Project tittle

Ciclo de exposições artísticas em Belo Jardim

Curatorship

Kiki Mazzucchelli
Cristiana Tejo

Artist

Marcelo Silveira

Place

Belo Jardim

Visiting information

03/20/2017 – 05/19/2017

Executive production

Automatica
Luiza Mello
Mariana Schincariol de Mello

Manager

Marisa S. Mello

Design

Priscila Gonzaga

Artist assistant

Bárbara Amorim
Alice Teshima
Aline Silva
Ana
Monica Silveira

Press relations

Mariana Olveira

Videos

João Lucas Melo / Jacaré VídeoLocal production and curator assistant

André Vieira

Art educators

Antônio Wellington
Martha Ferreira
Vanessa Melo
Pierre Tenório

Photography

Bernardo Teshima

VIDEOS

On March 20th 2017, the Residência Belojardim project began, in the city of Belo Jardim, 180 km from Recife. With the curatorship of Cristiana Tejo and Kiki Mazzucchelli, it begins with a two month residence by the artist Marcelo Silveira in the town. The general idea is to bring contemporary artists to Belo Jardim, to encourage contact between local people and the visual arts.

Residência Belojardim is a long-term project that seeks to prompt discussions about the sociocultural meaning of the term northeast and the region’s art legacy today, based on an in-situ experience in the city of Belo Jardim. Each year, an artist will be invited to live in the city for a period of two months, and develop specially commissioned projects for the local context. The Residência Belojardim project also provides for the holding of a series of parallel events that will be developed in close dialogue with the proposals of the resident artists, which may include talks, performances, film showings, workshops and other activities.

During his stay in the city, Marcelo Silveira has presented eight works, focusing on a different one each week. The artist has transformed the old candy factory, Mariola, into his studio, and here he holdslunch meetings with different groups from the city . The idea is that the work of the week, its artistic philosophy andreflections can shape the conversation: “It’s at the table that the best conversations take place, hence our proposal to bring people together around it. The focus is not on the food, which is an secondary element of the process” he explains. The Belo Jardim studio was opened up to welcome those interested in engaging in dialogue. Silveira has a particular concern with the need to develop pacts, exchanges and conversations. The artist intends to cast a sensitive eye over the city, finding beauty and aesthetic pleasure in places and practices that perhaps pass unnoticed in its day-to-day life.

PROJECT TITLE
Limitless

CURADOR
Felipe Scovino

ARTISTS
Amalia Giacomini
Artur Lescher
Eduardo Coimbra

WHERE
Galeria BNDES

ADRESS
Av. Chile, 100
Centro, Rio de Janeiro

VISITATION
14/12/16 – 03/02/17
De segunda a sexta, das 10 às 19h
Entrada franca

PRODUCTION
Automatica

PRODUCTION COORDINATION
Luiza Mello
Mariana Schincariol de Mello

PROJECT MANAGMENT
Marisa S. Mello

GRAPHIC DESIGN
Dínamo

LIGHT DESIGN
Blight

SCENOGRAPHY
HO Produções e Eventos

SET UP
Andre Renaud
José Claudio dos Santos
José Roberto da Silva Filho
Juscelino Bastos V. de Lima
Thiago de Souza Hortala

PROOFREADER
Duda Costa

ENGLISH TRANSLATION
John Norman

PRESS RELATIONS
Pauta Positiva

EDUCATORS
Daniel Remelik
Jean Carlos dos Santos
Letícia Pereira de Souza

PHOTOGRAPHY
Mario Grisolli

Conceived especially for the Galeria do Espaço Cultural BNDES (BNDES Cultural Space Gallery), in a building considered to be one of the landmarks of Rio architecture of the second half of the 20 th century, Limitless is curated by Felipe Scovino and includes works by Amalia Giacomini, Eduardo Coimbra and Artur Lescher. Based on the curator and artists  relationship with the space, a landscape is invented, a place is revealed and a reality emerges.
The relationship between the urbanity of the bank building, a vertical structure that has taken over and occupies its space in the centre of the city, and the lack of connection between the gallery, and the landscape and its surroundings – even while it forms an integral part of them – were the points of departure for the conception of the exhibition.
“Based on two central disciplines – architecture and landscape – which are intimately linked to contemporary art, the three artists have created the idea of an invented landscape or the appearance of a place”, explains Scovino. “Somehow, like architects lacking precision, they have brought a limitless landscape within the white cube, the sacred space of the gallery”.

PROJECT TITLE
Garagem Automática

ARTIST
Felipe Russo

WHERE
Museu da Cidade de São Paulo / Casa da Imagem

ADRESS
Rua Roberto Simonsen, 136-B, 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

FRAMES
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

The problem of parking in the centre of São Paulo has existed since the 1940s. Between 1960 and 1980, 35 car parks, with mechanized parking, were built in the city. The largest, with over 600 parking spaces and up to 38 levels, are among the tallest in the world. Despite the migration of investment to new areas, with a total fleet of 7 million vehicles, the car parks remain in the historical centre as urban resources of great utility. The research carried out by Felipe Russo in recent years reveals the mysterious and inaccessible interior of these constructions, until then only known from their raw, phantasmagorical exteriors.

The exhibition, Garagem Automática (Automatic Car Park), presents, in novel form, a study of this urban typology, conducted in São Paulo. The 25 photographs taken in 4×5 format which comprise the exhibition, enable visitors to discover the intimate interiors of these buildings, which remain inaccessible to users.

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 da 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

VIDEO

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
05/21/2016 –  06/03/2016

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

VIDEOS

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)

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

VIDEO 1 

VIDEO 2 

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

VIDEO

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.