Title of the project

Belo Jardim Residence – Carlos Mélo

Curators

Cristiana Tejo e Kiki Mazzucchelli

General Coordinator

Luiza Mello

GRAPHIC DESIGN

Alex Souza | Dínamo Design

PHOTOGRAPHY

Geyson Magno

TEXTS

  • Carlos Mélo
  • Cristiana Tejo
  • Erlene Melo
  • Kiki Mazzucchelli
  • Marcus de Lontra Costa
  • Mariana de Mattos
  • Suzy Okamoto

IMAGE MANIPULATION

Dínamo Design

EDITING

Automatica

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The publication contains texts and images recording the Cycle of Art Exhibitions and Belojardim Residency program beginning in 2017 in this municipality situated 180 km from Recife. The second guest artist, for the 2018 edition, is Carlos Mélo (Pernambuco, 1969). Curated by Cristiana Tejo and Kiki Mazzucchelli and produced by Automatica, the project in the Agreste region of Pernambuco aims to develop the proposal of encouraging discussion of the present-day sociocultural meaning of the Northeast and the artistic heritage of this region. This is achieved by art projects specially commissioned for the region. During his stay in the city, Carlos Mélo staged an exhibition at SESC Ler Belo Jardim and produced a film entitled Barro Oco about the Barro Branco community and its power of resistance.

Title of the project

Belo Jardim Residence – Marcelo Silveira

CURATORS

Cristiana Tejo e Kiki Mazzucchelli

GENERAL COORDINATOR

Luiza Mello

GRAPHIC DESIGN

Priscila Gonzaga

PHOTOGRAPHY

Bernardo Teshima

CONTENT

Cristina Huggins

GUESTS

Catarina Duncan, Cláudio Assis, Fabiana Moraes, Gabriel Mascaro, Jailton Moreira, Michael Asbury e Moacir dos Anjos

PROJECT AND PRODUCTION

Automatica

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The publication provides a record of the Cycle of Belo Jaradim Residency Exhibitions, a program that began in 2017 in the municipality situated 180 km from Recife. The first guest artist is Marcelo Silveira (Pernambuco, 1962). Curated by Cristiana Tejo and Kiki Mazzucchelli and produced by Automatica, the project in the Agreste region of Pernambuco aims to develop the proposal of encouraging discussion of the present-day sociocultural meaning of the Northeast and the artistic heritage of this region. During his stay in the city, Silveira presented eight artworks in different formats at different locations in the city of Belo Jardim and transformed the old Mariola sweet factory into a studio. There, he organized weekly lunchtime meetings with residents of the region, based on the idea that art work, poetry and reflection can stimulate conversation. “Lunch is an occasion when good conversation arises and that is why we proposed to bring people together around it. The focus is not on the food It is an accessory in the process”, the artist explains. The Belo Jardim studio was open to all those interested in establishing dialogue.

Marcelo Silveira’s sensitive view of the city aimed to find beauty and art in places and practices that may normally go unnoticed.

TITLE OF THE PROJECT 

Fabio Morais

COMPILATION

Jacopo Crivelli Visconti

EDITORIAL PRODUCTION

Luiza Mello

Marisa S. de Mello

Ana Pimenta

 

Publishing

Automatica Edições

EDITORIAL COORDINATION

Galeria Vermelho

SPONSORSHIP

Coleção Moraes-Barbosa

Luciana e Antonio Wever

TEXTS

Jacopo Crivelli Visconti

ENGLISH VERSION

John Norman

PROOFREADING

Duda Costa

Regina Stocklen

GRAPHIC DESIGN

Celso Longo

Luisa Prat [assistente]

GRAPHIC PRODUCTION

Aline Valli

IMAGE PROCESSING

Carlos Mesquita

PHOTOGRAPHY

Edouard Fraipont

Paula Alzugaray

Rafael Cañas

Rafael Jacinto

Raphael Vilar

PRINTING

Geográfica

 

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The book, Fabio Morais, produced by Automatica Edições, is dedicated to investigating the work of this São Paulo artist over the last ten years, which includes installations and sculptures, as well as numerous publications and artist’s books. Morais investigates, in his process, relationships and cross-contaminations between literature and the visual arts. Taking as its starting point the particularity of his practice of using books as objects and the literary universe in a broader sense, the publication sought, in its conception, to be as far removed as possible from a conventional artist’s book. The proposal here is the systematization and dissemination of the work of an original artist in the Brazilian contemporary scene who, despite having produced various books, did not possess any objective record (or “catalogue”, to use the conventional term in the artistic sphere) of his work.

TITLE OF THE PROJECT 

Gabriela Machado: Pequenas Pinturas

ARTIST

Gabriela Machado

EXECUTION

Galeria Marcelo Guarnieri

PUBLISHING

Gabriela Machado

Alexsandro Souza

Luiza Mello

Marisa S. Mello

Bianca Zampier

GRAPHIC DESIGN

Alexsandro Souza | Dínamo

TEXTS

Gabriela Machado

EDITORIAL COORDINATION

Luiza Mello e Marisa S. Mello

PHOTOGRAPHY

Bruno Lopes

Ding Musa

Pat Kilgore

IMAGE PROCESSING

Pombo

PRINTING

Ipsis

The book “Gabriela Machado, Small Paintings” presents a selection of paintings of reduced dimensions produced by the artist between 2013 and 2018. The works are organized into chapters named after the date on which they were produced and including notes by the artist. The phrase that begins the book, “this was the time I dedicated to these paintings” defines the nature of the dialogue which the artist establishes with her audience. Gabriela Machado’s work is characterized by the experimentation present in the multiplicity of media and techniques she employs, including painting, engraving, drawing, photography, collages and sculptures. A graduate of architecture and urbanism, Machado took courses at the School of Visual Arts of Parque Lage (Rio de Janeiro) at the end of the 1980s, to supplement her artistic training. She has held solo exhibitions at the Museum of Modern Art of Rio de Janeiro/MAM- Rio (2016), at the Museum of Açude (Rio de Janeiro, 2014), at the Paço Imperial (Rio de Janeiro, 1998 and 2012), and at the Bank of Brazil Cultural Center – CCBB Rio de Janeiro (2002), among other cultural spaces and galleries.

PROJECT TITTLE

  • Black and White.
  • The photography of Mauricio Valladares

COMPILATION

  • Christiano Calvet
  • Raul Mourão

TEXTS

  • Frederico Coelho
  • Luiz Camillo Osório

GRAPHIC DESIGN

Christiano Calvet

EDITORIAL PRODUCTION

Luiza Mello | Automatica

SPONSORSHIP

  • Jorge Nobrega
  • Rodrigo Fiães
  • XP Investimentos

Black and White is an exploration of the collection of images of the photographer, radio presenter, DJ and journalist, Mauricio Valladares.

Over the last five decades, Mauricio Valladares has pointed his lens in all directions, day and night. Black and White brings together 142 analogue photographs taken between 1972 and 2003, texts by Luiz Camillo Osório and Frederico Coelho and graphic design by Christiano Calvet: A selection of images of people, with a landscape here and some architecture there. A record of famous names from the Brazilian and international music scenes, and snapshots of normal people in the streets of Rio, Paris, Rome and London. A lost world that re-emerges before Mauricio’s eyes.

PROJECT TITLE

ARTE BRA Gabriela Machado

EDITORIAL COORDINATION

  • Luiza Mello
  • Marisa Mello

DESIGN

Dínamo | Alexsandro Souza

EDITORIAL ASSISTANT

  • Julia Pombo | Automatica
  • Bianca Zampier | Casa do Horto

PROJECT AND PRODUCTION

Automatica Edições

IMAGE ADJUSTMENTS

Ipsis

PROOFREADER

Duda Costa

ENGLISH VERSION

Christopher Burden

TRANSCRIPTION OF THE INTERVIEW

Julia Pombo

With this volume on the artist Gabriela Machado, the ARTE BRA collection celebrates its ninth edition. Gabriela’s work is characterized by an experimentation which is visible in the diversity of her resources and techniques: paintings, engravings, drawings, photographs, collages and, more recently, sculptures.
The previously unpublished text was written by the critic and curator, Ronaldo Brito, who has followed the artista’s career for many years. Ronaldo draws attention to the “imponderable discipline of improvisation” that “renders the world visible”, and that has distinguished the artist’s work from her first paintings to the recent sculptures. The re-published texts, by Paulo Venancio Filho, Alberto Tassinari and Frederico Coelho, were written in the specific context of exhibitions, but are perfectly comprehensible when considered in relation to the work as a whole.
The artist’s notebook presents collages produced between the end of 2015 and the start of 2016, made from newspaper cuttings which are then painted over by the artist. The interview was conducted in the artist’s studio in the presence of Frederico Coelho, the musician Aleh Ferreira, and the Portuguese art criticJorge Espinho. The chronology, organized by Julia Pombo, helps the reader to understand the development of Gabriela’s artistic process, an architect by training and an attendee of courses at the Parque Lage School of Visual Arts (Escola de Artes Visuais do Parque Lage) during the 1980s. From the end of that decade to the present day, the artist has held group and solo exhibitions, embarked on journeys and artistic residences, won prizes, and undertaken projects at different cultural institutions. Finally, the bibliography lists texts and videos produced by Gabriela or about her work.

PROJECT TITLE

Drifters

EDITORIAL COORDINATION

Marisa S. Mello

GRAPHIC DESIGN

Giselle Macedo

PUBLISHING

Automatica Edições

IMAGE PROCESSING

Noise

PROOFREADING

Duda Costa

ENGLISH VERSION

Christopher Burden

PHOTOGRAPHY

Luiza Baldan e Jonas Arrabal

TEXTS

  • Simplício Neto
  • Ana Luisa Lima
  • Bruna Cerrone
  • Marisa Mello
  • Luiza Baldan

The book Drifters, the result of the project developed by Luiza Baldan and Jonas Arrabal, presents texts by the pair and by invited researchers, as well as images recorded during the first half of 2016 in Guanabara Bay. The name “drifters” derives from the traceable oceanic buoys distributed around Guanabara Bay. For the artistic project, these buoys were transformed into pinhole cameras by the photographer Thiago Barros to collect images of the bay. Once a week, over a period of four months, Luiza, Jonas, and often Thiago himself, set out in the boats of Prooceano/Projeto Grael, organizations dedicated to the monitoring of the seas, to collect the records caught by the buoys. On board the boat, in addition to collecting the records of the drifters, Luiza and Jonas created new images of the bay and produced reflections and texts that form part of this publishing project. The poster that accompanies the book reproduces some of the negatives recorded by the drifters.

PROJECT TITLE

Tatiana Blass

EDITORIAL COORDINATION

Tatiana Blass

GRAPHIC DESIGN

Julio Duié

EDITORIAL PRODUCTION

Automatica

IMAGE ADJUSTMENTS

Ipsis

PROOFREADER

Duda Costa

ENGLISH VERSION

John Norman

PRINTING AND IMAGE ADJUSTMENTS

Ipsis Gráfica e Editora

SUPPORT

Galeria Millan

PHOTOGRAPHERS

  • Alexandre Wahrhaftig
  • Denise Andréde
  • Edouard Fraipont
  • Eduardo Climachauska
  • Eduardo Eckenfelds
  • Emilia Groska
  • Everton Ballardin
  • Fernando PiAarra
  • Gökcen Dilek Acay
  • Henrique Marques
  • Jomar Bragança
  • Luis DiI?az DiI?az
  • Matt Booth
  • Milene Rinaldi
  • Oriol Tarridas
  • Rafael Adorjan
  • Ron Pollard
  • Sergio Guerini
  • SossoI Parma e João Mussolin
  • Tatiana Blass
  • Wilton Montenegro

Tatiana Blass’s 176 page book contains images and descriptions of works by the artist herself, from the beginning of her career up to the present day. Tatiana produces work in different formats, including drawings, paintings, sculptures, installations, photographs and videos, and has taken part in exhibitions both in Brazil and abroad. Having graduated in Plastic Arts from the State University of São Paulo (Universidade Estadual Paulista), Tatiana Blass embarked on her career as an artist in 1998, when she began to regularly take part in salons, studio exhibitions, and group and solo shows, both in Brazil and abroad. She participated in the 29th International Biennale of São Paulo. She was a finalist at the Nam June Paik Award, in Germany. She was selected for the “Grants & Commissions” programme, of the Cisneros Fontanals Art Foundation, in Miami. And, in 2011, she won the PIPA award, by popular and jury vote, for her body of work.

PROJECT TITLE

Nise da Silveira: caminhos de uma psiquiatra rebelde

AUTHOR

Luiz Carlos Mello

EDITORIAL COORDINATION

Marisa S. Mello

GRAPHIC DESIGN

Sônia Barreto

PROOFREADING

Duda Costa

SUPPORT

Hólos Consultores Associados

PRINTING

Ipsis

Using clear, concise language, this illustrated biography of Nise da Silveira documents the extraordinary life of this Brazilian psychiatrist responsible for one of the most important bodies of work in the field of psychiatry in the world. It gives a broad overview of Silveira’s life, from her childhood in the Brazilian state of Alagoas to her death in Rio de Janeiro in 1999 at the age of 94.

After spending two years in prison during the Vargas dictatorship, she actively engaged in the paradigm shift in psychiatry, helping set up original institutions like Casa das Palmeiras, the country’s first outpatient care institution, which became the model for Brazil’s psychosocial care centers today, and Museu de Imagens do Inconsciente, an institution where research and experimentation overflows from the realm of science to also make waves in the world of the visual arts.

The author, Silveira’s companion for her last 26 years of life, has structured this text around Nise da Silveira’s own words, taken from personal notes, interviews, and statements given in the media, giving the narrative a colloquial tone.

The text is supplemented by photographs, documents, correspondence, manuscripts, dreams, and thoughts that shed light on the main events that shaped her history. The research and knowledge she produced are accompanied by a selection of pieces from the Museu de Imagens do Inconsciente collection that were decisive for her work, combining both symbolic signification and aesthetic beauty.

This photobiography is based largely on documents from Nise da Silveira’s personal archives, which have just been granted protection under Unesco’s Memory of the World Program and included in the national register, which aims to identify and protect sets of valuable documentary heritage.

Nise da Silveira (1905-1999) was a psychiatrist. In 1946 she founded the Occupational Therapy Service at Centro Psiquiátrico Pedro II, a psychiatric care center in Rio de Janeiro. In 1952 she created Museu de Imagens do Inconsciente at the same institution, a study and research center that safeguards the works produced in the expressive therapy workshops (paintings and models). A few years later, in 1956, Dr. Silveira, in conjunction with a group of people inspired by the same ideas, brought another project off the drawing board: the creation of Casa das Palmeiras, a clinic for treating patients discharged from psychiatric hospital, giving them free rein to engage in expressive activities. Nise da Silveira was also responsible for forming the C. G. Jung Study Group.

Over the years, her research became the object of a number of exhibitions, films, documentaries, symposia, publications, conferences, and courses focusing both on occupational therapy and on the importance of images from the unconscious in understanding the inner world of people with schizophrenia. In recognition of the importance of her work, Dr. Silveira received awards, prizes, and honorary titles in different areas of knowledge: health, education, art, and literature. Her work and principles have inspired the founding of museums, cultural centers, and psychiatric institutions in Brazil and abroad. Through her work she was responsible for introducing Jungian psychology to Brazil.

PROJECT TITLE

Nicolas Robbio

REALIZATION

  • Ministério da Cultura e
  • Automatica Edições

ORGANIZATION

Jacopo Crivelli Visconti

TEXTS

  • Paulo Myiada
  • Santiago G. Navarro

EDITORIAL PRODUCTION

  • Luiza Mello
  • Marisa S. Mello
  • Marina Buendia

GRAPHIC DESIGN

Celso Longo

DESIGN ASSISTANT

Manu Vasconcelos

PROOFREADER

Duda Costa

TRANSLATION

Izabel Murat Burbridge

GRAPHIC PRODUCTION

Marcia Signorini

PRINTING

Ipsis

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Nicolas Robbioas book, organized by the critic, Jacopo Crivelli Visconti, is presented in two volumes. The first of them contains texts by Santiago G. Navarro and Paulo Miyada, as well as captions of the images. The second notebooks is composed exclusively of images.

The publication focuses on the work produced by the artist during the last ten years, including drawings, sculptures, installations and video stills. According to Santiago Navarro, “in his work, representation and similarity serve, [a] to explore the non-equivalence between signs, to create distance or space between signs, as a way of reconnecting them with the representation, but without seeking to restore their function of similarity”.

Nicolas Robbio was born in Mar del Platé, Argentina, in 1975. He lives and works in São Paulo. A graduate of the Visual Arts School of Buenos Aires (Escola de Artes Visuais de Buenos Aires), Robbio has developed a multi-disciplinary approach using design as a tool for the study and development of its conceptual possibilities. The design of furniture and graphic objects, plastic plants or specific designs, are examples of this approach. In 2014 he staged the solo exhibition, Medos Modernos (Modern Fears), at the Instituto Tomie Ohtake, in São Paulo. In addition to this, he has exhibited at spaces such as the Fundação Serralves, in Porto a Portugal, and Bethanien Kunsthaus, in Berlin, Germany. He has also taken part in group exhibitions such as Imagine Brazil, MAC Lyon and the 28thBiennale of São Paulo (2008).

PROJECT TITLE

  • Los Hermanos Turnê 2012
  • Fotos de Caroline Bittencourt

ORGANIZATION

  • Bruno Medina
  • Marcelo Camelo
  • Rodrigo Amarante
  • Rodrigo Barba

PHOTOS

Caroline Bittencourt

TEXT

Bruno Medina

IMAGE EDITING

  • Marcelo Pereira
  • Caroline Bittencourt

GRAPHIC PROJECT

Tecnopop

DESIGN GUIDANCE

  • Marcelo Pereira
  • Raul Mourão

DESIGN

  • Marcelo Pereira
  • Luana Luna
  • Luciana Morin

NEGATIVE FILMS DEVELOPMENT

Na Martha Lab

SCAN

Memory Scan

GRAPHIC PRODUCTION

Verly Costa

The book Los Hermanos tour 2012 brings together various images captured by Caroline Bittencourt during the shows performed by the band this year. It was twenty-four performances in twelve Brazilian cities. This record becomes important because over the ten years that the band was traveling and playing without interruption did not exist a photo compilation of such quality. In his work, through a professional look of someone close to the band members, Caroline Bittencourt captures the power of music and stage presence of Los Hermanos and their unique relationship with the fans.

In the words of Bruno Medina: “The tens of following pictures, more than just portray the details of this tour in particular, make up a very representative mosaic of what were those 17 years of Los Hermanos.”