortiz
- Tony Oursler
- Giuseppe Penone
- Santídio Pereira
- Nilson Pimenta
- Osvaldo Pitoe
- Miguel Rio Branco
- Afonso Tostes
- Agnès Varda
- Adriana Varejão
- Cássio Vasconcellos
- Luiz Zerbini
CURATORS
- Bruce Albert
- Hervé Chandès
- Isabelle Gaudefroy
ASSOCIATE CURATORS
- Hélène Kelmachter
- Marie Perennes
PROJECT COORDINATOR
Juliette Lecorne
PRESS RELATIONS
Matthieu Simonnet
PHOTOS
Thibault Voisin
LUIZ ZERBINI INSTALLATION
PRODUCTION COORDINATOR
Luiza Mello (Automatica)
ASSEMBLAGE
Ruan Ornellas
ARTIST’S ATELIE PRODUCTION
Ana Luiza Fonseca
Arthur Moura
Juliana Ribeiro Wähner
IMAGE PROCESSING AND AMBIANCE
Dínamo
Bringing together a community of artists, botanists, and philosophers, the Fondation Cartier pour l’art contemporain echoes the latest scientific research that sheds new light on trees. Organized around several large ensembles of works, the exhibition. Trees gives voice to numerous figures who, through their aesthetic or scientific journey, have developed a strong, intimate link with trees, thereby revealing the beauty and biological wealth of these great protagonists of the living world, threatened today with large-scale deforestation.
Underestimated by biology for a long time, trees—like the entirety of the plant kingdom—have been the subject of scientific discoveries in recent years that have allowed us to see the oldest members of our community of living beings* in a new light. Boasting sensory and memory capacities, as well as communication skills, existing in symbiosis with other species and exerting a climatic influence, trees are equipped with unexpected faculties whose discovery has given way to the fascinating hypothesis of “plant intelligence,” which could be the answer to many of today’s environmental problems. In resonance with this “plant revolution,” the exhibition Trees merges the ideas of artists and researchers, thus prolonging the exploration of ecological issues and the question of humans’ relationship to nature.
Featuring drawings, paintings, photographs, films, and installations by artists from Latin America, Europe, the United States, Iran, and from indigenous communities such as the Nivaclé and Guaraní from Gran Chaco, Paraguay, as well as the Yanomami Indians who live in the heart of the Amazonian forest, the exhibit, punctuated by several large ensembles, explores three narrative threads. Firstly, our knowledge of trees—from botany to new plant biology—; secondly, aesthetics—from naturalistic contemplation to dreamlike transposition—; and lastly, trees’ current devastation recounted via documentary observations and pictorial testimonies.
Orchestrated with anthropologist Bruce Albert, who has accompanied the Fondation Cartier’s inquisitive exploration of such themes since the exhibition Yanomami, Spirit of the Forest (2003), the project revolves around a number of individuals who have developed a unique relationship with trees, whether intellectual, scientific or aesthetic.
Guided more by the aesthetics of an intuitive collection than by a search for scientific rigor, Brazilian artist Luiz Zerbini, on the other hand, composes lush landscapes, organizing the imaginary meeting of trees, borrowed from tropical botanical gardens, and the markers of urban modernity.
See more at: https://www.fondationcartier.com/en/exhibitions/nous-les-arbres
TITLE OF THE PROJECT
Adriana Varejão – por uma retórica canibal. Itinerância: Recife
WHERE
Museu de Arte Moderna Aloisio Magalhães / MAMAM
ADDRESS
Rua da Aurora, 265. Recife- PE
VISITATION
29/06/2019 – 08/09/2019
ARTIST
Adriana Varejão
CURATOR
Luisa Duarte
ASSISTANT CURATOR
Pollyana Quintella
SPONSORSHIP
Galeria Almeida e Dale
PRODUCTION
- Automatica
- Luiza Mello
- Mariana Shincariol de Mello
- Marisa S. Mello
ARTIST’S ATELIE PRODUCTION
Cecilia Fortes
LOCAL PRODUCTION
Adah Lisboa
EXPOGRAPHY PROJECT
- Álvaro Razuk
- Daniel Winnik
- Ligia Zilbersztejn
- Victor Delaqua
EXECUCTION OF THE EXPOGRAPHY PROJECT
Art.monta Design
CONSERVATION
- Denise Guiglemeti
- Helô Biancalana
- Rosangela Reis Costa
- Rita Torquete Tilhaque
LIGHT DESIGN
- Belight
- Samuel Betts
MULTIMEDIA
Maxi Audio
GRAPHIC PROJECT
Bloco Gráfico
SUPPORT FOR EDUCATIONAL ACTIONS
- Colchete Projetos Culturais
- Auana Diniz
PRESS RELATIONS
- Coros Comunicação
- Mariana Oliveira
- Jullie Dutra
- Romero Rafael
PUBLIC RELATIONS
Coreto Comunicação e Conteúdo
Dani Gusmão
PROOFREADING
Duda Costa
ENGLISH TRANSLATION
John Norman
TRANSPORT
Alves Tegam
INSURANCE
- Foco Art Seguros
- AXA Corporate Solutions
- Marcelo Cruz
THE ARTIST IS REPRESENTED BY THE GALLERIES
- Fortes D’Aloia & Gabriel
- Gagosian
- Victoria Miro
THANK YOU
- Andrea e Guy Dellal
- Daniela Crespi de Camaret
- Fundação Marcos Amaro
- Galeria Fortes D’Aloia & Gabriel
- Guilherme Moreira Teixeira
- Hecilda Fadel
- Jones Bergamin
- Jorge Guinle
- Laurita Weege
- Lucia Costa
- Mara e Márcio Fainziliber
- Marcia Fortes
- Maria Tereza de Lara Campos
- Marisa Monte
- Marta Fadel
- Pedro Buarque de Hollanda
- Rosa e Alfredo Setubal
- Têra Queiroz
The show Adriana Varejão – por uma retórica canibal (Adriana Varejão – for a cannibal rhetoric), held in Salvador between April and June 2019, was transferred beyond the Rio-São Paulo axis to the Aloisio Magalhães Museum of Modern Art (MAMAM), in the capital of Pernambuco. Under the curatorship of Luisa Duarte, the show forms part of a project intended to decentralize access to the major works of the Rio-born (Carioca) artist, showing 25 productions from her over 30-year career, produced between 1992 and 2018. This is a significant collection of her work, which includes seminal pieces such as Mapa de Lopo Homem II (1992-2004), Quadro Ferido (1992) and Proposta para uma Catequese, Parts I and II (1993).
The curatorial selection for the exhibition, which reveals different phases of the artist’s work in order to bring a representative sample of her work to Recife for the first time, seeks to highlight how, long before post-colonial studies were at the center of the contemporary art debate, Adriana Varejão was already producing research focused precisely on a historical reassessment of colonialism. The questions raised by the artist find an echo in the colonial history of Pernambuco, marked by its strong vocation for, and tradition of, the monocultural cultivation of sugarcane during this period, the presence of the Dutch and the dispute over land, and the insurgent uprisings against Portugal.
TITLE OF THE PROJECT
Adriana Varejão – for a cannibal rhetoric. Itinerary: Salvador
WHERE
Bahia Museum of Modern Art (MAM BA)
ADDRESS
Avenida do Contorno, s/n – Comercio, Salvador – BA, 40060-075, Brasil
VISITATION
04/16/2019 – 06/16/2019
ARTIST
Adriana Varejão
CURATOR
Luisa Duarte
ASSISTANT CURATOR
Pollyana Quintella
Sponsorship
Galeria Almeida e Dale
PRODUCTION
Automatica
Luiza Mello
Mariana Shincariol de Mello
Marisa S. Mello
Artist’s atelie production
Cecilia Fortes
Local production
Luisa Hardman
EXPOGRAPHY PROJECT
Álvaro Razuk
Daniel Winnik
Ligia Zilbersztejn
Victor Delaqua
EXECUCTION OF THE EXPOGRAPHY PROJECT
RCD Produção de Arte
Ricardo Cavalcanti
Cenotechnician leader
Adriano Passos
Cenotechnician
Fábio Santos
Clasio Vieira
Bruno Matos
George Santana
Romildo Alves
Painter
Ademir Ferreira
CONSERVATION
Denise Guiglemeti
Helô Biancalana
Rosangela Reis Costa
Rita Torquete Tilhaque
LIGHT DESIGN
Belight
Samuel Betts
MULTIMEDIA
Maxi Audio
GRAPHIC PROJECT
Bloco Gráfico
Support for educational actions
Colchete Projetos Culturais
Auana Diniz
MONITORS
Andréia de Jesus
Consuelo Moraes
Thiago Callefi
Felipe Brito
Fernanda Alcino
Milene Moura
Rafaela Pinto
Press relations
Marca Texto
Paula Berbert
PROOFREADING
Duda Costa
English translation
John Norman
The artist is represented by the galleries
Fortes D’Aloia & Gabriel
Gagosian
Victoria Miro
Thank you
Ayrson Heráclito
Coleção Fadel
Daniela Crespi de Camaret
Fundação Marcos Amaro
Galeria Fortes D’Aloia & Gabriel
Galeria Paulo Darzé
Guilherme Moreira Teixeira
Maguy e Jean-Marc Etlin
Jones Bergamin
Jorge Guinle
Lilia e Luiz Schwarcz
Mara e Márcio Fainziliber
Marcia Fortes
Maria Tereza de Lara Campos
Marisa Monte
Marta Fadel
Paulo Darzé
Pedro Buarque de Hollanda
Rosa e Alfredo Setubal
Thais Darzé
The exhibition Adriana Varejão – for a cannibal rhetoric, curated by Luisa Duarte, brings together twenty works from different phases of the artist’s career, the common thread being the subversion effected by her relation to the far-off tradition of the baroque. We are aware that rhetoric is a recurrent strategy in the style of the 17th century and a procedure that aims to persuade. This method produced sumptuous discourse and works of art to promote the Christian narrative and the European colonial project. By contrast, Varejão’s cannibal rhetoric, presents itself as a counter-program, a counter-catechism, a counter-conquest. It breaks with modern Western patterns of thought and action in favor of local know-how—the legacy of anthropophagy.
It is no accident that we begin the itinerary of this exhibition at MAM Salvador. The capital of Bahia is home to much that inspires the work of Adriana Varejão. If one were looking for a place to develop a critique of colonization in Brazil and the possibility of coming up with a program to counter our history, that place would be Salvador. We thus have the rare opportunity to bring together work whose principal themes are counter-conquest and de-Westernization and the Brazilian city in which such a political/poetic program is most likely to flourish.
Title of the project
B-Side: the vinyl disc in contemporary Brazilian art
Where
Sesc Belenzinho
Address
Rua Padre Adelino, 1000 – Belenzinho, São Paulo – SP, 03303-000
Visitation
04/25/2019 – 06/30/2019
CURATOR
Chico Dub
PRODUCTION
Automatica
Luiza Mello
Mariana Shincariol de Mello
Marisa S. Mello
Geane Lino
Paulino Costa Neto
PRODUCTION ASSISTANT
Ayla Gomes
Production intern
Ana Pimenta
Local production
Júlia Brandão
EXPOGRAPHY PROJECT
Chalabi Arquitetos
Eduardo Chalabi
Paula Zemel
DESIGN
Dínamo Design
Alexsandro Souza
LIGHT DESIGN
Fernanda Carvalho
LIGHT DESIGN ASSISTANT
Luana Alves
INSTALLATION TEAM
SuperArte Produtora
PROOFREADING
Duda Costa
EDUCATION ACTIONS COORDINATOR
Auana Diniz
The exhibition B-side: the vinyl disc in Brazilian contemporary art, curated by Chico Dub, presents a variety of applications, arrangements and experimentations, including sound recordings, that use the vinyl disc as material or source of inspiration. The program also includes a series of performances by artist-creators who produce this kind of art.
The group exhibition B-side: the vinyl disc in Brazilian contemporary art covers a wide range of Brazilian art that takes the vinyl disc and record player as the point of departure for research and experimentation. Filling SESC Belenzinho’s entire storage area, exhibition space and atrium, the show presents the visitor with a wide variety of Brazilian artworks–interactive sound installations, paintings, sculptures, conceptual discs, videos, photographs, sound manipulations and instrument-objects – which, in various ways, creatively reconfigure the original forms and functions of devices associated with vinyl. B-side brings together works that explore the disc as object and concept, covering not only (re)production equipment but also debates regarding current technological developments.
Title of the project
Instituto República Public Sector Artist in Residence 2018-2019
VENUE
Municipal Department of Education (Rio de Janeiro)
State Department of Public Security –Under-Secretary for Education, Personal Development and Prevention (Rio de Janeiro)
SEASON
January 2018 – July 2019
ARTISTS
CADU
Tatiana Altberg
REALIZATION
Instituto República
Automatica
RASP-IR is a residence program that envisages immersing two artists for a year in public institutions in Brazil to create processes and/or objects in collaboration with staff.
RASP-IR is compatible with the Instituto República’s aim of investing through art in the personal development and training of government employees.
The specific objectives are: to identify and promote ways in which the arts can collaborate with the public sector to draw attention to their value and importance and change the way society sees them; to establish dialogue between artists, projects and people in the public sector by way of an open process; to set up social engagement projects; to develop projects that form ties with groups of public sector workers that have an impact on their work dynamics and everyday lives.
The proposals should be participatory, involving projects and employees from public institution partners.
In its first edition [2018-2019], RASP-IR invited two artists to work in public institutions partnering with the Instituto República in Rio de Janeiro. CADU worked with the Municipal Department of Education and Tatiana Altberg with the State Department of Public Security – Under-Secretary for Education, Personal Development and Prevention.
TITLE OF THE PROJECT
Festival Mulheres do Mundo
WHERE
Praça Mauá
ADDRESS
Praça Mauá, s/n – Centro, Rio de Janeiro
VISITATION
11/16/2018 – 11/18/2018
DIRECTORS
Jude Kelly
Eliana Sousa Silva
PRODUCTION
Automatica
Leve Produções
COMUNICATION
- Daniele Moura
Filipe Mendonça - Douglas Lopes
- Jessica Pires
- Eliane Salles
- Hélio Euclides
- Maria Morganti
WOMEN IN THE ARTS & CULTURE
- Geisa Lino
- Mariana Beltrão
WOMEN IN DIALOGUES
- Renata Peppl
- Marisa S. Mello
- Mariana Schincariol de Mello
- Luiza Mello
- Maíra Gabriel
- Ayla Gomes
- Gabrielle Moreira
- Ana Pimenta
WOMEN ENTREPRENEURS
- Shirley Vilela
- Adriana Barbosa
WOMEN IN ACTIVISM
- Luisa Hardman
- Inês Di Mari
WEBSITE
Pixfolio
PARTNERS
- Action Aid
- Ashoka
- British Council
- Canal Futura
- Consulado da França
- Consulado dos Estados Unidos da América
- DPZ&T
- Fábula
- Feira Preta
- Fundação Ford
- Fundação Itaú Social
- Fundação Roberto Marinho
- Fundo Elas
- Instituto C&A
- Instituto Promundo
- Instituto Unibanco
- Museu de Arte do Rio (MAR)
- Museu do Amanhã
- Observatório de Favelas
- Olabi
- ONU Mulheres
- People’s Palace Projects
- Píer Mauá
- Prefeitura da Cidade do Rio de janeiro
- Plano Feminino
- Sebrae
- Secretaria Municipal de Cultura
- SESC Nacional
- SESC RJ
- TV Globo
- Womanity
Redes da Maré, the Southbank Centre and the British Council came together to organize the Women of the World Festival – Rio de Janeiro, the first edition of the Women of the World Festival (WOW) in Latin America, which took place between November 16 and 18 at the Museum of Tomorrow, the Museum of Art of Rio and Armazém 01 – Píer Mauá, at Praça Mauá.
Automatica was responsible for producing the event Women in Dialogue, which was intended to stimulate, document and disseminate reflections on the stories of women from different fields of knowledge, celebrating their achievements and highlighting the challenges that still form part of their lives. The program was devised through collective curatorship which included the staging of six Reflection Groups in different regions of Rio de Janeiro, between November 2017 and September 2018. This content was systematized and resulted in eighty activities, divided into the following formats: Shared Territories, Conversation Circles, Forums of Experience, Exchanges of Experience, WOW Bites: sharing stories, Workshops and Mentorships: lives in connection – the latter with Luiza Mello as one of the guest participants.
The global movement launched by the British director and producer Jude Kelly, in 2010 has already taken place in 23 countries of Europe, Asia and Africa, as well as several cities in England. WOW is the largest, most comprehensive and most important festival dedicated to presenting work produced by women, debating and promoting the search for gender equality.
TITLE OF THE PROJECT
Mufa Caos
WHERE
Arte Clube Jacaranda
ADDRESS
Ladeira da Glória, 26 – Glória, Rio de Janeiro – RJ
VISITATION
28/09/2018 – 25/11/2018
Artist
Barrão
Curatorship
Luiza Mello
Production
Jacaranda
Mufa Caos is a collection of works produced by the artist, Barrão, over the last three years. Comprising 34 works, including multi-coloured ceramic sculptures and monochromatic resin pieces, this series of watercolours and sculptural objects has been brought together for the first time to illustrate the complexity and subtlety of his artistic practice, which began in the 1980s. “Mufa Caos is chaotic thought and organization, technique and improvisation; it is irony and seriousness, heart and mind; it is you and I in the fantastical universe of Barrão”, explains the curator of the exhibition, Luiza Mello.
There is no hierarchical or chronological logic to the construction of the works on display or in relation to the elements that compose it: a ceramic potato acquired from a street vendor is given no less prominence than a piece bought in an antiques shop.
This approach, adopted by the artist in his studio, dissolves hierarchy in a time of simultaneousness. While he waits for the ceramic pieces to dry, and which take longer to make, for example, the artist works on watercolours. During the preparation of a mould for a resin piece, he explores the materials which might form a new sculpture. These are the continuous experimental exercises that follow a method, both rigorous and subversive, which are on display in Mufa Caos.
TITLE OF THE PROJECT
Recortes da Arte Contemporânea Brasileira
WHERE
Tempelhof Airport
ADDRESS
Tempelhofer Damm 45
10963 Berlin
Germany
VISITATION
09/27/2018 – 09/30/2018
Artists
Adriana Varejão
Arjan Martins
Beatriz Milhazes
Daniel Lannes
Eduardo Sued
Luiz Zerbini
Maxwell Alexandre
Miguel Rio Branco
Otavio Shipper
Curators
Paulo Herkenhoff e Luiza Mello
The exhibition Cuttings from Contemporary Brazilian Art brings together visual artists from different generations, grouped around the themes of Afro-Rio, Colour and History/Knowledge.
Afro-Rio is characterized by works that address aspects of European colonization and African inheritance in Carioca culture, produced by the artists Arjan Martins, Maxwell Alexandre and Adriana Varejão.
Historically, in Brazil, it has always been possible to observe a vast diversity of chromatic projects which operate in the political and sensitive fields. Colour appears as a founding element in the works of the four artists selected: Beatriz Milhazes, Eduardo Sued, Luiz Zerbini and Miguel Rio Branco.
In History/Knowledge, the artists Otavio Schipper and Daniel Lannes place art, knowledge and history in dialogue with each other, using different approaches.
The three centres of the show were organized with the intention of stimulating readings and reflections on aspects of Brazilian art together with the audience of Art Berlin.
The curators are Paulo Herkenhoff and Luiza Mello.
TITLE OF THE PROJEC
Mostra Bug
WHERE
Oi Futuro do Flamengo
VISITATION
14/08/2018 – 09/09/2018
Curatorship
André Paz, Julia Salles e Arnau Gifreu
Production
[Automatica]
Luiza Mello
Mariana Schincariol de Mello
Production Assistant
Ana Pimenta
GRAPHIC PROJECT
[Dínamo]
Alexsandro Souza
ARCHITECTURAL DESIGN
[Gávea arquitetura]
Felipe Rio Branco
Alziro Carvalho Neto
INSTALLATION TEAM
[H.O Silva Produções]
Humberto Junior
LIGHT DESIGN
[Belight]
Samuel Betts
Equipments
On Projeções
VR Equipments
Thunder VR
Videos
Cria Projetos e Narrativas
PHOTOGRAPHY
Felipe Varanda
PRESS RELATIONS
Meise Halabi
Assistente de comunição COMMUNICATION ASSISTANT
Leonardo Coelho
SOCIAL MEDIA
Leonardo Coelho, Raquel Boechat e Bianca Nonato
BugLab: International Conference
Coordination
André Paz e Kátia Augusta Maciel
Organizing Committee
Inês Maciel
Julia Salles
Luciano Saramago
Ronaldo Ranzemberger
Production Committee
Arthur Moraes
Bianca Nonato
Bruna Lacerda
Christophe Nonato
Marina Cruz
Willian Nogueira
The central focus of Mostra Bug was an immersion in the universe of new digital narratives, still little known and explored in Brazil. Under the curatorship of André Paz, Julia Salles and Arnau Grifeu, researchers and organizers of interactive projects, the show combined an exhibition with an international conference and workshops.
During the exhibition, around 50 interactive immersive narratives were presented in the form of web-documentaries, projections, interactive documentaries, 360 videos, virtual reality animations, augmented reality, sound maps and transmedia projections [projection, interaction station + cell phone].
The curators sought to offer a panorama of the principal international creative centres and the production of the Brazilian scene, with a focus on non-fiction, and adopting an anthropological approach. The works included an inventory of sounds from the historic cities of the state of Minas Gerais – a multi-platform project created by the documentary makers, Marina Thomé and Márcia Mansur.
Mostra Bug emerged from networking, research and support for new projects provided, over three years, by the laboratory Bug404 (bug404.net), in partnership with Automatica and with funding from Oi Futuro.
TITLE OF THE PROJECT
Ciclo de exposições artísticas em Belo Jardim
WHERE
Espaço Oco e Sesc Belo Jardim
VISITATION
04/19/2018 – 06/30/2018
Artist
Carlos Mélo
Curatorship
Kiki Mazzucchelli
Cristiana Tejo
COORDINATOR
Luiza Mello
LOCAL PRODUCTION
Adauto Bacelar
ART EDUCATION TEAM
Bárbara Amorim
Josenilson da Silva Sanrtos
Vanessa Melo
EDUCATION COORDINATOR
Carlos Mélo
CONSULTING
Erlene Melo
Tarcísio de Almeida
LOCAL ARTIST ASSISTANT / COLAB
Elaine Lima
GRAPHIC PROJECT
Alex Souza | Dinamo Design
COMMUNICATION COORDINATOR / CURATORSHIP ASSISTANT
Rita Vênus
PHOTOGRAPHY
Geyson Magno
VIDEO
Heleno Florentino
Speakers/Performances
Adones Valença
Clovis Teodorico
Kleber de Oliveira
Lorane Barreto
Marcus Lontra
Suzy Okamoto
PRESS RELATIONS
Mariana Oliveira
INSTALLATION/LIGHT DESIGN
Adones Valença
Management
Leticia Libanio
Mariana Schincariol de Mello
Marisa S. Mello
Website
Bruno Gosling | New Gosling
Project and production
Automatica
Team BARRO OCO
Direction and argument
Carlos Mélo
Script
Sérgio Raposo
Production Coordination
Luiza Mello
Edition
João Paulo Reys
Director of Photography
Camilo Soares
1º Camera Assistant
Rafael Cabral
Direct sound
Guma Farias
Head of Machinery
Alex Sandro
Machinery Assistant
Dyego de Souza
Drone
Pedro Coelho
Production Assistant/Director Assistant
Renata Gamelo
Local production assistants
Adones Valença
Bárbara Amorim
Vanessa Melo
Still
Geyson Magno
Still Assistant
Vanessa Melo
Driver
Chiquinho
Additional footage
1º Camera Assistant
Raphael Malta
2º Camera Assistant
Pedro Melo
Direct sound
Rafael Travassos
Driver
Márcio Tarquínio
Soundtrack
Eduardo Albuquerque
Gledson Lamartine
Heligeison Feitosa
Leo Barbalho
Colorist
Paulo M. de Andrade
Mixing
Vinícius Leal e Jesse Marmo | Estúdio Audiorama Filmes
Special cast
Antonio
Bira
Cícera
Coquinho
Dinda
Elaine
Sebastião
With Quilombola do Barro Branco community
Adriana Maria Aleixo
Andréia Alves da Silva
Andreza Alves da Silva
Antonio José da Silva
Cícera Maria da Silva
Deivid Cordeiro da Silva
Edimilson João Aleixo
Elaine Lima do Nascimento
Erivaldo Rodrigues da Silva
Flávio Leandro de Morais Melo
Geilson de Lima
Genilson Aleixo de Lima
Jaciane Cordeiro da Silva
Jadicle Lima dos Santos
Jedielson Aleixo de Lima
José Adriano Silva de Lima
José Assis dos Santos
José Carlos Pedrosa da Silva
José Ubiraci Bernardo Gomes
Leonardo Edilson dos Santos
Maria Aparecida Siqueira
Maria Sabrina da Silva de Lima
Maria Sonia da Conceição
Maria Vitória Aleixo da Silva
Matheus Silva dos Santos
Rivanildo da Silva
Rosangela da Silva Santos
Sebastião Fernandes da Silva
Taciana da Silva Santos
Tacilene da Silva Santos
Agradecimentos
Adauto Bacelar
Cristiana Tejo
David Henrique
Erlene Melo
Flavia Melo
Geyson Magno
Kiki Mazzuccelli
Leo Barbalho
Lorane Barreto
Luiza Mello
Marcus Lontra
Mariana Moura
Renata Gamelo
Serge Huot
Sergio Raposo
Sonia Costa
Suzy Okamoto
Tarcisio Almeida
The Belo Jardim Residence is an annual project organized by the Conceição Moura Institute, under the curatorship of Cristiana Tejo and Kiki Mazzucchelli, and produced by Automática. The Residency invites one artist each year to submit proposals which engage with the cultural, economic, political and social dynamics of the agreste semi-arid region of Pernambuco. In 2018, the Belo Jardim project resumed with the participation of the artist, Carlos Mélo (Riacho das Almas, PE, 1969).
The project developed by Carlos Mélo focused on the quilombola fugitive slave community of Barro Branco, and its struggle for official recognition of ownership of the territory where it has been established for years, on the outskirts of Belo Jardim. The artist’s immersion in the locale shaped the production of the medium-length film Barro Oco, produced from a sensitive perspective of the community as a generator of processes for recovering subjectivity.
In addition to the audiovisual work, the artist inaugurated the Espaço Oco, inside the Fábrica Mariola factory – a cultural space associated with the Conceição Moura Institute. During the period of the residency, the Espaço Oco functioned as a centre for promoting discussions and contact with the people of the city, stimulated by events and performances by the artist and guests.
With the aim of contextualizing the work of Carlos Mélo, an exhibition was also held at Sesc Belo Jardim. The works selected were produced over the last fifteen years, and encompassed images and themes that recur throughout the artist’s career.