TITLE OF THE PROJECT

Travessias 6 – Colaborações (Collaborations)

VISIT

From July 14, 2020

PLATFORM

travessias.org.br

Artists

  1. A Noiva
  2. Rato Branko
  3. Rato Preto
  4. Trovoa
  5. Ventura Profana

Curators

  1. Keyna Eleison
  2. Luiza Mello

Realization

  1. Observatório de Favelas/Galpão Bela Maré
  2. Automatica

Production

Automatica

  1. Luiza Mello
  2. Mariana Shincariol de Mello
  3. Marisa S. Mello

Audiovisuals directed by

RIACHO/Alucinação Filmes

Video Home System

Leonardo Rodrigues

Soundtrack

Ramon Silva

Translation in Brazilian Portuguese sign language (LIBRAS)

  1. Davi Vasconcelos
  2. Erica Cristina
  3. Pablo Amorim

Graphic design

Quinta-feira

Website development, technology and content

[:koshtech] Soluções e Tecnológicas

  1. Fernando Kosh
  2. Jessica Bertoni

Photos

  1. Davi Marcos
  2. Douglas Lopes
  3. Eduardo Magalhães
  4. Fabio Caffé
  5. Gabi Carrera
  6. Marcia Farias

Thank you

  1. Daniela Labra
  2. Luisa Duarte
  3. Marcos Chaves
  4. Pedro Évora

In its sixth edition, due to the COVID-19 pandemic, the project Travessias takes place online on the platform www.travessias.org.br. Inspired by the theme Collaborations, artists and collectives virtually showed their works: A Noiva, Rato BranKo, Rato Preto, Trovoa and Ventura Profana. The exhibition is curated by Keyna Eleison and Luiza Mello.

Writer, researcher teacher at Escola de Artes Visuais do Parque Lage, Keyna Eleison talks about the challenges of holding an exhibition online. “We face the possibility of not stopping for distance. Understand the possibilities and learn in the context of self-inventions. We are not a revolution if we don’t embrace the possibility of making mistakes and going back and moving on.”.

Luiza Mello remembers the history of the project and how much the concept of collaborations has always been present. “The realization of Travessias over so many years was only possible through the collaboration of people and organizations that believe in the central role of art in expanding the existential possibilities of multiple social groups. The sixth edition refers both to collective experiences and to the meeting between artists and visitors of the Galpão Bela Maré.”.

During the exhibition, each week was dedicated to the work of one of the invited collectives. In the closing week, a conversation was held with the graphic designer of all editions of the project and with Galpão Bela Maré’s educational team. The virtual exhibition posted new artworks until August 29 and remains on the website. All programming is free.

Visit: travessias.org.br

Title of the project

The names we give things

Where

Galpão BELA Maré

Address

Rua Bittencourt Sampaio, 169, Maré

Visit

12/14/2019 – 02/01/2020

Artists

  1. Agrade Camíz
  2. Alex Reis
  3. Anderson Barreto
  4. Andressa Núbia
  5. Arcasi
  6. Aya Ibeji
  7. Beatriz Brito
  8. Christine Jones
  9. Cruz
  10. Gabrielle dos Santos
  11. Guilhermina Augusti
  12. Irmãos Brasil
  13. Jade Maria Zimbra
  14. Mulambö
  15. Kamila Camillo
  16. Lucas Assumpção
  17. Lucas Araújo
  18. Lucas Ururah
  19. Manaíra Carneiro
  20. Nzaje
  21. Rack
  22. Rainha F.
  23. Ramon SIlva
  24. Talita Nascimento
  25. Thiago Saraiva

Organization and Production

  1. Automatica
  2. Observatório de Favelas | Galpão Bela Maré

Content

Marisa Mello

Graphic design

Quinta-feira

Text review

Duda Costa

Audiovisual and light design

Boca do Trombone

Assemblage

  1. Los Montadores
  2. Thiago Hortala
  3. Felipe Bardy
  4. Brenno Castro

Video

  1. Alucinação Filmes
  2. Samuel Fortunato

VIDEO

The main aim of Galpão Bela Maré is to establish a forum for dialogue, training, and the dissemination and enjoyment of art in all its forms, especially visual art, in concert with local political thinking and action. It thereby seeks to provide a basis for understanding of these modes of expression as powerful tools for reshaping life and defending full democratic rights.

Conceived as an experiment in art education, ELÃ – The Free School of the Arts, through its call for researchers working with a variety of media and supports and from a wide-ranging diversity of backgrounds regarding gender, sexuality, race, ethnicity and geographical location, aims to reflect on a discursive framework of terms and training practices that defines the way artists think and create in the broadest possible sense.

The group exhibition The Names We Give Things is one product of this training process and forms part of the annual Bela Verão Program, which, since 2018, has provided a space for artists located in marginalized and underprivileged areas, thereby establishing a presence and artistic engagement in these fields.

The visual discoveries of the artists spurred to action in this time and space investigate the meanings produced by words that name artistic acts and processes, such as school, visual arts, artist, artwork, exhibition, and others, especially the uniqueness these artists carry in their life-stories, bodies, materiality, concepts and agency.

The exhibition space incorporates and imposes the drives and voices of these bodies in aesthetic modes that adopt strategies and tactics of a visual nature to deal with the material and the immaterial, along with other visual languages and forms of identity used to confront the pitfalls and challenges of being an artist in the contemporary world.

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

  1. Efacio Álvarez
  2. Herman Álvarez
  3. Fernando Allen
  4. Fredi Casco
  5. Claudia Andujar
  6. Eurides Asque Gómez
  7. Thijs Biersteker
  8. José Cabral
  9. Johanna Calle
  10. Jorge Carema
  11. Alex Cerveny
  12. Raymond Depardon Claudine Nougaret
  13. Diller Scofidio + Renfro
  14. Mark Hansen
  15. Laura Kurgan
  16. Ben Rubin
  17. Robert Gerard Pietrusko
  18. Ehuana Yaira
  19. Paz Encina
  20. Charles Gaines
  21. Francis Hallé
  22. Fabrice Hyber
  23. Joseca
  24. Clemente Juliuz
  25. Kalepi
  26. Salim Karami
  27. Mahmoud Khan
  28. Angélica Klassen
  29. Esteban Klassen
  30. George Leary Love
  31. Cesare Leonardi
  32. Franca Stagi
  33. Stefano Mancuso
  34. Sebastián Mejía
  35. Ógwa
  36. Marcos Ortiz
  37. Tony Oursler
  38. Giuseppe Penone
  39. Santídio Pereira
  40. Nilson Pimenta
  41. Osvaldo Pitoe
  42. Miguel Rio Branco
  43. Afonso Tostes
  44. Agnès Varda
  45. Adriana Varejão
  46. Cássio Vasconcellos
  47. Luiz Zerbini

CURATORS

  1. Bruce Albert
  2. Hervé Chandès
  3. Isabelle Gaudefroy

ASSOCIATE CURATORS

  1. Hélène Kelmachter
  2. 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

  1. Automatica
  2. Luiza Mello
  3. Mariana Shincariol de Mello
  4. Marisa S. Mello

ARTIST’S ATELIE PRODUCTION

Cecilia Fortes

LOCAL PRODUCTION

Adah Lisboa

EXPOGRAPHY PROJECT

  1. Álvaro Razuk
  2. Daniel Winnik
  3. Ligia Zilbersztejn
  4. Victor Delaqua

EXECUCTION OF THE EXPOGRAPHY PROJECT

Art.monta Design

CONSERVATION

  1. Denise Guiglemeti
  2. Helô Biancalana
  3. Rosangela Reis Costa
  4. Rita Torquete Tilhaque

LIGHT DESIGN

  1. Belight
  2. Samuel Betts

MULTIMEDIA

Maxi Audio

GRAPHIC PROJECT

Bloco Gráfico

SUPPORT FOR EDUCATIONAL ACTIONS

  1. Colchete Projetos Culturais
  2. Auana Diniz

PRESS RELATIONS

  1. Coros Comunicação
  2. Mariana Oliveira
  3. Jullie Dutra
  4. Romero Rafael

PUBLIC RELATIONS

Coreto Comunicação e Conteúdo

Dani Gusmão

PROOFREADING

Duda Costa

ENGLISH TRANSLATION

John Norman

TRANSPORT

Alves Tegam

INSURANCE

  1. Foco Art Seguros
  2. AXA Corporate Solutions
  3. Marcelo Cruz

THE ARTIST IS REPRESENTED BY THE GALLERIES

  1. Fortes D’Aloia & Gabriel
  2. Gagosian
  3. Victoria Miro

THANK YOU

  1. Andrea e Guy Dellal
  2. Daniela Crespi de Camaret
  3. Fundação Marcos Amaro
  4. Galeria Fortes D’Aloia & Gabriel
  5. Guilherme Moreira Teixeira
  6. Hecilda Fadel
  7. Jones Bergamin
  8. Jorge Guinle
  9. Laurita Weege
  10. Lucia Costa
  11. Mara e Márcio Fainziliber
  12. Marcia Fortes
  13. Maria Tereza de Lara Campos
  14. Marisa Monte
  15. Marta Fadel
  16. Pedro Buarque de Hollanda
  17. Rosa e Alfredo Setubal
  18. 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

VIDEO

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

VIDEO

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.