PROJECT TITLE

Atlas fotográfico da cidade de São Paulo e seus arredores

ARTIST

Tuca Vieira

WHERE

Museu da Cidade de São Paulo / Casa da Imagem

ADRESS

Rua Roberto Simonsen, 136-B, Sé, São Paulo

VISITATION

  • 09/07/16 – 16/10/16
  • De terça a domingo,
  • das 12 às 19h
  • Entrada franca

PRODUCTION

Automatica

PRODUCTION COORDINATION

Mariana Schincariol de Mello

PROJECT MANAGEMENT

Marisa S. Mello

TEXT

Abilio Diniz Guerra

PROOFREADER

Duda Costa

TRANSLATE

John Norman

DESIGN

Marise De Chirico

PHOTO PRESS

Giclê Fine Art Print

PRESS RELATIONS

Vicente Negrão Assessoria

MOLDURA

Somar

SET UP

Manuseio

EDUCATION PROGRAM

  • Heloiza Soler
  • Júlia Savaglia Anversa
  • Gabriela Goelzer Bacelar

JOVEM MONITOR CULTURAL PROGRAM

  • Jordi Ximenes,
  • Kathy Carvalho,
  • Larissa Vieira,
  • Michel Santos e
  • Paula Talib Assad

ARTEDUCAÇÃO PRODUCTIONS

  • Rodrigo Monteiro,
  • Anderson Barbosa,
  • André Rosa,
  • Camilla Zarbinati,
  • Gabriel Castro,
  • Marcella Custodio e
  • Rinah Souto

TRAINEE

Jaqueline Dias

In recent years, the photographer Tuca Vieira has dedicated himself to international projects of urban documentation. The exhibition, Atlas fotográfico da cidade de São Paulo e seus arredores (Photographic Atlas of São Paulo and its Suburbs) presents records of the city in its full extent, dividing it into 203 quadrants similar to those used in the former Guia 4 Rodas de São Paulo street guide. Since 2015, Vieira has travelled around the city and taken photographs in 4×5” format in each of these geographical divisions. This strategy has allowed him to create a representation of the metropolitan region through samples, uninfluenced by the photographer’s personal preferences. Of the discussions that the project provokes, we highlight the creation of a methodology to represent a vast territory, authorship and innovation in photographic projects, mobility in the metropolis, as well as issues such as the urban development of the city and antecedent projects, like that of Militão Augusto de Azevedo, a photographer from the 19th century, whose work the museum keeps in its collection.

PROJECT TITLE

Atletas de Corpo e Alma

ARTIST

Gustavo Malheiros

WHERE

Centro Cultural Justiça Federal

ADRESS

Av. Rio Branco, 241 Centro, Rio de Janeiro

VISITATION

  • 06/07/2016 – 28/08/2016
  • Terça a Domingo 12 às 19h
  • Entrada franca

REALIZATION

Arte e Ensaio GM

PROJECT CONCEPTION

Gustavo Malheiros

CURATOR

Milton Guran

PROJECT

ArteEnsaio

PRODUCTION

Automatica

ATHLETS PRODUCTION

  • Gabriela Lima
  • Clara Castro

PROJECT MANAGMENT

  • ArteEnsaio
  • Silvana Monteiro de Carvalho
  • Paula Feres Paixão
  • Maria Duprat

GRAPHIC DESIGN EXHIBITION PROJECT

Dínamo | Alexsandro Souza

IMAGE ADJUSTMENT

  • ArteEnsaio
  • Gilherme Costa
  • Pato Vargas

PRINTING

Estúdio Lupa

FRAME

Enquadre

PRESS RELATIONS

  • Fleishmanhillard Brasil
  • Renata Jordão

PHOTO ASSISTANTS

  • Diego Patury Subtzki
  • Fernando Cazaes
  • Pedro Ivo Freitas
  • Rebeca Dourado

A member of the official programme of FotoRio 2016, Gustavo Malheiros’s exhibition, Atletas de corpo e alma (Athletes of Body and Soul), curated by Milton Guran, presents around 60 photographs of athletes and para-athletes from different sporting events.

PROJECT TITTLE
Things That Fit in My Hand

PLACE
MAM RJ

ADRESS
Avenida Infante Dom Henrique, 85,
Parque do Flamengo, Rio de Janeiro

VISITATION
de terça a sexta-feira, das 12h às 18h.
sábados e domingos, das 11h às 18h

PRODUCTION
Automatica
Luiza Mello

LIGHTING
Blight

CENOGRAPHY
HO Produções e Eventos

In his History of Eternity, Jorge Luis Borges said in Plato’s Timaeus, we read that time is an moving image of eternity; and that it is just a chord that distracts no one from the conviction that eternity is an image made from the substance of time. This image, this coarse word enriched by human discord, is what I propose to historicize. Gabriela Machado, in the exhibition Things that fit in my hand produces herown narrative about time. A non-linear time, composed of labyrinths and sculpted by hands. The result of 3 years  work, the sculptures in this exhibition show the result of a formalization of the passing of time and how it can be represented based on a perception of space.

PROJECT TITTLE

Barrão – Out of here

ARTIST

Barrão

WHERE

Casa França-Brasil

ADRESS

Rua Visconde de Itaboraí, 78 Centro, Rio de Janeiro

VISITATION

  • 09/10 – 15/11/2015
  • Tuesday to Sunday 10am – 8pm
  • Free entrance

VISITAÇÃO

  • 09/10 – 15/11/2015
  • Terça a Domingo 10 às 20h
  • Entrada franca

PRODUCTION COORDINATION

Luiza Mello

PRODUCTION

  • Ana Paula Vulcão
  • Arthur Moura

TEXT

Felipe Scovino

ARTIST’S ASSISTANTS

  • Bruno Bellini
  • Osiel Magalhães

FIBER SCULPTURES

Gabriel Barros

WOODWORK

Leonardo Padilha | DozePolegadas

PHOTOGRAPH

Francisco de Souza

CASA FRANÇA-BRASIL
GENERAL COORDINATION

Jeanine Toledo

PRODUCTION

Lívia Ferraz

EDUCATIONAL PROGRAM – RESEARCH COORDINATION

Cristina de Pádula

ADMINISTRATIVE MANAGER

Marcos Braga

ADMINISTRATION

  • Fabiana Oliveira
  • Selma Fraiman

MAINTENANCE

  • José Rosa Pires
  • Valdeci Costa Lima
  • Victor Ferreira

This exhibition heralds a new phase in Barrão’s output. The plurality of colors in his previous work has given way to a monochrome, and two new materials are investigated: resin and plaster. The work has taken on a more sober feel, which ties in with our current moment. This statement makes more sense if we recall that this was once a customs building, and therefore the port of entry for immigrants. The artist has installed a stall and other islands, which articulate different territories inside the Casa França-Brasil space. How can such diverse forms, desires, origins, and histories occupy the same space? Somewhere between a place of passage and a makeshift shelter, this territory/customs building has encountered in the artist’s objects a (utopian) metaphor for the world: in his inventive capacity to ally different forms that, separately, would be completely incompatible, like a jigsaw puzzle, these pieces fit together, share the same terrain, find their counterparts, and make sense. Ultimately, if we were to shift these procedures to a political world view, all social and political differences would be in better balance.

Felipe Scovino

PROJECT TITLE

Travessias 4 – Arte Contemporânea na Maré

ARTISTS

  • Eduardo Coimbra
  • Regina Silveira
  • Marie Carangi
  • Henrique Gomes

WHERE

Galpão Bela Maré

ADRESS

Rua Bittencourt Sampaio, 169, entre as passarelas 9 e 10 da Av. Brasil, Maré – Rio de Janeiro

VISITATION

  • 09/12 – 11/14/2015
  • Tuesday to Saturday 10am – 5pm
  • Free Entrance

REALIZATION

  • Observatório de Favelas
  • Automatica
  • Rua Arquitetos

DIRECTION

  • Observatório de Favelas |
  • Jailson de Souza e Silva
  • Jorge Luis Barbosa
  • Eduardo Alves
  • Elionalva Sousa Silva
  • Erasmo Carlos de O. Castro
  • Raquel Willadino Braga

PRODUCTION AND MANAGEMENT

Automatica

PRODUCTION COORDENATION

  • Luiza Mello
  • Mariana Schincariol de Mello

MANAGEMENT

Marisa S. Mello

PRODUCTION

  • Ana Paula Vulcão
  • Leticia Libanio

GALPÃO BELA MARÉ ’S PRODUCTION

  • Mariluci Nascimento
  • Geisa Lino
  • Alexandre Silva

ARCHITECTURE

  • Rua Arquitetos |
  • Pedro Évora
  • Fabiano Pires

CONTENT ADVISORY

Gabriela Moulin

DESIGN

Quinta-feira

EDUCATIVE PROGRAM

COORDENATION

Janis Clémen

COORDENATION ASSISTANT

Letícia Souza

EDUCATORS

  • Cami Carrello
  • Carolina Aleixo
  • Daniel Remilik
  • David Alfredo
  • Nívea Santana
  • Renata Sampaio

MOBILIZATION

  • Redes de Desenvolvimento da Maré
  • Eliana Sousa e Silva
  • Carlos Cunha
  • Loran Santos

MOBILIZATION COORDENATION

Alberto Aleixo

PRESS OFFICE

  • Observatório de Favelas
  • Silvana Bahia
  • Piê Garcia

DIGITAL MEDIA

  • Observatório de Favelas (Agência Diálogos)
  • 14

PHOTOGRAPH

  • Observatório de Favelas (Agência Diálogos)
  • Douglas Lopes
  • Gabriela Carrera

AUDIOVISUAL

  • Observatório de Favelas (Agência Diálogos)
  • 14

LIGHTING

BLight

CARETAKER

Luiz Gonzaga dos Santos

CLEANING

Marcia da Silva Pereira

ACKNOWLEDGMENTS

  • Clarissa Diniz
  • Eduardo Verderame
  • Luiz Zerbini
  • Rodrigo Mascarenhas
  • Tatiana Antunes

PRESENTED BY

Petrobras

The exhibition reaches its fourth year of activities and cosolidates itself as a project of reflection and discussion of contemporary art and the transformations of urban space today.

Travessias understands art as a place capable of generating new and overflowing emotional and creative contacts with the world and among people. Two artists were invited – Regina Silveira and Eduardo Coimbra – to produce works from a close look at Maré. Alongside this invitations the project made for the first time a public call for proposals from artists not included in the art market circuit. From the 122 flow of incoming ideas and projects, two proposals were selected: “Corte estilo guilhotina” by Marie Carangi and “Interiores da Maré”, by the dou Antonello Veneri & Henrique Gomes.

PROJECT TITLE

Daniel Steegmann Mangrané e Philipp Van Snick

ARTISTS

  • Daniel Steegmann Mangrané
  • Philipp Van Snick

WHERE

  • Museu de Arte Moderna do Rio de Janeiro
  • Casa Modernista

ADRESS

MAM – Av. Infante Dom Henrique, 85 – Parque do Flamengo, Rio de Janeiro

Casa Modernista – R. Santa Cruz, 325 – Vila Mariana, São Paulo

VISITATION

  • MAM – 09/05/2015 a 11/01/2015
  • Casa Modernista – 09/19/2015 a 11/01/2015

CURATOR

Marta Mestre

PRODUCTION COORDINATION

Automatica

PRODUCTION

Arthur Moura

ARTIST ASSISTANTS

  • Hanns Lennart Weissner (DSM)
  • Felix Luna (DSM)
  • Laura Van Snick (PVS)
  • Thomas Ost (PVS)

AUDIO INSTALATION

Andrews de Freitas

VISUAL DESIGN

Alexsandro Souza | Dínamo

COPY EDITING

Rosalina Gouveia

DISPLAY TECHNICIANS

Humberto Silva Junior

ENGLISH TRANSLATION

  • Chris Burden
  • Marise Barros

ACKNOWLEDGMENTS

  • Afonso Luz
  • Luiza Mello
  • Marijke Dekeukeleire
  • Galeria Mendes Wood DM
  • Galeria Tatjana Pieters

Conceived in two chapters, for two cities, and for two unique spaces of modernist Brazilian architecture – the Museum of Modern Art (Museu de Arte Moderno), in Rio de Janeiro, and the Casa Modernista, in São Paulo -, the exhibitions of the artists Daniel Steegmann Mangrané and Philippe Van Snick are mainly intended to underline the dualism and simultaneity in the work of both.

If, for Daniel Steegmann Mangrané (born 1977), the artistic process takes place in the dialog between division and union, between geometric and organic forms, and between culture and nature, for Philippe Van Snick (1946), on the other hand, the conditions of material perception are determined by mathematical and arithmetical principles (especially in his early works), and more recently by the sensibility which, according to the artist, is a “form of mental perception”. In the work of both, the views and experience (physical, subjective, political) of the spectator acquire a provisional and fragmented character, and relate, kaleidoscopically, to the distribution of the elements in the surrounding world.

The two exhibitions bring together their own dynamic, and it is not necessary to see one to know how the other’s “story ends”. If they resemble anything, it would be an echo, the same sound heard differently.

(extract from the curatorial text)

TÍTULO DO PROJETO

Nicolas Robbio

REALIZAÇÃO

Ministério da Cultura e Automatica Edições

ORGANIZAÇÃO

Jacopo Crivelli Visconti

TEXTOS

  • Paulo Myiada
  • Santiago G. Navarro

PRODUÇÃO EDITORIAL

  • Luiza Mello
  • Marisa S. Mello
  • Marina Buendia

PROJETO GRÁFICO

Celso Longo

ASSISTENTE DE DESIGN

Manu Vasconcelos

REVISÃO

Duda Costa

TRADUÇÃO

Izabel Murat Burbridge

PRODUÇÃO GRÁFICA

Marcia Signorini

IMPRESSÃO

Ipsis

O livro Nicolas Robbio, organizado pelo crítico Jacopo Crivelli Visconti, A apresentado em dois volumes. O primeiro deles contém textos de Santiago G. Navarro e de Paulo Miyada; e as legendas das imagens.O segundo caderno A composto exclusivamente por imagens.

A publicação concentra-se no trabalho desenvolvido pelo artista nos Últimos dez anos, incluindo desenhos, esculturas, instalações e still de vídeos. Segundo Santiago Navarro, “na sua obra, representação e semelhança servem, […] para explorar a não equivalência entre signos, para criar distância ou vazio entre signos, assim como modo de reconectá-los com a representação, mas sem tentar recuperar a sua função de semelhança”.

Nicolas Robbio nasceu em Mar del Platé, na Artgentina, em 1975. Vive e trabalha em São Paulo. Formado pela Escola de Artes Visuais de Buenos Aires, Robbio desenvolveu uma faceta multidisciplinar baseada no desenho como uma ferramenta para o estudo e desenvolvimento de suas possibilidades conceituais. O desenho de móveis e objetos gráficos, plantas de plástico ou de projetos específicos, são alguns dos exemplos que suportam esta afirmação. Em 2014 realizou a individual Medos Modernos, no Instituto Tomie Ohtake, São Paulo. Além disso, já expos em lugares como a Fundação Serralves, em Porto – Portugal e Bethanien Kunsthaus, em Berlim a Alemanha. Participou de coletivas como Imagine Brazil, MAC Lyon e 28a Bienal de São Paulo (2008).

PROJECT TITLE

Memórias Capitais

WHERE

SESC Quitandinha

ADDRESS

Avenida Joaquim Rolla, 2 – Petrópolis

VISITATION

  • 07/24/2015 – 08/31/2015
  • Tuesday to Saturday 10am – 5pm
  • Sunday and holiday 10am – 4pm
  • Free admission

PROJECT AND AUDIOVISUAL CONTENT

Automatica e Estúdio Zut!

ORIGINAL CONCEPT

Matthieu Rougé e Cacá Machado

CREATION, CURATION AND PHOTOS

Matthieu Rougé

SOUND CREATION

Alessa Camarinha e Matthieu Rougé

EDITOR AFTER EFFECT

Youssef Harmali

TECHNICAL SUPERVISION OF CONTENT

Automatica

ARCHITECTURE AND EXPOGRAPHIC DESIGN

Luís Felipe Abbud / NUMENA

TECHNICAL SUPERVISION

Lee de Castro e Sergio Santos

VISUAL COMMUNICATION

Alexsandro Souza / DÍNAMO

ACKNOWLEDGEMENTS

  • Cacá Machado
  • Christophe Buffet
  • Gabriel Piotto
  • Leticia Falcão
  • Diana Barros

Capital Memories presents a multimedia installation in which sounds and images interact, revealing aspects of the Brazilian’s capitals. The proposal to shuffle the established geopolitical division, diluting predetermined boundaries, has sounded out and amplified sounds, remixed and distributed in the pavilion. In this poetic, the emotional geography of these narratives is always in the foreground. The paths of this journey are like threads of memories that come loose and get tangled in new contexts.

Capital Memories records sounds, signs, rituals, feelings, places, habits, cultural traits and living spaces experienced by those born in the main cities of the country and lived their daily lives. These individual assets – memory sometimes fuzzy, emotional or critical – feelings of belonging to a place in time and space are socialized with the public revealing that the memory is dynamic. It is not stuck in the past, establishes links with the future and, above all, it is a collective force that unifies and form identities.

PROJECT TITLE

18th Century Rio, when Rio became the capital

WHERE

MAR – Museu de Arte do Rio

ADDRESS

Praça Mauá, 5, Centro, Rio de Janeiro

VISITATION

07/08/2015 a 05/08/2016

CURATOR

  • Myriam Andrade Ribeiro
  • Anna Maria Monteiro de Carvalho
  • Margareth Pereira
  • Paulo Herkenhoff

PRODUCTION COORDINATOR

Mariana Schincariol de Mello

PRODUCTION

Ana Paula Vulcão

PRODUCTION ASSISTANT

Leticia Libanio

PHOTOGRAPH

Thales Leite

MUSEU DE ARTE DO RIO – INSTITUTO ODEON

PRESIDENT

Éder Sá Alves Campos

VICE PRESIDENT

Afonso Henriques Borges Ferreira

PRESIDENT DIRECTOR

Carlos Gradim

EXECUTIVE DIRECTOR

Adriana Karla Rodrigues

ADMINISTRATIVE AND FINANCIAL DIRECTOR

Luiz Guimarães

PROJECT AND MANAGEMENT DIRECTOR

Tiago Cacique

CULTURAL DIRECTOR

Paulo Herkenhoff

CONTENT MANAGER

Clarissa Diniz

COMMUNICATIONS MANAGER

Hannah Drumond

PRODUCTION MANAGER

Daniel Bruch

EDUCATION MANAGER

Janaina Melo

The exhibition 18th Century Rio, when Rio became the capitalproposes a visual path through which to enter this century of its history. In the 18th century Rio de Janeiro became the capital of the vice-kingdom of Brazil and effectively transformed into the city that we know today: a meeting point between culture and commerce, a centre of urbanity and the symbol of Brazilianness across the world.

From 18th century Rio, from the Rio of gold, baroque and rococo, from the slaves of Valongo and from the palace of the viceroys, survivals remained. Of the Rio that was destroyed, what is ungrateful heritage? Certainly it was in the 18th century that Rio ensured its aesthetic fame. The marvellous city unites natural beauty with urban beauty, an idea recurrent in adverts, political proposals and even criticisms. Also at that moment, the black population expanded, although always on the margins, and the natives, so important in the struggle for possession and foundation of the city together with the Portuguese, simply disappeared from records of Carioca development.

Rio de Janeiro is a place privileged by nature, but it is also a consequence of its complex and contradictory history. The exhibition seeks to enter these issues through MAR collection of works and other institutions such as Convento de Santo Antônio and Fundação Biblioteca Nacional.

PROJECT TITTLE

Immateriality

ARTISTS

  • Anthony McCall
  • Ben Vautier
  • Brigida Baltar
  • Bruce Nauman
  • Carlito Carvalhosa
  • Ceal Floyer
  • Fabiana de Barros e
  • Michel Favre
  • François Morellet
  • James Turrell
  • José Damasceno
  • Keith Sonnier
  • Laura Vinci
  • Marcius Galan
  • Marcos Chaves
  • Paola Junqueira
  • Paulo Vivacqua
  • Ryan Gander
  • Waltercio Caldas

WHERE

SESC Belenzinho

ADRESS

R. Padre Adelino, 1000 – Belenzinho, São Paulo

VISITATION

  • 01/07 – 27/09/2015
  • Tuesday to Saturday 9am – 8pm
  • Sunday and holiday 9am – 7pm
  • Free admission

CURATORS

Adon Peres and Ligia Canongia

PRODUCTION COORDINATION

Luiza Mello

PRODUCTION

Arthur Moura

ARCHITECTURE

  • Marta Bogea
  • Tiago Guimarães

VISUAL IDENTITY

Celso Longo + Daniel Trench

ASSISTANTS

  • Felipe Sabatini
  • Manu Vasconcelos

LIGHTING PROJECT

Design da Luz Estúdio

DESIGNER

  • Fernanda Carvalho Assistente
  • Charly Ho

SET UP

Fase Produção

SET UP COORDINATION

Sergio Santos

INSTALLATION OF THE WORK

PRECAUÇÃO DE CONTATO

  • Claudia Cardoso
  • Leandra Espírito Santo
  • Helio Bartsch
  • Juan Cordeiro

CONSULTING AND TECHNICAL COORDINATION

OF THE WORK YOU ARE HERE

Estúdio Laborg

ARTISTS’ ASSISTANTS

  • Harsh Nambiar
  • Nicole Wittenberg (A. McCall)
  • Torsten Braun (J. Turrell)

EDUCATIONAL PROGRAM

A Contemporânea

PRESS OFFICE

Verbena Comunicação

LOGISTICS

AL Consultancy

INSURANCE

Affinité

SUPPORT

  • Electronic Arts Intermix
  • Nova Iorque
  • Franck Marlot
  • Galeria Nara Roesler
  • Galeria Luciana Brito
  • Galeria Luisa Strina
  • George Iso Cohen
  • Häusler Contemp. München/Zürich
  • Hess Collection Berne
  • Lisson Gallery London/SP
  • Regina Mayall Edelman

SESC BELENZINHO

PROGRAMMING

Salete dos Anjos

COORDINATION

  • Catia Leandro
  • Juliana Santos

SUPERVISION

  • Christine Villa Santos
  • Leandro Ferre Caetano

PRODUCTION

Juraci de Souza

Immateriality is a group exhibition held at SESC Belenzinho, curated by Ligia Canongia and Adon Peres, consisting of 22 works, signed by 10 Brazilian artists – Brígida Baltar, Carlito Carvalhosa, Fabiana de Barros & Michel Favre, José Damasceno, Laura Vinci, Marcius Galan, Marcos Chaves, Paola Junqueira, Paulo Vivacqua and Waltercio Caldas – and 8 artists from other nationalities – Anthony McCall (England), Ben Vautier (Italy), Bruce Nauman (USA), Ceal Floyer (Pakistan) François Morellet (France) James Turrell (USA), Keith Sonnier (USA) and Ryan Gander (England).

The exhibition shows the artists in question dealing with these two ways of relating to the work of art – the question of “matter” or “nonmatter”, which may or may not be a concrete materiality. Adon Peres comments on how the viewer will be faced with these two ways of artistic perception, “in the first case, it establishes a subject-object specific relationship in which prevails certain distance, different from the second, especially in installations where the viewer is literally immersed in the atmosphere of the work.”

PROJECT TITLE

Cirandar todos

ARTIST

José Damasceno

WHERE

Casa França-Brasil

ADRESS

Rua Visconde de Itaboraí, 78, Centro, Rio de Janeiro

VISITATION

  • 12/16/2014 a 02/22/2015
  • Tuesday to sunday 10am – 10pm
  • Free Admission

EXHIBITION

CONCEPT

José Damasceno

CURATOR

Ligia Canongia

PRODUCTION

Automatica

PRODUCTION COORDINATOR

Luiza Mello

PRODUCTION

  • Mariana Mello
  • Ana Paula Vulcão

ARTIST ASSISTANT

Juliane Peiser

GRAPHIC DESIGN

Sônia Barreto

SCENOGRAPHY CRAYON SCREEN

Joacyr Salles

BUILD CIRANDAR TODOS AND ELLIPSES

Maurício Pereira

LIGHTING

Samuel Betts | Belight

PROOFREADER

  • Duda Costa
  • Rosalina Gouvea

TRANSLATOR

John Norman

PRESS RELATIONS

  • Cláudia Noronha |
  • CW&A Comunicação

PHOTOGRAPHY

Vicente de Mello

FOLDER PHOTO

Sung Pyo Hong

MAKING OF

Elisa Pessoa

CASA FRANÇA-BRASIL

GENERAL COORDINATOR

Débora Monnerat

COMMUNICATIONS

Lívia Ferraz

PRODUCTION AND COMMUNICATION ASSISTANT

Júlia Gitsin

ADMINISTRATION AND FINANCE

Sandra Helena da Silva

ADMINISTRATIVE ASSISTANT

Fabiana Oliveira

MAINTENANCE

  • Victor Ferreira
  • Waldeci Costa Lima
  • José Rosa Pires

EDUCATION PROJECT

COORDINATOR

Jeanine Toledo

MEDIATOR TRAINING AT EAV PARQUE LAGE

  • Cristina de Pádula
  • Maria Tornaghi
  • Tania Queiroz

MEDIATORS

  • Bruna Costa
  • Camila de Barros Teixeira
  • Daniella M. Vasconcelos
  • Gisele Nery
  • Hellen Lugon
  • Mariana Kanbara
  • Natalia Rebiere
  • Patrícia Reis
  • Tarsila Monteiro

Cirandar Todos, curated by Ligia Canongia, is the title of one of the works and the exhibition José Damasceno is presenting at Casa França-Brasil. The installation makes use of just one element: 30-centimeter-high wooden dolls. A group of around 150 male and female figures are joined together to form a circle. The sculpture bears an immediate correspondence, amongst other things, to an old folk dance-cum-children’s game called the ciranda.

In the adjoining rooms there are three different works. Monitor-Crayon, made up of 90,000 crayons placed in juxtaposition merely by being fitted into the frame, forms a multi-colored abstract image. The same room is also occupied by 1/4, a sculpture made of two solid ellipses of Corten steel, one of which is on the wall and the other on the floor, shaping an imaginary circle and merely suggesting that in the visitors imagination they would continue their route through the wall and the floor. In the other room is BRmm, a collage of hundreds of newspaper cuttings arranged in the shape of the map of Brazil, and neon lights tracing the shape of the room.

The proposal is designed to enunciate the possibility of empowering the aesthetic experience through playful and unexpected perspectives; space, thought, and imagination directed linked by using extremely simple, basic elements.