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.

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

Video

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.

Title of the project 

A Longa Noite

WHERE

Sesc Pompeia

ADRESS

R. Clélia, 93 – Água Branca, São Paulo – SP

VISITATION

04/07/2018 – 07/07/2018

Artist

Lucia Koch

Production

Luiza Mello (Automatica)

Architectural Design

Alecsander Gonçalves

Graphic Project

Julio Dui (Estúdio Mono)

Engineering, development and assembly of the vinyl filter cover

Lee de Castro e equipe (LeeOffice)

Woodwork

Leonardo Padilha (12 Polegadas)

Light Design 

André Boll (Santa Luz)

 

 

The installation “A Longa Noite” – “The Long Night”, by the artist Lucia Koch, was staged at the Sesc Pompeia between April 7th and July 8th 2018. Conceived specifically to occupy the hall of the theatre, the intervention responds to the architecture of the building and proposes a temporary transformation of the space. A copper-coloured filter covers the enormous glass ceiling of the space, saturating it with a constant violet light that affects our experience of time and space.

According to Lucia Koch: “night is the place of anxiety and anticipation. We are only able to endure the night because we anticipate the arrival of the day; similarly, we spend the day awaiting nightfall. If the colour of the light does not change, we remain stuck in a state of suspense.”

The artist also introduces hundreds of wooden poles into the space, similar to the structural elements used in the architecture of Lina Bo Bardi. Arranged in apparent disorder, as if awaiting definitive disposal, the poles are painted red, the colour that most stands out against the filter. For its inauguration, she invited the audience to wear red clothes.