17 festival internacional de arte contempornea

17th international contemporary art festival

sesc_videobrasil
curadoria geral | chief curator: solange farkas

panoramas do sul | southern panoramas

sesc belenzinho
30 de setembro a 11 de dezembro de 2011
september 30 thru december 11, 2011

olafur eliasson
seu corpo da obra | your body of work
curadoria | curator: jochen volz
sesc belenzinho
30 de setembro de 2011 a 29 de janeiro de 2012
september 30, 2011, thru january 29, 2012
sesc pompeia
1 de outubro de 2011 a 29 de janeiro de 2012
october 1, 2011, thru january 29, 2012
pinacoteca do estado
1 de outubro de 2011 a 8 de janeiro de 2012
october 1, 2011, thru january 8, 2012
realizao | undertaking:
sesc, associao cultural videobrasil
correalizao | coproduction olafur eliasson - seu corpo da obra | your body of work:
pinacoteca do estado, governo do estado

Experincias visuais
Danilo Santos de Miranda

Diretor Regional do SESC So Paulo

A arte propicia o enriquecimento da experincia humana, por meio

de vivncias sensveis, e revigora olhares acerca do momento em que
vivemos. As novas mdias e as imagens invadem nosso cotidiano em
diversos formatos, provocando transformaes culturais e sociais.
O surgimento de diferentes suportes para a expresso artstica,
impulsionados pelo avano tecnolgico, cria uma efervescncia de
possibilidades visuais que interferem nos modos de ver e interpretar o
mundo, favorecendo a relao e o contato entre as matrizes artsticas
tradicionais e as inovaes tecnolgicas.
neste ambiente que o 17 Festival Internacional de Arte
Contempornea SESC_Videobrasil se insere, trazendo alteraes e
absorvendo as linguagens artsticas que percorrem as inquietaes
atuais no campo das artes visuais.
Com uma proposta de ampliao de seu formato, e em
conformidade com as urgncias do discurso contemporneo,
a mostra competitiva Panoramas do Sul passa a receber, alm
dos trabalhos em vdeo, produes artsticas das reas de
performance, instalao, fotografia, pintura e livros de artistas com
representaes da produo artstica de diferentes continentes.
O convidado especial desta edio o artista dinamarqus Olafur
Eliasson, que inaugura sua primeira exposio individual na Amrica

do Sul, na ocupao do SESC Pompeia e SESC Belenzinho, alm da

Pinacoteca do Estado.
Os trabalhos inditos para esta mostra possuem uma elaborada
produo, visando o dilogo aberto com o pblico e tratando da
explorao das sensaes. Esses aspectos tornam o trabalho de Olafur
Eliasson paradigmtico, uma experincia transformadora da arte
contempornea.
Em consonncia com as aes da instituio, um aspecto importante
do Festival o espao dedicado ao atendimento educativo que, nesta
edio, inclui seminrios, cursos para educadores, atendimento de
grupos e de visitas espontneas, e programao na internet. O pblico
tambm ter acesso ao Festival por meio de programas do SESCTV,
ampliando o circuito de fruio artstica e participao coletiva.
Entre as formas pelas quais a instituio revigora a essncia de
suas aes socioculturais esto as parcerias, pois, nesse contexto,
ocorrem as trocas de saberes, a assimilao de novos conhecimentos
ou de perspectivas inusitadas.
Parceiros desde 1992, o SESC e a Associao Cultural Videobrasil
promovem o encontro da diversidade de expresses e a participao de
artistas de diferentes territrios e culturas, ao mediar modos distintos
de perceber e conceber as experincias do olhar.

Visual Experiments
Danilo Santos de Miranda

Regional Director, SESC So Paulo

Art enriches human existence through sensory experience and

reinvigorates how we see the times we live in. New media and
images invade our everyday lives in various ways, causing cultural
and social transformations. The advent of different supports for
artistic expression, driven by technological advances, creates an
effervescence of visual possibilities that tinker with our modes
of seeing and interpreting the world, favoring a relationship
and contact between the traditional artistic templates and
technological innovations.
It is within this environment that the 17th International
Contemporary Art Festival SESC_Videobrasil inserts itself,
showcasing changes and absorbing the artistic languages that
underpin the main concerns within the visual arts today.
With a view to expanding its format, and in response to the
urgencies of contemporary discourse, the competitive show
Southern Panoramas broadens its traditional remit of video to
encompass artistic production in the areas of performance,
installation, photography, painting, and artists books from across
the continents.
The special guest for this edition of the Festival is the Danish
artist Olafur Eliasson, whose first-ever exhibition in South America will

occupy gallery space at SESCs Pompeia and Belenzinho units, and at

the Pinacoteca do Estado (So Paulo State Gallery).
The elaborate production that went into the new work prepared
for this exhibition envisages open dialogue with the public and deals
with the exploration of sensations. These aspects are what make
Olafur Eliassons work paradigmatic, a transformative experience in
contemporary art.
In consonance with the institutions activities, an important
aspect of the Festival is the space it devotes to its educational
program, which, for this edition, includes seminars, courses for
educators, scheduled and walk-in guided tours, and Internet content.
The public will also have access to the Festival through SESCTV,
widening the scope of artistic fruition and collective participation.
One of the ways in which the institution reinvigorates the essence
of its sociocultural endeavors is through partnerships, as these
are a perfect means of fostering exchange, the assimilation of new
knowledge and unexpected perspectives.
Partners since 1992, SESC and Associao Cultural Videobrasil
promote a nexus for a range of expressions and the participation of
artists from different territories and cultures by mediating between
distinct modes of perceiving and conceiving experience.

estratgias e riscos | strategies and risks

46

ana prata
62

60
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128

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148

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158

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184

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rodrigo bivar

200

ricardo carioba

202

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216

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226

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234

232

tatiana blass
242

240

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246

crditos | credits

zafer topaloglu

ximena velsquez snchez

wagner morales

tiago romagnani silveira

wagner malta tavares

236

vinicius duarte

228

theo craveiro

taryn takahashi

shaun gladwell
230

tenzin phuntsog

shima

222

sherman ong

sebastin diaz morales

sarah jane gorlitz, wojciech olejnik

ronaldo miranda

210

rolando vargas

roderick steel

regina parra

rafael urban

194

204

roberto winter

petrina hicks

paula garcia

pablo lobato

186

orit ben-shitrit

nicola morton

nazareno

milton machado, cac vicalvi

188

196

paulo nimer pjota

nurit sharett

178

natasha mendonca

mihai grecu

180

moran shavit

merilyn fairskye

marek ranis, jonathan case

marcello mercado

luciana ohira, sergio bonilha

luiz roque
marcia vaitsman

164

172

maya watanabe

154

luis f. ramirez celis

160

166

marcellvs l.

lara arellano

leandro cardoso

jonathas de andrade

ian haig
150

lucia mindlin loeb

laerte ramos

ivn marino

heewon lee
144

lixin bao

felipe bittencourt

fabiano gonper

dirceu maus

gisela motta, leandro lima

guilherme peters
ilan waisberg

gregg smith

gianfranco foschino

126

130

136

152

liu wei

120

galina myznikova, sergey provorov

122

138

jos villalobos romero

108

gabriel mascaro

114

felipe barros

edwin sanchez

deyson gilbert

dan halter
116

federico lamas

eder santos

104

e. s. mayorga

danillo barata

96

daniel salamanca

90

dan boord, luis valdovino

cristiano lenhardt

christian delgado, nicols testoni

claudia joskowicz

chico dantas

80

cinthia marcelle

carla zaccagnini

basma alsharif

carlosmagno rodrigues, alonso pafyeze

74
86

92

damir ocko

bakary diallo

76

carlos adriano

andrei rubina thomaz

bouchra khalili

68

bogdan perzynski

ayrson herclito

alexandre b

aya eliav, ofir feldman

andr favilla

akram zaatari
64
70

carolina caliento

52

angelica mesiti

54

anna baumgart

56

adriano costa

artistas e obras | artists and works

48

ali cherri

36
58

dor guez

ndice | index

educao e formao | education and formation

16
44
50
98

106

250

estratgias e riscos
Solange O. Farkas

Curadora geral do 17 Festival

16

Resultado de quatro anos de questionamento crtico e redesenho, o 17

Festival Internacional de Arte Contempornea SESC_Videobrasil confirma
uma orientao que se desenhava havia uma dcada. A abertura a todas as
manifestaes artsticas d curso progressiva aproximao do Festival com
o campo das artes visuais, ao longo de quatro edies dedicadas a linguagens
como performance e cinema, e marcadas por segmentos expositivos cada
vez mais importantes. A intensificao desse dilogo, sobretudo nos anos
2000, est em sintonia com a insero crescente do vdeo e da imagem em
movimento no circuito da arte contempornea, em um contexto que favorece
contaminaes entre linguagens, e na condio de ferramentas preferenciais
de experimentao artstica.
A mudana que torna o Videobrasil o primeiro festival brasileiro de arte
contempornea uma etapa expandida de um processo intudo no apenas no
mbito do Festival, mas tambm das aes da Associao Cultural Videobrasil.
Exposies realizadas recentemente em parceria com o SESC, como Sophie
Calle Cuide de voc (SP e Salvador, 2009) e Joseph Beuys A revoluo somos
ns (SP e Salvador, 2010), so exemplos de um trabalho que gravita na direo
da produo contempornea e de suas questes centrais. No por acaso e
como nas edies mais recentes do Festival , ambas se aproximam tambm
pela presena marcante do vdeo, aqui absolutamente contaminado pela
relao com o espao expositivo.
Ligados ao vdeo pela histria e pelo nome, numa condio de identidade
que no poderia jamais ser negada embora denote uma especializao
que j no os define , Festival e Associao realizam essa transio na
confortvel certeza de um ciclo cumprido. Em 25 anos dedicados a mapear,
promover, difundir e divulgar a produo de vdeo brasileira e, mais tarde,
de todo o eixo geopoltico do Sul , fomos parte ativa tanto da conquista de
um circuito para o meio quanto de suas mudanas de peso e de papel, como
ferramenta e manifestao, no cenrio contemporneo.
A ambiciosa exposio Seu corpo da obra, primeira individual na Amrica
Latina do artista dinamarcoislands Olafur Eliasson, sublinha de forma

contundente, e muito feliz, a mudana de escopo do Festival. Fruto de uma

potica intrincada e de uma investigao ampla, que envolve questes das
cincias e da filosofia, a obra de Eliasson nos lembra constantemente de que as
prticas artsticas s se completam, de fato, na fruio do pblico. Acessveis,
j que no exigem domnio das questes que as engendraram, as experincias
sensoriais que propem questionam a preponderncia do objeto sobre o sujeito,
convidando o espectador a perceberse construindo a obra.
O curador convidado Jochen Volz conduz a exposio, que ser objeto de
um livro de artista a ser lanado ainda em 2011. Eliasson tambm tema de
um novo filme da srie Videobrasil Coleo de Autores, dirigido, a convite do
Videobrasil, pelo cineasta brasileiro Karim Anouz. A aproximao dos dois
artistas, no contexto do 17 Festival, gerou uma proposio que temos orgulho
de comissionar: a obra Sua cidade emptica, instalao na qual Eliasson se
serve, para alimentar experincias relacionadas ao fenmeno conhecido como
afterimage a reteno de cores e formas pela retina exposta luz ,
de imagens de So Paulo captadas pelo olhar particularssimo de Anouz.
construo da exposio de Eliasson, somamse esforos para
amplificar as oportunidades geradas pela mostra Panoramas do Sul, que rene
uma centena de artistas e sua produo mais recente no SESC Belenzinho. Um
prmio de comissionamento, uma rede revista de residncias e um seminrio
que se detm sobre as particularidades do circuito de arte no Sul geopoltico
so algumas das respostas que encontramos, nesta edio, para as questes
que vm norteando as mudanas do Festival. Ao refletir criticamente sobre
sua natureza como veculo de afirmao e legitimao de uma produo e
sua capacidade de envolver um conjunto maior de dilogos , procuramos ir
alm das questes de forma e matria para comear a entender impulsos e
potncias de transformao da prpria atividade artstica.

Panoramas do Sul
A mostra Panoramas do Sul foi construda a partir de um conjunto
surpreendente de trabalhos inscritos, dos quais mais de um tero realizado
em outras linguagens que no as tradicionalmente acolhidas pelo Festival.
Todas as regies do eixo Sul esto presentes, ainda que algumas, como a
frica, em medida proporcional s condies de um circuito em construo.
As submisses apontam focos renovados de produo artstica na Europa
do Leste e em Israel. Na Amrica do Sul, a Colmbia se destaca pelo volume e
potncia dos trabalhos apresentados.
A equipe de seleo, formada pelo artista Felipe Cohen e pelos curadores
Fernando Oliva e Marcio Harum, alinhou suas escolhas s mudanas conceituais
do Festival, cotejando obras em vdeo e outras linguagens. Deste embate entre
diferentes raciocnios artsticos, que assumem plataformas diversas de acordo
com as necessidades formais e de contedo, surgiram critrios para alm do
lugarcomum daqualidade, afirma Oliva. Considerouse, por exemplo, quanto
cada proposio se arrisca a testar os limites da plataforma em que opera.
A necessidade de contemplar linguagens e questes recorrentes entre
as obras inscritas orientou a seleo. Todas as principais questes da arte

contempornea esto, de certa forma, representadas no panorama final: das

polticas s simblicas e metafsicas, at todo o questionamento moderno e
psmoderno dos prprios meios da arte, afirma Felipe Cohen.
As gramticas de ruptura so marcantes entre as obras escolhidas,
explica o curador Marcio Harum. Em particular nas que refletem sobre a
atual condio humana coletiva versus individual e lidam com a percepo
do ambiente, num embate anmico entre natureza (paisagem) e cultura
(testemunhos), ora pela exacerbao, ora pelo apagamento de uma memria
nebulosa, perdida entre a fico e a realidade.

Cartografias do afeto

18

A seleo tornase exerccio curatorial na medida em que aproxima estratgias

e aponta questes compartilhadas. Desta observao surgem os recortes
que balizam a curadoria e que se materializam nos ncleos expositivos. O
primeiro, Cartografias do afeto, rene trabalhos que podem ser entendidos
como tentativas de criar representaes possveis para questes de ordem
subjetiva muitas vezes, a partir de percursos nicos, mas que se tornam
lngua comum, intra e extraarte.
Mapear, compreender, inventariar o subjetivo tornase, nessas obras, um
esforo quase arqueolgico, na medida em que se busca encontrar, e at mesmo
recriar, sentidos para afetos seja com memrias, seja numa tentativa de
compreender experincias subjetivas. De formas diversas, elas lidam com uma
sensibilidade de fronteiras entre o pessoal e o coletivo, o indivduo e a sociedade.
Em Love, Jealousy and Wanting to Be in Two Places at Once, Gregg Smith
narra a experincia de um casal que, para tentar salvar um casamento do
tdio e criar um reencontro amoroso, usa a estratgia inusitada de encontros
com outros parceiros num clube de tango. Em Phone Tapping, de Heewon Lee,
um plano areo sobre uma cidade, no instante de transio entre dia e noite,
pontua o encontro entre os contextos mental (a narrao em voice over) e
visual, inserido na paisagem urbana.
Na srie de pinturas Ubatuba, Rodrigo Bivar apropriase da tcnica
fotogrfica, documental, para representar momentos carregados
de histria. So narrativas suspensas, documentaes factuais de
experincias subjetivas, que nos convidam a criar o percurso insinuado
dos personagens. A no narrativa de Four Rivers, de Tenzin Phuntsog, um
exerccio cinematogrfico e meditativo, que testemunha, silenciosamente,
as paisagens monumentais do planalto tibetano.
Em Mientras paseo en cisne, Lara Arellano usa o olhar de uma menina que
viaja com os pais para pr em dilogo paisagem exterior e estados interiores.
E em Ovos de dinossauro na sala de estar, de Rafael Urban, a viva de um
colecionador de material paleontolgico dedicase a preservar a memria e o
acervo do marido, num movimento paradigmtico da ideia de arqueologia ntima.

Natureza e cultura
Como podemos nos reaproximar da histria de forma livre, sem preconceitos
e vcios herdados do passado? Esta parece ser a pergunta que os trabalhos do

segundo ncleo colocamse (e nos colocam). A sada pode estar, ironicamente,

na mais antiga estrutura do sistema da arte: o gnero. Estes artistas o habitam
no em busca de conforto, mas como agentes parasitas, subversivos,
questionadores. No querem restaurar seu tecido esgarado, mas produzir
novas e poderosas fissuras.
A relao contemplativa ou investigativa com a paisagem que, ao mesmo
tempo, ameaa nos subjugar coexiste em Inspiration, dos russos Galina
Myznikova e Sergey Provorov. A obra nos conduz a uma jornada, em esttica
quase pictrica, por entre uma paisagem misteriosa e cinzenta que remete
ao olhar contemplativo do cineasta Andrei Tarkovski em Stalker. Personagens
mimetizados, quase imperceptveis, realizam aes incompreensveis. Criase
uma atmosfera de suspense, que angustia e, ao mesmo tempo, encanta o olhar.
Pilgrimage, vdeo de Eder Santos, um registro potico da extrao de
minrio. O autor documenta as etapas em imagens que se assemelham a
pinturas, expondo texturas e coloraes. A narrativa se desdobra lentamente,
conduzindo o espectador por um trajeto de visualidade poderosa, que arrebata
o olhar. A prtica de extrao, retratada com riqueza de detalhes, explicita a
fragilidade da relao entre natural e construdo, homem e natureza.
Em Transferring, Storing, Sharing, and Hybriding: The Perfect Humus,
Marcello Mercado discute as conexes entre processos naturais e culturais. A
partir de relaes entre arquivos digitais, genoma humano, dados de satlite e
bancos de dados, constri, por meio de uma narrativa intensa, o que chama de
uma fico cientfica ecolgica.
Dois videopoemas conjugados por Mihai Grecu em Surfaces: Coagulate
and Centipede Sun flertam com a fico cientfica e a manipulao de imagens
para criar reflexes polticas e ecolgicas. Em Bronze revirado, Pablo Lobato
ope uma tradio religiosa sua impactante fisicalidade; em Cruzada, Cinthia
Marcelle orquestra e reordena uma formao militar para metaforizar embates
socioculturais. Finalmente, Vanish, de Theo Craveiro, prende elementos
naturais e perecveis em um rigoroso arranjo formal.

Paisagens polticas
Os artistas reunidos neste segmento convocam para o campo das artes visuais
e seu circuito dilemas que, at ento, pertenceram esfera pblica, social,
compartilhada. Antigas oposies, como arte/poltica e local/global, so
atravessadas pelo mesmo vetor. Longe de se configurar como movimento de
circunscrio de territrios, a estratgia revela uma potncia que parece vir
justamente da falta de receio de parecer por demais literal ou explcita, ou de
percorrer caminhos j trilhados.
Ao reunir, em Crossing Points, registros em vdeo que mostram o dia a dia de
grupos guerrilheiros colombianos, Edwin Sanchez revela a violncia da guerrilha,
mas tambm seu aspecto inevitavelmente prosaico. Em H2, Nurit Sharett narra
suas trocas com mulheres de Hebron, Cisjordnia, cidade cindida em sees de
comunicao controlada, governadas pela Palestina e por Israel.
Unforgettable Memory tenta, por meio de um expediente muito simples,
resgatar a memria dos protestos contra o governo de Deng Xiaoping, na

Pequim de 1989. O autor, Liu Wei, parece se perguntar o que pode mais,
a memria ou a indiferena. Aisha in Wonderland, de Zafer Topaloglu,
menos metfora que retrato da violncia fsica e emocional nos campos de
refugiados libaneses.
Em tom de pardia, Solenidade de hasteamento da bandeira Ao Vivo, de
Cristiano Lenhardt, lembra a ditadura militar brasileira. No irnico Beitbridge
Moonwalk, Dan Halter associa a dana criada por Michael Jackson a um
expediente usado por zimbabuanos para entrar na frica do Sul desapercebidos.
Em Superbloques, Luis F. Ramirez Celis aproxima o apagamento de um
smbolo da arquitetura modernista do drama do morador de um conjunto
habitacional condenado em Caracas. Sutil, o australiano Shaun Gladwell
ope duas performances improvveis em Double Balancing Act, para tratar de
violncia e beleza.

mquinas de ver

20

As obras desta seo posicionam no centro do debate a noo de um mecanismo

gerador, no sentido mais abrangente que o termo oferece. Expressa
frequentemente na construo de dispositivos pticos, que alteram o olhar e
propem novas vises, a opo se configura, a um s tempo, como lugar de partida
e de chegada. Entre um ponto e outro, abre espao para que o novo, o experimental
e o risco se imponham, revelando procedimentos que parecem exigir uma
presena visvel (e talvez esta seja sua caracterstica mais generosa).
Em At onde vamos?, Roderick Steel cria intervenes sobre imagens
captadas em vdeo para inserir narrativas dentro de narrativas e investigar
a capacidade humana de imaginar e navegar por mundos subjetivos. Em
EightTimesTwentyFive, Rolando Vargas conduz um percurso at uma batalha
pela independncia colombiana, h dois sculos, usando materiais audiovisuais
dos National Archives norteamericanos. Em Funny Games, de Jos Villalobos
Romero, o espectador quem cria a narrativa, interferindo em duas verses do
filme de Michael Haneke.
O instante impossvel [gotas e taa], de Alexandre B, revisita as lanternas
mgicas do sculo 17, as primeiras experincias conhecidas com projeo de
imagens, para criar mecanismos que alteraram a percepo tridimensional de
objetos translcidos. Ilan Waisberg faz operao semelhante em Transfers,
srie de dispositivos que permitem visualizar imagens de fotogramas e, a
partir delas, criar pequenas narrativas. Cmeras pinhole feitas com caixas
de fsforo produzem as imagens usadas por Dirceu Maus para recriar
afetivamente a praia do Outeiro, em Belm (PA), no trabalho Em um lugar
qualquer Outeiro.
Perspectiva sobre fundo negro, de Ricardo Carioba, usa animao para
opor a ideia de perspectiva presente na imagem produzida e a perspectiva
percebida pelo ser humano. Gravada no porto de Reykjavk, Islndia, Toga, de
Marcellvs L., registra uma grande rede de pesca sendo retirada de um barco
que esteve dois meses no mar. A partir de uma estratgia de repetio que
produz efeito de continuidade, cria uma dimenso reflexiva e um movimento
que impede o espectador de focar sua viso.

rede de Residncias
Um aspecto da experincia artstica que adquire relevncia cada vez maior no
cenrio internacional so as possibilidades criadas pelas residncias. Parcerias
estratgicas com instituies de formao, pesquisa e produo permitem ao
17 Festival oferecer oito prmios de residncia em trs continentes. O Festival
fortalece sua rede de parceiros ao reunir representantes para apresentar seus
programas em detalhe e participar de sesses de trabalho destinadas a refletir
sobre o impacto das residncias na produo artstica atual.
Outra preocupao reforada nesta edio a de aperfeioar os critrios
que designam a residncia mais adequada a cada artista, com base no apenas
na natureza dos programas, mas tambm nas caractersticas e estgio de
desenvolvimento dos trabalhos. Essa adequao crtica no contexto de uma
rede que oferece experincias diversas em natureza e foco.
As residncias brasileiras so exemplo. A Residncia Artstica FAAP, que
oferece dois prmios no Festival, tem sede no Edifcio Lutetia, no centro de So
Paulo, e estimula os artistas a investigar o contexto urbano. O programa mantido
pela Fundao Armando Alvares Penteado. Uma terceira residncia acontece no
Instituto Sacatar, em Itaparica (BA), em um programa que enfatiza a importncia
do ambiente para a criao de uma dinmica de convivncia e aes colaborativas
entre os residentes. O prmio tem apoio do Prince Claus Fund holands.
Mais dois prmios-residncia acontecem na Amrica Latina, na Galera
Kiosko, em Santa Cruz de la Sierra, na Bolvia. Criado em 2007, o programa rene
um artista boliviano e um artista de outra nacionalidade em convivncias de dois
meses. Caracterizase pela preocupao poltica e social, e estimula os artistas a
enfrentar questes culturais com propostas originais. Integrante do residencias_
en_red, a residncia apoiada pelo Centro Cultural da Espanha e pela Agncia
Espanhola de Cooperao Internacional para o Desenvolvimento (AECID).
A rede se estende Europa, por meio de parcerias com o Videoformes, em
ClermontFerrand, na Frana possibilitada pelo Consulado Francs em So
Paulo e pela Aliana Francesa e a Vrije Academie Werkplaats voor Beeldende
Kunsten, em Haia, na Holanda, que recebero um artista premiado cada uma.
Centro de produo e difuso de linguagens artsticas baseadas em vdeo
e tecnologias digitais, o Videoformes oferece apoio tcnico e intercmbio
de conhecimento em sua residncia. Na WBK, o programa estimula jovens
artistas a explorar vises novas, que contribuam para o seu trabalho.
Pela primeira vez, o Festival tem entre seus prmios uma residncia na frica.
Criado em 2003 por artistas, o centro de arte contempornea pARTage, nas Ilhas
Maurcio, incentiva projetos que respondam ao ambiente, estimulando a interao
com artistas locais e habitantes da ilha. O prmio tem apoio do Prince Claus Fund.

Ateli Aberto Videobrasil

Da reflexo sobre o processo de pesquisa em arteresidncia e sobre o embate
com o outro e com o espao nasce, ainda, o Ateli Aberto Videobrasil, projeto
de comissionamento lanado pelo 17 Festival. A residncia aponta para o
lugar e para a cidade. A ideia do edital foi estimular a criao de obras a partir
de uma dinmica de trabalho que promovesse o encontro efetivo, sem meios

22

de escapar ao desafio do enfrentamento com os limites de nossas ideias e

nossas formas de realizlas.
A premissa do projeto foi trabalhar com artistas residentes em
So Paulo. Selecionados pelo Festival, quatro artistas desenvolveram
obras em convivncia, entre abril e julho de 2011, na Casa Tomada, sob o
acompanhamento de um grupo de curadores e professores. A escolha do
espao paulistano independente, de formato particular, alinhase ao desejo
de encorajar iniciativas geridas por artistas e organizaes independentes,
cuja estratgia de trabalho discute e reflete a necessidade da relao com a
instituio e seus desdobramentos nos projetos artsticos.
O termo residncia no diz respeito a um formato, mas a uma ideia
de deslocamento da produo do artista, que se prope sair do seu espao
habitual de trabalho e embarcar em outra dinmica, afirma a curadora Tain
Azeredo, da Casa Tomada. O estar junto o ponto principal do programa.
Pensar numa organicidade do convvio pensar na desestabilizao dos
mtodos de trabalho e pesquisa do residente. Viver esta residncia se fazer
presente no contato com o outro.
Em uma perspectiva contempornea que se aplica ao proposto pelo
conceito da residncia, o ateli no mais, necessariamente, lugar do puro
isolamento, afirma Marcos Moraes, da equipe de acompanhamento. Como
essa possibilidade de convivncia e deslocamento na cidade de So Paulo,
o Ateli pode ser visto como contraponto ao isolamento decorrente dos
processos de fuga da vida contempornea e ameaas do cotidiano de grandes
metrpoles, como a nossa.
A primeira edio do Ateli Aberto resulta num conjunto significativo
de trabalhos, gerados a partir de um mosaico de possibilidades e de
potencialidades de meios, linguagens, suportes, investigaes e interesses, e
impregnados pelos signos do espao onde acontece e seu entorno. Integrados
mostra Panoramas do Sul, eles transitam entre o vdeo e a pintura.

So Paulo
No deixa de ser curioso que, ao abrirse a todas as prticas artsticas
contemporneas, o Festival retome, com intensidade e nimo novos, suas
aproximaes criativas com as possibilidades da televiso. Semanal, a
programao do Festival no SESCTV configurase como plataforma adicional
para a fruio de seus contedos. O arranjo amplia o espectro do Festival,
que passa a se articular, tambm, a partir da percepo da TV como espao
de criao, reflexo e construo de sentidos em torno da produo artstica
contempornea. Voltado cultura e educao, e retransmitido em sinal
aberto por emissoras educativas independentes e operadoras de TV por
assinatura para todo o Brasil, o canal se apresenta como veculo ideal para
amplificar essa possibilidade.
As mudanas que marcam o 17 Festival tm um cone no trofu
criado para a mostra Panoramas do Sul por Tunga, artista brasileiro
amplamente reconhecido no circuito internacional da arte contempornea.
No objetoescultura que concebeu, elementos de seu repertrio potico,

como cristal e lquido mbar,

contidos por uma malha metlica,
envolvem e intervm no corpo e
no campo de viso de uma cmera
de vdeo. Com funcionamento
preservado, a cmeratrofu
permite experimentar um olhar
interferido pelo artista.
O conjunto de
desdobramentos pensados
para o 17 Festival exemplo
do que temos perseguido como
instituio: um modelo que
funcione como plataforma para a
produo, circulao e discusso
da arte contempornea no Sul, em
parceria e dilogo com curadores, artistas e outras instituies. Espaos de
reflexo e produo artstica ampliados, que configuram e constituem um
circuito, contribuem para que estas prticas e investigaes desencadeiem
outras possibilidades de leitura, entendimento e circulao de arte. A
extrapolao de seus limites e suas possveis contaminaes transcendem o
circuito oficial das artes visuais, alimentando outras esferas de insero em
uma possvel histria e crtica de arte.
Ao estabelecer zonas temporrias de intercmbio por meio de
proposies artsticas, com a parceria continuada, indispensvel e sempre
estimulante do SESC, o Festival colocase em um patamar diverso dentro
do circuito em que se inscreve: a cidade de So Paulo. Assumindo os riscos
curatoriais considerveis de uma escolha baseada em submisses, gera
um recorte de porte e diversidade nicas de uma produo potente: a arte
produzida hoje no Sul geopoltico do mundo. Sob a luz generosa da obra de
Olafur Eliasson, o 17 Festival configurase como o evento que identifica So
Paulo s manifestaes contemporneas em toda a sua amplitude.

solange o. farkas uma curadora internacional com 25 anos de carreira.

Criou o Festival Internacional de Arte Contempornea SESC_Videobrasil,
referncia para a produo artstica do Sul geopoltico do mundo. Esteve frente
de importantes exposies no Brasil e no exterior, como a Mostra Pan-Africana
de Arte Contempornea (Salvador, 2005); La Mirada Discreta: Marcel Odenbach
& Robert Cahen (Buenos Aires, Argentina, 2006); Roteiro Amarrado (CCBB Rio
de Janeiro, 2010) e Suspenso e Fluidez (arco, Madri, Espanha, 2007), ambas
sobre a obra do artista brasileiro Eder Santos; Sophie Calle Cuide de voc (So
Paulo e Salvador, 2009); e Joseph Beuys A revoluo somos ns (So Paulo e
Salvador, 2010). Entre 2007 e 2010, foi diretora e curadora-chefe do Museu de
Arte Moderna da Bahia, onde realizou exposies de artistas como Chelpa Ferro,
Daniel Senise, Thomaz Farkas e Mario Cravo Neto.

panoramas do sul
comisso de seleo e programao
felipe cohen | so paulo, 1976 | Artista.
Realizou individuais no Centro Cultural So Paulo,
Centro Universitrio Maria Antonia, e galerias em
So Paulo e Rio de Janeiro. Participou do programa
Solo Projects na ARCO, Madri (Espanha), e das
coletivas Programa Rumos Artes Visuais 2008/2009,
Young Brazilian Artists (2003), no Porto (Portugal),
e Pinta Art Show (2007), em Nova York (EUA). Tem
obras nos acervos da Pinacoteca do Estado e do
Museu de Arte Moderna, ambos de So Paulo.
fernando oliva | so paulo, 1971 |

24

Curador e editor, docente da Faculdade de Artes

Plsticas da Fundao Armando Alvares Penteado
e da Faculdade Santa Marcelina. Foi diretor de
curadoria e programao do Centro Cultural So
Paulo, e gerente de projetos do Pao das Artes e
do Museu da Imagem e do Som, So Paulo. Entre
seus projetos curatoriais, destacam-se O Desvio
o Alvo e a quinta edio do projeto de residncias
artsticas Red Bull House of Art, em parceria com
Luisa Duarte (So Paulo, 2011).

marcio harum | santos, sp, 1973 | Curador e

pesquisador. Foi assistente curatorial na 27a Bienal
de So Paulo (2006) e produtor executivo da 1
Bienal do Fim do Mundo (Argentina, 2007). Integrou
o comit curatorial do programa Rumos Artes
Visuais 2008/2009, do Ita Cultural. Como bolsista
do Programa Deutsche Brse, na Alemanha, em
2007, foi curador em residncia no centro de arte
Frankfurter Kunstverein, em Frankfurt. Participa
da equipe de crticos da Temporada de Projetos do
Pao das Artes desde 2009.

Nilva Luz | Brasil, ivaipor, PR, 1973 |

Graduada em artes cnicas e mestre em artes
pela Unesp Universidade Estadual Paulista,
trabalha na programao do SESC-SP, sob
a Gerncia de Ao Cultural. Foi membro de
comisso de seleo em projetos da Secretaria
Municipal de Cultura, arte-educadora em

instituies pblicas e privadas, e atuou em

formao de educadores em cursos superiores.
Atualmente desenvolve trabalhos nas reas
de pesquisa, programao e produo de
exposies, mediao e formao de plateias.

jri de premiao
agustn prez rubio | valencia,
espanha, 1972 | Historiador, crtico de arte
e curador, diretor do MUSAC (Museo de Arte
Contemporneo de Castilla y Len), Len,
Espanha, desde 2009. Entre seus projetos
curatoriais, destacam-se as exposies Bad
Boys, na 50 Bienal de Veneza, Itlia (2003);
Project Rooms, com Octavio Zaya, na ARCO 2006
(Madri, Espanha); Present-Future, com Katerina
Gregos, para Artissima (Turim, Itlia, 2006); e
Acciones Intangibles, para o Frieze Art Projects
(Londres, Inglaterra, 2008).

bisi silva | lagos, nigria, 1962 | Curadora

e crtica de arte. Fundou, em 2007, o CCA Lagos
(Center for Contemporary Art), que dirige e para
o qual curou exposies comoFela, Ghariokwu
Lemi and The Art of the Album Cover (2007), Ndidi
Dike, Waka-into-Bondage: The Last Mile (2008)
e Like A Virgin, Lucy Azubuike e Zanele Muholi
(2009). Foi coorganizadora da Bienal de Dacar,
Senegal (2006), e cocuradora da 7 Bienal de
Fotografia Africana, em Bamako, Mali (2007) e
deJ.D. Okhai Ojeikere: Moments of Beauty, no
Museu de Arte Contempornea de Helsinque,
Finlndia (2011).
gabriela salgado | buenos aires,
argentina, 1970 | Curadora e mestre em
curadoria contempornea pelo Royal College
of Art, Londres, Inglaterra. Foi diretora de
residncias da Fundaci Llorens Artigas
(Barcelona, Espanha)e curadora da coleo
de arte latino-americana da University of
Essex (Inglaterra).Organizou exposies como
Len Ferrari: The Architecture of Madness, na
University Gallery, Colchester, Reino Unido
(2001). Foi curadora de Programas Pblicos da
Tate Modern, Londres, Inglaterra.

raquel schwartz | santa cruz de la

sierra, bolvia, 1963 | Artista. Usa instalao,
fotografia, vdeo, pintura, cermica e intervenes
para falar de sociedade, poltica e natureza.
Exps em mostras como Pinta, The Modern and
Contemporary Latin Art Fair (Nova York, EUA,
2009); 1 Bienal do Fim do Mundo (Ushuaia,
Argentina, 2007); 9 Bienal de Havana (Cuba,
2006);5 Bienal do Mercosul (Porto Alegre, 2005);
e 25 Bienal de So Paulo(2002).Desde 2006 dirige
a Galera Kiosko, em Santa Cruz de la Sierra, que
oferece um programa nacional e internacional de
residncias artsticas.

rodrigo moura | so paulo, 1975 | Editor

e crtico de arte, curador do Instituto Inhotim
(Brumadinho, MG). Foi curador do Museu de Arte
da Pampulha, em Belo Horizonte, onde coordenou
o programa Bolsa Pampulha, de estmulo a artistas
emergentes. Organizou exposies como Mirante,
de Mauro Restiffe, no PhotoEspaa (Madri,
Espanha, 2009) e a coletiva Primeira e ltima, notas
sobre o monumento (Galeria Luisa Strina, So Paulo,
2010). Publicou os livros Polticas institucionais,
prticas curatoriais (MAP, 2004) e Atravs (Inhotim
Centro de Arte Contempornea, 2008).

prmio ateli aberto

seleo

ana maria tavares | belo horizonte,

1958 | Artista, mestre pela School of the Art
Institute of Chicago, EUA, e doutora pela Escola
de Comunicaes e Artes da Universidade de So
Paulo (ECA-USP), onde docente desde 1993. Foi
bolsista da John Simon Guggenheim Foundation,
Nova York, EUA (2002-2003). Participou de quatro
edies da Bienal de So Paulo, da 7 Bienal
de Havana, Cuba (2000), da Bienal de Istambul
(2001) e da Bienal de Cingapura (2006). Possui
obras em acervos como o Museu de Arte de So
Paulo, o Museu de Arte Moderna de So Paulo e a
Fundao ARCO, Madri, Espanha.
marcelo rezende | so paulo, 1968 |
Escritor, editor e curador. Publicou o romance Arno
Schmidt (ed. Planeta, 2005) e o ensaio Cincia do

sonho: A imaginao sem fim do diretor Michel

Gondry (ed. Alameda, 2005). Suas curadorias
incluem Comunismo da Forma (So Paulo, 2007),
Ver o Tibet (Caixa Cultural, Rio de Janeiro, 2010) e
Operao para as Massas, na plataforma on-line
FF>>Dossier/Videobrasil (2010). Editou o jornal
semanal 28b na 28 Bienal de So Paulo.

marcos moraes | so paulo, 1956 | Curador,

crtico e professor, doutor em arquitetura
e urbanismo, com especializao em arteeducao e museu pela Universidade de So
Paulo. coordenador dos cursos de artes
plsticas e produo cultural da Fundao
Armando Alvares Penteado (FAAP), e coordena
os programas internacionais de Residncia
Artstica da mesma instituio. Integra o corpo
docente das Faculdades Santa Marcelina
(FASM).Entre suas curadorias, destacam-se
mostras de Thomas Hirschhorn, e Janine Antoni
e Paul Ramirez Jonas (So Paulo, 2010).
Acompanhamento

bernardo mosqueira | rio de janeiro,

1988 | Formado em comunicao social pela
Universidade Federal do Rio de Janeiro (UFRJ),
teve tambm aulas na Escola de Artes Visuais
do Parque Lage, onde hoje leciona. Com uma
abordagem transdisciplinar manifesta desde
sua primeira exposio (uma ocupao artstica
em sua prpria casa, no Rio de Janeiro, vista por
mais de 5 mil pessoas), j realizou mostras em
So Paulo, Braslia e Porto (Portugal), e lidera
um programa experimental de acompanhamento
crtico de jovens artistas.
ronaldo entler | so paulo, 1968 |
Graduado em jornalismo pela PUC-SP, doutor
em artes pela ECA-USP, mestre e ps-doutor
em multimeios pela Unicamp, atuou como
reprter fotogrfico, e participou de exposies
coletivas e individuais. Foi diretor artstico
da rea de fotografia da Fundao Cultural
Cassiano Ricardo de So Jos dos Campos (SP)
e atualmente professor e coordenador de
ps-graduao na FAAP, e professor visitante no
programa de ps-graduao da Unicamp.

strategies and risks

Solange O. Farkas

Chief curator, 17th Festival

26

The result of four years of critical questioning and redesign, the 17th International
Contemporary Art Festival SESC_Videobrasil confirms an orientation that
first began to form a decade ago. The Festivals opening up to all forms of
artistic expression brings to fruition a gradual approximation with the visual
arts prefigured over the course of four editions devoted to such languages as
performance and cinema, and placing increasing importance on exhibition
segments beyond their original remit. The intensification of this dialogue,
especially in the 2000s, was in synch with the growing space allotted to video
and the moving image on the contemporary art scene, in their capacity as the
preferred mediums for artistic experimentation and in a context propitious to
a crosscontamination of languages.
The change that sees Videobrasil become the first Brazilian contemporary
art festival is an expanded stage in a process that can be discerned not only
within the scope of the Festival, but within Associao Cultural Videobrasils
activities in general. Exhibitions recently held in partnership with SESC, such as
Sophie Calle Take Care of Yourself (SP and Salvador, 2009) and Joseph Beuys
We Are the Revolution (SP and Salvador, 2010), are examples of a line of work
that has gravitated toward contemporary production and its core themes. It
is no accident, therefore, that these exhibitionslike more recent editions of
the Festivalare brought into proximity by the striking presence of video,
here indelibly affected by its relationship with the exhibition space.
Bound up with video in both history and name, in a condition of identity we
would never wish to denythough it denotes a specialization that no longer
defines us, the Festival and Associao Cultural Videobrasil make this transition
in the comfortable assurance that a cycle has come to a close. Over the course of
twenty-five years devoted to mapping, promoting, diffusing, and divulging video
productionfirst Brazilian and then from the whole geopolitical South, we
have played an active part in eking out a circuit for this medium and in deepening
its kudos and role as a tool and manifestation on the contemporary scene.
The ambitious Your Body of Work show, the first solo exhibition in Latin
America by the Danish/Icelandic artist Olafur Eliasson, resoundingly and

joyously underscores this change of scope. Fruit of an intricate poetic and

wideranging research, involving issues from the sciences and philosophy,
Eliassons work constantly reminds us that artistic practices only truly find
completion in the fruition of the public. Accessible insofar as they require no
mastery of the issues that engendered them, the sensorial experiments he
proposes question the objects preponderance over the subject and invite the
audience to see itself constructing the work.
Curated by Jochen Volz, the exhibition will be revisited in an artists book
scheduled for launch before the end of 2011. Eliasson will also be the subject
of a film in the series Videobrasil Authors Collection, guestdirected by the
Brazilian filmmaker Karim Anouz. The approximation between these two
artists within the context of the 17th Festival also gave rise to a proposal we
were proud to commission as a work: Sua cidade emptica [Your empathic
city], an installation in which Eliasson uses images of So Paulo captured
by Anouzs highly unique gaze as raw material for experiments with the
phenomenon known as afterimage, the retinas postexposure retention of
projected colors and forms.
In addition to the Eliasson exhibition, much effort has been made to
broaden the opportunities generated by the Panoramas do Sul show, which
will bring the recent output of a hundred or so artists to SESC Belenzinho.
A commissions prize, a revised residency network, and seminar focused on
the particularities of the art circuit in the geopolitical South are some of the
responses we have found to the questions undergirding the changes made
to this edition of the Festival. Reflecting critically upon its role as a vehicle
for the affirmation and legitimization of a given artistic productionand its
capacity to involve a larger set of dialogues, we have sought to move beyond
questions of form and material in a bid to understand the transformative
impulses and potential of artistic activity.

Southern Panoramas
The Southern Panoramas show was created out of a surprising body of
submitted work, of which over a third was produced in languages not normally
within the Festivals remit. All of the regions of the Southern axis are present
here, albeit with some, such as Africa, represented in proportion to their output
as circuits in formation. The submissions point toward Eastern Europe and
Israel as renewed foci of production, while in South America, Colombia stands
out for the volume and power of the presented work.
The selection committee, formed by the artist Felipe Cohen and the curators
Fernando Oliva and Marcio Harum, aligned its choices with the Festivals
conceptual changes, including works in other languages besides video. From this
clash of different lines of artistic reasoning, which assumed different platforms
depending on the needs of form and content, criteria emerged that went beyond
the staple gauge of quality, says Oliva. Also considered, for example, was the
degree to which each work sought to push the envelope of its respective platform.
The need to contemplate the languages and questions that proved
recurrent in the submitted works was another determining factor of selection.

All of the main issues in contemporary art are, in some form, represented in
the final panorama: from the political to the symbolic and metaphysical, even
the whole modern and postmodern questioning of the mediums proper to art
itself, says Felipe Cohen.
The selected works display striking grammars of rupture, explains
the curator Marcio Harum. Especially so in those that reflect on the
present collective human condition versus the individual and that deal with
perception of the environment, an animaic clash between nature (landscape)
and culture (witness), whether through exacerbation or through the erasure
of a nebulous memory, lost somewhere between fiction and reality.

Emotional Mappings

28

Selection becomes a curatorial exercise insofar as it approximates strategies

and identifies common questions. From this observation came the sections
that informed the curatorial project and materialized as exhibition chapters.
The first of these, Emotional Mappings, features works that could be
understood as attempts to create possible representations for questions of a
subjective ordervery often arrived at via singular paths, though couched in
a common language, both intra and extra to art.
To map, understand, and inventory the subjective becomes, in these
works, a quasiarcheological effort insofar as it strives to find and even
recreate meanings for emotionswhether through memories or some other
attempt to understand subjective experience. In sundry forms, they deal
with boundary sensibilities, skirting the frontiers between the personal and
collective, the individual and society.
In Love, Jealousy and Wanting to Be in Two Places at Once, Gregg Smith
narrates the experience of a couple who, hoping to save their marriage
from tedium through an amorous reencounter, adopt the unusual strategy
of arranging dates with other dance partners at a tango club. In Phone
Tapping, by Heewon Lee, an aerial view of the city right at the transition
between day and night points toward a meeting between the mental
(voiceover narration) and visual contexts engendered within the
urban landscape.
In the series of paintings entitled Ubatuba, Rodrigo Bivar avails of
documental photographic technique to represent moments loaded with
history. These are suspended narratives, factual documentations of
subjective experiences which invite us to create an unexpected trajectory
for the protagonists. The nonnarrative of Tezin Phuntsogs Four Rivers is a
cinematographic and meditative exercise that pays silent witness to the
monumental landscapes of the Tibetan tableland.
In Mientras paseo en cisne, Lara Arellano uses the gaze of a young girl
travelling with her parents as a means toward establishing dialogue between
the outer landscape and inner states, while in Ovos de dinossauro na sala de
estar, by Rafael Urban, the widow of a collector of paleontological material
devotes her time to preserving her husbands memory and collection through
a paradigmatic shift toward the notion of an intimate archeology.

Nature and Culture

How might we return to history in a free way, devoid of the prejudices and
vices inherited from the past? This would seem to be the question posed (to
themselves and to us) by the works that comprise this second chapter of the
exhibition. Ironically, the answer may lie in the oldest structure of the art system:
genre, host rather than home to artists not in search of comfort so much as
somewhere to exercise their subversive, questioning parasitism. Their aim is not
to restore the torn tissue, but to rend it further and more deeply.
The contemplative or investigative relationship with landscapewhich,
at the same time, threatens to overrun uscoexists in Inspiration, by the
Russians Galina Myznikova and Sergey Provorov. The work leads us on an
aesthetic, almost pictorial journey through a mysterious, lusterless landscape
reminiscent of the contemplative atmosphere captured by the filmmaker
Andrei Tarkovski in Stalker. Mimicked, quasiimperceptible characters
perpetrate the most inexplicable acts, creating an atmosphere of suspense
that enchants and disturbs the eye in equal measure.
Pilgrimage, a video by Eder Santos, is a poetic record of mineral extraction.
The author documents the stages in the process in images that resemble
paintings, exposing textures and colorations. The narrative unspools slowly,
conducting the viewer along a powerful, eyecatching thread of visuality. The
mining process itself, which is recorded in detail, reveals the fragile relationship
between the natural and the manmade; between mankind and nature.
In Transferring, Storing, Sharing, and Hybriding: The Perfect Humus,
Marcello Mercado discusses the connections between natural and cultural
processes. Through an intense narrative woven out of the relations between
digital archives, the human genome, satellite data, and data bases, he creates
what he describes as a work of ecological science fiction.
Two video poems intertwined by Mihai Grecu in Surfaces: Coagulate and
Centipede Sun flirt with science fiction and image manipulation to create
political and ecological reflections. In Bronze revirado, Pablo Lobato pits a
religious tradition against its own impactful physicality, while in Cruzada,
Cinthia Marcelle orchestrates and reorders a military formation as a metaphor
for sociocultural conflicts. Finally, Theo Craveiros Vanish captures perishable
and natural elements in a rigorous formal arrangement.

Political Landscapes
The artists in this segment populate the field and circuit of art with dilemmas
that hitherto belonged to the shared public and social domain. Old opposites,
such as art/politics and local/global, are reduced to the same vector. Far from
configuring itself as a move to circumscribe territories, the strategy reveals a
potency that seems to derive precisely from a total unconcern for appearing
too literal or explicit, or for following already beaten paths.
Edwin Sanchez Crossing Points cobbles together snatches of video
footage showing the daily lives of groups of Colombian guerrillas, succeeding in
simultaneously revealing the violence of this sort of warfare and its inevitably
prosaic aspects. In H2, Nurit Sharett narrates her exchanges with the women

of Hebron, a city in the West Bank rent into opposing sections of controlled
communication, governed by the Palestinian authority and Israel.
Employing very simple means, Unforgettable Memory tries to recover
remembrances of the antiDeng Xiaoping protests held in Beijing in 1989.
The author, Liu Wei, seems to ask himself which is stronger, memory or
indifference? Aisha in Wonderland, by Zafer Topaloglu, is less a metaphor
for than a portrayal of the physical and emotional violence rife in Lebanese
refugee camps.
Parodying in tone, Solenidade de hasteamento da bandeira Ao Vivo, by
Cristiano Lenhardt, recalls the Brazilian military dictatorship, while the ironic
Beitbridge Moonwalk, by Dan Halter, associates Michael Jacksons trademark
dance with a trick Zimbabweans use to sneak unseen into South Africa.
In Superbloques, Luis F. Ramirez Celis draws parallels between the
demolition of a symbol of modernist architecture and the personal drama of
a resident of a condemned housing block in Caracas. The Australian Shaun
Gladwell subtly treats of violence and beauty by opposing two unlikely
performances in Double Balancing Act.

Optical Devices

30

The works in this chapter of the exhibition summon into the center of the
debate the notion of a generating mechanism, in the broadest possible sense
of the term. Frequently expressed in the construction of optical devices that
alter the gaze and propose new visions, the option configures simultaneously
as a starting point and a destination. Between one point and another, it
opens space in which the new, the experimental, and the risky can impose
themselves, revealing procedures that seem to demand visible presence
(perhaps its most generous characteristic).
In At onde vamos?, Roderick Steel interferes with video footage in such
a way as to slip narratives into narratives and explore the human capacity to
imagine and navigate through subjective worlds. In EightTimesTwentyFive,
Rolando Vargas uses audiovisual material from the U.S. National Archives to
trace the path to the Colombian war of independence some two hundred years
ago, while, in Funny Games, by Jos Villalobos Romero, it is the viewer who
creates the narrative by interfering in two versions of the eponymous film by
Michael Haneke.
O instante impossvel [gotas e taa], by Alexandre B, revisits the magic
lanterns of the 17th century, the firstknown experiments with image
projection, to create mechanisms that alter the threedimensional perception
of translucent objects. Ilan Waisberg does something similar in Transfers, a
series of devices that visualize photograms as building blocks for narratives.
In Em um lugar qualquer Outeiro, pinhole cameras set into matchboxes
capture images with which Dirceu Maus attempts an emotional recreation
of Outeiro Beach in Belm, Par.
Perspectiva sobre fundo negro, by Ricardo Carioba, uses animation
to oppose the notion of perspective present in a produced image and that
perceived by the human eye. Filmed in Reykjavik, Iceland, Marcellvs L.s Toga

follows a huge fishing net as it is hoisted from a trawler that has just returned
from a twomonth stint at sea. Deploying a strategy of repetition that produces
the effect of continuity, the film creates a reflective dimension and a movement
that prevents the viewer from focusing.

Residencies
One aspect of artistic experience gaining in relevance on the international
art scene is the residency program and the possibilities it offers. Strategic
partnerships with educational, research, and production institutions enable
the 17th Videobrasil Festival to confer eight residency awards across three
continents. The Festival strengthens its partnership network by presenting its
programs in detail and participating in work sessions destined to reflection on
the impact of residencies on artistic output today.
Another concern reinforced by this edition is that of fine tuning the criteria
by which an artist is allocated to this or that residency, a decision based not
only on the nature of the programs themselves, but also on the characteristics
and developmental stage of the work. This aptness is critical in the context of a
network that offers experiences as diverse in nature and focus as does ours.
The two Brazilian residencies are a case in point. The FAAP Artistic
Residency, which offers two awards through the Festival, is based in the
Lutetia Building in downtown So Paulo and stimulates artists to explore the
urban context. It is run by the Armando Alvares Penteado Foundation. A third
residency takes place at the Sacatar Institute, located in Itaparica, Bahia. This
program stresses the importance of its beachside environment to creating
a convivial dynamic for collaborative action between residents. The prize is
sponsored by the Prince Claus Fund (Holland).
Two other residencies take place in Latin America, at Galera Kiosko, in
Santa Cruz de la Sierra, Bolivia. Created in 2007, the gallery program teams up
one Bolivian artist with a nonBolivian counterpart for a twomonth period of
collaboration. With a social and political bent, this program encourages artists
to tackle cultural issues through original proposals. A member of residencias_
en_red, the residency is granted by the Spanish Cultural Center and the Spanish
Agency for International Cooperation for Development (AECID).
The network extends to Europe through partnerships with Videoformes,
in ClermontFerrand, Francethanks to the French Consulate in So Paulo
and Aliana Francesa, and the Vrije Academie Werkplaats voor Beeldende
Kunsten, in the Hague, Holland, both of which receive one prizewinning artist.
A center for the production and diffusion of artistic languages based on video
and digital technologies, Videoformes offers technical support and knowledge
exchange through its residency program. At WBK, the program encourages young
artists to explore new visions that might contribute to their work.
For the first time, Videobrasil is offering a residency in Africa. Created in
2003 by an artists association, the contemporary art center pARTage, based
on the Mauritius Islands, fosters the development of projects that respond
to the environment by stimulating interaction with local artists and the
islanders in general. The prize is sponsored by The Prince Claus Fund.

Videobrasil Open studio

32

From our reflection on the process of inresidency art research and the
artists contact with the other and with space comes another initiative,
The Videobrasil Open Studio, a commissioning project launched by the 17th
Festival. The residency focuses on place and the city, and the idea was to
stimulate the creation of art from within a work dynamic that hinges upon
effective encounters that leave no way to escape the challenge of confronting
the limits of our ideas and means of bringing them to bear.
The premise of the project was to work with artists resident in So Paulo.
Selected by the Festival, four artists developed works convivially at Casa
Tomada between April and July 2011, under the supervision of a group of
curators and teachers. The choice of this independent, uniquelystructured
So Paulo location was aligned with our desire to encourage initiatives run by
artists and independent organizations whose work strategy discusses and
reflects on the need for institutional relationships and their impact on the
resulting artistic work.
The term residency does not describe a format, but rather the idea of
uprooting the work of the artist, who undertakes to step outside a comfort
zone in order to be immersed within another dynamic, says curator Tain
Azeredo, from Casa Tomada. Being in company is the main point of the
program. To think of the organicity of cohabitation is to reflect on the
destabilization of the residents methods of work and research. Experiencing
this residency is all about being present in contact with the other.
From a contemporary perspective that applies to that proposed by the
concept of a residency, the atelier is no longer necessarily a space of pure
isolation, says Marcos Moraes, a member of the supervisory team. With
this possibility of cohabitation and displacement within the city of So Paulo
itself, the Studio can be seen as a counterweight to the isolation that derives
from the attempt to flee contemporary life and all the dangers that go with a
large metropolis like ours.
The first edition of the Open Studio resulted in a significant body of work
generated from a mosaic of possibilities and potentialities of mediums,
languages, supports, lines of investigation, and interests, and impregnated
with the signs of the immediate and surrounding space in which it was
produced. Integrated with the Southern Panoramas show, these works
transit between video and painting.

So Paulo
In opening itself up to all contemporary artistic practices, it is intriguing
that the Festival should resume, with fresh intensity and impetus, its
creative approximations with the possibilities of television. The Festivals
weekly program on SESCTV serves as an additional platform for its content.
This arrangement broadens the spectrum of the Festival, which can
now also articulate through the perception of TV as a space for creation,
reflection and the construction of meanings around contemporary
artistic production. Devoted to culture and education, and rebroadcast

by independent educationbased channels and cable TV operators

throughout Brazil, the channel has proved an ideal vehicle for expanding
upon these possibilities.
The changes that characterize this 17th edition of the Festival find
an icon in a trophy created for the Southern Panoramas show by Tunga, a
Brazilian artist well known on the international contemporary art circuit.
In the sculpture/object he has created for the event, elements from his
own poetic repertoire, such as crystal and liquid amber, contained within
a metal mesh, envelope a video camera and halfobscure its lens. The
fullyfunctional cameratrophy affords a view that has been irremediably
tampered with by the artist.
The set of accompaniments conceived of for the 17th Festival is an
example of what we have sought to achieve as an institution: a model that
functions as a platform for production and the circulation and discussion
of contemporary art in the South in partnership and dialogue with curators,
artists, and other institutions. Expanded forums for artistic reflection and
production that configure and constitute a circuit help ensure that these
practices and investigations trigger other possibilities for the reading,
understanding, and circulation of art. By breaching their own boundaries and
engaging in possible crossfertilizations, the visual arts can transcend the
official circuit, feeding other spheres of insertion within a possible history
and criticism of art.
By establishing temporary zones of interchange through artistic
propositions, with SESCs continued, essential, and always inspiring
partnership, the Festival places itself on a different platform within its
circuit: the city of So Paulo. Assuming the considerable curatorial risks that
go with a submissionbased Festival, we have taken a tomography of singular
size and diversity of an imposing body of work: the art produced today in
the geopolitical South. In the generous light of the work of Olafur Eliasson,
the 17th Festival takes shape as the event that identifies So Paulo with
contemporary manifestations in all their amplitude.

solange o. farkas is an art curator with an international career spanning

twenty-five years. She has created the International Contemporary Art Festival
SESC_Videobrasil, a reference for the art production of the Southern regions of the
world. She has also organized a number of important exhibitions both in Brazil and
abroad. Among them, the Pan-African Exhibition of Contemporary Art (Salvador,
2005); La Mirada Discreta: Marcel Odenbach & Robert Cahen (Buenos Aires,
Argentina, 2006); Roteiro Amarrado (CCBB Rio de Janeiro, 2010) and Suspenso e
Fluidez (arco, Madrid, Spain, 2007), both centered on the work of Brazilian artist
Eder Santos; Sophie Calle Take Care of Yourself (So Paulo and Salvador, 2009)
and Joseph Beuys We Are the Revolution (So Paulo and Salvador, 2010). Between
2007 and 2010, she served as director and chief curator of the Museum of Modern
Art of Bahia, promoting exhibitions of Brazilian and international artists, including
Chelpa Ferro, Daniel Senise, Thomaz Farkas, and Mario Cravo Neto.

Southern Panoramas
Selection committee and programming
Felipe Cohen | So Paulo, 1976 | Artist.
Cohen has held solo exhibitions at institutions
and galleries in So paulo and Rio de Janeiro.
He participated in the Solo Projects program at
ARCO, Madrid, Spain, and in the group shows
Rumos Artes Visuais Program 2008/2009, Young
Brazilian Artists (Porto, Portugal, 2003), and the
Pinta Art Show (New York, USA, 2007). His work
can be seen at the Pinacoteca do Estado and
Museu de Arte Moderna (So Paulo).

Fernando Oliva | So Paulo, 1971 |

34

Curator and editor, Oliva lectures at the Visual

Arts School of Fundao Armando Alvares
Penteado and Faculdade Santa Marcelina. He
was curatorial and program director at Centro
Cultural So Paulo, and projects manager at
Pao das Artes and the Museu da Imagem e do
Som, in So Paulo. Among his curatorial projects
are O Desvio o Alvo and the fifth edition of the
residency program at the Red Bull House of Art,
both with Luisa Duarte (So Paulo, 2011).

Marcio Harum | Santos, SP, 1973 | Curator

and researcher, Harum worked as a curatorial
assistant on the 27th Bienal de So Paulo (2006)
and executive producer of the 1st Biennial of the
End of the World in Ushuaia, Argentina (2007).
He was part of the curatorial committee on the
Rumos Artes Visuais Program 2008/2009, run by
Ita Cultural. As a holder of the Deutsche Brse
scholarship in Germany in 2007, he was curatorin-residence at the Frankfurter Kunstverein art
center in Frankfurt.

Nilva Luz | Brazil, ivaipor, PR, 1973

A graduate in performing arts and holding a
masters degree from Unesp Universidade
Estadual Paulista, Luz works in the programming
of SESC-SP under the Management of Cultural
Action. She has been a member of selection
committee in projects of the So Paulo City
Culture Secretariat, art educator in public and

private institutions, and has worked in teachers

training at universities. She currently works in
research, exhibition programming, and mediation.

jury
Agustn Prez Rubio | Valencia, Spain,
1972 | Historian, art critic, and curator, Rubio
has been director of MUSAC (Museo de Arte
Contemporneo de Castilla y Len), Len,
Spain, since 2009. Chief amongst his fifty or
so curatorial projects are the exhibitions Bad
Boys, at the 50th Venice Biennale, Italy (2003);
Project Rooms, with Octavio Zaya, at ARCO 2006
(Madrid, Spain); Present-Future, with Katerina
Gregos, for Artissima (Turin, Italy, 2006); and
Acciones Intangibles, for Frieze Art Projects
(London, England, 2008).
Bisi Silva | Lagos, Nigeria, 1962 | Curator
and art critic. In 2007, Silva founded CCA
Lagos (Center for Contemporary Art), which
she directs and where she has curated such
exhibitions as Fela, Ghariokwu Lemi and The
Art of the Album Cover (2007), Ndidi Dike,
Waka-into-Bondage: The Last Mile(2008),
and Like A Virgin, Lucy Azubuike, and Zanele
Muholi (2009). She was co-organizer of the
Dakar Biennale in Senegal (2006) and cocurator
of the 7th African Photography Biennale in
Bamako, Mali (2007), and J.D. Okhai Ojeikere:
Moments of Beauty,at the Helsinki Museum of
Contemporary Art, Finland (2011).

Gabriela Salgado | Buenos Aires,

Argentina, 1970 | Curator, Salgado holds a
masters degree in contemporary curatorship
from the Royal College of Art, London, England.
She was director of residencies at Fundaci
Llorens Artigas (Barcelona, Spain) and
curator of the Latin American art collection
at the University of Essex (England). She has
organized various exhibitions, including Len
Ferrari: The Architecture of Madness, at the
University Gallery, Colchester, United Kingdom
(2001), and La Octava Regin, at Centro Cultural
Recoleta, Buenos Aires, Argentina (2006). She
was curator of Public Programs at the Tate
Modern, London, England.

Raquel Schwartz | Santa Cruz de la

Sierra, Bolivia, 1963 | Artist, Schwartz
uses installation, photography, video, painting,
ceramics, and interventions to speak of society,
politics, and nature. Among the shows and
fairs at which she has exhibited work are the
1st Biennial of the End of the World (Ushuaia,
Argentina, 2007); 9th Havana Biennial (Cuba,
2006);5th Mercosur Biennial (Porto Alegre,
2005); and the 25th Bienal de So Paulo (2002).
Since 2006, she has directed Galera Kiosko, in
Santa Cruz de la Sierra, which offers a national
and international artistic residency program.

Rodrigo Moura | So Paulo, 1975 |

Editor and art critic, Moura has been curator
of Instituto Inhotim (Brumadinho, MG) since
2004. He served as curator of the Museu de
Arte da Pampulha, in Belo Horizonte, where he
coordinated an incentive program for emerging
artists. Among the exhibitions he has organized
are Mirante, by Mauro Restiffe, at PhotoEspaa
(Madrid, Spain, 2009), and the group show
Primeira e ltima, notas sobre o monumento
(Galeria Luisa Strina, So Paulo, 2010). He has
published the books Polticas institucionais,
prticas curatoriais (Museu de Arte da Pampulha,
2004) and Atravs (Inhotim Centro de Arte
Contempornea, 2008).

Open Studio
Prize jury

Ana Maria Tavares | Belo Horizonte, 1958

Tavares holds a masters degree from the
School of the Art Institute of Chicago, USA, and
a doctorate from Escola de Comunicaes e
Artes da Universidade de So Paulo (ECA-USP).
She received scholarship from the John Simon
Guggenheim Foundation, New York, USA (20022003), and has participated in four editions of
the Bienal de So Paulo, the 7th Havana Biennial,
Cuba (2000), and the biennials in Istanbul, Turkey
(2001), and Singapore (2006). Her work features
in the collections of the Museu de Arte de So
Paulo, Museu de Arte Moderna de So Paulo, and
ARCO Foundation, Madrid, Spain.

Marcelo Rezende | So Paulo, 1968 |

Writer, editor, and curator, Rezende published
the novel Arno Schmidt (ed. Planeta, 2005) and
the essay Cincia do sonho: A imaginao sem
fim do diretor Michel Gondry (Alameda, 2005).
His curatorial projects include Communism
of Forms (So Paulo, 2007), Ver o Tibet (Caixa
Cultural, Rio de Janeiro, 2010), and Operao
para as Massas, via the online platform
FF>>Dossier/Videobrasil (2010). He edited the
weekly journal 28b, published throughout the
28th Bienal de So Paulo.
Marcos Moraes | So Paulo, 1956 | Curator,
art critic, and lecturer, Moraes holds a doctorate
in architecture and urban planning (2009), with
specialization in art education and museums,
all from Universidade de So Paulo. He
coordinates the visual arts courses at Fundao
Armando Alvares Penteado (FAAP), where he
also coordinates the international residency
program. He is a member of the teaching staff in
the visual arts at Faculdades Santa Marcelina
(FASM). Among his curatorial projects are the
exhibitions of Thomas Hirschhorn and Janine
Antoni & Paul Ramirez Jonas (So Paulo, 2010).
Follow-up committee

Bernardo Mosqueira | rio de janeiro,

1988 | A graduate in communication from
Universidade Federal do Rio de Janeiro (UFRJ),
Mosqueira also attended the Escola de Artes
Visuais do Parque Lage, where he is currently
a lecturer. With an interdisciplinary approach
made clear from his first show (an artistic
occupation at his own house, in Rio de Janeiro,
he has also curated exhibitions in So Paulo,
Braslia, and Porto (Portugal).

Ronaldo Entler | so paulo, 1968 |

A graduate in journalism from PUC-SP, with a
doctorate in arts from ECA-USP, and a masters
degree and a postdoctorate in multimedia from
Unicamp, Entler worked as a photojournalist,
and showed in solo and group exhibitions. He
is currently a lecturer and coordinator of the
graduate program at FAAP, and guest professor
in the graduate program at Unicamp.

Arte, educao e formao:

a exposio como campo para o exerccio
experimental da liberdade
Valquria Prates

Curadoria educativa

Arte o que torna a vida mais interessante do que a arte.

Robert Filliou1
Quando percebo, no penso o mundo; ele se organiza diante de mim.
MerleauPonty2

36

1. Filliou, Robert. Lart

est ce qui rend la vie plus
intressante que lart.
Quebec: Intervention,
2003.
2. MerleauPonty,
Maurice. Textos
escolhidos. Seleo e
traduo de Marilena
Chau. So Paulo: Abril
Cultural, 1975.

3. Husserl, Edmund. A
ideia de fenomenologia.
So Paulo: Edies 70,
2008.

4. Dewey, John. Arte

como experincia. So
Paulo: Ed. Martins
Fontes, 2010.

A vontade de conhecer as coisas do mundo e viver situaes de forma atenta

e integral nos leva a querer experimentlas, examinlas, esgotlas.
A arte, a cincia e a educao so alguns dos campos de formao nos
quais as experincias humanas se articulam na construo de formas de
partilha daquilo que foi vivido e examinado. Cada um sua maneira, com
procedimentos especficos, esses campos tm na pesquisa o modo de
investigao daquilo que se busca e que, de antemo, ainda no se conhece
como todo, mas apenas em fragmentos de sentido.
A arte, a educao e a cincia consideram, desta forma, que tudo pode
ser objeto de pesquisa: lugares, pessoas, relaes, natureza, cidades, livros,
obras, contextos, sentimentos, conceitos. Investigar estes e outros aspectos
da experincia expande nossas possibilidades de ver, sentir e pensar, num
percurso ao longo do qual se modelam nossas percepes sobre quem
somos, como nos colocamos no mundo e qual a natureza das relaes que
construmos com ele.
No mbito da arte contempornea, a questo da experincia como
forma de conhecimento do mundo abordada pelo pedagogo e filsofo
norteamericano John Dewey (18591952), o matemtico e filsofo alemo
Edmund Husserl3 (18591938) e o fenomenologista francs MerleauPonty
(19081961). Em primeira instncia, ela tudo aquilo que acontece entre
o mundo e o corpo do artista no momento em que a obra produzida, ou
seja, tudo o que ressalta o fato de o artista estar vivo e em relao sensvel,
racional e sensorial com o ambiente.
Para Dewey4, a experincia de fruio da arte diferenciase de outros
tipos de contato na medida em que, chamando nossa ateno para a

realidade em que vivemos, concentra e intensifica determinados aspectos

em forma de signos e objetos que podem ser apreendidos tambm por
nossos sentidos. Como em um convite perplexidade e descoberta face a
uma espcie de reorganizao de experincias que s podem ser partilhadas,
em sua potncia, por meio da arte.
Esta abordagem da arte o ponto de partida da curadoria educativa do
17 Festival Internacional de Arte Contempornea SESC_Videobrasil. Aqui,
as duas exposies que compem o Festival Panoramas do Sul e Olafur
Eliasson Seu corpo da obra so vistas como laboratrios permanentes
de pesquisa para seus diversos pblicos, incluindo estudantes, famlias, e
os artistas e pesquisadores convidados ou envolvidos nos processos que
perpassam o evento.
A curadoria das aes de Arte, Educao e Formao tem como objetivo
principal elaborar plataformas que garantam a pblicos de interesses,
origens e faixas etrias diversos acesso investigao curatorial que
norteia cada mostra. Estruturada a partir do mapeamento da arte
produzida nas regies do Sul geopoltico do mundo nos ltimos dois anos,
Panoramas do Sul rene obras que nos convidam a confrontar criticamente
formas de sentir, conviver, fazer poltica e nos relacionarmos com o mundo,
o outro, a natureza e a cultura.
Esses convites se organizam em torno das linhas de fora identificadas
pela comisso curatorial do Festival, que tambm orientam a configurao
espacial da exposio. Na programao educativa, eles ressoam em trabalhos
que abordam as relaes entre natureza e cultura; as manifestaes da
afetividade humana; as aes e mbitos de ao poltica e produo artstica
em contextos especficos do Sul geopoltico; a multiplicidade de formas de
constituir imagens e observlas, por meio de mediao e aparatos ticos.
Questes essenciais formao, produo, circulao e curadoria da
arte contempornea, no contexto do Sul geopoltico do mundo e de sua
relao com o circuito internacional, so tema de uma atividade especfica:
os Seminrios Panoramas do Sul. Curadores e artistas relatam experincias
de relevo nesse contexto; em torno delas, se instaura uma arena de debates.
Participam os curadores Adriano Pedrosa, Lisette Lagnado, Cristiana Tejo,
Cristina Freire, Fernando Oliva, Eduardo de Jesus, Tain Azeredo e Thereza
Farkas (Brasil), Paola Santoscoy (Cuba), Olu Oguibe e Bisi Silva (Nigria),
Mara Inz Rodrguez (Colmbia) e Miguel Lpez (Peru), a artista Tania
Bruguera (Cuba) e editores das revistas Tatu (Brasil) e Asterisco (Colmbia).
As proposies do artista convidado Olafur Eliasson, que se manifestam
como laboratrios per se de experincias cognitivas e de percepo espacial,
do margem a indagaes vastas e instigantes, que dizem respeito natureza
do processo de percepo e relao sujeito/objeto. Seu corpo da obra um
panorama das mquinas de produzir fenmenos criadas por Eliasson, e que s
se completam como obras na medida em que so experimentadas pelo corpo
do pblico. O pblico a questo, diz o artista. nele que a obra acontece.
Conjugadas num leque de possibilidades, todas estas linhas de fora
tornamse disparadores para as aes educativas. Conduzidas por artistas,

educadores, filsofos, crticos, curadores e especialistas em arte, elas

exploram os caminhos de experincia e pesquisa em arte, educao e
formao que as exposies oferecem. Alm dos temas que emergem delas,
investigam tambm sua prpria especificidade de atuao, observando e
questionando, em cada ao, o que pode ser aprendido por meio da arte;
de que formas a arte se manifesta como prtica de formao de cidados,
utilizandose de linguagens, mtodos e estratgias artsticas e pedaggicas;
de que forma a arte se confronta com as necessidades inerentes aos
processos polticoeducacionais tradicionais.

fundaes

5. Pedrosa, Mario. Arte,

forma e personalidade.
So Paulo: Kairs Livraria
e Editora Ltda., 1979.

38

6. Freire, Paulo.
Pedagogia da autonomia.
So Paulo: Editora Paz e
Terra, 1996.

7. Mrsch, Carmen.
documenta 12 education
II. Between Critical
Practice and Visitor
Services Results of a
Research Project. Berlim:
Diaphanes, 2009.

Constitudas a partir do entrelaamento de referncias tomadas de artistas,

educadores, curadores e filsofos, algumas definies especficas de arte e
formao orientam a pesquisa que sustenta esta curadoria educativa.
Arte o terreno para o exerccio experimental da liberdade5, afirma o
ativista, crtico e curador brasileiro Mario Pedrosa (19001981). De acordo
com essa concepo, o fazer artstico e sua recepo so formas de
resistncia e de atuao poltica para a transformao de contextos sociais e
polticos na modernidade e na psmodernidade.
A esta concepo de arte como fora para a liberdade, alinhase a ideia
do artista Robert Filliou de que cabe s manifestaes artsticas tornar a vida
mais interessante que a prpria arte, convocandonos, por meio de nossos
sentidos, a apreender a vida em suas mltiplas dimenses e com toda a
intensidade possvel.
Esta curadoria educativa construda, ainda, por uma ideia de
educao como lugar do exerccio da autonomia crtica, da aprendizagem
e da participao autnoma, em contextos sociais horizontais, nos quais
todos os envolvidos aprendem juntos, ainda que sob uma orientao
especfica. Por ela somos levados a transformar condies e contextos
de vida, como defendia o educador Paulo Freire (19211997) e seus
experimentos em educao social para a autonomia por meio da
comunicao e da linguagem:
No h inteligncia () que no seja tambm comunicao do inteligido
(). A tarefa coerente do educador () , exercendo como ser humano
a irrecusvel prtica de inteligir, desafiar o educando com quem se
comunica e a quem comunica, a produzir sua compreenso do que vem
sendo comunicado6.
Este tipo de contexto educativo pode acontecer em exposies a partir
da explorao experimental de quatro operaes bsicas, aplicadas a
valores, ideias, conceitos e contextos da vida e da arte contempornea, de
acordo com as experincias vividas pela educadora alem Carmen Mrsch7
(na Documenta 12): afirmao, reproduo, desconstruo e transformao
de ideias, contextos e atitudes artsticas e sociais. Educar, nesse sentido,
abrange o conjunto de atividades, aes e situaes pelos quais aprendemos

8. Rancire, Jacques.
O espectador emancipado.
Lisboa: Orfeu Negro,
2010. Ver tambm, do
mesmo autor, A partilha
do sensvel esttica e
poltica. So Paulo: EXO/
Experimental Editora
34, 2005.

e transformamos nossos conceitos de vida e de saberes especficos de forma

crtica, tendo por orientao principal a emancipao intelectual, conforme
defende o filsofo francs Jacques Rancire8:
A emancipao comea quando recolocamos em questo a oposio
entre olhar e agir, quando compreendemos que as evidncias que
estruturam assim as relaes do dizer, do ver e do fazer pertencem
elas mesmas estrutura de dominao e de sujeio. Ela comea
quando compreendemos que olhar tambm uma ao que confirma
ou transforma esta distribuio de posies. O espectador tambm age,
como aluno ou sbio. Ele observa, seleciona, compara, interpreta. Ele
liga o que ele v a muitas outras coisas vistas em outras cenas, em outros
tipos de lugar. Ele compe seu prprio poema com os elementos do
poema que est a sua frente ().
Este processo educativo multifacetado de vivncias para a
emancipao intelectual o que chamamos de formao. Ele consiste na
ao ininterrupta de aprendizagem, pela qual todos os indivduos passam
durante suas vidas, em diferentes comunidades de partilha de interesses
e sentidos, conforme Rancire. Pode ser mediada por agentes externos em
contextos informais institucionais, formais ou no formais (como escolas
ou instituies culturais).
Pressupe a transformao constante das ideias e a expanso de
conceitos previamente adquiridos. Constitui, de acordo com o artista alemo
Joseph Beuys (19211986), um caminho evolutivo para a escultura social,
a ao poltica que transforma e remodela contextos e comunidades com
vistas ao progresso coletivo e satisfao individual das necessidades de
expresso, criao e reflexo.
Justamente por considerar a exposio uma plataforma viva para
o exerccio da criatividade, da expresso e da construo partilhada de
reflexes, interpretaes e sentidos para a vida e para a prpria arte, todas
as aes propostas pela curadoria educativa do 17 Festival buscam
potencializar as trocas e encontros sociais para a reflexo e a experimentao.
Tanto os seminrios em srie quanto as conversas, cursos, oficinas,
palestras, visitas mediadas, atividades em famlia e parcerias com grupos
de pesquisa e estudo da arte e suas linguagens so um convite ao exerccio
da investigao de questes pertinentes formao em artes, sua produo,
circulao e crtica.
Simultaneamente, o contato com as obras e com suas muitas
interpretaes possveis promove um aprender sobre relaes entre
pessoas de variadas nuances, a vida em diferentes comunidades, formas de
empoderamento e ao social, modos de interao entre natureza e cultura.
Porque todos, enquanto vivos, estamos em formao. E, especialmente,
porque podemos fazer parte de uma comunidade que partilha o sensvel
aquilo que sentimos e tambm o que faz sentido, individual e coletivamente,
nos processos do aprender a viver.

art, education, and formation:

the exhibition as a field for an
experimental exercise in liberty
Valquria Prates

Educational activities coordinator

Art is what makes life more interesting than art.

Robert Filliou1
I do not think the world in the act of perception: it organizes itself in front of me.
Merleau-Ponty2

40

1. Robert Filliou, Lart

est ce qui rend la vie plus
intressante que lart
(Quebec: Intervention,
2003).
2. Maurice MerleauPonty, The Film and
the New Psychology, in
Sense and Non-Sense,
trans. H. Dreyfus and P.
Dreyfus (Evanston, Ill.:
Northwestern University
Press, 1964), 51.

3. Edmund Husserl, The

Idea of Phenomenology,
trans. W.P. Alston and G.
Nakhnikian, (Dordrecht:
Kluwer Academic
Publishers, 2010).

4. John Dewey, Art as

Experience (New York:
Perigee Trade, 2005).

The will to know the things of the world and live situations intently leads us
to experience them, examine them, and plumb their depths. Art, science,
and education are some academic fields in which human experiences
interweave to construct forms of sharing what is lived and examined. Each
in its own way, and employing specific procedures, these fields embrace
research as their mode of pursuing their target, which is, from the outset,
unknown in its entirety, but only through shards of meaning.
In this sense, art, education, and science view everything as a subject
of study: places, people, relations, nature, cities, books, works, contexts,
feelings, and concepts. Examining these and other aspects of experience
broadens our range of seeing, feeling, and thinking, along the course of
which our perceptions of who we are, how we position ourselves in the
world, and the nature of the relationships we establish with it are forged.
Within the ambit of contemporary art, the issue of experience
as a form of knowing the world is approached by the North American
educational reformer and philosopher John Dewey (1859-1952), the
German mathematician and philosopher Edmund Husserl3 (1859-1938),
and the French phenomenologist Merleau-Ponty (1908-1961). First off, it
is everything that occurs between the world and the body of the artist at
the moment in which a work of art is produced, that is, it is everything that
underscores the fact of the artists being alive and in sensible, rational,
and sensorial relation with the environment.
For Dewey,4 the experience of enjoying art sets it apart from other
forms of contact insofar as, calling our attention to the reality in which
we live, it concentrates and intensifies certain aspects in the form

of signs and objects that can also be apprehended by the senses;

functioning as an invitation to perplexity and discovery in the face of a
species of reorganization of experiences that can only be shared to their
full potential through art.
This approach to art is the platform for the educational curatorship of
the 17th International Contemporary Art Festival SESC_Videobrasil. Here,
the two exhibitions that comprise the FestivalSouthern Panoramas and
Olafur Eliasson Your Body of Workare seen as permanent research labs
open to their various audiences, including students, families, and guest
artists, and researchers involved in the processes that unfold over the
course of the event.
The curatorial line that runs through the activities on Art, Education,
and Formation fundamentally purports to develop platforms that can
ensure that audiences of diverse interests, origins, and age groups have
access to the curatorial investigation that serves as the plumb line for these
shows. Structured by a mapping of the art produced in the geopolitical
South over the last two years, Southern Panoramas features works that
invite us to confront, critically, our forms of feeling, cohabiting, doing
politics, and relating to the world, the other, to nature, and to culture.
These invitations are organized around the key lines identified by
the Festivals curatorial committee, and which also inform the spatial
configuration of the show. On the educational program, they resonate
in works that approach the relations between nature and culture;
manifestations of human emotions; the actions and ambits of political
endeavor and artistic production in specific contexts throughout the
geopolitical South; the multiplicity of forms of creating and observing
images through mediation and optical devices.
Core issues in the formation, production, circulation, criticism, and
curatorship of contemporary art in the context of the geopolitical South
and its relationship with the international art scene are the theme of
one specific activity designed by this curatorial project: the Southern
Panoramas Seminars. Curators and artists share their experiences in this
context, which are then gathered into a forum for debate. The Seminars
feature Brazilian curators Adriano Pedrosa, Lisette Lagnado, Cristiana Tejo,
Cristina Freire, Fernando Oliva, Eduardo de Jesus, Thereza Farkas and Tain
Azeredo, Paola Santoscoy (Cuba), Olu Oguibe and Bisi Silva (Nigeria), Mara
Inz Rodrguez (Colombia), Miguel Lpez (Peru), artist Tania Bruguera (Cuba)
and the editors of art magazines Tatu (Brazil) and Asterisco (Colombia).
The propositions of the guest artist Olafur Eliasson, which, in
themselves, manifest as laboratories for cognitive experiences and
spatial perception, create ample room for vast and instigating lines of
inquiry, which concern the nature of the process of perception and the
subject/object relationship. Your Body of Work is a panorama of Eliassons
phenomenon-creating machines that attain completion as works at the
moment they are experienced by the visitors bodies. The public is the
issue, says the artist, and thats where the works occur.

Conjugated in an array of possibilities, all these key lines become

triggers for educational actions. Conducted by artists, educators,
philosophers, critics, curators, and art specialists, they explore the
routes of experience and research in art, education, and formation
that the exhibitions proffer. In addition to the themes that emerge from
them, they also investigate their own specificity of action, observing
and questioning, in each undertaking, what can be grasped through art;
the ways art manifests as a practice that contributes to the formation
of citizens by availing of artistic and pedagogical languages, methods,
and strategies; and the way art confronts the necessities inherent to
traditional politico-educational processes.

Foundations

5. Mario Pedrosa, Arte,

forma e personalidade
(So Paulo: Kairs Livraria
e Editora Ltda., 1979).

42

6. Paulo Freire,
Pedagogia da autonomia
(So Paulo: Editora Paz e
Terra, 1996).

7. Carmen Mrsch,
documenta 12 education
II. Between Critical
Practice and Visitor
Services Results of a
Research Project (Berlin:
Diaphanes, 2009).

Comprised by a weft of references taken from artists, educators, curators, and

philosophers, some specific definitions of art, education, and formation guide
the research upon which the educational curatorship of the Festival rests.
Art is the terrain for the experimental exercise of freedom,5 affirms
the Brazilian activist, critic, and curator Mario Pedrosa (1900-1981). In
line with this conception, artistic endeavor, and its reception are forms
of resistance and political activity intent on transforming modern and
postmodern social and political contexts.
Aligned with this conception of art as a will to liberty is the idea posed
by the artist Robert Filliou, for whom it is the responsibility of art to make
life more interesting than the art itself, inviting us to apprehend life in its
myriad dimensions and with the greatest possible intensity.
The educational curatorial line is also premised upon the idea of
education as the exercise of critical autonomy, learning, and autonomous
participation in horizontal social contexts, in which all those involved
learn together, even if under specific guidance. In pursuit of this learning,
we are driven to transform the conditions and contexts of life, as argued
the educator Paulo Freire (1921-1997), who conducted experiments in
autonomy-based social education through communication and language:
There is no intelligence that is not also communication of the
intelligence. The coherent task of the educator ... is, whilst
pursuing, as a human being, the unshirkable practice of intelligensing,
to challenge the learner with whom he communicates to produce his
own understanding of what is being communicated.6
This type of educational context can arise from exhibitions through
the experimental exploration of four basic operations, applied to
values, ideas, concepts, and contexts of life and contemporary art,
in accordance with the experiences of the German educator Carmen
Mrsch7 (at Documenta 12): affirmation, reproduction, deconstruction,
and transformation of artistic and social ideas, contexts, and attitudes.
In this sense, to educate encompasses a set of activities, actions,

8. Jacques Rancire, The

Emancipated Spectator,
trans. Gregory Elliott
(London, New York: Verso,
2009), 13. See also,
from the same author,
The Distribution of
the Sensible Politics
and Aesthetics, in The
Politics of Aesthetics,
trans. Gabriel Rockhill
(New York: Continuum,
2006).

and situations through which we learn and transform our concepts of

life and branches of knowledge in critical fashion, drawing our main
coordinates from the principle of intellectual emancipation set down by
the French philosopher Jacques Rancire 8:
Emancipation begins when we challenge the opposition between
viewing and acting; when we understand that the self-evident facts
that structure the relations of saying, seeing, and doing themselves
belong to the structure of domination and subjection. It begins
when we understand that viewing is also an action that confirms or
transforms this distribution of positions. The spectator also acts,
like the pupil or scholar. She observes, selects, compares, interprets.
She links what she sees to a host of other things that she has seen
on other stages, in other kinds of place. She composes her own poem
with the elements of the poem before her.
This multifaceted educational process of experiences in pursuit of
intellectual emancipation is what we call formation. It consists of the
uninterrupted action of learning, through which all individuals pass over the
course of their lifetimes, in different communities that share interests and
meanings. It can be mediated by external agents in informal contexts, and
also in institutional contexts (such as schools or cultural institutions).
It entails a constant transformation of ideas and the broadening of
previously acquired concepts. It constitutes, according to the German
artist Joseph Beuys (1921-1986), an evolutional path to social sculpture,
political action that transforms and remodels contexts and communities
with a view to collective progress and the individual satisfaction of needs
for expression, creation, and reflection.
It is precisely in considering the exhibition a living platform for the
exercise of creativity, expression, and the shared construction of reflections,
interpretations, and meanings of life and art itself that all of the endeavors
proposed by the educational curatorship of the 17th Festival strive to
empower social exchange and encounters for reflection and experimentation.
The serial seminars and the related conversations, courses,
workshops, lectures, guided tours, family activities, and partnerships
with research and study groups dealing with art and its languages are an
invitation to investigate issues that are pertinent to formation in the arts
and in their production, circulation, and criticism.
At the same time, contact with the works and their many possible
interpretations promotes learning of the nuanced relations between people
of various sorts, life in different communities, forms of social empowerment
and action, and modes of interaction between nature and culture.
After all, each and every one of us, as a living being, is in formation,
particularly because we are part of communities that distribute the
sensiblethat which we feel and which makes sense, individually or
collectively, in the processes of learning to live.

tapetes | 2010 | tecidos diversos, 5 m2

[mixed fabrics, 5 sq m] Tapetes envolve a

apropriao de objetos cotidianos e elementos

caractersticos das naturezasmortas em
formas que apenas insinuam um carter

adriano costa

brasil [brazil] sp, 1975

escultrico. A abordagem problematiza o

46

Formado em artes plsticas pela Escola

lugar e os discursos em torno do objeto

de Comunicaes e Artes da Universidade

tridimensional contemporneo, explorando

de So Paulo, exps individualmente no

o que o artista chama de pensamento

Programa Anual de Exposies do Centro

prescultrico: os instantes antes que se

Cultural So Paulo (2010) e na mostra Black

determine se algo ir se constituir de fato

barroco, na Galeria Polinsia, So Paulo

como obra ou assumir sua condio de coisa

(2009). Participou de coletivas como Red Bull

frgil, insondvel e/ou prosaica. | Tapetes

House of Art 2010; na Galeria Mendes Wood,

(Carpets) involves the appropriation of everyday

So Paulo (2010); Tropical Punk, com o duo

objects and staple elements of still lifes into

Tetine, na Whitechapel Art Gallery (Londres,

forms that merely insinuate a sculptural

Inglaterra, 2007); e poT, Galeria Camargo

character. This approach problematizes the

Vilaa, So Paulo (2003). | A graduate in the

place ofand discourse surroundingthe

visual arts from the Escola de Comunicaes

contemporary threedimensional object,

e Artes da Universidade de So Paulo, Costa

exploring what the artist calls presculptural

has exhibited individually on the Annual

thought, i.e., the moments preceding the

Exhibitions Program of Centro Cultural So

determination as to whether something will

Paulo (2010) and in the show Black barroco,

constitute a work of art or languish in the

at Galeria Polinsia, So Paulo (2009). He has

condition of fragile, unfathomable, and/or

participated in group shows at the Red Bull

humdrum thing.

House of Art in 2010 and Galeria Mendes

Wood, So Paulo (2010), and in the exhibitions
Tropical Punk, alongside the duo Tetine, at the
Whitechapel Art Gallery (London, England,
2007), and poT, Galeria Camargo Vilaa, So
Paulo (2003).

lbano [lebanon], 1966

akram zaatari
48

University of Beirut, Lbano, e mestre em media

tomorrow everything will be

alright | 2010 | vdeo [video], 12

studies pela New School for Social Research,

Uma histria de amor, perda e saudade se

em Nova York, EUA, explorou as possibilidades

desenrola atravs de uma intensa troca de

documentais do vdeo antes de fazer dele seu

ideias durante uma noite. Um uso inquietante

meio de expresso. Aprofundou sua pesquisa em

da tecnologia de comunicao, gravao e

fotografia e colecionismo como prtica artstica

escrita faz com que o foco do trabalho oscile

na Arab Image Foundation, Beirute, da qual

entre um sonho, um roteiro audiovisual e um

cofundador. Exps em instituies como Centre

amor almejado. O trabalho uma espcie de

Georges Pompidou (Paris, Frana), Grey Art

homenagem de Akram Zaatari ao cineasta

Gallery (Nova York, EUA), Kunstverein Mnchen

francs ric Rohmer e ateno que ele deu

(Munique, Alemanha) e MUSAC (Len, Espanha),

aos detalhes do cotidiano humano. | A story

na Trienal de Turim (Itlia), e nas bienais de

of love, loss, and nostalgia unfolds through a

Veneza (Itlia), Sydney (Austrlia) e So Paulo. |

nights intense exchange of ideas. An unsettling

With a degree in architecture from the American

use of communication technology, recording,

University of Beirut (Lebanon) and a masters

and writing makes the works focus oscillate

degree in media studies from the New School for

between a dream, an audiovisual script, and the

Social Research, New York, USA, Zaatari explored

desired love. The work is a sort of tribute to the

the documental possibilities of video before

French filmmaker ric Rohmer and the attention

making it his preferred medium of expression.

he paid to the minutiae of everyday life.

Graduado em arquitetura pela American

He took his research into photography and

collectionism as an artistic practice to new
depths in the Arab Image Foundation, in Beirut, of
which he is cofounder. He has exhibited at such
institutions as the Centre Georges Pompidou
(Paris, France), Grey Art Gallery (New York),
Munich Kunstverein (Munich, Germany), and
MUSAC (Len, Spain), as well as at the Turin
Triennial (Italy) and the biennials of Venice (Italy),
Sydney (Australia), and So Paulo.

brasil [brazil] mg, 1979

alexandre b
50

Graduado em comunicao social pela UFMG e em artes plsticas pela Escola Guignard, da

o instante impossvel [gotas e taa] | 2010 | dois projetores artesanais [two

UEMG, desenvolve trabalhos em desenho, vdeo e objetos. Esteve no 15 Festival Internacional

handcrafted projectors], 130 x 250 x 200 cm Dispositivos pticos inventados a partir de

de Arte Eletrnica Videobrasil (2005); na Bienal de Filmes de Arte de Colnia (Alemanha, 2005);

materiais simples madeira, lmpadas, lentes de aumento e garrafas com gua revisitam as

e na 5 Bienal Interamericana de Videoarte, Washington (EUA, 2010). Fez individuais no Palcio

lanternas mgicas do sculo 17, as primeiras experincias conhecidas com projeo de imagens.

das Artes, em Belo Horizonte (2006), e no Museu Universitrio de Arte, MUnA, Uberlndia (MG,

Os efeitos produzidos pelos aparatos criam iluses de temporalidade sem sincronia e ausncia

2011). | Holder of degrees in social communication from UFMG and in the visual arts from Escola

de gravidade, ou alteram a percepo tridimensional de objetos translcidos. Sem nostalgia, o

Guignard (UEMG), the artist works with drawing, video, and objects. His work has featured in the

artista reabilita e renova a significao de tecnologias arcaicas. | Optical devices invented out of

15th International Electronic Art Festival Videobrasil (2005); the Cologne Art Film Biennale, Germany

simple materialswood, lightbulbs, magnifying glasses, and bottles of waterhark back to the

(2005); and the 5th InterAmerican Biennial of Video Art, Washington, USA (2010). He has held solo

magic lanterns of the 17th century, the first known experiments with image projection. The effects

exhibitions at the Palcio das Artes in Belo Horizonte (2006) and at the Museu Universitrio de Arte,

produced by these devices create an illusion of desynchronized time and weightlessness, and alter

MUnA, Uberlndia (MG, 2011).

the threedimensional perception of translucent objects. Without a hint of nostalgia, the artist
reactivates and renews the meanings of archaic technologies.

lbano [lebanon], 1976

ali cherri
52

Com uma obra marcada pela performance e

my pain is real | 2009 | videoinstalao,

por uma forma peculiar de relacionar questes

trs canais [threechannel video

polticas e memria pessoal, Cherri graduado

installation] Um dos efeitos da internet

em design grfico pela American University em

foi tornar as imagens de sofrimento e de

Beirute, Lbano, e mestre em artes performticas

atrocidades parte do nosso cotidiano. Como

pela DasArts (Amsterd, Holanda). Exps no

se lida com essas imagens? Como podemos

Centre Georges Pompidou (Paris, Frana),

encarlas? Nesse trabalho, o artista usa

Delfina Foundation (Londres, Inglaterra) e Tate

recursos digitais para simular incises e

Modern (Londres), e em mostras como Home

mutilaes no prprio rosto. Longe de buscar

Works (Beirute), Festival Paris Cinma (Paris),

uma resposta moral ou moralizante para as

Contemporary Image Collective (Cairo, Egito),

questes que lana, a obra investiga nossa

Manifesta (Amsterd) e KunstFilmBiennale

capacidade de nos tornar espectadores

(Colnia, Alemanha). Foi premiado no 15o

indiferentes, imunes. | One of the effects of the

Videobrasil (2005) com o trabalho Un cercle

Internet has been to make images of suffering

autour du soleil. | Author of a body of work whose

and atrocities a part of our everyday lives. How

hallmarks are performance and a particular way

does one deal with these images? How should

of relating political issues and personal memory,

we face them? In this work, the artist uses

Cherri is a graduate in graphic design from the

digital resources to simulate the slashing and

American University in Beirut, Lebanon, and

mutilation of his own face. Far from seeking a

holder of a masters degree in the performing

moral or moralizing response to the issues it

arts from DasArts (Amsterdam, Holland). He has

raises, the work aims to investigate our capacity

exhibited at the Centre Georges Pompidou (Paris,

to become indifferent spectators, immune to the

France), Delfina Foundation (London, England),

violence we see.

and Tate Modern (London), and at the exhibitions

Home Works (Beirut), Festival Paris Cinma (Paris),
Contemporary Image Collective (Cairo, Egypt),
Manifesta (Amsterdam), and KunstFilmBiennale
(Cologne, Germany). He was among the
prizewinners at the 15th Videobrasil Festival
(2005) for the work Un cercle autour du soleil.

brasil [brazil] mg, 1980

ana prata
54

Graduada em artes plsticas pela

Universidade de So Paulo, trabalha com
pintura desde 2007. Realizou exposies no
Centro Cultural So Paulo, Centro Universitrio
Maria Antnia e na Galeria Marlia Razuk,

trs cenas | 2010 | vdeo [video],

todos em So Paulo, entre outras instituies.

1037, loop Em trs cenas assemelhadas,

Em 2011, expande sua pesquisa para o vdeo, a

uma personagem vivida pela prpria artista

partir de residncia na Red Bull House of Art,

se apresenta em atitudes enigmticas, ora

So Paulo. | A graduate in the visual arts from

em compasso de espera, ora emocionada

the Universidade de So Paulo, Prata has been

ou chorando. Para o espectador, o que

working with painting since 2007. She has held

vive ou viveu permanece na obscuridade.

exhibitions at the Centro Cultural So Paulo,

Com afinidades com o cinema de Tsai

Centro Universitrio Maria Antnia, and Galeria

MingLiang e de Michelangelo Antonioni, a

Marlia Razuk, all in So Paulo, among other

obra envolve sensaes de angstia, dvida

institutions. In 2011, through a residency at the

e incomunicabilidade, que se alternam

Red Bull House of Art, So Paulo, she extended

no fluxo emocional das tomadas. Uma

her scope of activity to include video.

investigao sobre o estatuto dramatrgico

da performance. | In three similar scenes, a
character played by the artist herself displays
some enigmatic behavior, sometimes appearing
to be waiting only to then become emotional
and start to cry. For the viewer, whatever she
is experiencing or has experienced remains
obscure. Sharing affinities with the cinema of
Tsai MingLiang and Michelangelo Antonioni,
the work involves sensations of anguish,
doubt, and incommunicability, alternating in an
emotional flux of takes. An investigation into the
dramaturgical quality of performance.

brasil [brazil] sp, 1971

andr favilla
56

Artista visual com PhD em mdia e

planos n.2 | 2010 | impresso digital

comunicao pelo Goldsmiths College,

sobre papel [digital print on paper],

Universidade de Londres, fez individuais

196 x 196 cm Os desenhos da srie Planos

no Museu Histrico de Santa Catarina, em

partem da base geomtrica desenvolvida

Florianpolis (2011), e no GoetheInstitut

pelo artista alemo Joseph Albers

de Porto Alegre (2009). Participou no 42

(18881976) em Homenagem ao quadrado,

Salo de Arte Contempornea de Piracicaba

e visam a representao de um espao

(SP, 2010), 16 Salo Unama de Pequenos

precrio e instvel, delineado por zonas de

Formatos, Belm (2010) e 38 Salo de

indefinio, tenso e desequilbrio. Embora

Arte Contempornea Luiz Sacilotto, Santo

seja construdo digitalmente com preciso

Andr (SP, 2010). Publicou ensaios sobre

e impresso em alta definio, o espao que

fotografia, arte e tecnologia no Brasil e no

os desenhos delineiam no se filia ao rigor

exterior. | A visual artist with a PhD in media

matemtico dos dispositivos eletrnicos

and communication from Goldsmiths College,

de construo da imagem. | The drawings in

University of London, Favilla has held solo

the Planos (Planes) series are based around

exhibitions at the Museu Histrico de Santa

the geometry devised by the German artist

Catarina, in Florianpolis (2011), and at

Joseph Albers (18881976) in Homage to

the GoetheInstitut of Porto Alegre (2009).

the Square, and aim to represent a space

He participated in the 42nd Salo de Arte

that is precarious and unstable, delineated

Contempornea de Piracicaba (SP, 2010), the

by zones of indefiniteness, tension, and

16th Salo Unama de Pequenos Formatos,

unbalance. Though digitally constructed

Belm (2010), and the 38th Salo de Arte

with the utmost precision and printed in

Contempornea Luiz Sacilotto, Santo Andr (SP,

high definition, the space configured does

2010). He has published essays on photography,

not subscribe to the mathematical rigor of

art, and technology in Brazil and abroad.

imagebuilding electronics.

brasil [brazil] rs, 1981

andrei rubina thomaz

58

Mestre em artes visuais pela ECAUSP. Sua produo artstica abrange mdias digitais e

somewhere in time | 2009 | 126 cartes de 14 x 21 cm dispostos simetricamente,

analgicas, e envolve colaboraes com outros artistas em performances sonoras e instalaes

cartes empilhados, computador [126 cards (14 x 21 cm) displayed symmetrically,

interativas. Foi um dos ganhadores do Prmio FIAT Mostra Brasil (2006) e do Prmio Atos Visuais

piled cards, computer] A obra prope uma reorganizao narrativa por meio de um jogo de

2007, da Funarte. Em 2009, foi premiado no 63 Salo Paranaense. Com Daniel Escobar e Marina

embaralhamento de legendas de diferentes filmes. O embate entre acaso e condicionamento

Camargo, ganhou o Prmio de Ocupao dos Espaos da Funarte 2010, com o projeto Lugares/

cultural permeia o conjunto de elementos, que so rearranjados pelo espectador. Livre das

Representaes. | Thomaz holds a masters degree in the visual arts from ECAUSP. His artistic

determinaes que organizavam aqueles fragmentos, ele prprio pode articullos e definir

production covers digital and analogical mediums and involves collaborations with other artists

seus sentidos. | Somewhere in Time proposes a narrative reorganization through a game that

on sound performances and interactive installations. He was one of the prizewinners at the FIAT

involves shuffling the subtitles to different films. The clash of chance and cultural conditioning

Mostra Brasil (2006) and Funarte Atos Visuais (2007) awards. In 2009 he was among the winners at

permeates the set of elements, which the viewer must rearrange. Free from the determinants

the 63rd Salo Paranaense. In conjunction with Daniel Escobar and Marina Camargo, he won the

that organized those fragments, the viewers can articulate them as they see fit and ascribe their

Funarte 2010 Space Occupation Prize for the project Lugares/Representaes.

own meanings.

austrlia [australia], 1976

angelica mesiti
60

Trabalha com vdeo, performance e

rapture (silent anthem) | 2009

instalao, frequentemente em formatos

| vdeo sem udio [video, silent],

cinematogrficos que subvertem lgicas

1017, loop Uma cmera de movimento

narrativas. Seu trabalho foi exibido em

extremamente lento mostra closes de rostos

mostras e instituies como Centre Pompidou,

de adolescentes que participam de um evento

Paris, Frana (2010); Tate Modern, Londres,

coletivo no identificado. Sem saber que esto

Inglaterra (2010); Loop Gallery, Seul, Coreia

sob a mira de uma cmera, e diante de algo

do Sul; Para/Site Artspace Hong Kong, China

que no vemos, os jovens exibem expresses

(2010); e 3rd Yebisu International Festival for

de intenso fervor emocional, que remetem

Art and Alternative Visions, Tokyo Metropolitan

a imagens icnicas de xtase religioso. O

Museum ofPhotography, Tquio, Japo (2011).

trabalho opera pesquisando a fonte da catarse

Rapture (silent anthem) recebeu o Blake Prize

grupal e revelando suas associaes com a

for Religious Art em 2009. | Mesiti works with

intimidade psicolgica. | A camera in ultra

video, performance, and installation, often

slow motion shows closeups of teenagers

in cinematographic formats that subvert

participating in some unspecified collective

narrative logics. Her work has been exhibited

event. Without knowing they are being filmed,

at such institutions and festivals as the Centre

and engrossed in a spectacle we cant see, their

Pompidou, Paris, France (2010); the Tate

faces wear expressions of intense emotional

Modern, London, England (2010); the Loop

fervor redolent of iconic imagery of religious

Gallery, Seoul, South Korea; the Para/Site

ecstasy. The work plumbs the sources of group

Artspace Hong Kong, China (2010); and the

catharsis and reveals its associations with

3rd Yebisu International Festival for Art and

psychological intimacy.

Alternative Visions, Tokyo Metropolitan Museum

ofPhotography, Tokyo, Japan (2011). Rapture
(silent anthem) received the Blake Prize for
Religious Art in 2009.

polnia [poland], 1966

anna baumgart
62

Graduada pela Academy of Fine Arts de Gdansk, na Polnia, desenvolve um trabalho baseado

fresh cherries | 2010 | vdeo [video], 1856 Nessa fico experimental construda

em vdeo, instalao e escultura. Participou de exposies no Brooklyn Museum of Art (Nova

sobre relatos de judeus vitimados pelo nazismo, o nacionalismo alemo metfora para questes

York, EUA), Museum on the Seam (Israel) e NKB (Berlim, Alemanha), entre outros. Exps

polticas, sociais e culturais universais. Doutoranda em estudos judaicos da Cracvia, que

individualmente na Zacheta Gallery, em Varsvia, Polnia, e tem obras em colees como National

pesquisa a figura feminina no contexto psHolocausto, revisita cenrios do nazismo e discute

Gallery of Art Zacheta (Polnia) e European ParliamentCollection. | A graduate of the Academy

com um grupo de parceiros suas sequelas emocionais. | In this experimental fiction constructed

of Fine Arts in Gdansk, Poland, Baumgart works with video, installation, and sculpture. She has

upon firsthand accounts from Jewish victims of Nazi persecution, German Nationalism serves as

participated in exhibitions at the Brooklyn Museum of Art (New York, USA), Museum on the Seam

a metaphor for universal political, social, and cultural issues. While pursuing a doctorate in Jewish

(Israel), and NKB (Berlin, Germany), among others. She has exhibited individually at the Zacheta

studies in Krakow, where she researches the female form in the postHolocaust context, a student

Gallery in Warsaw, Poland, and her work features in the collections of the National Gallery of Art

revisits Nazi settings and discusses emotional traumas with a group of survivors.

Zacheta (Poland) and the European Parliament.

israel, 1977

aya eliav, ofir feldman

64

Com formao artstica baseada na pintura,

art idol | 2011 | performance, 30

Aya Eliav vem produzindo performances e

A performance parodia o clebre reality show

vdeos. Graduada pela Academia de Arte

americano American Idol, simulando a final

Bezalel, em Jerusalm, Israel, recebeu bolsa

de um programa que eleger um talento em

de especializao na Academia de BelasArtes

performance. Eliav e Feldman reencenam

de Roma (Itlia, 2003). Participou, entre outras

performances histricas de artistas como

mostras, da Bienal de Arte de Pequim (China,

Yoko Ono e Marina Abramovic e Ulay. Ao final,

2010). Feldman formado pela Academia de

o pblico e um jri composto por crticos de

BelasArtes de Roma e dedicase produo

arte reais definem o vencedor. A exemplo do

de arte conceitual multimdia. Recentemente

que fez Marina Abramovic em Nova York com

foi contemplado com bolsa de residncia

suas Seven Easy Pieces (2005), o trabalho lida

na Knstlerhaus Bethanien, em Berlim, na

com o sentido da reencenao, discutindo

Alemanha. Esteve em festivais como ZEBRA

e articulando a memria da performance de

Poetry Film Festival, Berlim, e Loop Festival,

maneira crtica e bemhumorada. Para os

Barcelona (Espanha, 2011). | With an artistic

artistas, tratase de uma alegoria interativa do

background in painting, Aya Eliav produces

sistema da arte, que critica suas similaridades

performances and videos. A graduate from

com a indstria pop e questiona a relevncia

the Bezalel Academy of Arts and Design,

da performance como forma de arte no

Jerusalem, Israel, she received a specialization

cenrio atual. | The performance parodies the

scholarship from the Academy of Art in Rome

famous reality show American Idol, simulating

(Italy, 2003). Among the exhibitions that have

the final of a program to select a new talent

featured her work is the Beijing Biennale (China,

in performance. Eliav and Feldman reenact

2010). Feldman is a graduate of the Academy

historic performances by such artists as Marina

of Art in Rome, and works with conceptual

Abramovic and Ulay, and Yoko Ono. At the end

art in multimedia. He was recently awarded

of the show, the audience and a jury made up

a residency scholarship at Knstlerhaus

of real art critics choose the winner. Following

Bethanien, in Berlin, Germany. He has featured

the example of Marina Abramovics Seven Easy

at numerous festivals, including the ZEBRA

Pieces, performed in New York in 2005, the

Poetry Film Festival, Berlin, and Loop Festival,

work deals with the meaning of reenactment,

Barcelona (Spain, 2011).

discussing and articulating the memory of the

performance in a goodhumored and critical
way. For the artists, it is an interactive allegory
for the art system, one that criticizes its
similarities with the pop industry and questions
the relevance of performance as an art form
on the current scene.

buruburu | 2010 | videoinstalao, dois

canais [twochannel video installation]

Buruburu designa pipoca em dialeto

afrobrasileiro. Na simbologia religiosa do
Candombl, a pipoca a flor de Obalua,
orix das doenas e curas. A obra alude ao
banho de pipoca como fonte de energia,
que limpa vigorosamente corpo e alma.
O trabalho de Herclito analisa questes

ayrson herclito

brasil [brazil] ba, 1968

rituais, simblicas e etnogrficas, ao mesmo

66

Artista visual, pesquisador e curador,

tempo em que discute a relao entre as

mestre em artes visuais pela Universidade

construes culturais e o curso espontneo

Federal da Bahia e professor titular na

dos fenmenos. | Buruburu means popcorn in

Universidade Federal do Recncavo da Bahia.

the AfricanBrazilian dialect. In the religious

Sua obra transita pela instalao, fotografia,

symbology of Candombl, popcorn is the flower

experimentao audiovisual e performance,

of Obalua, the Orisha of disease and cure. The

e lida com frequncia com elementos da

work alludes to a popcorn bath as a source of

cultura afrobrasileira. Esteve na 3a Bienal do

energy that vigorously cleanses the body and

Mercosul (Porto Alegre, 2001) e nas mostras

soul. Herclitos work analyses ritual, symbolic,

Design 21 (Nova York, EUA, 2001) e MIP2

and ethnographic issues at the same time as

Manifestao Internacional de Performance

it discusses the relationship between cultural

(Belo Horizonte, 2009). Tem obras nos acervos

constructions and the spontaneous course of

do Museum der Weltkulturen Frankfurt

phenomena.

(Alemanha) e do Museu de Arte Moderna da

Bahia. | Visual artist, researcher, and curator,
Herclito holds a masters degree in the visual
arts from the Universidade Federal da Bahia
and is a tenure lecturer at the Universidade
Federal do Recncavo da Bahia. His work
transits between installation, photography,
audiovisual experimentation, and performance,
and frequently deals with elements of
AfricanBrazilian culture. He was present at
the 3rd Mercosur Biennial (Porto Alegre, 2001)
and at the shows Design 21 (New York, USA,
2001) and MIP2 Manifestao Internacional
de Performance (Belo Horizonte, 2009). His work
features in the collections of the Museum der
Weltkulturen Frankfurt (Germany) and Museu
de Arte Moderna da Bahia.

Autor de curtas e videoclipes, formado em literatura pelo Lyce Hamadoun Dicko de Svar,
em Mopti, no Mali. Ingressa no Conservatoire des arts et mtiers multimdia, de Bamaco, Mali,
em 2007. Em 2010, ganha do Le Fresnoy National Studio of Contemporary Arts, em Tourcoing,
Frana, uma bolsa de dois anos. No mesmo ano, seu curta The Light: Democracy with Violence
recebe o prmio Metropolis/Madac Award em Madri, Espanha. | Author of short films and music
videos, Diallo holds a degree in literature from the Lyce Hamadoun Dicko de Svar, in Mopti, Mali.
He enrolled at the Conservatoire des arts et mtiers multimdia, in Bamako, Mali, in 2007. In 2010,
he won a twoyear scholarship to Le Fresnoy National Studio of Contemporary Arts, in Tourcoing,
France. That same year, his short film The Light: Democracy with Violence won the Metropolis/Madac
Award in Madrid, Spain.

Quando dois pases ou estados so mencionados ao lado do nome do artista, o primeiro seu lugar de nascimento e o segundo, de moradia. | Whenever two different countries or
states are mentioned beside an artists name, the first is the place of birth, and the second, the place of residency.

mali - frana [france], 1979

bakary diallo
68

les feuilles dun temps | 2010 | vdeo [video], 436, loop A obra parte de memrias
de infncia do artista, quando ele ajudava a me nas tarefas domsticas. Nessa cartografia
interior, Diallo reencena poeticamente momentos de proximidade, relacionando a convivncia
materna formao de sua conscincia do valor das mulheres que cuidam da casa e noo
de cuidado como manifestao de respeito por si e pelo outro. | The work is based around
the artists childhood memories of helping his mother with household chores. In this intimate
cartography, Diallo poetically reenacts moments of closeness and associates time spent with his
mother with his awareness of the value of women who look after the house and the notion of care
as a manifestation of respect for oneself and others.

kuwait - lbano [lebanon], 1983

basma alsharif
70

Mestre em belasartes pela University

of Illinois, Chicago, EUA, trabalha com
fotografia, filme e vdeo. Apresentou obras em
festivais e mostras como a bienal Manifesta
8 (Espanha, 2010), Toronto International
Film Festival (Canad, 2010), The London
Palestine Film Festival (Inglaterra, 2010),
Rencontres Internationales, Paris (Frana,
2009), Images du MoyenOrient Muse du
Jeu de Paume (Paris, 2007) e ARTEAST New
York Cinema East Film Festival (EUA, 2007).

the story of milk and honey

| With a masters degree in the fine arts from

| 2010 | vdeo [video], 942, trs

the University of Illinois, Chicago, USA, Alsharif

sries fotogrficas [three series of

works with photography, film, and video. She

photographs] Documentrio experimental

has presented work at numerous festivals

sobre pessoa no identificada que viaja

and shows, including the Manifesta 8 Biennial

a Beirute, no Lbano, para escrever uma

(Spain, 2010), the Toronto International Film

histria de amor. Perdido em sua pesquisa,

Festival (Canada, 2010), The London Palestine

o personagem se envolve em uma jornada

Film Festival (England, 2010), Rencontres

composta por imagens, canes e cartas,

Internationales, Paris (France, 2009), Images du

enquanto a narrao em off pontua sua

MoyenOrient Muse du Jeu de Paume (Paris,

incapacidade de distinguir corpo poltico e

2007), and ARTEAST the New York Cinema

experincia subjetiva, amor e patriotismo. |

East Film Festival (USA, 2007).

The film is an experimental documentary on

an unidentified individual traveling to Beirut,
Lebanon, to write a love story. Lost in his
research, the character is immersed in a journey
of images, songs, and letters, as the voiceover
narration speaks of his inability to distinguish
between the political body and the subjective
experience; love and patriotism.

polnia [poland] - EUA [usa], 1954

bogdan perzynski
72

Com foco no carter interdisciplinar da arte, o trabalho de Perzynski reflete sobre comunicao,

a family and friends event | 2010 | vdeo [video], 506, loop Um trio de amigas

pragmatismo social e inveno individual. Ele trabalha com instalaes desde 1978 e, a partir de

canta clssicos do pop americano em um karaok. Enquanto dirige a ateno do espectador

1990, com som, vdeo, sensores e interatividade baseada no corpo. Exps na Argentina, Brasil,

para o imaginrio desse universo musical, levandoo a revisitar versos, imagens e trejeitos

China, Alemanha, Grcia, Israel, Holanda, Polnia, Tailndia e Estados Unidos. | With a focus on the

caractersticos, o trabalho vai fazendo emergir uma srie de outros aspectos da situao, como

interdisciplinary character of art, Perzynskis work reflects on communication, social pragmatism,

a relao entre as mulheres e o irnico exerccio da vaidade no palco. | Three girlfriends sing

and individual invention. He has been producing installations since 1978, though started dabbling

American pop songs at a karaoke. Directing the viewers attention to the repertoire that goes with

in sound, video, sensors, and bodybased interactivity in 1990. He has exhibited in Argentina, Brazil,

this musical universe, the video revisits its characteristic verses, images, and trappings whilst

China, Germany, Greece, Israel, Holland, Poland, Thailand, and the United States.

coaxing out a series of other aspects, such as the relationship between the women and the ironic
exercise of vanity on the stage.

marrocos [morocco] - frana [france], 1975

bouchra khalili
74

Estudou cinema na Sorbonne Nouvelle e

the mapping journey project

artes visuais na cole Nationale Suprieure

| 2010 | videoinstalao, cinco canais

dArts de ParisCergy. Sua obra mescla prtica

[fivechannel video installation] Cinco

documental e enfoque conceitual para falar

emigrantes traam em mapas impressos as

de temas como nomadismo e pertencimento

rotas de viagens clandestinas que fizeram

social. Exps na 10 Bienal de Charjah

entre a Europa, a Palestina e o Mediterrneo;

(Emirados rabes Unidos, 2011); Bienal

ao mesmo tempo, narram seu intrincado

de Liverpool (Inglaterra, 2010); The Studio

trajeto de Marselha a Ramallah, Bari, Roma,

Museum (Nova York, EUA, 2010); The Museum

Barcelona e Istambul. A obra enfoca a

of Contemporary Art (Detroit, EUA, 2010);

geografia paralela que as rotas clandestinas

Gallery 44 (Toronto, Canad, 2010); e Museo

desenham e o deslocamento sociocultural que

Reina Sofa (Madri, Espanha, 2009), entre

revela existncias clandestinas, na expresso

outras mostras e instituies. Foi selecionada

do filsofo Michel Foucault. | Five emigrants

pelo programa de apoio a produes artsticas

use printed maps to trace out the clandestine

da instituio novaiorquina Vera List Center

routes they have taken through Europe,

for Art and Politics. | Khalili studied cinema

Palestine, and the Mediterranean. As they do

at the Sorbonne Nouvelle and the visual arts

so, they talk the viewer through their intricate

at the cole Nationale Suprieure dArts de

itineraries between Marseille and Ramallah,

ParisCergy. Her work mixes documental

Bari, Rome, Barcelona, and Istanbul. The work

practice with a conceptual focus in order to

focuses on the parallel geography these routes

address such themes as nomadism and social

draw out and the sociocultural wanderings that

belonging. She exhibited at the 10th Sharjah

reveal what the philosopher Michel Foucault

Biennial (UAE, 2011); the Liverpool Biennial

called clandestine existences.

(England, 2010); The Studio Museum (New York,

USA, 2010); The Museum of Contemporary Art
(Detroit, USA, 2010); and Museo Reina Sofa
(Madrid, Spain, 2009), among other shows and
institutions. She was recently appointed as
fellow 20112013 by Vera List Center for Art
and Politics (NY).

Artista plstica, crtica e curadora. Mestre em

poticas visuais pela Escola de Comunicaes
e Artes da Universidade de So Paulo (2004),
mostrou obras na coletiva Modelos para Armar:
Pensar Latinoamrica desde la coleccin

Carla zaccagnini

argentina brasil [brazil] sp, 1973

MUSAC (Len, Espanha, 2010) e na 28

76

Bienal de So Paulo (2008). Suas exposies

individuais recentes incluem Imposible pero
necesario (Galeria Joan Prats, Barcelona,
Espanha, 2010) e it is opposition (Art Gallery
of York University, Toronto, Canad, 2008). Teve
trabalhos includos nos compndios Cream
3 (Phaidon Press, 2003) e 50 International
Emerging Artists (Contemporary Magazine,

bravorAdioatlasvirusopera

Londres, Inglaterra, 2006). | A visual artist,

| 2010 | um canal de vdeo, pintura

critic, and curator, Zaccagnini holds a masters

[singlechannel video, painting], 360 x

degree in visual poetics from the Escola de

275 cm Contida em um espao delimitado,

Comunicaes e Artes da Universidade de So

uma projeo exibe o registro, em tempo real,

Paulo (2004). She has exhibited work at the

de uma travessia transocenica de quase 24

group exhibitions Modelos para Armar: Pensar

horas pelo canal do Panam. Vista do prprio

Latinoamrica desde la coleccin MUSAC (Len,

mastro, a embarcao surge cercada por gua,

Spain, 2010) and at the 28th Bienal de So

mas descontextualizada. Poucos elementos

Paulo (2008). Her most recent solo exhibitions

orientam a leitura do trabalho, que articula

include Imposible pero necesario (Galeria

o cenrio natural e a ao humana, presente

Joan Prats, Barcelona, Spain, 2010) and No,

tanto na prpria expedio quanto na dinmica

it is opposition (Art Gallery of York University,

das eclusas, que controla o fluxo de naves e

Toronto, Canada, 2008). Some of her work also

permite vencer artificialmente a topografia

features in the compendiums Cream 3 (Phaidon

local. | Contained in a delimited space, a

Press, 2003) and 50 International Emerging

projection exhibits nearly 24 hours worth of

Artists (Contemporary Magazine, London,

realtime recording of a transoceanic crossing

England, 2006).

via the Panama Canal. Seen from the mast,

the ship surges into view enframed by water,
but otherwise decontextualized. Few elements
guide the viewers reading of the work, which
articulates natural scenery with human action,
present both in the expedition itself and in the
dynamics of the locks, which controls the flow
of ships and enables sea traffic to artificially
overcome the limits of the local topography.

brasil [brazil] mg, 1966

carlos adriano
78

Cineasta e doutor em cinema pela

santoscpio = dumontagem |

Universidade de So Paulo, sua obra

2010 | videoinstalao, quatro canais

comprometidamente experimental lida com

[fourchannel video installation]

fragmentos obscuros da memria artstica

A obra se apropria de imagens de mutoscpio,

e cultural brasileira. Seus dez curtas e um

aparato que usa cartes impressos para

longametragem foram vistos em festivais

produzir animaes, numa das primeiras

e mostras no Brasil, Nova York (EUA), Berlim

modalidades conhecidas de cinema. O

(Alemanha), Bilbao (Espanha), Bologna

materialbase o filme mutoscpico Santos

(Itlia), Chicago (EUA), Paris (Frana) e

Dumont Explaining His Airship to the Hon.

Roterd (Holanda), entre outros. Foi bolsista

C.S. Rolls, de 1901. O artista cria uma forma

da Fundao Vitae e destaque do eixo

documental de experimentalismo, com

Cinema + Artes + Vdeo do 16 Videobrasil

proximidade do gnero retrato. | The work

(2007). Com Bernardo Vorobow, autor do

appropriates images from a mutoscope, one

livro Peter Kubelka: A essncia do cinema

of the first motionpicture devices, which used

(2002) e organizador de Julio Bressane:

printed cards to produce animated sequences.

CinePotica (1995). | A filmmaker with a PhD

The base material is the mutoscopic film

in cinema from the Universidade de So Paulo,

Santos Dumont Explaining His Airship to the

Adrianos resolutely experimental work deals

Hon. C.S. Rolls, from 1901. The work creates a

with dark fragments of Brazilian artistic and

documental form of experimentalism, with a

cultural memory. His ten short films and one

certain proximity to the portrait genre.

featurelength movie have been screened at

festivals and shows in Brazil, New York (USA),
Berlin (Germany), Bilbao (Spain), Bologna (Italy),
Chicago (USA), Paris (France), and Rotterdam
(Holland), among other places. He was a
Fundao Vitae scholarship holder and one
of the standouts in the Cinema + Arts + Video
axis of the 16th Videobrasil Festival (2007). He
coauthored the book Peter Kubelka: A essncia
do cinema (2002), alongside Bernardo Vorobow,
and organized Julio Bressane: CinePotica (1995).

brasil [brazil] mg, 1982

alonso pafyeze
brasil [brazil] mg, 1972

carlosmagno rodrigues
80

Cineasta e videoartista, Rodrigues graduado em artes plsticas pela UFMG. Sua extensa obra

1976 lugar sagrado | 2010 | vdeo [video], 534 Trs seres vivos so mantidos no

j foi exibida no Videoformes (ClermontFerrand, Frana), ExpoBresil Montreal (Canad) e Ita

fundo de uma piscina para alm do que podem tolerar. Mais do que convidar o espectador a uma

Cultural (So Paulo). Alonso Pafyeze diretor de arte. Trabalhou em longas, curtas, publicidade

reflexo fria sobre morte e sufocamento, a obra colocao em uma espcie de imerso fsica e

e videoclipes. Seu trabalho foi premiado em festivais brasileiros como CinePE (Recife), Festival

emocional. A rigorosa composio de elementos visuais contrasta com a viso que transparece:

LatinoAmericano de Curtas de Canoa Quebrada (CE) e Mostra Londrina de Cinema (PR), entre

o torpor da condio de se estar vivo e relutante. | Three living beings are held at the bottom of

outros (2009). | Filmmaker and video artist, Rodrigues is a graduate in the visual arts from UFMG.

a swimming pool for longer than they can bear. Rather than inviting the viewer to cold reflection

His extensive body of work has been exhibited at Videoformes (ClermontFerrand, France),

on death and drowning, the work figures as a sort of physical and emotional immersion itself. The

ExpoBresil Montreal (Canada), and Ita Cultural (So Paulo). Alonso Pafyeze is an art director who

rigorous composition of visual elements contrasts with the vision that seeps through: the torpor of

has worked on featurelength and short films, advertising, and music videos. His work has received

the condition of struggling for life.

awards at Brazilian festivals, such as CinePE (Recife), Festival LatinoAmericano de Curtas de

Canoa Quebrada (CE), and Mostra Londrina de Cinema (PR) (2009), among others.

Graduada em artes plsticas pela USP (2007).

Integrou a equipe de trabalho do Seminrio
Formao e Desmanche de um Sistema
Visual Brasileiro Moderno, organizado por
Luiz Renato Martins para o Programa de
PsGraduao em Artes Visuais, Escola de

carolina caliento

brasil [brazil] sp, 1982

Comunicaes e Artes, e CENEDIC, Faculdade

82

de Filosofia, Letras e Cincias Humanas, USP

/ Pinacoteca do Estado de So Paulo (2007).
Participou da residncia Rapaces, realizada
pelo Instituto Espira La Espora, Nicargua

todas as vozes

(2009), e da residncia Laboratrio Hotel,

sobre madeira [collage and oil on wood],

| 2011 | colagem e leo

realizada pelo Grupo Hspede / Secretaria

180 x 230 cm Nesta investigao sobre a

de Cultura do Estado de So Paulo (2007).

visualidade da metrpole, a mescla de pintura

| A graduate in the visual arts from USP

e colagem d margem a um dilogo crtico

(2007), she was part of the team working on

entre questes urbansticas e temas relativos

the seminar Formao e Desmanche de um

histria da arte. Registros fotogrficos

Sistema Visual Brasileiro Moderno (Formation

efmeros e citaes visuais de pinturas

and Breakup of a Modern Brazilian Visual

histricas criam paisagens nas quais o caos

System), organized by Luiz Renato Martins

perspectivo e a violncia visual so metfora

for the Visual Arts Graduate Program, Escola

da realidade nas grandes cidades. A colagem

de Comunicaes e Artes, and CENEDIC,

reorganiza elementos e aproxima lugares

Faculdade de Filosofia, Letras e Cincias

distantes, gerando uma polifonia que alude s

Humanas, USP / Pinacoteca do Estado de So

esferas polticas, sociais e culturais. | In this

Paulo (2007). She took the Rapaces residency

investigation into the visuality of the metropolis,

at the Instituto Espira La Espora, Nicaragua

the mix of painting and collage opens space

(2009), and Laboratrio Hotel, the residency

for critical dialogue between urban issues and

program run by Grupo Hspede / So Paulo

themes from the history of art. Ephemeral

State Culture Secretariat (2007).

photographic records and visual citations of

historic paintings create landscapes in which
the perspective chaos and visual violence are
metaphors for reality in the big city. The collage
reorganizes elements and approximates distant
places, generating a polyphony that alludes to
the political, social, and cultural spheres.
Obra comissionada pelo 1 Prmio Ateli Aberto
Videobrasil e realizada em convvio na Casa Tomada, So
Paulo. | Work commissioned for the 1st Videobrasil Open
Studio Prize and produced at the collective studio Casa
Tomada in So Paulo.

Pintor, desenhista, gravador, fotgrafo e

videoartista, estudou pedagogia e educao
artstica na Universidade Federal da Paraba.
Expe sua produo artstica desde 1979,
tendo participado de sales de arte e bienais
no Brasil e no exterior. Participou da 16
Bienal de So Paulo (1981) e da 15 Bienal
de Cerveira, Portugal (2009). | A painter,
draughtsman, engraver, photographer, and

chico dantas

brasil [brazil] pb, 1950

video artist, Dantas studied artistic pedagogy

84

and education at the Universidade Federal da

Paraba. He has been exhibiting since 1979
and has participated in various art salons and
biennials in Brazil and abroad, including the
16th Bienal de So Paulo (1981) and the 15th
Biennial of Cerveira, Portugal (2009).

via repblica | 2010 | vdeo [video], 618

A rua da Repblica desde sempre a
principal via de acesso a Joo Pessoa, capital
paraibana, para quem vem do interior. O
percurso, que vai do rio Sanhau ao Palcio
do Governo, feito por polticos, artistas,
intelectuais, trabalhadores. Enquanto nos faz
percorrer a rua com sua cmera subjetiva, o
artista narra em off passagens de seu prprio
passado familiar, como se quisesse preencher
com contedos histricos alternativos o vazio
criado pelo abandono das edificaes e da
memria da cidade. | Rua da Repblica has
always been the main route into Joo Pessoa,
the capital of Paraba State, for those coming
from inland. The journey, between the Sanhau
River and the Governors Palace, is taken by
politicians, artists, intellectuals, and workers.
As we travel the road through his subjective
lens, the artist narrates (in off) journeys from
his own family past, as if wanting to fill the void
left by the abandoned buildings and memories
of the city with alternative historical content.

argentina, 1974

nicols testoni
argentina, 1972

christian delgado
86

Com uma obra que transita entre documento e arte, e investiga o homem em meio transformao

la habitacin infinita | 2010 | videoinstalao, dois canais [two-channel video

social, Testoni foi premiado no concurso de criao documental da Fundao Jan Vrijman,

installation] A obra resulta de uma srie de projees realizadas em fazendas dos pampas

Holanda (2005), e meno honrosa no concurso de arte e novas tecnologias do Museu de Arte

argentinos. Partindo da premissa de que uma imagem projetada adquire novo sentido quando

Moderna de Buenos Aires/Fundacin Telefnica (Argentina, 2006). Participou de festivais na

passa de um suporte inerte para uma superfcie viva, a videoinstalao questiona as condies de

Holanda, Canad, Frana e Espanha. Delgado fotgrafo e autor de vdeos. Foi selecionado para

reprodutibilidade tcnica das imagens e da vida, investigando as dicotomias natureza e cultura,

desenvolver instalao para o 10 aluCine Toronto Media Festival (Canad, 2009) e fez individual

originalidade e cpia, viglia e sono, vida e morte. | The work results from a series of projections

no Museo de Bellas Artes de La Plata (Argentina, 2010). | Author of a body of work that flits between

conducted on ranches in the Argentinean pampas. Starting from the premise that a projected

document and art, and which studies man in the midst of social transformation, Testoni won the

image takes on a new meaning when it moves from an inert support to a living surface, the video

Jan Vrijman Foundation documental creation competition (Holland, 2005) and received honorable

installation questions the conditions of technical reproducibility of images and life, plumbing the

mention at the art and new technologies competition hosted by the Museo de Arte Moderno de

dichotomies of nature and culture, original and copy, vigil and sleep, life and death.

Buenos Aires/Fundacin Telefnica (Argentina, 2006). He has participated in festivals in Holland,

Canada, France, and Spain. Delgado is a photographer and videomaker. He was selected to develop
an installation for the 10th aluCine Toronto Media Festival (Canada, 2009) and held a solo exhibition
at the Museo de Bellas Artes de La Plata (Argentina, 2010).

brasil [brazil] mg, 1974

cinthia marcelle
88

cruzada | 2010 | vdeo [video], 836

Recorrendo a expedientes da performance,
da pintura, da videoarte e das artes sonoras,
a obra explora a dinmica entre repetio
e variao para suscitar questionamentos
Bacharel em desenho pela Escola de

sobre embates socioculturais. Dezesseis

BelasArtes da UFMG, produz imagens de

msicos de banda, divididos em quatro grupos,

sntese com fotografias, vdeos, esculturas

surgem dos quatro cantos de um cruzamento,

e instalaes, em um trabalho fortemente

trajando, cada grupo, uma cor. Sua msica se

relacionado performance. Participou da 29

torna harmoniosa, sincronizada, enquanto a

Bienal de So Paulo (2010), da 9 Bienal de

composio de cores se mescla. | Availing of

Lyon (Frana, 2007) e da 9 Bienal de Havana

aspects of performance, painting, video art,

(Cuba, 2006). Suas principais exposies

and sound art, the work explores the dynamics

individuais aconteceram na Foyer Gallery,

between repetition and variation in raising

Camberwell College of Arts (Londres, Inglaterra,

questions about sociocultural conflicts. Sixteen

2009), Fundao Joaquim Nabuco (Recife, 2006)

musicians, divided into four groups of four, with

e Museu de Arte da Pampulha (Belo Horizonte,

each group wearing a different color, converge

2004). Em 2010, foi premiada com o Future

from the four sides of a crossroads. The music

Generation Art Prize. | A drawing graduate from

becomes more harmonized and synchronized

the Escola de BelasArtes, UFMG, Marcelle

as the colors mix.

produces synthetic images with photographs,

videos, sculptures, and installations, creating
a blend of work that is strongly related to
performance. She has featured at various
biennials, including the 29th So Paulo (2010),
the 9th Lyon (France, 2007), and the 9th Havana
(Cuba, 2006). Her main solo exhibitions were
held at the Foyer Gallery, Camberwell College
of Arts (London, England, 2009), Fundao
Joaquim Nabuco (Recife, 2006), and Museu de
Arte da Pampulha (Belo Horizonte, 2004). In
2010, she won the Future Generation Art Prize.

Mestre em artes visuais pela New York

University, EUA. Participou das bienais de So
Paulo, Havana (Cuba), e Seul (Coreia do Sul),
e de coletivas e individuais em espaos como
Thierry Goldberg Projects (Nova York), Museo
Nacional de Arte (La Paz, Bolvia), Galera
Kiosko (Santa Cruz de la Sierra, Bolvia),

claudia joskowicz

bolvia [bolivia] - EUA [usa], 1968

Momenta Art Gallery (Nova York) e McDonough

90

bolsas Fulbright (2009) e Vermont Studio

round and round and consumed

by fire | 2009 | vdeo [video], 912

Center (2008). professora do Steinhardt Art

A obra se inspira em cena de Butch Cassidy

Department, da New York University. | Holder

e Sundance Kid, reproduzindo em uma nica

of a masters degree in the visual arts from

lenta tomada panormica o momento em que

the New York University, USA, Joskowicz has

os bandidos americanos so encurralados

exhibited at the biennials of So Paulo, Havana

pela polcia boliviana. A cena quase inerte

(Cuba), and Seoul (South Korea), and in solo and

cria um efeito de ansiedade, ressalta os

group exhibitions that include Thierry Goldberg

vazios da narrativa e reinventa sua dinmica.

Projects (New York), Museo Nacional de Arte

Como em trabalhos anteriores, Joskowicz

(La Paz, Bolivia), Galera Kiosko (Santa Cruz de

lida com elementos bsicos da linguagem

la Sierra, Bolivia), Momenta Art Gallery (New

cinematogrfica clssica. | The work was

York), and McDonough Museum of Art (Ohio,

inspired by a scene from the film Butch Cassidy

USA). She has received the Fulbright (2009)

and the Sundance Kid, reproducing in a single,

and Vermont Studio Center (2008) scholarships.

slow panoramic shot the moment in which the

She lectures at New York Universitys Steinhardt

American bandits are surrounded by the Bolivian

Art Department. 

police. The nearinert scene creates an effect

of anxiety that underscores the holes in the

Museum of Art (Ohio, EUA). Recebeu as

narrative and reinvents its dynamics. As in earlier

works, Joskowicz addresses the basic elements
of classical cinematographic language.

Formado em artes plsticas pela Universidade

Federal de Santa Maria (RS), trabalha com
videoarte, fotografia, coreografia e figurino.
Mostrou obras na Galeria Silvia Cintra (Rio
de Janeiro), University of Essex (Inglaterra),
MAMAM (Recife), New Museum (Nova York,
EUA) e Centro Cultural So Paulo. Participou da
7 Bienal do Mercosul (2009). Foi contemplado

cristiano lenhardt

brasil [brazil] rs-pe, 1975

com oPrmio Projteis da Arte Contempornea,

92

Funarte, Rio de Janeiro (2008), e com a Bolsa

Iber Camargo (2011). | With a degree in the
visual arts from the Universidade Federal de
Santa Maria (RS), Lenhardt works with video art,
photography, choreography, and costume design.
He has exhibited work at Galeria Silvia Cintra (Rio
de Janeiro), the University of Essex (England),
MAMAM (Recife), New Museum (New York,
USA), Centro Cultural So Paulo, and at the 7th
Mercosur Biennial (2009). His awards and prizes
include the Projteis da Arte Contempornea
from Funarte, Rio de Janeiro (2008), and the Iber
Camargo scholarship (2011).

solenidade de hasteamento da
bandeira ao vivo | 2009 | vdeo
[video], 6 Um desfile militar jocosamente

encenado para uma cmera de Super8, e

termina com o hasteamento de bandeiras em
mastros desativados de espaos pblicos
de Porto Alegre. Uma alegoria de conotaes
polticas e histricas, ao mesmo tempo
simples e eloquente, a obra rememora a
esttica oficial das apresentaes do Estado
poca da ditadura militar brasileira. | A military
parade is playfully enacted before a Super8
camera and ends with the raising of flags on
disused poles in public spaces throughout Porto
Alegre. An allegory with political and historical
connotations that manages to be at once simple
and eloquent, the work evokes the official
aesthetic of State presentations during the
Brazilian military dictatorship.

the age of happiness | 2009 |

vdeo [video], 1520 O ponto de partida

do artista sua pesquisa sobre Mysterium,

obra inacabada que o compositor russo
Alexander Scriabin executaria no Himalaia.

damir ocko

crocia [croatia], 1977

Scriabin no queria para a obra um nico

94

Com uma obra ligada de forma estreita

espectador; apenas participantes. No

msica, e uma pesquisa que frequentemente

trabalho de Ocko, atores so vendados e

lida com a ideia de privao dos sentidos,

tm de recorrer aos sentidos restantes para

formado pela Academy of Fine Arts de Zagreb,

dar significado s experincias e estmulos

Crocia. Seus filmes e instalaes foram

produzidos pelo ambiente, que varia de uma

vistos em instituies como Kunstverein

paisagem gelada a interiores cenogrficos,

Leipzig (Alemanha), Miroslav Kraljevic Gallery

povoados por esculturas. Com sua narrativa

(Crocia), Tirana Institute of Contemporary

silenciosa, o artista quer decretar a falncia

Art (Tirana, Albnia), Zagreb Museum of

de vises prestabelecidas no processo de

Contemporary Art (Crocia), Museo Nacional

compreenso esttica. | The starting point

Centro de Arte Reina Sofa (Madri, Espanha)

for the artist is his research on Mysterium,

e Galerie Nationale du Jeu de Paume (Paris,

an unfinished work by the Russian composer

Frana). Foi selecionado para residncias

Alexander Scriabin that was to have been

na Akademie Schloss Solitude, em

performed in the Himalayas. Scriabin did not

Stuttgart, Alemanha (Helsinki International

want so much as an audience of one for this

ArtistinResidence Programme, Finlndia),

work, only participants. In Ockos film, actors

e no Tirana Institute of Contemporary Art

are blindfolded and have to use their remaining

(Albnia) e KulturKontakt Vienna (ustria).

senses to lend meaning to the experiences and

| Author of a line of work that maintains a

stimuli produced by the environment, which

close relationship with music and a research

varies from frozen landscapes to stageset

project that frequently deals with the idea of

interiors peopled with sculptures. Through his

sensory privation, Ocko holds a degree from

silent narrative, the artist wants to proclaim the

the Academy of Fine Arts, Zagreb, Croatia.

bankruptcy of preestablished visions in the

His films and installations have been seen at

process of aesthetic understanding.

the Kunstverein Leipzig (Germany), Miroslav

Kraljevic Gallery (Croatia), Tirana Institute of
Contemporary Art (Tirana, Albania), Zagreb
Museum of Contemporary Art (Croatia),
Museo Nacional Centro de Arte Reina Sofa
(Madrid, Spain), and Galerie Nationale du Jeu
de Paume (Paris, France). He was selected for
residencies at the Akademie Schloss Solitude,
in Stuttgart, Germany (Helsinki International
ArtistinResidence Program, Finland), the
Tirana Institute of Contemporary Art (Albania),
and KulturKontakt Vienna (Austria).

argentina - eua [usa], 1961

[video], 852 Concebida como um conto

de arte da Universidade de Colorado, em

curtssimo, a narrativa perambula entre

Boulder, ambas nos EUA. Boord mestre pela

cidades e memrias, como se o tempo fosse

Universidade da Califrnia e professor do

um caminho bifurcado de possibilidades que

programa de estudos cinematogrficos da

levam sempre a uma mesma eventualidade:

Ohio State University em Columbus, ambas nos

o passado. Nesta rvore do esquecimento,

EUA. As quase duas dezenas de obras da dupla

possvel desaparecer entre amigos e

foram vistas em mostras e instituies como

familiares, e ver as coisas e lugares do dia

MoMA (Nova York, EUA), Bienal de Veneza

a dia tomarem formas muito diversas. |

(Itlia), Centre Georges Pompidou (Paris,

Conceived of as a very short story, the narrative

Frana), Museo Nacional Centro de Arte Reina

wanders among cities and memories, as if time

Sofa (Madri, Espanha), Toronto Film Festival

were a forked road of possibilities that always

(Canad) e Stedelijk Museum (Amsterd,

lead back to the same destination: the past. In

Holanda). | Valdovino holds a masters degree

this tree of forgetting, one can disappear among

in the visual arts from the University of Illinois,

friends and family, and watch as everyday things

Chicago, and lectures in art at the University

and places assume the most diverse forms.

dan boord

eua [usa], 1951

Universidade de Illinois, Chicago, e professor

luis valdovino

tree of forgetting | 2009 | vdeo

Valdovino mestre em artes visuais pela

96

of Colorado in Boulder, both in the USA. Boord

holds a masters degree from the University of
California and lectures on the cinematographic
study program at Ohio State University in
Columbus, USA. The duos two dozen or so works
have been seen in important exhibitions and
institutions, such as MoMA (New York, USA),
the Venice Biennale (Italy), Centre Georges
Pompidou (Paris, France), Museo Nacional
Centro de Arte Reina Sofa (Madrid, Spain),
Toronto Film Festival (Canada), and Stedelijk
Museum (Amsterdam, Holland).

zimbbue [zimbabwe] frica do sul [south africa], 1977

dan halter
98

beitbridge moonwalk | 2010 | vdeo

[video], 523, loop A obra inspirada

pelo relato de um imigrante que, para cruzar

ilegalmente a fronteira entre o Zimbbue e a
frica do Sul sem ser percebido pela polcia
Formado em arte pela Universidade da

e sem deixar rastros que apontassem em

Cidade do Cabo, frica do Sul, servese de

sua direo atravessou de costas a ponte

elementos apropriados cultura africana em

que separa os dois pases. A meno dana

vdeos e instalaes focados na realidade

criada por Michael Jackson apenas ressalta

do continente. Participou da 3 Trienal de

o tom irnico da crtica sociopolticocultural

Guangzhou (China, 2010), da 10 Bienal

de Halter. | A work inspired by the account

de Havana (Cuba, 2009), e de coletivas e

of an immigrant who succeeded in illegally

individuais na frica do Sul, Itlia e Alemanha.

crossing the Zimbabwe border into South

Foi premiado com uma residncia pelo 16

Africawithout being detected by the police or

Festival SESC_Videobrasil (2007) e realiza

leaving any incriminating tracesby walking

intercmbio na Glenfiddich Artist in Residency,

backwards over the bridge between the two

na Esccia (2011). | A graduate in art from

countries. The reference to the dance created by

the University of Cape Town, South Africa, the

Michael Jackson only adds to the ironic tone of

artist works with elements appropriated from

Halters sociopoliticalcultural criticism.

African culture in videos and installations that

focus on the continents grim reality. Halter
participated in the 3rd Guangzhou Triennial
(China, 2010), the 10th Havana Biennial (Cuba,
2009), and group and solo exhibitions in South
Africa, Italy, and Germany. He won the residency
award at the 16th International Festival SESC_
Videobrasil (2007) and is currently a Glenfiddich
Artist in Residency (Scotland).

colmbia [colombia], 1983

daniel salamanca
100

Graduado pela Pontifcia Universidade Javeriana, em Bogot, Colmbia, atua como artista,

un impulso creativo / cartografa de las ideas | 2010 | caderno de artista,

designer grfico, ensasta e docente. Desde 2008, leciona em curso livre de introduo a prticas

mosaico com 104 desenhos instalados [artist notebook, patchwork of 104 drawings] Em

visuais na faculdade de artes da universidade em que se formou. Escreve e publica imagens no

um livro de artista, inscrevemse imagens grficas criadas com trao livre. Os desenhos compem

blog MyStream, da revista colombiana Arcadia, dedicado cultura latinoamericana. | A graduate

uma espcie de mapeamento mental que busca explicar conceitos, ideias e temas subjacentes

of the Pontificia Universidad Javeriana in Bogot, Colombia, Salamanca works as an artist, graphic

ao impulso criativo. O trabalho articula referncias como jogos de linguagem, palavras cruzadas

designer, essayist, and lecturer. Since 2008, he has administered a free introductory course in visual

e mapas conceituais de correntes cientficas e teorias da mente. | Handdrawn graphic images

practices at the art faculty of the university from which he took his degree. He writes and posts

appear in an artists sketchbook. The drawings form a sort of mental map that tries to explain the

images on the blog MyStream, maintained by the Colombian magazine Arcadia, devoted to Latin

concepts, ideas, and themes underlying the creative impulse. The work articulates such references as

American culture.

wordplay, crossword puzzles, and conceptual schemas of scientific trends and theories of the mind.

brasil [brazil] ba, 1976

danillo barata
102

Desenvolve pesquisa sobre a produo contempornea com foco em performance, vdeo, fotografia

bruce naumans friend | 2010 | videoinstalao, trs canais [threechannel video

e cinema. Desde 2008, realiza projetos na Vrije Academie Werkplaats voor Beeldende Kunsten,

installation] Confrontando a cmera, um performer executa movimentos de capoeira. A imagem

em Haia, Holanda. Possui obras no acervo do Museum der Weltkulturen Frankfurt (Alemanha),

modificada ganha um tom de luz non. O trabalho tira sentido das relaes que cria entre o neon,

da World Wide Visual Factory (Holanda) e do Museu de Arte Moderna da Bahia. Recebeu prmio

associado cultura pop, e a capoeira, fortemente identificada brasilidade de ascendncia

aquisio no 13 Salo da Bahia, no MAMBA (2006), e o Prmio Videobrasil WBK Vrije Academie

africana. Uma homenagem que revisita expedientes caractersticos do artista norteamericano

(2007). professor dos cursos de cinema e artes visuais da Universidade Federal do Recncavo

mencionado no ttulo, como a performance e a posio de enfrentamento em relao ao

da Bahia UFRB. | The artist pursues a line of research into contemporary production that focuses

espectador. | Facing the camera, a performer runs through some capoeira moves. The image is

on performance, video, photography, and cinema. Since 2008, Barata has been working on projects

modified to gain a neon light tone. The work draws its meaning from the relations created between

at the Vrije Academie Werkplaats voor Beeldende Kunsten, in The Hague, Holland. His works can be

the neon, associated with pop culture, and capoeira, strongly identified with the AfricanBrazilian

seen at the Museum der Weltkulturen Frankfurt (Germany), the World Wide Visual Factory (Holland),

identity. This is a tribute that revisits some of the hallmarks of the North American artist mentioned in

and the Museu de Arte Moderna da Bahia. He won the acquisition prize at the 13th Salo da Bahia at

the title, such as the performance angle and the confrontational stance toward the viewer.

the MAMBA (2006) and the Videobrasil WBK Vrije Academie Prize (2007). He lectures in cinema and
the visual arts at the Universidade Federal do Recncavo da Bahia UFRB.

integrou seu Grupo de Estudos de Crtica e

bandeira de gua benta/bandeira

de gua comum | 2011 | performance/

Curadoria, sob orientao de Tadeu Chiarelli,

instalao, dois mastros de ferro,

de 2006 a 2010. Participou de mostras no

barras de gelo em forma de bandeira

Centro Universitrio Maria Antnia (2004)

[performance/installation, two iron

e Centro Cultural So Paulo (2007 e 2010),

bars, flagshaped ice bars], 30 Duas

ambas em So Paulo, entre outras. Em 2008,

bandeiras feitas de gelo so iadas e derretem.

recebeu o prmio bolsa de pesquisa do 47

Sabese, pelo nome da obra, que uma feita

Salo de Artes Plsticas de Pernambuco;

com gua benta; a outra, com gua comum.

no mesmo ano, ganhou o prmio de melhor

A impossibilidade absoluta de discernir uma

trabalho em artes visuais no 12 Festival da

da outra no melhora conforme as duas

Cultura Inglesa e participou do projeto coletivo

se liquefazem. A performance usa essa

Expedio Francisco, selecionado pelo edital

indistino para questionar a formao de

Conexo Artes VisuaisFunarte. Em 2010

valores e a prpria natureza da determinao

participou, como artista e curador, da mostra

simblica, tanto na arte, em sentido estrito,

Sombra do Futuro, no Instituto Cervantes de

quanto na cultura, de modo geral. | Two flags

So Paulo. | A graduate in the visual arts from

made of ice are raised and left to melt. We know

ECAUSP, he was a member of the institutions

from the title of the work that one of these flags

Criticism and Curatorship Study Group, under

is made from normal ice and the other from

the orientation of Tadeu Chiarelli, from 2006 to

frozen holy water. The absolute impossibility of

2010. Among other exhibitions, he participated

telling one from the other does not change as

in shows at the Centro Universitrio Maria

the two flags melt. The performance uses this

Antnia (2004) and Centro Cultural So Paulo

lack of distinction to question the formation

(2007 and 2010), both in So Paulo. In 2008,

of values and the very nature of symbolic

he received a research scholarship at the 47th

determination, both in art, in the strict sense,

Salo de Artes Plsticas de Pernambuco. That

and in culture in general.

deyson gilbert

brasil [brazil] pe, 1985

Graduado em artes plsticas pela ECAUSP,

104

same year, he won the best work of visual art

prize at the 12th Festival da Cultura Inglesa and
participated in the collective project Expedio
Francisco, selected through the Conexo Artes
VisuaisFunarte program. In 2010 he curated
and exhibited in the show Sombra do Futuro,
at the Instituto Cervantes de So Paulo.

brasil [brazil] pa-df, 1968

dirceu maus
106

Graduando em artes plsticas na Universidade de Braslia (UnB), foi reprter fotogrfico por

em um lugar qualquer outeiro | 2009 | videoinstalao, seis canais em

mais de uma dcada. Desde 2003, desenvolve trabalho autoral em fotografia, cinema e vdeo, em

semicrculo [sixchannel video installation in demicircle] A formao de visualidades a

torno de uma pesquisa que envolve a construo de cmeras artesanais e o uso de dispositivos

partir de dispositivos pticos precrios, e a reconstruo da paisagem por meio dessas imagens

precrios. Foi contemplado com bolsa de residncia na Knstlerhaus Bethanien/Berlim,

esto no centro da pesquisa do artista. Aqui, animaes de fotogramas produzidos com cmeras

Alemanha, pelo programa Rumos Ita Cultural (2009). Tem obras nas colees PirelliMasp, FNAC,

pinhole feitas de caixas de fsforo formam viso panormica da praia de Outeiro, em Belm

Videobrasil, MEP (Museu do Estado do Par) e Coleo Joaquim Paiva. | Pursuing a degree in the

do Par. | The formation of visuality through makeshift optical devices, and the reconstruction of

visual arts at the Universidade de Braslia (UnB), Maus worked as a photojournalist for over a

landscapes through these images lie at the core of the artists research. Here, animated sequences

decade. Since 2003, however, he has developed an authorial line of photography, cinema, and video

from photograms produced by pinhole cameras made of matchboxes create a panoramic view of

that involves the construction of artisanal cameras and the use of makeshift equipment. Through

Outeiro beach in Belm do Par.

the Ita Cultural Rumos program, he received a residency scholarship to attend the Knstlerhaus
Bethanien/Berlin in Germany. Among the collections featuring his work are the PirelliMasp, FNAC,
Videobrasil, MEP (Museu do Estado do Par), and Coleo Joaquim Paiva.

israel, 1980

dor guez
108

Graduado pela Bezalel Academy of Arts and Design, Jerusalm, Israel, e mestre e doutor

watermelons under the bed | 2011 | videoinstalao, dois canais [two-channel

pelo departamento de artes da Universidade de Tel-Aviv, Israel, usa sobretudo fotografia e

video installation] Fruto de pesquisa sobre relacionamentos interpessoais, identidade

videoinstalaes em uma obra que trata de identidade e multiculturalismo. Ganhador do

nacional e costumes das sociedades palestina e judaicoisraelense, o vdeo contm uma

Young Artist Prize do Ministrio da Cultura e Cincia de Israel (2010), fez individuais em vrios

entrevista com Samih Monayer, membro da segunda gerao afetada pelo xodo palestino,

pases, como a retrospectiva recente no KW Institute for Contemporary Art, em Berlim, na

intercalada com memrias de infncia do artista. No entrecruzar de reminiscncias dessa

Alemanha. | A graduate of the Bezalel Academy of Arts and Design, Jerusalem, Israel, and holder

arqueologia pessoal, a teia de acontecimentos retratada adquire dimenso universal. | Fruit of

of a masters degree and PhD from the arts department of the University of Tel Aviv, Israel, Guez

the artists research into interpersonal relationships, national identity, and the customs of the

uses mostly photography and video installation in an artistic pursuit that deals with identity and

Palestinian and JudaicoIsraeli societies, the video features an interview with Samih Monayer, a

multiculturalism. Winner of the Young Artist Prize from the Israeli Ministry for Culture and Science

member of the second generation affected by the Palestinian exodus, intercalated with the artists

(2010), he has held solo exhibitions in various countries, including a recent retrospective at the KW

own childhood memories. At the crossroads of the reminiscences of this personal archaeology, the

Institute for Contemporary Art, in Berlin, Germany.

web of events portrayed takes on a universal dimension.

mxico [mexico] - alemanha [germany], 1975

e.s. mayorga
110

as possibilidades criativas e intelectuais

the apparition of our illfated

love | 2010 | videoinstalao,

do pensamento desordenado, abstrato ou

trs canais [threechannel video

fantasioso. Mayorga j mostrou trabalhos

installation] Em meio a uma sugesto

no Mxico, Frana, Argentina, Colmbia,

dramatrgica que remete ao cinema de David

Polnia, Repblica Tcheca, Sua, Alemanha

Lynch, trs personagens percorrem uma

e Reino Unido. Graduado em artes visuais

estrada e falam sobre suas experincias. Com

pela Escuela Nacional de Escultura Pintura

uma perspectiva de narrativa multifacetada,

y Grabado La Esmeralda, no Mxico, fez

situada no universo de pesquisa de Mayorga,

mestrado em artes e cinema na Alemanha.

que quer transpor para a arte as abundantes

Desde 2008, estuda na Academia para Mdia

metforas sobre morte e morbidez da cultura

e Artes de Colnia, Alemanha. | The artists

pop, a obra aborda espao e tempo de forma

recent output examines the creative and

similar que cubismo e futurismo abordavam

intellectual possibilities of disorderly, abstract,

os objetos. | Couched within a dramaturgical

or fantastical thought. Mayorga has exhibited

suggestion redolent of the cinema of David

in Mexico, France, Argentina, Colombia,

Lynch, three characters talk about their

Poland, the Czech Republic, Switzerland,

experiences as they walk along a road. The

Germany, and the United Kingdom. A graduate

installation provides a multifaceted narrative

in the visual arts from the Escuela Nacional

perspective situated within Mayorgas field

de Escultura Pintura y Grabado La Esmeralda,

of research, which looks to transpose pop

in Mexico, the artist has obtained a masters

cultures abundance of metaphors for death

degree in the arts and cinema in Germany,

and morbidity into art. This work approaches

where he has been studying at the Academy of

space and time in a similar manner to the way

Media Arts Cologne since 2008.

cubism and futurism approached objects.

A produo recente do artista indaga sobre

brasil [brazil] mg, 1960

eder santos
112

Autor de uma densa obra em vdeo e instalao, Santos graduado em belasartes e comunicao

pilgrimage | 2010 | vdeo [video], 1413 Um retrato do percurso do minrio de ferro, da

visual pela UFMG. Dirigiu o longa Enredando as pessoas, premiado em festivais de cinema em

explorao ao transporte, culminando com sua chegada ao mar. Com um olhar que reinventa o

Havana, Cuba, e na Sua em 2006. Mostrou obras nas individuais Suspenso e Fluidez, na ARCO

estatuto do acontecimento, a obra analisa a relao entre natureza e cultura, e desloca a relao

de Madri (Espanha, 2009), e Roteiro Amarrado, no Centro Cultural Banco do Brasil, Rio de Janeiro

espectadorobraindstria. | Pilgrimage follows the processing of iron ore from its extraction

(2010). Seus vdeos integram acervos de instituies como o MoMA, Nova York, EUA, e o Centre

to transportation and eventual shipment. Viewed from a perspective that reinvents the quality

Georges Pompidou, Paris, Frana. | Author of a dense body of work in video and installation, Santos

of the event, the work analyzes the relationship between nature and culture, and shuffles the

is an art and communication graduate from UFMG. He directed Enredando as pessoas, which won

viewerworkindustry triad.

awards at film festivals in Havana, Cuba, and Switzerland in 2006. His solo exhibitions include
Suspenso e Fluidez, at ARCO Madrid (Spain, 2009), and Roteiro Amarrado, at Centro Cultural Banco
do Brasil, Rio de Janeiro (2010). His videos feature in the permanent collections of such institutions
as MoMA, New York, USA, and the Centre Georges Pompidou, Paris, France.

Formado em belasartes e design industrial

em Bogot, Colmbia, seu trabalho tem como
temachave a complexa e violenta sociedade
colombiana. Expe individualmente desde
2007. Foi contemplado com seleo para o ICIs
Project 35 (Independent Curators International,

edwin sanchez

colmbia [colombia] - brasil [brazil] sp, 1976

Nova York, EUA), para a mostra trienal Younger

114

than Jesus (New Museum, Nova York, 2008) e

para o Pilot 3 International archive for artists
and curators (Londres, Inglaterra, 2010). | A
graduate in the fine arts and industrial design
in Bogot, Colombia, Sanchez pursues a line
of work that finds its core theme in Colombias
complex and violent society. Exhibiting
individually since 2007, Sanchez was selected
for the ICIs Project 35 (Independent Curators
International, New York, USA), the triennial show
Younger than Jesus (New Museum, New York,
2008), and Pilot 3 International archive for
artists and curators (London, England, 2010).

crossing points | 2010 | videoinstalao,

quatro canais, andaimes, lmpadas
[fourchannel video installation,
scaffold, lamps] Registros em vdeo

produzidos por guerrilheiros colombianos,

confiscados por autoridades do pas, so
expostos em ambiente que sugere, ao
mesmo tempo, construo e demolio. A
apropriao de imagens reveladoras do poder
e da violncia da guerrilha, e ainda assim
carregadas de aspectos prosaicos, traduz a
ironia caracterstica do artista, ao lado de uma
crueza perturbadora. | Video footage taken by
Colombian guerillasand confiscated by the
authoritiesis shown in an environment that
simultaneously suggests construction and
demolition. By appropriating images that reveal
the power and violence of the guerillas, but which
nevertheless have an inevitably prosaic aspect to
them, the author exercises his trademark irony
and disturbing rawness.

brasil [brazil] pb-sp, 1970

fabiano gonper
116

Desde os anos 1990, desenvolve um trabalho

que discute questes ligadas aos conceitos
tradicionais de pintura, escultura e desenho.
Foi artistaresidente da Escola Superior
de Artes Visuais de Genebra (Sua, 1999),
participou do Programa Rumos do Ita
Cultural (2002/2003) e esteve na mostra
Panorama da Arte Brasileira, no MAMSP
(1999, 2005). Exps no Instituto Tomie Ohtake,
So Paulo, na galeria Daniel Reich (Nova York,
EUA), e nas feiras ARCO (Madri, Espanha) e Art
Basel Miami, EUA. | Since the 1990s, Gonper
issues related to the traditional concepts of

rds do sujeito/localizao/
rudo | 2009 | vdeo [video], 922, LOOP

painting, sculpture, and drawing. He was a

A animao integra uma srie que o artista

resident artist at the Haute cole dArt Genve

chamou de VdeosDesenhos. Em um ambiente

(Switzerland, 1999), participated in the Ita

que remete a um tabuleiro ou salo, um

Cultural Rumos Program (2002/2003), and

indivduo permanece sentado, imvel, em

featured in the Panorama da Arte Brasileira

meio a grafismos nas paredes. Ao som de

exhibition at MAMSP (1999, 2005). He has

uma ria de pera, os elementos em quadro

exhibited at the Instituto Tomie Ohtake, So

estabelecem uma dramaturgia de fantasia

Paulo, Daniel Reich Gallery (New York, USA),

e iluses pticas que sutilmente criticam o

and at the fairs ARCO (Madrid, Spain) and Art

autoritarismo. | The animated work is part of

Basel Miami, USA.

a series the artist calls VdeosDesenhos (video

has pursued a line of work that discusses

drawings). In an environment that resembles a

chessboard or ballroom, an individual remains
seated and still, surrounded by scrawls on the
walls. Set to an operatic aria, the elements in
the scene establish a dramaturgy of fantasy
and optical illusion that comprise a subtle
criticism of authoritarianism.

argentina, 1979

federico lamas
118

Designer, cineasta, ilustrador e DJ, sua

sandra

produo artstica se baseia em videoarte,

papel, fotografia e resduos de concreto

desenho e experimentos audiovisuais. Estudou

quebrado [projection, cardboard

design de imagem e som na Universidade

box, photography, and concrete

de Buenos Aires, Argentina. Mostrou

debris] Composta por fragmentos de um

performances visuais ao vivo e vdeos em

acontecimento supostamente consumado,

galerias, mostras e festivais na Argentina,

a obra convida o pblico a analisar seus

Alemanha, Frana, Brasil e Espanha, incluindo

elementos como se investigasse a cena de

programa especial do upandcoming

um crime. Ao mesmo tempo em que sugere

Festival de Hannover 2006 (Alemanha).

uma narrativa, usa a memria e o repertrio

Premiado no 15o Videobrasil (2005), realizou

narrativo do espectador para construir seus

residncia FAAP/Prince Claus no Edifcio

significados. Aqui, o interesse de Lamas em

Lutetia, So Paulo. Recebeu o Premio en Obra,

experimentar com as narrativas do cinema

de incentivo produo, da ArteBA (Argentina,

ganha uma nova dimenso, expandindose

2010). | Designer, filmmaker, illustrator, and

para o espao. | Composed of fragments of

DJ, Lamas artistic production spans video art,

some prior event, the work invites the audience

drawing, and audiovisual experimentation.

to analyze the elements as if examining a

He studied image and sound design at the

crime scene. At the same time as it suggests

University of Buenos Aires, Argentina. He

a narrative, the installation uses the viewers

has presented live and videotaped visual

own memory and narrative repertoire to build

performances at galleries, shows, and festivals

its meanings. Here expanded into space, Lamas

in Argentina, Germany, France, Brazil, and

interest in experimenting with cinematic

Spain, including the special upandcoming

narratives takes on a whole new dimension.

program at the Hannover Festival in 2005, in

Germany. Lamas was among the prizewinners
at the 15th Videobrasil Festival (2005) and took
the FAAP/Prince Claus Fund residency at the
Lutetia Building, So Paulo. He is a recipient of
the En Obra award, an ArteBA incentive prize
(Argentina, 2010).

| 2010 | projeo, caixa de

brasil [brazil] al-sp, 1982

felipe barros
120

Formado em artes plsticas pela Faculdade

orawa | 2010 | vdeo [video], 340, loop

Santa Marcelina, So Paulo, iniciou em 2005

Em busca de indcios da relao entre arte e

sua prtica em videoarte, com pesquisas sobre

autor, a obra explora a superfcie do corpo de

memria, tempo e identidade. Fez residncia

um maestro de orquestra em ao como um

no Djerassi Resident Artists Program,

sucedneo fsico do som, criando grafismos

Woodside, EUA. Participou do 21 Festival

que remetem a uma partitura. O trabalho tem

Internacional de CurtasMetragens de So

origem em pesquisa sobre processo de criao

Paulo (2010); Mobile Phone Film Festival de

e a relao do artista com seu ofcio. | In search

Varsvia, Polnia (2010); Manipulated Image

of clues as to the relationship between art and

# 13: Absence / Presence, Santa Fe, EUA

the author, the work explores the body of an

(2010); e 2o Festival Cmera Mundo de Filmes

orchestra conductor in action, the movements

Independentes, Roterd, Holanda (2009). |

becoming a sort of physical succedaneum

A graduate in the arts from Faculdade Santa

for the music itself, creating swirls and lines

Marcelina, So Paulo, Barros has been working

redolent of sheet music. The project derives

with video art and pursuing a line of research

from the artists research into the process of

into memory, time, and identity since 2005. His

creation and the relationship between the artist

work featured at the Djerassi Resident Artists

and his/her craft.

Program, Woodside, USA; the 21st So Paulo

International Short Film Festival (2010); the
Mobile Phone Film Festival, Warsaw, Poland
(2010); Manipulated Image #13: Absence /
Presence, Santa Fe, USA (2010); and the 2nd
Camera Mundo International Independent Film
Festival, Rotterdam, Holland (2009).

brasil [brazil] rj-sp, 1987

felipe bittencourt
122

Fotgrafo e artista plstico formado pelo

Centro Universitrio BelasArtes, de So
Paulo, parte do desenho como linguagem de
pesquisa, embora tambm use a fotografia
para investigar o espao urbano e o prprio
corpo em performances. Participou de
exposies coletivas em espaos como Red

ponto de fuga | 2011 | performance/

Bull House of Art, Galeria Bar, Instituto

instalao, espuma de isolamento

Cervantes, Casa Contempornea e Galeria

acstico sobre parede [performance/

Vermelho, e esteve na mostra cnica

installation, acoustic soundproofing

Satyrianas (2010), todos em So Paulo.

foam on wall], 30. 250 x 200 cm Um

Foi residente da Red Bull House of Art e,

painel retangular de espuma est afixado na

em 2008, recebeu o prmio aquisio do

parede. No centro, um recorte circular revela

27 Salo de Arte do Par. | Photographer

a solidez da edificao logo abaixo da fina

and visual artist with a degree from the

camada amortecedora. O performer corre de

Centro Universitrio BelasArtes, So Paulo,

encontro ao painel, atingindo com a cabea

Bittencourt uses drawing as the language

o crculo desprotegido e ali permanece at

of his research, though he also employs

o fim de sua resistncia fsica. A obra uma

photography as a means of investigating

expresso de ativismo artstico e exercita uma

the urban space and his own body in his

contundente crtica institucional, traando um

performances. He has participated in group

paralelo entre os limites do corpo e os limites

exhibitions at the Red Bull House of Art,

institucionais e espaciais. | A rectangular

Galeria Bar, Instituto Cervantes, Casa

foam panel is fixed to the wall. A circular form

Contempornea, and Galeria Vermelho, and

cut out of the middle reveals the solidity of

featured at the scenic exhibition Satyrianas

the construction underneath the soundproof

(2010), all in So Paulo. He was a resident

padding. The performer runs toward the

at the Red Bull House of Art and, in 2008,

panel, rams his head into the cutout hole,

received the acquisition prize at the 27th

and remains there for as long as his physical

Salo de Arte do Par.

stamina will allow. The work is an expression

of artistic activism and an exercise in scathing
institutional criticism, drawing a parallel
between the limits of the body and institutional
and spatial boundaries.

brasil [brazil] pe, 1983

Cineasta, artista visual e arteeducador,

as aventuras de paulo bruscky |

formouse em comunicao social na

2010 | vdeo [video], 1958 A obra encena

Universidade Federal de Pernambuco. Seu

o encontro virtual entre Mascaro e o artista

primeiro longa, KFZ1348, recebeu prmio

recifense Paulo Bruscky na plataforma de

especial do jri na Mostra Internacional

relacionamento Second Life. Em um tom que

de Cinema de So Paulo (2009). Mostrou

simula o documental, discute os limites entre

filmes em festivais de Munique (Alemanha),

as linguagens artsticas e entre as dimenses

Buenos Aires (Argentina), Santiago (Chile),

em jogo na situao virtual, suscitando

gabriel mascaro

Los Angeles (EUA), Nyon (Sua), Havana

questes sobre o estatuto das manifestaes

(Cuba), Cartagena (Colmbia), Miami (EUA) e

culturais, a distncia entre desejo e realizao,

Copenhague (Dinamarca), entre outros. Seu

e as possibilidades do espao digital e sua

terceiro longa, Avenida Braslia Formosa,

relao com a ao real. | The work stages

esteve na seleo oficial do Festival de

a virtual encounter between Mascaro and

Roterd 2011. | Filmmaker, visual artist, and

the Recifebased artist Paulo Bruscky on the

art educator, Mascaro graduated in social

Second Life networking platform. Adopting

communication from the Universidade

a faux documental tone, the film discusses

Federal de Pernambuco. His first featurefilm,

the limits between artistic languages and

KFZ1348, won the special jurys prize at the

the dimensions at play within virtual worlds,

So Paulo International Film Festival (2009).

raising questions about the nature of cultural

He has shown films at festivals in Munich

manifestations, the gulf between desire and

(Germany), Buenos Aires (Argentina), Santiago

action, and the possibilities of digital space and

(Chile), Los Angeles (USA), Nyon (Switzerland),

its relationship with the real.

124

Havana (Cuba), Cartagena (Colombia), Miami

(USA), and Copenhagen (Denmark), among
others. His third featurefilm, Avenida Braslia
Formosa, made the official selection at the
Rotterdam Festival, Holland, in 2011.

rssia [russia], 1970

sergey provorov
rssia [russia], 1968

galina myznikova
126

Juntos desde 1993, a dupla trabalha principalmente com filmes experimentais e instalaes.

inspiration | 2009 | vdeo [video], 4745 Personagens de rosto encoberto mimetizamse

Estiveram na 51 Bienal de Veneza (Itlia, 2005) e na KunstFilmBiennale, Colnia (Alemanha,

em uma paisagem florestal de inverno, numa atmosfera de densa obscuridade. O trabalho

2003), entre outros. Receberam o Tiger Award for Short Film, no 38 International Film Festival

lana um olhar cheio de ansiedade natureza, para representar a desesperana humana.

Rotterdam (Holanda, 2008), entre outros prmios. Tm obras no acervo de instituies como

Desconfortveis em meio agressividade visual e fsica do ambiente, os desconhecidos

Centre Pompidou, Paris, Frana, e National Museum for Contemporary Art de Moscou, Rssia.

percorrem espaos soturnos em atividades incompreensveis, numa estranha integrao ao

| Since forming in 1993, this duo has mostly worked with experimental films and installations.

cenrio hostil. | With faces hidden behind bedraggled mops of hair, a group of people tries to

The pair featured at the 51st Venice Biennale (Italy, 2005) and at the KunstFilmBiennale (Cologne,

blend into a wintry forest landscape steeped in an atmosphere of intense obscurity. The work

Germany, 2003), among other events. Their accolades include the Tiger Award for Short Film

directs an anxious, dreadfilled gaze toward nature in order to represent the theme of human

from the 38th International Film Festival Rotterdam (Holland, 2008). Their works can be found in

despair. Illatease within a visually and physically aggressive environment, these strangers

various museum and gallery collections, including the Centre Pompidou, Paris, France, and the

pursue incomprehensible activities as they move through gloomy spaces, seeking some uncanny

National Museum for Contemporary Art in Moscow, Russia.

integration with their hostile setting.

chile, 1983

gianfranco foschino
128

Graduado em cinema pela UNIACC, de Santiago, Chile, estudou design de som e imagem na

home | 2009 | vdeo [video], 608, loop Movimento e permanncia dialogam no

Universidade de Buenos Aires, Argentina. Especializado em videoarte, realizou residncia no Rio

trabalho que capta, com cmera fixa, uma cena cotidiana da vida de uma fazenda chilena.

de Janeiro, sob orientao de Paula Gaitn (2009), e sua primeira individual, Almost Romantic,

Acontecimentos prosaicos, como os passeios de um co e uma mulher que vai e vem, entretida

com curadoria de Christopher Eamon, na I20 Gallery, Nova York (EUA, 2010). Em 2011, integrou

em tarefas domsticas, so vistos em uma situao de dilatao temporal que revela uma

o Pavilho IILA, na 54 Bienal de Veneza, Itlia. | A graduate in cinema from UNIACC in Santiago,

dinmica de tenso e distenso na percepo dos fenmenos. | Movement and rest dialogue

Chile, the artist studied sound and image design at the Universidade de Buenos Aires, Argentina. A

in a work that captures an everyday scene from a Chilean farm with a fixed camera. Humdrum

video art specialist, he did a residency in Rio de Janeiro, under Paula Gaitn (2009), and his first solo

events, such as the wanderings of a dog and a woman coming and going about her daily chores,

exhibition, Almost Romantic, curated by Christopher Eamon, was held at the I20 Gallery in New York

are seen from the perspective of a temporal dilation that reveals the tension and distension in

(USA, 2010). In 2011 his work was shown at the IILA Pavilion at the 54th Venice Biennale, Italy.

our perception of phenomena.

brasil [brazil] sp, 1976

gisela motta, leandro lima

130

Estudaram artes plsticas na FAAP e

plan y | 2010 | videoinstalao, dois

trabalham juntos desde ento. Realizaram

canais [two-channel video installation]

individuais no Pao das Artes (So Paulo,

Em duas telas, dois tanques de guerra cruzam

1999 e 2004), Centro Cultural Britnico 13

paisagens atemporais e desabitadas em busca

Festival Cultura Inglesa, So Paulo (2009),

um do outro. Como nunca se encontram, sua

Hiap Project Room (Helsinque, Finlndia,

guerra tornase sem sentido. Desenvolvidos

2007) e KohINoor (Copenhague, Dinamarca,

como tecnologia militar de treinamento, os

2007), entre outras. Participaram de coletivas

tanques so prottipos controlados por rdio,

em mostras e instituies como Design

aqui convertidos em brinquedos infantis, lixo

Space (Tel-Aviv, Israel, 2010), Oca/Parque do

eletrnico. Tomadas como que por cmeras

Ibirapuera (So Paulo, 2010), New Museum

militares, as imagens so desprovidas de

(Nova York, EUA, 2010), Factoria (Havana, Cuba,

qualquer referncia de escala. Uma viso

2010), MAMBA (Salvador, 2009), Videographe

irnica do aparato blico, a obra questiona os

(Montreal, Canad, 2009), Substitut (Berlim,

limites entre imagem construda e real. | On

Alemanha, 2009). Estiveram na 10 Bienal de

twin screens, two war tanks pursue each other

Havana (2009) e na 1 Bienal do Fim do Mundo

across atemporal and deserted landscapes.

(Ushuaia, Argentina, 2007). Tm trabalhos

As they never actually engage, their war loses

em acervos como Cisneros Fontanals Art

all meaning. Developed as military training

Foundation (Miami, EUA), Maison Europenne

equipment, the tanks are radiocontrolled

de la Photographie (Paris, Frana) e Pinacoteca

prototypes here converted into childrens

do Estado de So Paulo. | Motta and Lima

toys, mere electronic trash. Filmed as if by

studied the arts at FAAP and have worked

army cameras, the images are stripped of all

together ever since. They have held solo

reference of scale. The result is an ironic take

exhibitions at Pao das Artes (So Paulo, 1999

on military firepower, questioning the limits

and 2004), Centro Cultural Britnico 13th

between the real and the constructed image.

Festival Cultura Inglesa, So Paulo (2009),

Hiap Project Room (Helsinki, Finland, 2007),
and KohINoor (Copenhagen, Denmark, 2007).
Among the group exhibitions and institutions
that have featured their work are the Design
Space (Tel Aviv, Israel, 2010), Oca/Parque do
Ibirapuera (So Paulo, 2010), New Museum
(New York, USA, 2010), Factoria (Havana, Cuba,
2010), MAMBA (Salvador, 2009), Videographe
(Montreal, Canada, 2009), and Substitut (Berlin,
Germany, 2009). They participated in the 10th
Havana Biennial (2009) and at the 1st Worlds
End Biennial in Ushuaia, Argentina (2007). Their
work can be seen in such collections as the
Cisneros Fontanals Art Foundation (Miami, USA),
Maison Europenne de la Photographie (Paris,
France), and Pinacoteca do Estado de So Paulo.

Cidade do Cabo, frica do Sul, incorpora

a pintura, a performance e a interveno
urbana em sua produo de videoinstalaes.
Realizou residncia na Rijksakademie de
Amsterd, Holanda, e estudou cinema no Le
Fresnoy Studio de Paris (Frana, 20012002).
Exps no Rotterdam International Film Festival
(Holanda), Le Centre Georges Pompidou (Paris),
na Bienal de Dacar (Senegal) e na Galerie
mestrado em artes na esfera pblica da Ecole

love, jealousy and wanting to

be in two places at once | 2010 |

gregg smith

frica do sul [south africa], 1970

Formado em artes pela Universidade da

cantonale dart du Valais, em Sierre, Sua.

vdeo [video], 1202 O vdeo baseado

| An art graduate from the University of Cape

em uma performance em que um jovem

Town, South Africa, Smith incorporates painting,

reconta sua histria de amor malsucedida.

performance, and urban intervention into his

No intuito de reacender um relacionamento

production of video installations. He has taken

que se desgastou gradualmente, a esposa

a term of residency at the Rijksakademie of

lhe prope que voltem a praticar a dana que

Amsterdam, Holland, and studied cinema at Le

os aproximou o tango , mas agora com

Fresnoy Studio in Paris (France, 20012002). He

diferentes parceiros e cenrios. Smith usa um

132

has exhibited at the Rotterdam International

tom situado no limite entre a dor e a ironia

Film Festival (Holland), Le Centre Georges

para mapear os afetos envolvidos na situao.

Pompidou (Paris), the Dakar Biennial (Senegal),

| The video is based on a performance in which

and at Galerie Krinzinger (Vienna, Austria). He

a young man tells of a failed love. In the hope

lectures on the masters degree course in art in

of reviving the flame of a relationship that has

the public sphere at the Ecole cantonale dart

gradually fizzled out, the wife suggests that

du Valais in Sierre, Switzerland.

they dance anew the tango that first brought

Krinzinger (Viena, ustria). professor do

them together, though now with different

partners and in a new setting. Smith adopts a
tone that skirts the limits between pain and
irony to map the feelings at play in the situation.

brasil [brazil] sp, 1987

guilherme peters
134

Formado em artes plsticas pela Fundao Armando Alvares Penteado (FAAP), participou de

inimigo invisvel

coletivas recentes em So Paulo tais como Prmio EDP nas Artes (Instituto Tomie Ohtake); Verbo

situao de tenso contnua se desenrola sem concluso, como a promessa nunca cumprida

2010 e VO (Galeria Vermelho) e Experincia Hlio Oiticica (Ita Cultural). Tem trabalhos includos

de uma conquista: um soldado, em local no identificado, persegue um inimigo que no se

| 2011 | vdeo [video], 1552 Nessa espcie de plano-sequncia, uma

em publicaes como Caderno SESC_Videobrasil 06 (Edies SESC SP, 2010). | Peters graduated

apresenta. O vdeo critica a tica belicista e questiona de forma contundente o poder poltico e

in art from Fundao Armando Alvares Penteado (FAAP). He has participated in recent collective

socialmente transformador da arte. | In a work that resembles a sequence shot, a tense situation

exhibitions in So Paulo, such as Prmio EDP nas Artes (Instituto Tomie Ohtake); Verbo 2010 and VO

unfolds without denouement, like a promised conquest that goes undelivered: a soldier in some

(Galeria Vermelho); and Experincia Hlio Oiticica (Ita Cultural). His work featured in the publication

unidentified place pursues an enemy that doesnt show himself. The video criticizes the military

Caderno SESC_Videobrasil 06 (Edies SESC SP, 2010).

ethos and severely questions the politically and socially transformative power of art.
Obra comissionada pelo 1 Prmio Ateli Aberto Videobrasil e realizada em convvio na Casa Tomada, So Paulo. | Work
commissioned for the 1st Videobrasil Open Studio Prize and produced at the collective studio Casa Tomada in So Paulo.

coreia do sul [south korea] - frana [france], 1978

heewon lee
136

Formada em moda em Seul, estudou

comunicao e artes visuais na cole
nationale suprieure dart de Nancy e
psgraduouse no Le Fresnoy National Studio
of Contemporary Arts, em Tourcoing, ambos
na Frana. Sua produo artstica envolve
vdeo, artes grficas e sonoras, e instalao.
| After graduating in fashion in Seoul, the
artist studied communication and the visual
arts at the cole nationale suprieure dart
de Nancy, followed by a graduate course at Le
Fresnoy National Studio of Contemporary Arts,
in Tourcoing, France. Lee works with video,
graphic arts, sound, and installation.

phone tapping | 2009 | vdeo [video],

1020, loop O filme construdo a partir

do instante nico, quase imperceptvel, que

assinala a mudana do dia para a noite. Nesse
momento fugidio, indefinido, no qual o que era
j no mais, uma cmera area investiga a
topografia de Seul, enquanto outra topografia,
mental e ntima, se desenha em um texto
narrado em off. As imagens parecem buscar
uma correspondncia para o texto. | The film
is built around the single, almost imperceptible
instant that signals the switch between day
and night. In this fleeting, indefinite moment,
in which what was is no more, an aerial camera
scans the topography of Seoul while another
topography, one mental and intimate, emerges
from a text narrated in off. The images seem to
search for some correspondence with the text.

austrlia [australia], 1964

ian haig
138

Baseada em animao e vdeo, sua obra lida com estranhamento cultural, corpo, sexualidade

chronicles of the new human organism

e psicopatologias. Exibiu trabalhos no Australian Centre for Contemporary Art (Melbourne,

de uma premissa provocativa, segundo a qual a produo artstica uma espcie de enfermidade

Austrlia), MoMA (Nova York, EUA), Artec Biennale (Nagoya, Japo), Centre Georges Pompidou

cultural capaz de induzir a reflexes importantes, o artista cria uma espcie de ensaio futurista

(Paris, Frana) e Art Museum of China (Pequim, China), entre outras instituies, alm de festivais

sobre a espcie humana. Em um cenrio hipottico no qual espao e tempo so reinventados, a

ao redor do mundo. Foi contemplado com bolsa da comisso de arte em novas mdias do Australia

obra tenta conduzir uma investigao crtica sobre o limite dos sistemas de crenas humanos. |

Council (2003). | Haigs mostly video and animationbased art deals with cultural strangeness, the

Departing from a provocative premise, according to which artistic production is a species of cultural

body, sexuality, and psychopathologies. He has exhibited at the Australian Centre for Contemporary

malady capable of inducing important reflections, the artist creates a futuristic essay on the human

Art (Melbourne, Australia), MoMA (New York, USA), Artec Biennale (Nagoya, Japan), Centre Georges

race. Within a hypnotic setting, in which space and time are reinvented, the work attempts to conduct

Pompidou (Paris, France), and the Art Museum of China (Beijing, China), among other institutions. He

a critical investigation into the limits of human belief systems.

has also featured at festivals around the world. In 2003, Haig was awarded a scholarship from the
New Media Arts Board of the Australia Council.

| 2010 | vdeo [video], 3230 A partir

brasil [brazil] mg, 1977

ilan waisberg
140

Formado em comunicao social pela

transfers | 2010 | madeira, lentes,

PUCMG, trabalha questes relativas ao

componentes eltricos [wood, lenses,

espao urbano em desenhos, vdeos e

electric components], 50 x 60 x 60 cm

assemblages. Fez residncia na Universidade

cada caixa [each box] Dispositivos pticos

de Bezalel, em Jerusalm, Israel. Exps nas

construdos com materiais banais permitem

individuais Pilotis (Belo Horizonte, 2006) e

visualizar imagens de fotogramas. Observadas

Gambinicos (So Paulo, 2009), e participou

em sequncia, elas possibilitam criar

de mostras como Constructing Views:

pequenas narrativas. Nascida de pesquisa

Experimental Film and Video from Brazil (New

do artista com esculturas eletrnicas, a

Museum, Nova York, EUA, 2010). Ganhou

instalao trata dos diferentes trnsitos

prmio Aquisio no programa de exposies

possveis entre as linguagens do cinema e

do Centro Cultural So Paulo (2009). | A

da fotografia, enquanto aproxima o pblico

graduate in social communication from

dos mecanismos de produo de imagens. |

PUCMG, the artist uses drawings, videos, and

Optical devices built from everyday materials

assemblages to work through issues related to

allow the user to view images on photograms.

the urban space. He took a residency at Bezalel

When seen in sequence, these pictures

University in Jerusalem, Israel, and has held the

construct short narratives. Fruit of the artists

solo exhibitions entitled Pilotis (Belo Horizonte,

experimentation with electronic sculpture, the

2006) and Gambinicos (So Paulo, 2009). His

installation deals with the various possible

work has also featured in the group exhibition

transitions between the languages of cinema

Constructing Views: Experimental Film and

and photography, whilst acquainting the viewer

Video from Brazil (New Museum, New York,

with imageproducing mechanisms.

USA, 2010). Waisberg won the Acquisition Prize

on the Centro Cultural So Paulo exhibitions
program (2009).

linha | 2010 | videoinstalao, dois

canais [twochannel video installation]

O trabalho aborda as relaes entre o

artefato e o gesto humano a partir das
perspectivas do filsofo Vilm Flusser
e do cineasta Sergei Eisenstein: de que

ivn marino

argentina - espanha [spain], 1968

forma o homem inventa e se relaciona com

142

Professor e artista multimdia, sua obra

suas ferramentas, e em que medida estas

investiga os fundamentos da linguagem

produes engolem o seu criador? Como

audiovisual. Estudou e desenvolveu

os adventos tcnicos so produzidos e at

projetos no departamento de TV e cinema

que ponto determinam o destino humano? |

da Universidade da Califrnia, EUA, no

The work approaches the relations between

Filminstitut da HDK Universtity of Arts,

the artifact and the human gesture through

Berlim, Alemanha, entre outras instituies.

the perspectives of the philosopher Vilm

Recebeu o CAM Fellowship for Arts, Espanha

Flusser and the filmmaker Sergei Eisenstein

(2006), o primeiro prmio do Festival de

as expressed in the question: In what

Culturas Digitais e Arte de Gran Canaria,

respects does man invent and relate to his

Espanha, e o primeiro prmio LIMBO, do

tools, and to what degree do these creations

Museu de Arte Moderna de Buenos Aires e

swallow their creator? How are technical

Fundacin Telefnica, Argentina. Exps em

breakthroughs made and to what extent do

feiras de arte como ARCO (Madri, Espanha),

they determine human destiny?

Art Cologne (Colnia, Alemanha) e Art

Brussels (Bruxelas, Blgica). | Lecturer and
multimedia artist, Marino investigates the
fundaments of audiovisual language. He has
studied at, and developed projects for, the TV
and cinema department of the University of
California, USA, and the HDK Filminstitut of
the University of Arts, Berlin, Germany, among
other institutions. Among his awards and
prizes are the CAM Fellowship for Arts, Spain
(2006), first prize at the Festival de Culturas
Digitais e Arte de Gran Canaria, Spain, and the
LIMBO grand prize, Museo de Arte Moderno
de Buenos Aires and Fundacin Telefnica,
Argentina. He has exhibited at the art fairs
ARCO (Madrid, Spain), Art Cologne (Germany),
and Art Brussels (Belgium).

jonathas de andrade

brasil [brazil] al, 1982

projeto pacfico | 2010 | vdeo

144

[video], 1235, loop, mapa e colagens

[map and collages], 500 x 85 cm cada
[each] Um grande terremoto nos Andes

separa o Chile da Amrica e faz do pas uma

ilha; Bolvia e Argentina ganham costas
no Pacfico. Com animao e um mapa,
o trabalho prope uma soluo natural
Trabalha com instalao, ao e fotopesquisa.

violenta para a perda do mar da Bolvia

Participou da 29 Bienal de So Paulo (2010),

na Guerra do Pacfico (18791884). Neste

da 10 Bienal de Charjah (Emirados rabes

continente redesenhado, passado e presente

Unidos, 2011) e da 7 Bienal do Mercosul

so comprimidos, e o terremoto metfora

(2009). Fez individuais na Galeria Vermelho

de instabilidade social, poltica, natural

e no Ita Cultural (ambos em So Paulo),

e humana. | A massive earthquake in the

e Instituto Banco Real (Recife). Em 2009,

Andes separates Chile from the rest of South

desenvolveu o projeto de pesquisa Documento

America, turning the country into an island

Latinamerica Conduo Deriva com bolsas

and giving Argentina and Bolivia a Pacific

da Funarte (Rio de Janeiro) e do Salo de Artes

coast. Using animation and a map, the work

Plsticas de Pernambuco. Recentemente, foi

proposes a violent natural solution to Bolivias

selecionado para residncia no Gasworks,

loss of seaaccess during the Pacific War

Londres, Inglaterra. | Andrade works with

(18791884). On this redesigned continent,

installation, action, and photoresearch. He

past and present are compressed, and the

featured at the 29th Bienal de So Paulo (2010),

earthquake serves as a metaphor for human

the 10th Sharjah Biennial (UAE, 2011), and the

social, political, and natural instability.

7th Mercosur Biennial (2009). He has held solo

exhibitions at Galeria Vermelho, Ita Cultural
(So Paulo), and Instituto Banco Real (Recife).
In 2009, he used scholarships from Funarte (Rio
de Janeiro) and the Salo de Artes Plsticas de
Pernambuco to develop the research project
Documento Latinamerica Conduo Deriva.
He was recently selected for a residency at
Gasworks, London, England.

mxico [mexico], 1983

jos villalobos romero

146

Formado pelo Instituto de Artes Audiovisuais de Guadalajara, Mxico, dirige documentrios

funny games | 2010 | videoinstalao interativa, um canal, boto vermelho

desde 2004 e atua como designer multimdia desde 2009. Participou da Ambulart, em Hamburgo,

[singlechannel interactive video installation, red button] A partir de imagens das

Alemanha (20052006), do 16 Videobrasil (So Paulo, 2007) e do San Francisco Latino Film

introdues quase idnticas das duas verses do filme Funny Games, de Michael Haneke,

Festival (San Francisco, EUA, 2008). Fez residncias na HfBK (Hamburgo, Alemanha, 2006), no

o trabalho discute a emergncia de uma dimenso ldica na obra dramtica por meio de

Doculab (Morelia, Mxico, 2006) e no Centro Mexicano para Msica e Artes Sonoras (Morelia,

interferncias do pblico. Os dois filmes so exibidos simultaneamente, e o espectador pode

2010). | A graduate of the Instituto de Artes Audiovisuais de Guadalajara, Mexico, he has been

interferir no andamento e na narrativa, por meio de botes que alteram a velocidade da imagem

directing documentaries since 2004 and working as a multimedia designer since 2009. He

e do udio, e alternam canais de udio e cenas das obras. | Using images from the nearidentical

participated in Ambulart, Hamburg, Germany (20052006), the 16th Videobrasil (So Paulo, 2007),

introductions to the two versions of Michael Hanekes Funny Games, the work discusses the

and the San Francisco Latino Film Festival (San Francisco, USA, 2008). He has done residencies at

emergence of a playful dimension to the dramatic work through public interventions. The two films

HfBK (Hamburg, Germany, 2006), the Doculab (Morelia, Mexico, 2006), and the Mexican Centre for

are exhibited simultaneously, and the viewer can meddle with the narrative by using buttons that

Music and Sonic Arts (Morelia, 2010).

alter the speed of the images and sound, and alternate audio channels and scenes from the works.

brasil [brazil] sp, 1978

laerte ramos
148

Formado pela Escola Waldorf Rudolf Steiner e graduado em artes plsticas pela FAAP,

cartilha das nuvens | 2009 | livrocaixa, fichas, carimbos de cermica [boxbook,

interessase pelos meios reprodutivos de imagem, como a xilogravura e a serigrafia. Ganhou o

file cards, ceramic stamps], 38 x 22 x 10 cm Um livro que permite realizar jogos de

prmio da mostra trienal de gravura Lelocleprints 2004, no Muse des BeauxArts du Le Locle,

explorao da linguagem do desenho, o trabalho lida com a percepo e a criao de imagens.

Sua. A partir de 2007, participa de mostras no Pao das Artes, Galeria Vermelho, Ita Cultural,

A proposta envolve a realizao de sesses conduzidas e orientadas pelo artista, nas quais o

Centro Universitrio Maria Antnia e Centro Brasileiro Britnico, em So Paulo, e no Stedelijk

pblico entra em contato com o livro em uma situao ldica. Valendose do sistema proposto

Museum de Amsterd, Holanda. | A graduate of Escola Waldorf Rudolf Steiner and holder of a

por elementos como cartas, carimbos, imagens de nuvens e algumas regras, os participantes

degree in the visual arts from FAAP, Ramos is interested in means of mass image reproduction,

do sentido obra. | Through a book that allows the reader to play at exploring the language of

such as woodcut and serigraphy. He won the 2004 grand prize at the triennial prints exhibition

drawing, Ramos broaches the perception and creation of images. The idea materializes at sessions

Lelocleprints, at the Muse des BeauxArts du Le Locle, Switzerland. Since 2007 his work has

conducted and supervised by the artist that enable the public to explore the book within a playful

featured in exhibitions at the Pao das Artes, Galeria Vermelho, Ita Cultural, Centro Universitrio

setting. Using cards, stamps, pictures of clouds, and a few game rules, the participants lend

Maria Antnia, and Centro Brasileiro Britnico, all in So Paulo, and at the Stedelijk Museum,

meaning to the work.

Amsterdam, Holland.

argentina, 1976

lara arellano
150

Formada em design de som e imagem pela Universidade de Buenos Aires, Argentina, fez suas

mientras paseo en cisne | 2010 | vdeo [video], 825 Do banco de trs de um carro

primeiras experimentaes artsticas em performances como VJ, na direo de clipes e em

que percorre uma estrada, uma menina pensa no que v: seus prprios sapatos vermelhos,

vdeo, depois o principal meio de seus trabalhos. Mientras paseo en cisne foi premiado como

vacas, poas longnquas que nunca chegam. A conversa dos pais no banco da frente entrecruza

melhor curta da seleo oficial do Buenos Aires International Festival of Independent Cinema

suas reflexes, aprofundando a sensao de sono, sonho, mergulho. A obra explora o dilogo

2010. | A graduate in sound and image design from the Universidade de Buenos Aires, Argentina,

entre paisagem exterior e estados interiores, a expresso feminina na arte e a ideia de viagem

Arellano began her artistic experimentation through VJ performances, directing music videos

como trajeto afetivo. | Sitting in the back seat of a car driving along a road, a young girl reflects

and working with videos, which later became the main pillar of her work. Mientras paseo en cisne

on what she sees: her own red shoes, cows, distant ponds that never arrive. The conversation

was voted best short film on the official selection at the Buenos Aires International Festival of

between her parents sitting in the front cuts across her reflections, deepening the sensation of

Independent Cinema 2010.

sleepiness, dream, and immersion. The work explores the dialogue between outer landscapes and
inner states, feminine expression in art, and the idea of the journey as an emotional route.

na interseco entre fala, pedagogia, performance

a performancepalestra tem como base o

e escultura. Apresentou trabalhos no Museu Reina

arquivo homnimo, que rene uma coleo de

Sofa, Madri, Espanha; Institute of Contemporary

representaes da banana pinadas histria

Arts, Londres, Inglaterra; Centro de Cultura

da arte de Albert Eckhout a Andy Warhol. Na

Contempornea, Barcelona, Espanha; e Centro

primeira apresentao pblica do material, o

Cultural So Paulo, entre outros. Integrou o grupo

artista usa sua retrica para mostrar como

possvel compor um panorama do Sul global

Arte Contempornea de Barcelona (2008) e recebeu

a partir da frutacone, que simbolizaria uma

brasil [brazil] sp, 1975

30 Parodiando pedagogia e espetculo,

leandro cardoso

arquivo banana | 2011 | performance,

mestrado pela Universidade de Londres, trabalha

Graduado em artes plsticas e histria da arte, com

de pesquisa do Programa de Estudos do Museu de

o prmio Mostra no Exterior da Fundao Bienal

histria de poder simblico entremundos.

de So Paulo (2010). professor de histria da arte

| Parodying pedagogy and the spectacle, this

na Faculdade Zumbi dos Palmares, So Paulo, e

performance/lecture is based on an archive

fundador do PPUB, Partido pela Utopia Brasileira.

of the same name that consists of a collection

| A graduate in the visual arts and art history, and

of representations of bananas throughout

holder of a masters degree from the University of

the history of art, from Albert Eckhout to Andy

London, Cardoso works at the crossroads between

Warhol. In the first public presentation of this

speech, pedagogy, performance, and sculpture.

research material, the artist employs rhetoric to

He has presented work at the Museo Reina Sofa,

show how a panorama of the global south can

Madrid, Spain; the Institute of Contemporary Arts,

be drawn from this iconic fruit, seen as a symbol

152

London, England; Centre de Cultura Contempornia,

of historical power struggles between worlds.

Barcelona, Spain; and Centro Cultural So Paulo,

among others. He is a member of the research
group on the Studies Program at the Museu dArt
Contemporani de Barcelona (2008) and winner of the
Exhibition Abroad prize from the Fundao Bienal
de So Paulo (2010). He teaches art history at the
Faculdade Zumbi dos Palmares, So Paulo, and is
founder of PPUB (Party for the Brazilian Utopia).

china, 1965

liu wei
154

Estudou na China Central Academy of Drama, Pequim, China, e graduouse em filosofia pela

unforgettable memory

Universidade de Pequim. Em sua prtica artstica, usa uma variedade de meios para tratar

memria de 1989, quando os chineses foram s ruas para protestar contra o governo de Deng

de memria e relacionar sua experincia s realidades de uma China em transformao.

Xiaoping. Ao sair pelas ruas de Pequim em busca de testemunhos, leva uma cmera e uma foto

Participou da 8 Gwangju Biennale (Coreia do Sul, 2010), da 9 Bienal de Charjah (Emirados

dos protestos, durante os quais ele mesmo quase morreu. Em linguagem direta, a obra questiona

| 2009 | vdeo [video], 1017 O artista tenta resgatar a

rabes Unidos, 2009), da WRO 2009 Media Art Biennale (Polnia), da Bienal de Taip, Taiwan

o poder da memria ante a indiferena. | The artist tries to recover his memory of 1989, when the

(2008), do International Film Festival Rotterdam (Holanda, 2010), e do Cinema du Rel (Centre

Chinese took to the streets to protest against the Deng Xiaoping government. Wei heads out in search

Georges Pompidou, Paris, Frana, 2006). | Wei studied at the China Central Academy of Drama,

of witnesses, carrying with him a camera and a photo of the protests, during which he was almost

Beijing, China, and graduated in philosophy from the University of Beijing. In his artistic practice, he

killed. Using direct language, the work questions the power of memory in the face of indifference.

uses various mediums to address memory and relate his own experiences to the reality of a China in
transformation. He participated in the 8th Gwangju Biennale (South Korea, 2010), the 9th Sharjah
Biennial (UAE, 2009), the WRO 2009 Media Art Biennale (Poland), the Taipei Biennial, Taiwan (2008), the
International Film Festival Rotterdam (Holland, 2010), and Cinema du Rel (Centre Georges Pompidou,
Paris, France, 2006).

china - frana [france], 1982

lixin bao
156

Por meio de experimentaes formais e

ailleurs | 2010 | vdeo [video], 1309

discursivas que tm como principais recursos

A histria de uma empresa ferroviria chinesa

a polifonia e o cruzamento de linguagens, a

o tema aparente desse documentrio

artista lana um olhar pessoal para a histria

experimental, que explora a mtica da

e o futuro da sociedade chinesa. Mostrou

locomotiva a vapor chinesa, vista como

trabalhos no Le FresnoyStudio National des

smbolo da era de ouro da indstria pesada no

Arts Contemporains (Tourcoing, Frana, 2009 e

pas. Ao mesmo tempo retrato de uma era e

2010), ENSA (cole nationale suprieure dart,

metfora da surpreendente histria econmica

Nancy, Frana, 2009), NMTV National Mongolia

recente da China, a obra revela nuances de

TV (China, 2010) e 4me Salon des Jeunes

um culto radical ao dinheiro. | The history of

Crateurs (Vichy, Frana, 2007). | Through

a Chinese railroad company is the apparent

formal and discursive experiments that take

theme of this experimental documentary, which

polyphony and crossed languages as their main

explores the legend of the Chinese steam engine,

resources, the artist casts a personal eye over

seen as the symbol of a bygone golden age of

the history and future of Chinese society. She has

heavy industry. At the same time as it portrays an

shown her work at Le FresnoyStudio National

era and a metaphor for Chinas surprising recent

des Arts Contemporains (Tourcoing, France, 2009

economic history, the work reveals the nuances

and 2010), ENSA (cole nationale suprieure

of a radical money cult.

dart, Nancy, France, 2009), NMTV National

Mongolia TV (China, 2010), and 4me Salon des
Jeunes Crateurs (Vichy, France, 2007).

A fotografia seu objeto de trabalho

desde 1991. Depois de iniciar carreira no
fotojornalismo, expandiu sua pesquisa
numa direo mais expressiva. Participou
da 1 Bienal Internacional de Fotografia de
Curitiba (1996) e da 2 Bienal Internacional
de Fotografia de Tquio, Japo (1997). Exps
em coletivas no Centro Cultural So Paulo
(1997), Funarte/Rio de Janeiro (2000), Galeria

lucia mindlin loeb

brasil [brazil] sp, 1973

Vermelho e Ita Cultural, So Paulo (2010).

158

| Loeb has been working with photography

since 1991. After beginning a career in

photojournalism, she expanded her research
into more expressive territory. She participated
in the 1st International Photography Biennial
of Curitiba (1996) and at the 2nd International
Photography Biennial of Tokyo, Japan (1997).
She has also featured in group exhibitions at

razes | 2009 | objeto impresso em

Centro Cultural So Paulo (1997), Funarte/Rio

preto e branco, encadernao manual

de Janeiro (2000), Galeria Vermelho and Ita

[printed object in black and white,

Cultural, So Paulo (2010).

handbound folder], 38 x 30 x 4 cm A

fotografia de uma raiz se reproduz por todas

as pginas desse livro de artista. Organizado
em torno de um grande orifcio central e dos
deslocamentos milimtricos que separam
as folhas, o trabalho transmuta uma imagem
em objeto tridimensional. O mesmo carter
profuso e intrincado da raiz que objeto
da imagem se reproduz na pea resultante.
Sua dimenso estritamente fotogrfica
subvertida, na medida em que a disposio
e o acabamento transformam seu estatuto
artstico. | A photograph of a root is reproduced
on each page of this artists book. Organized
around a large, central orifice and the tiny
interstices between the leaves, the work
transmutes an image into a threedimensional
object. The same profuse and intricate nature
found in its subject is conjured into that resulting
thing. The strictly photographic dimension
is subverted as the positioning and finishing
transform the original artistic status.

brasil [brazil] sp, 1983

sergio bonilha
brasil [brazil] sp, 1976

luciana ohira
160

Graduados em artes visuais e mestres em poticas visuais pela USP, atuam juntos desde 2006. Seu

protetor solar de murnau e espreguiadeira mvel | 2011 | objetos de

trabalho foi visto em mostras individuais como Notarium Gabinete de Pequenas Diferenas, em

palha tranada, artigos de ciclismo e componentes eletrnicos [wicker objects

Aveiro, Portugal (2009); Temporada de Projetos 2009, Pao das Artes, So Paulo; Luciana Ohira e Sergio

with cycling accessories and electronic components] Feitos para circular pelo espao

Bonilha, Centro Cultural So Paulo (2008); e Expanses Contrteis, MACCuritiba (2007). Estiveram

expositivo, os dois aparatos criam, ao se moverem, padres visuais moir, efeito ptico gerado

em coletivas no Instituto Cervantes, So Paulo (2010), Centro Cultural So Paulo (2009), na III Bienal

por interferncias entre padres geomtricos. O efeito afeta sensivelmente os parmetros

de Porto Santo (Portugal, 2009), no Korea CenterBeijing (China, 2008) e no Centre Pompidou (Frana,

espaciais e os padres de organizao sensorial do pblico. Os objetos tm origem em pesquisa

2008). | Graduates in the visual arts with masters degrees in visual poetics from USP (Universidade

desenvolvida pelos artistas a partir da mescla de materiais simples ou naturais com dispositivos

de So Paulo), the duo has been working together since 2006. Their work has been seen at the solo

tecnolgicos. | Made to circulate throughout the exhibition space, when in movement, the two

exhibitions Notarium Gabinete de Pequenas Diferenas, in Aveiro, Portugal (2009); Project Season

apparatuses create a moir pattern, an optical effect generated by mutual interferences between

2009, Pao das Artes, So Paulo; Luciana Ohira e Sergio Bonilha, Centro Cultural So Paulo (2008); and

two or more geometric forms. The result has a clear impact on the viewers spatial parameters and

Expanses Contrteis, MACCuritiba (2007). They have also featured in group exhibitions at the Instituto

patterns of sensorial organization. The objects are fruit of the duos experiments in melding simple

Cervantes, So Paulo (2010), Centro Cultural So Paulo (2009), the 3rd Bienal de Porto Santo (Portugal,

or natural materials with technological devices.

2009), the Korea CenterBeijing (China, 2008), and at the Centre Pompidou (France, 2008).

colmbia [colombia] - eua [usa], 1969

luis f. ramirez celis

162

Artista, arquiteto, curador e muselogo, mestrando da Stony Brook University de Nova York,

superbloques | 2010 | vdeo [video], 537 A demolio do conjunto habitacional Pruitt

EUA. Trabalha com vdeo e instalao. Foi indicado para o Premio Luis Caballero. Ganhou o Premio

Igoe, em Saint Louis (EUA), ento um excone degradado, foi considerada o marco final do

Bienal de Artes Visuales da Fundacin Gilberto Alzate Avendao (Bogot, Colmbia) e residncias

modernismo na arquitetura americana. Aqui, o prdio desaparece enquanto ouvimos cano

no Encuentro MDE07 (Medelln, Colmbia) e Capacete (Rio de Janeiro). Exps na Lawrence

do venezuelano Simn Daz na qual um morador de Caracas se recusa a deixar o conjunto onde

Alloway Gallery (Nova York) e Galera Santa Fe (Bogot). curador do Museo de Arte del Banco

vive, e que est prestes a ser destrudo. A irnica sobreposio de histrias relaciona a falncia

de la Repblica (Bogot). | Artist, architect, curator, and museologist, Celis is currently pursuing a

do projeto moderno e a insuficincia das solues contemporneas. | The video addresses the

masters degree at Stony Brook University in New York, USA. He works with video and installation.

demolition of the Pruitt Igoe housing project in Saint Louis (USA), a dilapidated former icon, once

Celis was nominated for the Luis Caballero award and won the Grand Prize at the Bienal de Artes

considered the pinnacle of modernism in American architecture. Here, the building implodes to

Visuales da Fundacin Gilberto Alzate Avendao (Bogot, Colombia). He has done residencies at

the sound of a song by the Venezuelan singer Simn Daz, which tells of a resident of Caracas who

Encuentro MDE07 (Medellin, Colombia) and Capacete (Rio de Janeiro). His work has been exhibited

refuses to leave a housing project that is about to be torn down. The ironic overlapping of stories

at the Lawrence Alloway Gallery (New York) and Galera Santa Fe (Bogot). He curates the Museo de

relates the failure of the modern project with the insufficiency of contemporary solutions.

Arte del Banco de la Repblica (Bogot).

brasil [brazil] rs-sp, 1979

luiz roque
164

Bacharel em teoria e crtica pela UFRG, expe h uma dcada. Entre as instituies e eventos

filme dourado | 2010 | vdeo [video], 120 Revelado artesanalmente em processo que

em que j realizou mostras esto: Pao das Artes, So Paulo; Museu do Trabalho, Porto Alegre;

confere colorao dourada ao positivo Super-8, o filme acompanha a trajetria de uma mo que

The New Museum, Nova York, EUA; Center for Contemporary Arts, Santa Fe, EUA; Festival

parece tomar contato com determinados elementos pela primeira vez. As dimenses reduzidas

International du Film sur Lart, Montreal, Canad; Tate Modern, Londres, Inglaterra; Museu

da projeo imprimem uma aura de raridade e atemporalidade ao material, que flerta com a

de Arte Contempornea, So Paulo; Museu de Arte do Rio Grande do Sul, Porto Alegre; e

fico cientfica cinematogrfica. | Developed using an artisanal process that lends a golden hue

Competition for Film and Video on Japan, Tquio, Japo; entre outros. | Holder of a degree in

to positive Super-8 images, the film follows a hand as it appears to make contact with certain

critical theory from UFRG, Roque has been exhibiting for over a decade. Among the institutions

elements for the first time. The reduced dimensions of the projection confer an aura of rarity and

and events that have shown his work are: Pao das Artes, So Paulo; Museu do Trabalho, Porto

atemporality upon the material, which flirts with science fiction film.

Alegre; The New Museum, New York, USA; The Center for Contemporary Arts, Santa Fe, USA;
Festival International du Film sur Lart, Montreal, Canada; The Tate Modern, London, England;
Museu de Arte Contempornea, So Paulo; Museu de Arte do Rio Grande do Sul, Porto Alegre; and
the Competition for Film and Video on Japan, Tokyo, Japan.

argentina, 1963

marcello mercado
166

A relao entre biologia, tecnologia e arte est na base da extensa obra interdisciplinar do artista,

transferring, storing, sharing, and hybriding: the perfect humus |

que transita entre pintura, videoarte, objetos, instalaes, robtica e arte sonora. Premiado

2010 | vdeo [video], 1623 O que estamos armazenando a cada segundo em nossos crebros,

duas vezes no Videobrasil, no Videoformes, na Frana, e no Melbourne International Film &

discos, servidores, cdigos genticos? Quais conexes so geradas entre esses contedos?

Video Festival, Austrlia, exps na Bienal de Veneza, Itlia; no Museo Nacional y Centro de Arte

Considerando a realidade contempornea como um processo de hibridizao e apropriao,

Reina Sofa, Madri, Espanha; no New York Film Festival Lincoln Center, Nova York, EUA; e foi

o trabalho reflete sobre a relao entre arquivos digitais, genoma humano, dados de satlite

contemplado com bolsas e prmios de residncia por instituies como a Fundao Rockefeller

e bancos de dados, o amlgama que fertiliza o futuro. Os cdigos QR (abaixo) do acesso a

& MacArthur (EUA) e Antorchas (Argentina). | The relationship between biology, technology, and

contedos relacionados obra; eles podem ser lidos com aplicativos especiais instalados em

art underpins the artists vast interdisciplinary oeuvre, which spans painting, video art, objects,

smartphones ou tablets. | What do we store away with each passing second in our brains, on

installations, robotics, and sound art. A twotime prizewinner at the Videobrasil Festival as well as

discs and servers, and in genetic codes? What sorts of connections are generated by this content?

at Videoformes in France and the Melbourne International Film & Video Festival, Australia, Mercado

Considering contemporary reality as a process of hybridization and appropriation, the work reflects

has also exhibited at the Venice Biennale, Italy; the Museo Nacional y Centro de Arte Reina Sofa,

on the relationship between digital archives, the human genome, satellite feeds, and databases, the

Madrid, Spain; and at the New York Film Festival Lincoln Center, New York, USA. The artist has

amalgam that fertilizes the future. The QR codes (below) give access to related contents; they can

received residency prizes and scholarships from such institutions as the Rockefeller & MacArthur

be read with special apps installed in tablets or smartphones.

Foundation (USA) and Antorchas (Argentina).

brasil [brazil] mg - alemanha [germany], 1980

marcellvs l.
168

Trabalha com vdeo e som, e exibe internacionalmente desde meados dos anos 2000. Entre

toga | 2010 | vdeo [video], 1503 Gravada no porto de Reykjavk, Islndia, consiste no

suas individuais recentes esto COMMA 34, no Bloomberg Space, Londres (Inglaterra, 2011),

registro de uma grande rede de pesca sendo retirada de um barco que esteve dois meses no mar.

0667/0778/3195/1716, no Living Art Museum, Reykjavk (Islndia, 2011), e Infinitesimal, na Carlier

A obra cria uma dimenso reflexiva a partir de uma estratgia de repetio, e de movimentos

Gebauer, Berlim (Alemanha, 2010). Participou da 16 Bienal de Sydney (Austrlia, 2008), 9

grandiosos e violentos. Mesmo tomado com cmera fixa, recorrente na obra do artista, cria a

Bienal de Lyon (Frana, 2007) e 27 Bienal de So Paulo (2006). Exps em instituies na China,

sensao de puxar e empurrar o espectador, impossibilitandoo de focar sua viso. | Shot at the

em Cingapura e na Espanha, entre outros pases. | The artist works with video and sound, and

port of Reykjavk, Iceland, the video films a large fishing net being hauled off a boat that has just

has been exhibiting internationally since the mid2000s. Among his recent solo exhibitions are

returned from a twomonth stint at sea. The work creates a reflexive dimension through a strategy

COMMA 34, at the Bloomberg Space (London, England, 2011), 0667/0778/3195/1716, at the Living Art

of repetition and grandiose, violent movements. Though filmed using a fixed camera, a staple of

Museum, Reykjavk (Iceland, 2011), and Infinitesimal, at Carlier Gebauer, Berlin (Germany, 2010). His

the artists work, the sensation that the viewer is being constantly pushed and shoved makes it

work featured at the 16th Sydney Biennial (2008), the 9th Lyon Biennial (France, 2007), and the 27th

impossible to focus.

Bienal de So Paulo (2006). He has exhibited at institutions in China, Singapore, and Spain, among
other countries.

Formada pela Escola de Comunicaes e Artes

da Universidade de So Paulo (ECAUSP),
estudou na KHM (Kunsthochschule fr
Medien Kln) de Colnia, Alemanha. Suas
obras tratam de questes suscitadas pelos
fenmenos de migrao, deslocamento
e miscigenao, e seus desdobramentos
frente s mdias contemporneas. Recebeu
brasil [brazil] sp - eua [usa], 1973

Mobile Multimedia Association, Reino Unido),

KHM (Kunsthochschule fr Medien Kln) in

estudo sobre a escurido | 2009

marcia vaitsman

prmios e patrocnios da EMMA (European

Cologne, Germany. Her work deals with issues

| vdeo [video], 1256 Retificar o rio So

derived from the phenomena of migration,

Francisco como se edita um vdeo alterar no

displacement, and miscegenation, and their

apenas seu traado visvel, mas o cotidiano

ramifications in contemporary mediums. She

de vidas que se ligam estreitamente a ele.

has received awards and funding from EMMA

Diante de um rio que est prestes a ter seu

(European Mobile Multimedia Association,

leito transposto, a artista atenta escurido

UK), UnescoAshberg (France), Funarte

que o circunda ao anoitecer. No crepsculo de

(Brazil), SCAD (University for Creative Careers,

um percurso fsico e de memrias, a obra cria

USA), Iamas (Institute for Advanced Media

intervenes na paisagem que metaforizam

Arts and Sciences, Japan), Prince Claus Fund

a mudana do rio e suas diversas fases. | To

(Holland), and HIAP (Helsinki International

straighten out the So Francisco River as if

170

ArtistinResidence Program, Finland), among

editing a video is to alter not only its visible

others. She has exhibited in Europe, the

contours, but also the everyday lives of all those

Americas, and Asia.

whose livelihoods depend on it. Faced with a

UnescoAshberg (Frana), Funarte (Brasil),

SCAD (University for Creative Careers, EUA),
Iamas (Institute for Advanced Media Arts
and Sciences, Japo), Prince Claus Fund
(Holanda), HIAP (Helsinki International
ArtistinResidence Programme, Finlndia),
entre outros. Exps na Europa, Amricas
e sia. | A graduate of the Escola de
Comunicaes e Artes da Universidade de
So Paulo (ECAUSP), Vaitsman studied at

river whose course is about to be rerouted, the

artist remains attentive to the darkness that
envelopes it at nightfall. At the twilight of a
course both physical and made of memories,
the work creates interventions in the landscape
that serve as metaphors for the changes to the
river and its various phases.

eua [usa], 1972

jonathan case
polnia [poland], 1968

marek ranis
172

Formado pela Academy of Fine Arts em Wroclaw, Polnia, Marek Ranis usa escultura, instalao,

machines for living | 2010 | vdeo [video], 402 Sob um vis fantstico, a obra revisita

vdeo, fotografia, pintura e arte pblica em uma obra que trata de temas sociais, polticos e

as ideias utpicas do arquiteto suo conhecido como Le Corbusier (18871965), um dos mais

ambientais. Premiado e contemplado com residncias nos EUA, Austrlia, Europa, frica e

influentes do sculo 20. Servindose de materiais que vo de uma das ltimas entrevistas do

sia, criou instalaes de grandes dimenses em oito pases e participou de oitenta mostras.

arquiteto a imagens de elefantes, questiona as maneiras como interpretamos Corbusier e ideias

professor adjunto de escultura da University of North Carolina, em Charlotte, EUA. Cineasta e

mais amplas sobre nossas formas de morar e coexistir. | With a fantastical touch, the work

produtor de TV, Case estudou cinema na State University of New York. Seus curtasmetragens de

revisits the utopian ideas of the Swiss architect known as Le Corbusier (18871965), one of the

fico foram exibidos em festivais nos EUA. Atuou profissionalmente na televiso por cerca de

most influential of the 20th century. Drawing from materials as diverse as pictures of elephants

dez anos e recebeu prmios por roteiros, edies e animaes. | A graduate of the Academy of Fine

and excerpts from one of the architects last interviews, the video questions how we interpret Le

Arts in Wroclaw, Poland, Ranis uses sculpture, installation, video, photography, painting, and public

Corbusier and broader ideas on our ways of dwelling and coexistence.

art in an oeuvre that addresses social, political, and environmental themes. The winner of prizes and
residencies in the USA, Australia, Europe, Africa, and Asia, he has created largescale installations in
eight countries and participated in over eighty exhibitions. He teaches sculpture at the University of
North Carolina, Charlotte, USA. Jonathan Case is a filmmaker and television producer. He studied film
at the SUNY Purchase conservatory program. His shortform narrative works have appeared in several
film festivals across the USA. He has worked professionally in television for nearly ten years and won
several awards for his writing, editing, and motion design.

peru - espanha [spain], 1983

maya watanabe
174

Artista visual, cofundou o coletivo peruano

abrasis | 2009 | videoinstalao, dois

Bsico e integra o Arquivo de Jovens Criadores

canais [twochannel video installation]

de Matadero (Madri, Espanha). Realizou mostras

A artista constri o vdeo com dilogos

em instituies como Museo Reina Sofa

extrados de filmes diversos, em diferentes

(Madri), Museo de Arte Moderno de Buenos

lnguas, que formam um roteiro novo e

Aires (Argentina), Crculo de Bellas Artes (Madri),

enigmtico, em dilogo com composies

Fundacin Telefnica (Lima, Peru, e Buenos

visuais de significao sutil. A narrativa

Aires), Laboratorio Arte Alameda (Cidade do

estilhaada lida com elementos como memria

Mxico, Mxico) e 798 Art District of Beijing

e entrecruzamento de culturas. O ttulo rene

(China). Participou de festivais e mostras como

um prefixo que se refere a fissuras produzidas

FILE (So Paulo), Transitio MX (Cidade do Mxico),

no solo por abalos ssmicos e um sufixo que

Madrid Abierto e Off LOOP (Barcelona, Espanha).

contm a ideia de desenvolvimento. | The video

Realizou residncia na Cit Internationale

is constructed out of snippets of dialogue from

des Arts (Paris, Frana, 2010). | A visual artist,

various films in different languages, forming

Watanabe cofounded the Peruvian collective

a new and enigmatic script that dialogues

Bsico and is a member of the Arquivo de Jovens

with visual compositions endowed with subtle

Criadores de Matadero (Madrid, Spain). She has

meanings. The fragmented narrative deals with

held exhibitions at such institutions as the Museo

memory and intersecting cultures. The title is a

Reina Sofa (Madrid), Museo de Arte Moderno

composite of a prefix used to designate fissures

de Buenos Aires (Argentina), Crculo de Bellas

caused in the soil by seismic events and a suffix

Artes (Madrid), Fundacin Telefnica (Lima, Peru,

that conveys the notion of development.

and Buenos Aires), Laboratorio Arte Alameda

(Mexico City, Mexico), and 798 Art District of Beijing
(China). She has participated in various festivals
and shows, including FILE (So Paulo), Transitio
MX (Mexico City), Madrid Abierto, and Off LOOP
(Barcelona, Spain). She took a term of residency at
Cit Internationale des Arts (Paris, France, 2010).

Com uma filmografia que conta com mais de

duas dezenas de obras, produzidas desde
1994, e uma produo tambm em fotografia,
tem participado tanto de exposies de artes
visuais quanto de festivais de cinema e vdeo
na Austrlia e em outros pases. Leciona na
escola de artes da Universidade de Sydney,
Austrlia. | With a filmography that runs to over

merilyn fairskye

austrlia [australia], 1950

two dozen films produced since 1994 and a

176

considerable output in photography, Fairskye

has participated in visual arts exhibitions, and
cinema and video festivals in Australia and
other countries. She lectures in art at Sydney
University, Australia.

aqua/ocean | 2009 | videoinstalao,

dois canais [two-channel video
installation] Em um dia cinzento, um grupo

de surfistas rema em direo a um navio que

cruza seu campo visual. A dinmica sutil da
paisagem cria uma reveladora experincia
visual, em que o tempo simultaneamente dilui
e constri a dimenso pictrica do trabalho.
Uma potica delicada, em que a paisagem
personagem. | On a grey day, a group of surfers
paddles toward a ship that crosses their visual
field. The subtle landscape dynamics creates
a revealing visual experience in which time
simultaneously dilutes and constructs the
pictorial dimension of the work; a delicate
poetic in which the seascape is the protagonist.

romnia [romania] - franA [france], 1981

mihai grecu
178

Formado em cinema na Romnia e na Frana, sua complexa linguagem visual articula imagens

surfaces: coagulate and centipede sun | 2010 | videoinstalao, dois

simblicas, situaes metafricas e atmosferas surreais, desafiando a percepo do espectador.

canais [twochannel video installation] Dois videopoemas que criam metforas sobre

Mostrou trabalhos em eventos como Rotterdam Festival, Holanda; Festival of New Cinema,

desconstruo, isolamento e os limites dos territrios habitveis, proporcionando uma

Montreal, Canad; e Videoformes, ClermontFerrand, Frana. Exps no Grand Palais e no Mois de

experincia visual que trata da condio ambiental contempornea. Com imagens fascinantes

la Photographie, em Paris, Frana, e na Hengesbach Gallery, em Berlim, Alemanha, entre outras

de paisagens em transformao, o trabalho flerta com a fico cientfica para gerar reflexes

mostras e instituies. | With degrees in cinema from Romania and France, his complex visual

polticas, sociais e ecolgicas. | Two video poems create metaphors for deconstruction, isolation,

language articulates symbolic images, metaphorical situations, and surreal atmospheres that

and the borders of inhabitable territories, furnishing a visual experience that deals with the

challenge the viewers perception. He has shown work at such events as the Rotterdam Festival,

contemporary environmental condition. With fascinating images of landscapes in transformation,

Holland; Festival of New Cinema, Montreal, Canada; and Videoformes, ClermontFerrand, France.

the work flirts with science fiction in order to generate political, social, and ecological reflections.

He has also exhibited at the Grand Palais and Mois de la Photographie in Paris, France, and at the
Hengesbach Gallery in Berlin, Germany, among other shows and institutions.

brasil [brazil] sp, 1953

cac vicalvi
brasil [brazil] rj, 1947

milton machado
180

Formado em arquitetura e urbanismo pela

vermelho | 2009 | vdeo [video], 656,

Universidade Federal do Rio de Janeiro, com

loop A obra integra srie em que Machado

doutorado em artes visuais no Goldsmiths

desloca objetos e imagens do contexto de

College, Milton Machado expe desde os

uma fbrica moveleira para o espao de uma

anos 1970, transitando entre desenho, objeto,

galeria de arte, criando conjuntos de forte

escultura, vdeo, fotografia e instalaes.

presena plstica e ordenando trabalhos

Fez individuais recentes no Instituto Tomie

como se em uma linha de montagem. O

Ohtake, So Paulo (2005), e Barbican Centre,

vdeo exemplar de uma interveno que

Londres (Inglaterra, 2000), e esteve na 7

instaura ou evidencia relaes entre mbitos

Bienal do Mercosul, Porto Alegre (2009).

teoricamente estanques, como industrial e

Carlos Vicalvi jornalista e documentarista

artstico, arquitetnico e pictrico, familiar e

com passagem por emissoras de TV como

poltico. | The work is part of a series in which

Bandeirantes, Globo, Cultura e SESCTV. Criou

Machado takes objects and images out of

a Documenta, produtora que se dedica

their original context in a furniture factory and

difuso da arte brasileira, com acervo de

introduces them into a gallery space, creating

documentrios sobre mais de quatrocentos

arrangements with strong plastic presence and

artistas contemporneos. | Machado is a

organizing works as if on an assembly line. The

graduate in architecture and urban planning

video exemplifies an intervention that creates

from the Universidade Federal do Rio de

or evinces relations between such theoretically

Janeiro and holder of a doctorate in the visual

distinct ambits as industry and art, the

arts from Goldsmiths College; the artist has

architectonic and the pictorial, the familiar and

been exhibiting since the 1970s, moving freely

the political.

between drawing, objects, sculpture, video,

photography, and installations. He has held
solo exhibitions at the Instituto Tomie Ohtake,
So Paulo (2005), and Barbican Centre, London
(England, 2000), and featured in the 7th
Mercosur Biennial in Porto Alegre (2009). Vicalvi
is a journalist and documentary maker who
has worked for the TV stations Bandeirantes,
Globo, Cultura, and SESCTV. He has founded
Documenta, a producer dedicated to the
diffusion of Brazilian art that has amassed
a collection of documentaries on over four
hundred contemporary artists.

israel - alemanha [germany], 1982

moran shavit
182

Graduada em fotografia pela Wizo Haifa

exploring | 2010 | vdeo [video], 507

Academy of Design and Education, em Israel,

A obra retoma a correspondncia trocada entre

mestranda no programa internacional Arte

a artista e seu pai quando este trabalhava

em Espaos Pblicos e Novas Estratgias

em um navio cargueiro, percorrendo o mundo.

Artsticas, na Bauhaus University, Weimar,

Quando o pai l o que ele prprio escreveu, ou

Alemanha. Expe h cinco anos em seu pas.

a artista comenta as mensagens a partir de

Utilizando sobretudo fotografia e vdeo, seu

uma perspectiva adulta, outras dimenses

trabalho aborda as relaes entre tempo e

se articulam: espao geogrfico e subjetivo,

espao. | A photography graduate from the

memria objetiva e afetiva. Imagens dos

Wizo Haifa Academy of Design and Education

cartespostais enviados junto ajudam a

in Israel, Shavit is pursuing a masters degree

traar essa inconclusa cartografia afetiva.

on the international program Art in Public

| The video works with the correspondence

Spaces and New Artistic Strategies at the

exchanged between the artist and her father

Bauhaus University, Weimar, Germany. She

while the latter was away working on ocean

has been exhibiting in Israel for five years now,

tankers. When the father reads back some of

and her work generally addresses relations

his old letters or the artist comments on these

between space and time, using mainly

messages from an adult perspective, other

photography and video.

dimensions begin to come into play, such as

geographic and subjective space, and objective
and affective memory. Pictures of the postcards
that accompanied some of the letters help draw
up this inconclusive emotional map.

ndia [india], 1978

natasha mendonca
184

Artista visual formada pelo St. Xaviers College (Mumbai, ndia), mestre em belasartes, com

Jan Villa | 2010 | Vdeo [Video], 2116 Mesclando registros documentais e memrias

especializao em cinema e vdeo pelo California Institute of the Arts (EUA). Dedicase sobretudo

pessoais, a obra retrata a situao da cidade indiana de Mumbai depois da inundao causada

s temticas familiar, social, sexual e de gnero. Foi premiada no Ann Arbor Film Festival (EUA,

pelas mones de 2005. A artista revisita seu bairro, que d nome ao trabalho, e constri a partir

2011) e no International Film Festival Rotterdam (Holanda, 2011), e exibiu obras em festivais e

dele um mosaico que , ao mesmo tempo, um retrato da devastao e de suas consequncias

mostras na Sua, EUA, Holanda, ndia, Alemanha, Tailndia, ustria, Canad, Itlia, Esccia,

emocionais, e uma anlise do desmantelamento de santurios pessoais, num sentido universal.

Alemanha e Frana. | A visual artist and graduate of St. Xaviers College (Mumbai, India), Mendonca

| Mixing documentary and personal memories, the work portrays the floodstricken Indian city

holds a masters degree in the fine arts with emphasis on cinema and video from the California

of Mumbai after the monsoon of 2005. The artist revisits the neighborhood from which the work

Institute of the Arts (USA). She deals mostly with familyrelated, social, sexual, and gender themes.

takes its name and uses it to piece together a mosaic that is, at once, a portrait of devastation

She has received awards from the Ann Arbor Film Festival (USA, 2011) and the International Film

and its emotional consequences, and an analysis of the crumbling of personal sanctuaries, in a

Festival Rotterdam (Holland, 2011), and has shown work at festivals and exhibitions in Switzerland,

universal sense.

the USA, Holland, India, Germany, Thailand, Austria, Canada, Italy, Scotland, and France.

Graduado em artes visuais pela Universidade

de Braslia (UnB, DF), atua desde os anos 1990
como artista, educador, curador e consultor
em projetos de arte e gesto de acervos.
Fez individuais nas galerias Mariana Moura,

nazareno

brasil [brazil] sp, 1967

Recife (2009), Virglio, So Paulo (2006 e 2007),

186

Itaugaleria e Funarte, Braslia (1997). Exps

eu sempre soube | 2010 | objeto em

em coletivas no SESC Pinheiros, Memorial da

madeira, 10 m [wooden object, 10 sq m]

Amrica Latina (2010) e MACUSP (2009), em

Rplica escultrica de uma montanha-russa,

So Paulo, na ARCO 2007 (Madri, Espanha) e no

a obra cria uma alegoria dos processos

MAMRJ (2005). | A graduate in the visual arts

interiores do indivduo: convida o espectador

from the Universidade de Braslia (UnB, DF), he

a percorrer de maneira cclica um trajeto

has been working as an artist, educator, curator,

simblico de altos e baixos, em nveis

and consultant on art and projects/collection

de leitura que podem envolver os planos

management since the 1990s. He has held solo

emocional e sensorial. A construo, slida,

exhibitions at such galleries as Mariana Moura,

contrasta com a precariedade sugerida

Recife (2009), Virglio, So Paulo (2006 and

pela miniaturizao do referente, ao mesmo

2007), Itaugaleria and Funarte, Braslia (1997).

tempo em que a relao de representao

He also featured in group exhibitions at SESC

confrontada com a potica da estrutura. | A

Pinheiros, Memorial da Amrica Latina (2010),

sculptural replica of a roller coaster, the work

and MACUSP (2009), in So Paulo, at ARCO

creates an allegory for the inner processes

2007 (Madrid, Spain), and at MAMRJ (2005).

experienced by the individual, inviting the

viewer to follow, cyclically, a symbolic course
of ups and downs that straddle interpretive
levels across the emotional and sensorial
planes. The solid construction contrasts
with the precariousness suggested by the
miniaturization of the subject, at the same
time as the relationship of representation is
confronted with the poetics of the structure.

austrlia [australia], 1979

nicola morton
188

Estudou tecnologia sonora e musicologia no Queensland Conservatorium of Music (Brisbane,

remote viewing experiment #1 | 2009 | vdeo [video], 5019 A obra uma leitura

Austrlia), interessandose sobretudo pelo desenvolvimento de tecnologias sonoras interativas.

artstica de uma experincia militar desenvolvida para testar relaes que se estabelecem em um

Foi contemplada com bolsas para residncias em Helsinque (Finlndia), Newcastle (Austrlia)

nvel psquico. A artista convida amigos e desconhecidos a trocar objetos retirados de diferentes

e Yogyakarta (Indonsia). Seu trabalho j foi apresentado em festivais em Las Vegas (EUA),

cenrios. Ento, cada envolvido tenta descrever o local de onde vm os objetos. Enquanto

Helsinque e Brisbane. Sua obra investiga temas como transe, poderes psquicos e viagens no

examina espaos privados e o significado dos objetos que os compem, a obra pondera, num

tempo. | Morton studied sound technology and musicology at the Queensland Conservatorium

sentido mais sutil, sobre a existncia de frequncias psquicas que se comunicam. | The work

of Music (Brisbane, Australia), with emphasis on interactive sound technologies. She has won

is an artistic reading of a military experiment conducted to test relations established on a psychic

residency scholarships in Helsinki (Finland), Newcastle (Australia), and Yogyakarta (Indonesia). Her

level. The artist invites friends and strangers to exchange objects taken from a range of different

work, which has been presented at festivals in Las Vegas (USA), Helsinki, and Brisbane, investigates

settings. Each participant must then attempt to describe the place the objects come from. As

the themes of trance, psychic powers, and time travel.

the film examines private spaces and the meanings of their constituent parts, it pursues a subtle
contemplation of the existence of intercommunicating psychic frequencies.

A artista se vale de diferentes meios para

abordar de forma crtica questes como
paisagem e ambiente, corpo e interao social,
superfcie construda e degradao urbana.
Participou da Bienal de Sydney (Austrlia),
St. Tropez Film Festival (Frana) e SXS

nurit sharett

israel, 1963

Dinamarca, alm de residncias e de projetos

190

como o Creative Fellow em arquitetura, na

h2 | 2010 | vdeo [video], 2643 A obra

University of Technology (Sydney, Austrlia), e o

um relato do tempo em que a artista passou

Honorary Fellow in Creative Arts, na University

em Hebron, na Cisjordnia, dando aulas de

of Wollongong (Austrlia). | The artist uses

vdeo para jovens palestinas. O ttulo alude

different mediums to take a critical look at such

condio de uma cidade dividida em duas

issues as the landscape and environment, the

sees de comunicao controlada, uma

body and social interaction, the constructed

governada pela Autoridade Nacional Palestina,

surface and urban degradation. She has

a outra, por Israel, apesar de habitada por

exhibited at the Sydney Biennial (Australia), the

99,98% de palestinos. Sharett dirige seu

St. Tropez Film Festival (France), and the SXS

olhar ao cotidiano das mulheres com quem

Denmark, and participated in the residencies

convive, atenta aos aspectos culturais e

and projects Creative Fellow in architecture, at

polticos de viver numa cidade partida. | The

the University of Technology (Sydney, Australia),

work records the time the artist spent teaching

and the Honorary Fellow in Creative Arts, at the

video to Palestinian young women in the West

University of Wollongong (Australia).

Bank city of Hebron. The title alludes to the

condition of a town divided into two sections
of controlled communication, one by the
National Palestinian Authority and the other by
the Israeli government, despite the city being
99.98% Palestinian. Sharett trains her gaze on
the women with whom she has daily contact,
particularly attentive to the cultural and
political aspects of living in a divided city.

orit benshitrit

israel - eua [usa], 1979

Constructos sociais como famlia, religio e Estado so temas centrais na obra do artista, que

192

men die and they are not happy | 2010 | videoinstalao, dois canais

mescla fotografia, vdeo e dana. Exps individualmente em instituies como o Royal College of

[twochannel video installation] A obra examina as relaes entre lder, povo e lei por

Art (Londres, Inglaterra), Artists Space (Nova York, EUA), La Nau Universitat de Valencia (Espanha)

meio de personagens e passagens metafricas. Um narrador danarino conduz a ao, que

e Haifa Museum of Art (Israel). Teve uma obra comissionada pela Zoom Contemporary Art Fair

ope representantes das trs instncias e um personagem que luta contra uma fora invisvel.

(Miami, EUA) e fez residncia no LMCC Swing Space (Nova York). | Social constructs, such as the

Uma investigao existencial sobre questionamentos universais, que mescla performance,

family, religion, and State, are the core themes of the artists work, which blends photography, video,

danateatro e criaes literrias, como a linguagem que amalgama dialetos germnicos

and dance. She has exhibited individually at such institutions as the Royal College of Art (London,

e berberes. | The work examines the relationships between leaders, the people, and the law

England), Artists Space (New York, USA), La Nau Universitat de Valencia (Spain), and Haifa Museum

through characters and metaphorical passages. The dancing narrator conducts the action,

of Art (Israel). The artist has had a work commissioned by the Zoom Contemporary Art Fair (Miami,

which opposes representations of these three foci and a character seen struggling against some

USA) and has done residency at LMCC Swing Space (New York).

invisible adversary. The piece is an existential investigation into universal questionings, blending
performance, dancetheater, and literary creations, such as the language that mixes Germanic
and Berber dialects.

brasil [brazil] mg, 1976

pablo lobato
194

Formado em comunicao e artes pela PUC

bronze revirado | 2010 |

Minas, especializouse em cinema. um

videoinstalao, um canal [single-

dos criadores do Teia Centro de pesquisa

channel video installation] A obra registra,

audiovisual, em Belo Horizonte. Seus filmes e

desde os bastidores, a execuo de um dobre

instalaes foram vistos no Panorama da Arte

festivo em uma igreja de So Joo Del Rey,

Brasileira Museu de Arte Moderna de So

Minas Gerais. Numa perigosa coreografia, um

Paulo (2007); no 36 International Film Festival

grupo de sineiros impulsiona e percute um

Rotterdam (Holanda, 2007); no Sundance Film

sino de uma tonelada, que gira em velocidade

Festival (EUA, 2007); e nas mostras In and Out

crescente. A obra extrai significados da

of Context, New Museum, Nova York (EUA,

repetio e de recursos da performance.

2010), e O Desejo da Forma Neoconcretismo

Gestos, materiais e sons que, no caso do

and Contemporary Art from Brazil, Akademie

sino, tm o dom de se integrar paisagem

der Kunst, Berlim (Alemanha, 2010). | With a

sensorial de uma cidade concorrem para

degree in communication and art from PUC

criar uma identidade coletiva e imaterial. | The

Minas, Lobato specialized in cinema. He is one

work takes a behindthescenes peek at the

of the creators of the audiovisual research

ringing of a festive peal of bells at a church in

center Teia, in Belo Horizonte. His films and

So Joo Del Rey, Minas Gerais. In a dangerous

installations have been seen in the Panorama

choreography, a group of bell ringers tug and

da Arte Brasileira Museu de Arte Moderna

toll a oneton bell that swings with increasing

de So Paulo (2007); at the 36th International

speed. The work draws meanings from the

Film Festival of Rotterdam, Holland (2007);

repetition and resources of the performance.

the Sundance Film Festival, USA (2007); and

Movements, materials, and soundswhich,

in the exhibitions In and Out of Context New

in the case of the bell, are capable of blending

Museum, New York (USA, 2010) and O Desejo

into the sensorial landscape of a townvie to

da Forma Neoconcretism and Contemporary

create an immaterial collective identity.

Art from Brazil Akademie der Kunst, Berlin

(Germany, 2010).

brasil [brazil] sp, 1975

paula garcia
196

Artista e pesquisadora, mestre em artes visuais pela Faculdade Santa Marcelina, SP, e bacharel

# 4 (da srie corpo rudo estudo para um soterramento) | 2011 |

em artes plsticas pela FAAP. Suas pesquisas e experincias artsticas enfocam performance

performance/instalao, ms de neodmio, resduos de metais [performance/

e as relaes desta linguagem com as mdias. Esteve na 6 Mostra Anual de Performance na

installation, neodymium magnets, scrap metal], 30 A obra confronta as sensaes de

Galeria Vermelho (So Paulo, 2010) e em coletivas como Galeria Expandida (Luciana Brito Galeria,

peso e leveza ao reunir objetos de uso cotidiano e resduos metlicos com ms de neodmio.

So Paulo, 2010), Variao, na Escola So Paulo (Projeto Encontros com Arte, 2009) e Vorazes,

Paredes e teto so impregnados de fora magntica; medida que as peas e detritos se

grotescos e malvados, no Pao das Artes (So Paulo, 2005). | An artist and researcher, Garcia

espalham, acontece uma espcie de soterramento invertido do espao. A presena e a ao da

holds a masters degree in the visual arts from the Faculdade Santa Marcelina, SP, and a degree in

artista tornam o trabalho um hbrido de performance e instalao residual, e invocam questes

art from FAAP. Her artistic research and experiments focus on performance and its relations as a

para alm de uma leitura meramente formal. | The work contrasts the sensations of levity and

language with other media. She was present at the 6th Annual Performance Exhibition at Galeria

weight by uniting everyday objects and scrap metal with neodymium magnets. Walls and ceiling are

Vermelho (So Paulo, 2010) and her work featured in the group exhibitions Galeria Expandida

endowed with magnetism, and as the objects and scrap spread across the space, we witness a sort

(Luciana Brito Galeria, So Paulo, 2010), Variao, Escola So Paulo (Projeto Encontros com Arte,

of reverse landslide. The artists presence and action turn the work into a hybrid of performance and

2009), and Vorazes, grotescos e malvados, at Pao das Artes (So Paulo, 2005).

residual installation, invoking questions that go beyond a merely formal reading.

brasil [brazil] sp, 1988

paulo nimer pjota

198

Bacharel em artes visuais pelo Centro

Universitrio BelasArtes de So Paulo.

(ndice 1, contiguidade no
imediata) | 2011 | acrlica, carvo, lpis,

e EUA, em 2007 e, no mesmo ano, recebeu

caneta, fita crepe e papel vegetal sobre

tela, trptico [acrylic, charcoal, pencil,
pen, masking tape, and tracing paper on

a premiao mxima no Salo de Artes de

canvas, triptych], 200 x 465 cm O trabalho

So Jos do Rio Preto e no Salo de Artes de

integra pesquisa sobre a cidade e a relao

Piracicaba. Em 2009 realizou sua primeira

inusitada que ela promove entre imagens

exposio individual fora do Brasil, na galeria

prosaicas e referenciais da histria da arte. A tela

Comeou a participar de exposies, algumas

delas no Brasil e outras em Londres, Sua

Anno Domini, em San Jos, Califrnia, EUA.

pensada como espao de insero contnua e

| With a degree in the visual arts from Centro

de registro de processos de criao e convvio.

Universitrio BelasArtes de So Paulo, PJota

Em dilogo com manifestaes que despem

started featuring in exhibitions in 2007 and has

desenho e pintura de seu carter artstico

shown work in Brazil, England, Switzerland, and

pichaes, inscries em banheiros pblicos , o

the USA. Also in 2007, he won the grand prize

artista convidou amigos e artistas para colaborar

at the So Jos do Rio Preto and Piracicaba Art

na obra, inserindo nela rudos. | The work is

Salons. In 2009 he held his first solo exhibition

part of the artists research on the city and the

outside Brazil, at the Anno Domini Gallery in

unusual relationship it forges between humdrum

San Jose, California, USA.

images and references from the history of art. The

canvas is approached as a space of continuous
insertion on which to record processes of creation
and cohabitation. In dialogue with manifestations
that strip drawing and painting of their artistic
charactergraffiti, tags, writing on public
lavatories, the artist invited friends and artists
to collaborate on the work, filling it up with noise.
Obra comissionada pelo 1 Prmio Ateli Aberto Videobrasil
e realizada em convvio na Casa Tomada, So Paulo [Work
commissioned for the 1st Videobrasil Open Studio Prize and
produced at the collective studio Casa Tomada in So Paulo].

Baseado na fotografia e no vdeo, seu trabalho

explora o artificialismo da publicidade.
Participou de festivais como Australian Art
Film Festival (Londres, Inglaterra, 2011),

petrina hicks

austrlia [australia], 1975

Pingyao International Photography Festival

200

(China, 2010) e 15 Biennial of Photography

(Mxico, 2010). Fez individuais na Austrlia e
no Japo, e residncias na Alemanha (2009)
e em Paris, Frana. Ganhou o ABN Amro
Emerging Artist Award 2008. Tem obras em
acervos na Austrlia, Alemanha, Frana, Itlia,
Reino Unido e EUA. | Based on photography
and video, her work explores the artificiality
of advertising. She has participated in such
festivals as the Australian Art Film Festival
(London, England, 2011), Pingyao International
Photography Festival (China, 2010), and the
15th Biennial of Photography (Mexico, 2010),

the chrysalis | 2010 | vdeo sem udio

[video, silent], 637, loop Belas flores que

brilham sob gotas de orvalho so sensualmente

and has held solo exhibitions in Australia and

lambidas por uma modelo, em um trabalho que

Japan. In addition to exhibitions, she has also

subverte a lgica de seduo e glamourizao

done residencies in Germany (2009) and in

das imagens publicitrias. A captao em

Paris, France. She won the ABN Amro Emerging

alta velocidade possibilita combinar efeito de

Artist Award in 2008. Her work features in

cmera lentssima e imagens em alta resoluo.

collections in Australia, France, Germany, Italy,

The chrysalis utiliza expedientes da propaganda

the UK, and the U.S.

para transmutar atrao em repulsa. | Beautiful

dewsoaked flowers are licked sensually by
a model, subverting the logic of seduction
and glamorization of advertising images.
Highvelocity recording allows the artist to
combine ultraslow motion with high definition.
The chrysalis uses the tools of advertising in
order to transform attraction into repulsion.

brasil [brazil] pr, 1985

rafael urban
202

Psgraduando em histria da arte moderna e contempornea na Escola de Msica e BelasArtes

ovos de dinossauro na sala de estar | 2010 | vdeo [video], 1228 Viva de

do Paran (Embap), estudou artes visuais e fotografia. Jornalista e escritor especializado em

um colecionador de material paleontolgico, a alem radicada no Brasil Ragnhild Borgomanero,

cinema, produziu curtasmetragens e coordenou o Putz Festival Universitrio de Cinema e

de 77 anos, dedicase a preservar a memria e o acervo do marido, que reuniu a maior coleo

Vdeo de Curitiba, e o Curta 8 Festival Internacional de Cinema Super8 de Curitiba. | Holder

particular de fsseis da Amrica Latina. Autodidata, ela aprendeu a manejar ferramentas

of a graduate degree in the history of modern and contemporary art from the Escola de Msica

tecnolgicas para levar adiante sua misso, em torno da qual construiu um poderoso discurso.

e BelasArtes do Paran (Embap), Urban studied the visual arts and photography. As a journalist

Paradigmtica da noo de arqueologia ntima, a obra explora a relao entre memria pessoal

and writer specialized in cinema, he has produced short films and coordinated the Curitibabased

e histria coletiva. | The widow of a collector of paleontological material, the Brazilbased

festivals Putz Festival Universitrio de Cinema e Vdeo de Curitiba, and Curta 8 Festival

German Ragnhild Borgomanero, 77, devotes her time to preserving her husbands memory and

Internacional de Cinema Super8 de Curitiba.

estate, the largest private fossil collection in Latin America. Selftaught, she learned how to use
the technological tools she would need to fulfill her mission, around which she has constructed
a powerful discourse. Paradigmatic of the notion of private archaeology, the work explores the
relationship between personal memory and collective history.

as prolas, como te escrevi | 2011

| videoinstalao, quatro canais [fourchannel video installation] Imigrantes

ilegais que vivem em So Paulo, provenientes

da Bolvia, Peru, Colmbia, Argentina, Congo
e Guin, so convidados a ler trechos da carta
Mundus Novus, de Amrico Vespcio. Escrito
entre 1503 e 1504, esse relato tido como o
discurso inaugural sobre o Novo Mundo, diante
de uma Europa que ainda no o conhece.

regina parra

brasil [brazil] sp, 1981

Do peculiar sotaque e entonao de cada

204

imigrante, nasce uma polifonia que questiona a

condio do estrangeiro e discute o significado
de viver entre duas fronteiras, assim como as
contradies, as relaes de poder e a violncia
cultural que uma lngua estranha capaz de
Mestranda em artes visuais na Faculdade

impor. | So Paulo-based illegal immigrants

Santa Marcelina (FASM) e graduada em

from Bolivia, Peru, Colombia, Argentina, Congo,

artes plsticas pela Fundao Armando

and Guinea are invited to read excerpts from

Alvares Penteado (FAAP), Regina Parra j fez

Amerigo Vespuccis Mundus Novus. Written

exposies individuais em Recife, na Fundao

between 1503 and 1504, the letter is taken

Joaquim Nabuco, e em So Paulo, no Pao das

as an inaugural discourse on the New World

Artes e na Galeria Leme. Tambm participou

addressed to a Europe to which it was, as yet,

de coletivas como This Is Not a Gateway,

unknown. From the particular accent and

Hanbury Hall, Londres, Inglaterra, 2010;

intonation of each immigrant comes a polyphony

Paralela, Liceu de Artes e Ofcios, So Paulo,

that questions the condition of the foreigner

2010; e 2000 e Oito, SESC Pinheiros, So Paulo,

and discusses the meaning and contradictions

2008; alm de ter sido artista selecionada

of living between two frontiers, as well as the

pela Bolsa Iber Camargo em 2009. | Currently

power relations and cultural violence that a

taking a masters degree in the visual arts at

foreign language is capable of imposing.

Faculdade Santa Marcelina (FASM) and holder

of a degree in art from Fundao Armando
Alvares Penteado (FAAP), Regina Parra has held
individual exhibitions at Fundao Joaquim
Nabuco, Recife, and Pao das Artes and Galeria
Leme, So Paulo. She has also participated in
the collective exhibitions This Is Not a Gateway,
Hanbury Hall, London, England, 2010; Paralela,
Liceu de Artes e Ofcios, So Paulo, 2010; and
2000 e Oito, SESC Pinheiros, So Paulo, 2008;
as well as being awarded an Iber Camargo
Scholarship in 2009.

Obra comissionada pelo 1 Prmio Ateli Aberto Videobrasil

e realizada em convvio na Casa Tomada, So Paulo [Work
commissioned for the 1st Videobrasil Open Studio Prize and
produced at the collective studio Casa Tomada in So Paulo].

brasil [brazil] sp, 1976

ricardo carioba
206

Artista plstico formado pela FAAP, tem uma produo que envolve experimentaes visuais e

perspectiva sobre fundo negro | 2010 | vdeo [video], 4 A partir de uma animao

sonoras em mdias eletrnicas. Fez individuais no MISSP (2010), Gallery 32, Londres (Inglaterra,

na qual o observador passeia por uma estrutura espacial transparente, a obra investiga a ideia

2008), Oi Futuro, Rio de Janeiro (2007) e Pao das Artes, So Paulo (2003). Participou de coletivas

de perspectiva presente na imagem produzida, em contraste com a perspectiva percebida

como Ateno: Estratgias para perceber a arte, Museu de Arte Moderna de So Paulo (2009); Arte

diretamente pelo ser humano. A questo : como recurso artstico, a perspectiva se orienta

pela Amaznia, Pavilho da Bienal de So Paulo (2008); Comunismo da forma, Galeria Vermelho,

por um ponto de fuga, mas o mesmo acontece com as perspectivas da vida real? | Through an

So Paulo (2007); e ARCO 2003, Madri, Espanha. Seu trabalho integra o acervo do MAMSP. | An

animated sequence in which the observer travels through a transparent spatial structure, the work

art graduate from FAAP, Cariobas output involves visual and sound experiments in electronic media.

investigates the idea of perspective in the produced image as opposed to that captured directly by

He has held solo exhibitions at MISSP (2010), Gallery 32, London (England, 2008), Oi Futuro, Rio de

the human eye. The question is: as an artistic resource, perspective is anchored by a vanishing point,

Janeiro (2007), and Pao das Artes, So Paulo (2003). His work has appeared in the group exhibitions

but is the same true for reallife vision?

Ateno: Estratgias para perceber a arte, Museu de Arte Moderna de So Paulo (2009); Arte pela
Amaznia, So Paulo Biennial Pavilion (2008); Comunismo da forma, Galeria Vermelho, So Paulo
(2007); and ARCO 2003 Madrid, Spain. His work features in the MAMSP collection.

brasil [brazil] sp, 1983

roberto winter
208

Formado pelo Instituto de Fsica da USP (2005),

ensaio sobre liberdade | 2010 |

atua como artista desde ento. Participou

tinta preta sobre parede, pincel atmico

com Luiza Proena da Temporada de Projetos,

preto, cabo de ao, 1 m [black paint on

no Pao das Artes (So Paulo), e da 7 Bienal

wall, black atomic brush, steel wire, 1

do Mercosul (Porto Alegre), ambos em 2009.

sq m] O artista usa uma forma geomtrica

Em 2010, exps com Deyson Gilbert e Luiza

delimitada com tinta preta e um dispositivo

Proena na coletiva sombra do futuro,

que supostamente convida interao mas

no Instituto Cervantes So Paulo. Integra o

que, na experincia do visitante, provase

Grupo de Estudos de Crtica e Curadoria, da

insuficiente para criar uma metfora

Universidade de So Paulo (USP). | Winter has

provocativa de um conceito complexo. Seja

worked as an artist ever since graduating from

circunscrita aos contextos socioculturais, seja

the Physics Institute at USP in 2005. Alongside

delimitada por correntes tericas, a liberdade

Luiza Proena, he participated in the Projects

de abrangncia sempre determinada e,

Season at Pao das Artes (So Paulo), and in

portanto, comporta uma negao interna.

the 7th Mercosur Biennial (Porto Alegre), both

O Ensaio questiona o conceito de abertura

in 2009. In 2010, in conjunction with Deyson

completa e permisso absoluta. | The artist

Gilbert and Luiza Proena, he was part of the

uses a geometric form outlined in black

group exhibition sombra do futuro, at the

paint and a device that supposedly invites

Instituto Cervantes So Paulo. He is a member

interactionbut which, in the visitors

of the Criticism and Curatorship Study Group of

experience, proves insufficientto create a

the Universidade de So Paulo (USP).

metaphor evocative of a complex concept.

Whether inscribed within sociocultural contexts
or the bounds of some theoretical current, the
scope of freedom is always determined and,
therefore, harbors within itself an internal
negation. Ensaio questions the concept of
complete openness and absolute permission.

Artista, fotgrafo, pesquisador e

documentarista, formouse em cinema pela
Universidade de Boston, EUA, e trabalhou
com documentrios nos EUA e Inglaterra.
Em sua obra, parte de experimentaes
visuais para abordar questes ligadas

roderick steeL

brasil [brazil] rs-SP, 1969

espiritualidade, tendo a fotografia e o

210

cinema como referncias. Tem participado

de exposies no Brasil, Frana, Espanha e
Dinamarca. | Artist, photographer, researcher,
and documentary maker, Steel graduated
in cinema from the University of Boston,
USA, and has worked on documentaries in
the U.S. and England. His work, which takes
photography and cinema as its references,
hinges upon visual experimentation as
a means of broaching issues related to
spirituality. He has participated in exhibitions
in Brazil, France, Spain, and Denmark.

at onde vamos?

| 2011 | vdeo

[video], 249, loop Por meio de

intervenes sobre imagens, o trabalho

insere narrativas dentro de narrativas,
investigando a capacidade humana de
imaginar e navegar por mundos subjetivos.
A base o conceito de imagem-cristal de
Gilles Deleuze, que compreende as imagens
como perptua latncia de sentidos,
de modo que seus significados virtuais
integram sua significao total. | Through
interventions on images, the work inserts
narratives into narratives, investigating the
human capacity to imagine and navigate
in subjective worlds. His platform is Gilles
Deleuzes concept of the crystal-image, which
understands images as perpetual latency of
meanings, so that the virtual senses are part
of the complete significance.

brasil [brazil] df, 1981

rodrigo bivar
212

Com produo baseada em pintura, expe

srie ubatuba | 2011 | leo sobre tela

desde 2006, quando participou do programa

[oil on canvas], 200 x 250 cm cada [each]

de mostras do Museu de Arte de Ribeiro

A exemplo do que faz em suas pinturas de

Preto (SP). Exps em coletivas no Instituto

gnero (retratos, paisagens, naturezasmortas),

Cervantes e SESC Pinheiros, e na Paralela

nesta srie Bivar pe em dilogo suas

2010, no Liceu de Artes e Ofcios e Pao das

narrativas pessoais e os cnones da histria

Artes, todas em So Paulo. Fez individuais na

da arte. Pintadas a partir de fotografias feitas

Galeria Mariana Moura (Recife), Fundao de

em Ubatuba (SP), as cenas apresentadas

Arte de Ouro Preto (MG), e nas instituies

nas obras Tudo como e assim que ,

paulistanas Pao das Artes, Galeria Millan e

Ubatuba e Um minuto e uma gota provocam

Centro Cultural So Paulo. Foi contemplado

ao mesmo tempo sensaes de familiaridade,

com o Prmio Aquisio do Centro Cultural

por seu carter prosaico e despretensioso,

So Paulo, em 2008. | The artist, whose work

e de estranhamento, por no obedecer a

is largely based on painting, started exhibiting

padres convencionais de composio e incluir

in 2006, when he participated in the exhibition

elementos quase enigmticos, sejam objetos

program at the Museu de Arte de Ribeiro

ou atitudes. O sentido da narrativa pictrica,

Preto (SP). His work has featured in group

assim, pode ser rearticulado pelo pblico, que

exhibitions at the Instituto Cervantes, SESC

invoca seu repertrio pessoal para explorar

Pinheiros, and at the Paralela 2010, at the

as imagens representadas. | Following the

Liceu de Artes e Ofcios and at Pao das Artes,

example of his genre paintings (portraits,

all in So Paulo. He has held solo exhibitions at

landscapes, still lifes), in these new works

Galeria Mariana Moura (Recife), Fundao de

Bivar creates dialogue between his personal

Arte de Ouro Preto (MG), and at the So Paulo

narratives and the canons of art history.

institutions Pao das Artes, Galeria Millan,

Painted from photographs taken in Ubatuba

and Centro Cultural So Paulo. He received

(SP), the scenes presented in Tudo como e

the Centro Cultural So Paulo Acquisition

assim que , Ubatuba, and Um minuto e uma

Prize in 2008.

gota at once provoke sensations of familiarity,

given their unpretentious and prosaic nature,
and estrangement, as they do not obey the
conventional standards of composition and
include elements that are practically
enigmatic, whether objects or attitudes.
The pictorial narrative sense can therefore be
reconfigured by the public, who must draw upon
personal repertoires in order to explore the
represented scenes.

Bacharel em belasartes pela Universidade

dos Andes, de Bogot, Colmbia, trabalha com
documentrios, videoarte e videoinstalaes.
Recebeu a bolsa Fulbright para realizar
mestrado na Universidade Maryland
(EUA, 2008). Participou de mostras e
festivais como Rencontres Internationales
Paris/Berlin/Madrid (2004), Kunstverein
Dsseldorf Transmediale (Alemanha,

rolando vargas

colmbia [colombia], 1975

2006), Kassel Documentary Film and Video

214

Festival (Alemanha, 2005) e Friesland

eighttimestwentyfive | 2010 |

Media Art Festival (Holanda, 2006). | With

videoinstalao, cinco canais, sistemas

a degree in the fine arts from Universidade

de iluminao, estruturas de madeira

dos Andes, in Bogot, Colombia, Vargas

[five-channel video installation,

works with documentaries, video art, and

lighting systems, wooden structures]

video installations. He received a Fulbright

Uma investigao de fundo afetivo sobre

scholarship to take a masters degree at the

materiais audiovisuais dos National Archives

University of Maryland (USA, 2008). Vargas has

em Washington, D.C., EUA. A partir das

participated in various exhibitions and festivals,

ocorrncias obtidas ali em uma busca

including Rencontres Internationales Paris/

pela palavrachave Colmbia, a obra

Berlin/Madrid (2004), Kunstverein Dsseldorf

cria um dilogo entre imagens do arquivo

Transmediale (Germany, 2006), Kassel

norteamericano e outras, coletadas na

Documentary Film and Video Festival (Germany,

Colmbia. Com efeitos pticos baseados

2005), and Friesland Media Art Festival

em reflexos, spots e monitores de vdeo

(Holland, 2006).

modificados, somos levados a uma viagem

pelo mar do Caribe em um navio colombiano
de 1982 at uma batalha da independncia da
Colmbia, ocorrida dois sculos antes. | The
work is an emotionally grounded exploration
of audiovisual material from the National
Archives in Washington, D.C., USA. Drawing
from the results of a search using the key word
Colombia, this video installation creates a
dialogue between North American archive
footage and other images recorded in Colombia.
With optical effects based on reflections,
spots, and modified video monitors, the work
takes us on a voyage across Caribbean seas
on a Colombian ship in 1982 to the battle of
independence from Spain, some two hundred
years earlier.

Brasil [Brazil] SP, 1966

one second delay | 2010 | 20

artista plstico Leonilson e dos fotgrafos

fotografias [photographs], 42 x 29,7

Armando Prado e Eduardo Brando. Exps

cm cada [each] Nessa srie, o artista

imagens na coletiva Double Exposure, na

prope um exerccio de deslocamento, ou

Waterfront Gallery (Londres, Inglaterra,

reposicionamento, do olhar. As imagens foram

1990), e realizou a individual Almost the Only

obtidas com uma cmera digital de primeira

na De Fabriek Galerie (Roterd, Holanda,

gerao, em passeios com um cachorro, sem

1994). Participou da performance Dobra

que o fotgrafo controlasse a captura pelo

Ronaldo Miranda

Diretor de arte e fotgrafo, foi assistente do

24.9.2003, com Angela Detanico e Rafael

visor da cmera, pendurada na altura de

Lain, no 14 Videobrasil (2003). | Director

sua barriga. A dubiedade e o estranhamento

of art and photography, Miranda worked as

presentes nas imagens dos retratados

assistant to the artist Leonilson and to the

tambm envolvem a posicionamento do

photographers Armando Prado and Eduardo

artista que, ao se colocar de forma passiva no

Brando. He featured in the group exhibition

momento do registro, questiona seu papel e

Double Exposure, at the Waterfront Gallery

fazse objeto da observao dos retratados. |

(London, England, 1990), and held a solo

In this series the artist proposes an exercise in

exhibition entitled Almost the Only at the De

the displacement, or repositioning, of the gaze.

Fabriek Galerie (Rotterdam, Holland, 1994).

The pictures were taken using a firstgeneration

Alongside Angela Detanico and Rafael Lain,

digital camera while out walking the dog,

he participated in the performance Dobra

without the photographer controlling the image

216

24.9.2003 at the 14th Videobrasil (2003).

capture on the screen of the camera, hung at

belly level. The dubiousness and strangeness
of the images also derive from the artists
positioning, insofar as his passivity at the
moment of taking the pictures not only calls his
role into question, but also becomes the object
of the photographic subjects observation.

1978, Polnia [poland] - Sucia [sweden]

Wojciech Olejnik
1975

Sarah Jane Gorlitz

218

Baseada em Malm, Sucia, a dupla trabalha em colaborao desde 2006, produzindo sobretudo

When the Horizon Shore | 2010 | Vdeo [Video], 226, loop Uma representao

em vdeo e com animao stopmotion. Suas obras abordam temas da ordem das relaes entre

de dois espaos dificilmente delimitveis: a praia e o horizonte. A fotografia de uma praia,

o real e o imaginrio, e entre o ntimo e o no familiar. Em 2010 apresentaram exposies solo na

plissada no sentido horizontal, alternadamente dobrada e expandida, no que parece uma

galeria YYZ (Toronto, Canad) e na Greusslich Contemporary (Berlim, Alemanha). Participaram

tentativa de imitar o movimento das ondas. Gradualmente, outras interferncias na imagem

de mostras coletivas em museus e galerias no Canad, Portugal e Noruega. | Based in Malm,

interrompem a fluidez da animao, reiterando o aspecto de indeterminao que a obra investiga. |

Sweden, the duo has been working together since 2006, mainly producing in video and stopmotion

A representation of two spaces that are hard to delimit: the beach and the horizon. A photograph of

animation. Their works broach themes concerning the relationship between the real and the

a beach, crimped horizontally, is alternately folded and expanded in what seems to be an attempt to

imaginary, the intimate and the unfamiliar. In 2010 they held solo exhibitions at YYZ (Toronto,

imitate the movement of the waves. Gradually, other interventions in the image interrupt the flow of

Canada) and at Greusslich Contemporary (Berlin, Germany). Their work has also featured at group

the animation, reiterating the indefiniteness the work strives to examine.

exhibitions in museums and galleries in Canada, Portugal, and Norway.

Com uma obra que explora as possibilidades

do vdeo a partir de uma perspectiva situada
entre o documentrio e a reinterpretao da

sebastin diaz morales

argentina - holanda [holland], 1975

realidade, Morales expe sua produo h

220

cerca de uma dcada. Apresentou mostras

individuais na cole de Beaux Arts (Rouen,
Frana, 2008), Carlier Gebauer (Berlim,
Alemanha, 2007), Fundacin Mir (Barcelona,
Espanha, 2006), galeria Attitudes (Genebra,
Sua, 2005), Le Plateau (Paris, Frana, 2005),
Kunst Werke (Berlim, 2004) e Tate Modern,
(Londres, Inglaterra, 2004), entre outras. Foi
contemplado com residncia pelo Guggenheim
Fellowship (Nova York, EUA, 2009), Le Fresnoy
Studio des Arts Contemporains (Tourcoing,
Frana, 2004) e Mondriaan Foundation
(Amsterd, Holanda, 2001). | Author of a body
of work that explores the possibilities of video

oracle | 2009 | videoinstalao, dois

through a perspective that falls somewhere

canais [two-channel video installation]

between documentary and a reinterpretation

A videoinstalao alterna imagens

of reality, Morales has been exhibiting for

aparentemente aleatrias e sem relao,

over a decade. He has held solo exhibitions

que compem um mosaico em construo.

at the cole de Beaux Arts (Rouen, France,

O ttulo alude tradio do orculo grego

2008), Carlier Gebauer (Berlin, Germany, 2007),

como fonte de sabedoria e profecia, capaz de

Fundacin Mir (Barcelona, Spain, 2006),

oferecer respostas e vises do futuro, ainda

Attitudes Gallery (Geneva, Switzerland, 2005),

que enigmticas, por meio da combinao de

Le Plateau (Paris, France, 2005), Kunst Werke

elementos presentes. Em Oracle, o vaticnio

(Berlin, 2004), and Tate Modern, (London,

a prpria capacidade do espectador de atribuir

England, 2004), among others. He has won

sentido a uma teia complexa de smbolos. | This

residency awards from the Guggenheim

video installation alternates apparently random,

Fellowship (New York, USA, 2009), Le Fresnoy

unrelated images that compose a mosaic under

Studio des Arts Contemporains (Tourcoing,

construction. The title alludes to the Greek

France, 2004), and Mondriaan Foundation

tradition of the oracle as a source of wisdom and

(Amsterdam, Holland, 2001).

prophecy capable of proffering enigmatic visions

of the future through a combination of present
elements. In Oracle, the prediction resides in the
viewers own capacity to attribute meaning to a
complex web of symbols.

austrlia [australia], 1972

shaun gladwell
222

Seu trabalho em performance, vdeo, pintura, fotografia e escultura associa experincia pessoal,

double balancing act | 2010 | videoinstalao, dois canais [two-channel video

referncias histricas e elementos da cultura contempornea de rua. Formado pelo Goldsmiths

installation] O trabalho um duplo retrato: de um lado, vse um soldado que equilibra sua

College, Universidade de Londres, Inglaterra, fez residncias artsticas na Europa, Amrica e sia.

arma; do outro, um performer que usa muletas para equilibrar o corpo. O trabalho permanece aberto

Expe internacionalmente h uma dcada. Esteve na 52 e na 53 bienais de Veneza (Itlia, 2007 e

a leituras variadas, que podem envolver conceitos como sustentao, gravidade e coordenao

2009), e na 16 Bienal de Sydney (Austrlia, 2008). Teve uma obra comissionada pela 27 Bienal de

motora, mas tambm as questes humanas e culturais sugeridas pela identidade dos personagens.

So Paulo (2006). | His work in performance, video, painting, photography, and sculpture associates

Como em toda a obra do artista, gestos e imagens surgem de forma enigmtica e cativante,

personal experience, historical references, and elements of contemporary street culture. A graduate

situandose no limite com a performance. | The work is a dual portrait: on one side, a soldier balances

of Goldsmiths College, University of London, England, he has done artistic residencies in Europe,

his machine gun in the palm of one hand, while on the other, a performer teeters on a crutch. The work

America, and Asia, and has been exhibiting internationally for over a decade. His work featured at

remains open to various different readings, which could involve such concepts as sustenance, gravity,

the 52nd and 53rd Venice Biennales (Italy, 2007 & 2009), the 16th Sydney Biennial, Australia, and the

and motor coordination, but which may also evoke human and cultural issues as suggested by the

27th Bienal de So Paulo (2006), at which he presented a specially commissioned work.

identities of the protagonists. As in all of the artists work, gestures and images surge in enigmatic,
captivating forms that skirt the edges of performances.

malsia [malaysia] - cingapura [singapore], 1971

sherman ong
224

Cineasta, fotgrafo e artista visual, sua obra

investiga a condio humana e as relaes
interpessoais e sociais. Vencedor do Martell
Cordon Bleu Photography Award 2010, em
Cingapura, participou das bienais de Veneza
(Itlia), Cingapura e Jacarta (Indonsia), e de
coletivas no Mori Art Museum (Tquio, Japo),
MartinGropiusBau (Berlim, Alemanha)
e Centre Pompidou (Paris, Frana). Fez
individuais em Cingapura, Nova York (EUA),
Amsterd (Holanda), Tquio. Tem obras nos
acervos do Singapore Art Museum e do
Korea Art Centre, entre outros. | Filmmaker,
photographer, and visual artist, his work
investigates the human condition, and
interpersonal and social relations. Winner of the
Martell Cordon Bleu Photography Award 2010
in Singapore, he has participated in the Venice
(Italy), Singapore, and Jakarta (Indonesia)
biennials, and group exhibitions at the Mori Art
Museum (Tokyo, Japan), MartinGropiusBau
(Berlin, Germany), and Centre Pompidou
(Paris, France). He has held solo exhibitions
in Singapore, New York (USA), Amsterdam
(Holland), and Tokyo. His work features in the
collections of the Singapore Art Museum and
Korea Art Centre, among other institutions.

tickets | 2010 | vdeo [video], 1017

Em registro situado entre o documentrio e
a fico, o trabalho tem como personagem
central uma jovem chinesa que chega a
Cingapura decidida a tornarse atriz, mas
acaba trabalhando como bilheteira em
um velho cinema. Alm do cinema e seu
imaginrio, emergem temas como dispora,
migrao, deslocamento, identidade cultural
e pertencimento. | Situated somewhere
between documentary and fiction, the main
character in this video is a young Chinese
woman who arrives in Singapore with the
hope of becoming an actress, only to end up
working in the boxoffice of an old cinema. In
addition to the movie theater and its image
repertoire, the work also broaches the themes
of diaspora, migration, displacement, cultural
identity, and belonging.

brasil [brazil] sp-mg, 1978

shima
226

Formado em desenho industrial pela

trinta e trs | 2010 | vdeo [video],

Faculdade de BelasArtes de So Paulo,

2017, loop A obra invoca o peso simblico

iniciou em 2001 uma pesquisa que tem

do nmero que lhe serve de ttulo. Conhecido

como objeto padres de comportamento e

pelo aspecto cabalstico, pelo lugar que ocupa

sensaes de pertencimento. Trabalhando com

no imaginrio cristo, pelas interpretaes

performance, fotografia, vdeo e instalao,

numerolgicas associadas a ele e pelas

foi selecionado pelo programa Rumos Visuais

propriedades matemticas peculiares, o

do Ita Cultural (2009) e pelo Bolsa Pampulha,

nmero 33 tambm a idade do artista no

de Belo Horizonte (2010). Fez residncias

momento deste autorretrato. Uma reflexo

artsticas recentes na Holanda, Japo e

visual sobre experincia de vida e estados

Blgica, e participou de exposies e festivais

interiores, iluminada pelos fogos de artifcio

na Holanda, Alemanha, Blgica, Polnia,

da passagem de 2010 para 2011. | The work

Repblica Tcheca, Japo, Chile, Argentina,

invokes the symbolic weight of the number

Espanha e Portugal. | A graduate in industrial

it takes as a title, thirtythree. Known for its

design from the Faculdade de BelasArtes de

Kabbalistic significance, the place it holds in

So Paulo, in 2001 Shima started researching

the Christian imagination, the numerological

behavioral patterns and the sense of belonging.

interpretations associated with it, and its

Working with performance, photography,

peculiar mathematical properties, the number

video, and installation, he was among those

thirtythree was also the artists age at the

selected for the Ita Cultural Rumos Visuais

time this selfportrait was made. The work is

program (2009) and the Pampulha Scholarship

a visual reflection on life experience and inner

in Belo Horizonte (2010). He has recently done

states set against the fireworks ringing in the

residencies in Holland, Japan, and Belgium,

new year of 2011.

and participated in exhibitions and festivals in

Holland, Germany, Belgium, Poland, the Czech
Republic, Japan, Chile, Argentina, Spain, and
Portugal.

Peru - inglaterra [england], 1979

Taryn Takahashi
228

Cursou belasartes na Universidade PUCP, de Lima, Peru, at 2001, quando ingressou no programa

ensemble | 2010 | vdeo [video], 205, loop O trabalho opera entre o retrato, o

de mestrado da Byam Shaw School of Art, Londres, Inglaterra. A partir do interesse por fotografia

autorretrato e a performance. A artista est diante de uma projeo de slides onde se v uma

e pintura, expandiu suas pesquisas para outros meios, incluindo projetos colaborativos em

imagem de sua me, captada 35 anos antes, em seu local de trabalho. A fotografia foi tirada

experimentos sonoros e visuais com Hyo Myoung Kim. Entre outras, participou de residncia na

pelo pai da artista antes que ele se casasse com a retratada. Ao imitar a postura e os gestos da

Tadu Art Gallery, em Bancoc, Tailndia. Teve diversos trabalhos comissionados e incorporados

me na fotografia, a artista experimenta recriar um momento vivido por seus pais, explorar suas

a colees particulares do Reino Unido. | Takahashi studied art at Universidade PUCP, in Lima,

semelhanas fsicas com a me e, ao mesmo tempo, de alguma forma, assimilar sua perda. |

Peru, up until 2001, when she enrolled on the masters degree program at the Byam Shaw School

The work sits somewhere between a portrait, a selfportrait, and a performance. The artist stands

of Art, London, England. Given her interest in photography and painting, she expanded her scope

before a slide projector showing a picture of her mother at work, taken thirtyfive years previously.

of research to encompass other mediums, including collaborative projects, and sound and visual

The photo was taken by the artists father before they wed. By imitating her mothers gestures

experiments with Hyo Myoung Kim. She took a residency at the Tadu Art Gallery, in Bangkok,

and posture, the artist experiments with recreating a moment lived by her parents, exploring her

Thailand, and has had various works commissioned for and incorporated into private collections in

physical resemblances to her mother whilst simultaneously assimilating her loss.

the United Kingdom.

Formada em artes plsticas pelo Instituto

de Artes da Universidade Estadual Paulista
(Unesp), a artista partiu da pintura para o
vdeo, a instalao e a performance. Participa
de sales e mostras desde 1998, tendo
exposto no Centro Cultural So Paulo e Pao
das Artes, So Paulo, Museu de Arte Moderna
da Bahia, Salvador, Centro Cultural Banco
do Brasil (SP e RJ), Museu de Arte Moderna
(RJ), WallrafRichartzMuseum (Colnia,

tatiana blass

brasil [brazil] sp, 1979

Alemanha), Pablos Birthday Gallery e Box4

230

(Nova York, EUA), entre outros eventos e

instituies. Participou da 29 Bienal de So
Paulo. Uma das cinco finalistas do Nam June
Paik Award (Alemanha, 2008), recebeu bolsa
da Cisneros Fontanals Art Foundation (Miami,
EUA). | With a degree in the visual arts from the
Universidade Estadual Paulista (Unesp), the
artist has since veered from painting toward
video, installation, and performance. She has
been exhibiting at salons and exhibitions
since 1998, having shown her work at the
Artes, So Paulo, Museu de Arte Moderna da

metade da fala no cho_piano

surdo | 2011 | vdeo [video], 1919 A obra

Bahia, Salvador, Centro Cultural Banco do

parte de uma performance realizada na 29 a

Brasil (SP & RJ), Museu de Arte Moderna (RJ),

Bienal de So Paulo. Enquanto um pianista

WallrafRichartzMuseum (Cologne, Germany),

executa cinco peas de Frdric Chopin, dois

Pablos Birthday Gallery and Box4 (New York,

homens derretem uma grande quantidade de

USA), among others. She participated in the

cera e a derramam dentro do piano de cauda.

29th Bienal de So Paulo and was among the

Conforme a cera se solidifica, o pianista vai

five shortlisted artists for the Nam June Paik

tendo dificuldade de executar a pea. Como

Award (Germany, 2008). She is also a Cisneros

outras obras de Blass, o trabalho discute a

Fontanals Art Foundation scholarship holder

efemeridade, o evanescimento e os limites da

(Miami, USA).

linguagem artstica. | The work began with a

Centro Cultural So Paulo and Pao das

performance at the 29th Bienal de So Paulo at

which a pianist played five pieces of music by
Frdric Chopin while two men melted a large
amount of wax over his grand piano. As the wax
cooled and dried, the pianist found it harder
and harder to play the music. Like other works
by Blass, this video discusses ephemerality,
evanescence, and the limits of artistic language.

ndia [india] - eua [usa], 1982

tenzin phuntsog
232

Graduado em artes visuais pela Columbia University, de Nova York, e bacharel em belasartes,

four rivers | 2010 | vdeo [video], 6708 Um sobrevoo nas paisagens naturais virgens e os

design e artemdia pela University of California, ambos nos EUA, o artista usa fotografia, filme

projetos de desenvolvimento artificiais em andamento no plat tibetano, a obra varre a paisagem

e performance para criar trabalhos que exploram os contrastes entre o moderno e o esotrico.

poltica e social do pas a partir de seus quatro principais rios: Brahmaputra, Indus, Sutlej e

Nos ltimos dez anos, exps em mostras nos EUA, Hong Kong, Argentina, Brasil, ndia e Espanha.

Karnali. A jornada captada em planos fixos, mas em movimento, a partir de um olhar que se quer

| A graduate in the visual arts from Columbia University, New York, and holder of a degree in the

imparcial, desimpedido, contemplativo. | Through a flight over the virgin natural landscapes and

fine arts, design, and artmedia from the University of California, both in the USA, the artist uses

the artificial developments now underway on the Tibetan plateau, the work explores the political

photography, film, and performance to create works that explore the contrasts between the modern

and social landscape of the country through its four main rivers: Brahmaputra, Indus, Sutlej, and

and the esoteric. In recent years Phuntsog has exhibited in the U.S., Hong Kong, Argentina, Brazil,

Karnali. The journey is recorded in fixed shots from a moving plane, captured by a gaze that is

India, and Spain.

impartial, unimpeded, and contemplative.

brasil [brazil] sp, 1983

theo craveiro
234

Formado pela Escola de Comunicaes e

vanish | 2010 | espelhos, madeira,

Artes da Universidade de So Paulo (2009),

lmpadas e 120 laranjas [mirrors, wood,

defende a arte como espao de risco e exceo

bulbs, and 120 oranges], 100 x 100 x

a ser incorporado ao cotidiano. Sua pesquisa

17 cm Vanish discute questes intrincadas

frequentemente utiliza elementos biolgicos.

por meio de elementos prosaicos. Uma

Em 2010, exps seu projeto Museu Ambulante

espcie de estufa, espelhada e iluminada

em instituies como MAMSP e MASP, e foi

intermitentemente, abriga laranjas em

premiado pelo EDP nas Artes/Instituto Tomie

diferentes graus de maturao/putrefao. Se

Ohtake 2010. | A graduate of the Escola de

a clara organizao do arranjo tece relaes

Comunicaes e Artes da Universidade de

formais com a histria da arte (notadamente o

So Paulo (2009), Craveiro defends art as a

minimalismo, a arte povera e o concretismo),

space of risk and exception that needs to be

o elemento orgnico e perecvel invoca,

incorporated into everyday life. His research

com sua transitoriedade, reflexo sobre

frequently uses biological elements. In 2010, he

binmios como vida e morte, controle e

exhibited a project entitled Museu Ambulante

transformao. | Vanish discusses intricate

(Traveling Museum) at MAMSP and MASP, and

issues through prosaic elements. A mirrored

was awarded the EDP arts award/ Instituto

and intermittently lit greenhouselike structure

Tomie Ohtake 2010.

houses oranges at various stages of ripeness/

rotting. While the clear order of the arrangement
establishes formal relations with the history
of art (most notably minimalism, arte povera,
and concretism), the transitoriness of the
perishable organic element coaxes reflection
on such binomials as life and death, control and
transformation.

brasil [brazil] sc - alemanha [germany], 1983

tiago romagnani silveira

236

Criador de vdeos e instalaes sonoras, colaborou com o grupo de dana Cena 11 em obra

entre um ponto e outro | 2010 | fio incandescente [incandescent wire], 5 m

premiada no 7 Prmio Sergio Motta (2006). Fez individuais no Centro Cultural Arquiplago (2008)

Lanando mo de expedientes relacionados ao desenho e ao vdeo, a obra usa o mnimo de

e no Museu Victor Meirelles (2010), em Florianpolis. Selecionado para o projeto Rumos Artes

recursos para lidar com questes como a heterogeneidade do tempo versus a homogeneidade do

Visuais do Ita Cultural (20082009), participou da 9 edio do Festival Juan Downey, dentro da

espao. Uma fita condutora eltrica esticada entre dois pontos percorrida por ciclos de corrente

Bienal de Video y Artes Mediales, no Chile (2009). Fez residncia no CRAC Valparaso (2010) e foi

de energia de intensidade varivel. Conforme se torna incandescente ou se resfria, a fita se

contemplado com uma bolsa do DAAD, rgo dedicado a intercmbios de pesquisa com sede

expande ou se contrai. O pblico que acompanha o processo percebe uma variao na percepo

em Bonn, Alemanha. | Creator of videos and sound installations, the artist collaborated with the

do tempo ordinrio e do tempo que envolve um fenmeno espacial especfico. | Deploying

dance group Cena 11 in a prizewinning work at the 7th Sergio Motta Award (2006). He has held

techniques normally associated with drawing and video, the work uses the fewest possible

solo exhibitions at the Centro Cultural Arquiplago (2008) and Museu Victor Meirelles (2010) in

resources to deal with such issues as the heterogeneity of time versus the homogeneity of space.

Florianpolis, and was selected for the Ita Cultural Rumos Artes Visuais project (20082009). He

An electric conductor wire stretched between two points is traveled by cycles of energy at variable

participated in the 9th edition of the Juan Downey Festival as part of the Bienal de Video y Artes

intensities. As it heats and cools, the wire expands and contracts, permitting the viewer to perceive a

Mediales in Chile (2009). He was a resident at CRAC Valparaso (2010) and received a scholarship

variation in the perception of ordinary time and the time of a specific spatial phenomenon.

from DAAD, a Bonnbased German organ dedicated to research interchanges.

brasil [brazil] sp - inglaterra [england], 1983

vinicius duarte
238

Formado em artes plsticas pela Middlesex University e mestre em arquitetura pela Goldsmiths

la physique generale | 2010 | vdeo [video], 2557 O ttulo remete a conceito

University, Londres, Inglaterra, incorpora em suas prticas filme, vdeo, experimentaes

desenvolvido pelo naturalista alemo Alexander von Humboldt (17691859), que lanou as bases,

sonoras, performance e texto. Participou de exposies no Center for Contemporary Art (Glasgow,

no sculo 19, para a unificao de campos cientficos diversos em disciplinas modernas como

Esccia, 2009), MARA Exhibition (Londres, 2008) e 78 Lyndhurst Way (Londres, 2007). | With a

geografia, geologia e oceanografia. Fico sobre a clebre viagem de Humboldt pela Amrica do Sul,

degree in the visual arts from Middlesex University and a masters degree in architecture from

o filme contrape duas concepes distintas de cosmologia a moderna e a chamada selvagem

Goldsmiths University, London, England, Duartes work incorporates the practices of film, video,

para questionar o carter das definies histricas e pretensas explicaes unvocas. | The title

sound experimentation, performance, and text. He has featured in exhibitions at the Center for

refers to the concept developed by the German naturalist Alexander von Humboldt (17691859), who,

Contemporary Art (Glasgow, Scotland, 2009), MARA Exhibition (London, 2008), and 78 Lyndhurst Way

in the 19th century, laid the bedrock for the unification of diverse scientific fields in such modern

(London, 2007).

disciplines as geography, geology, and oceanography. The film is a fictional rendering of Humboldts
famous tour of South America, engineering a clash between two distinct cosmological conceptions
the modern and the socalled wildin a bid to question the nature of historical definitions and
purportedly univocal explanations.

Brasil [Brazil] SP, 1964

Wagner Malta Tavares

240

Em um trabalho artstico que desenvolve desde 1998, Malta Tavares usa escultura, fotografia,

helium | 2011 | objeto de ao, compressor de ar, cetim, sensor de presena [steel

desenho, vdeo, performance e instalao para investigar aspectos estruturais dos fenmenos

object, air compressor, satin, presence sensor], 110 x 210 x 80 cm A presena do

fsicos. Suas individuais recentes incluem Heri (MAC Niteri, RJ, e Instituto Tomie Ohtake, So

observador aciona um ventilador que, por sua vez, molda e faz danar o tecido, que ganha formas

Paulo, 2010) e O Barqueiro (Galeria Marlia Razuk, So Paulo, 2008). Criou intervenes urbanas

antropomrficas ou que sugerem paisagens fugazes. Mais do que representar, a obra presentifica

para So Paulo, Rio de Janeiro e Chicago, EUA. Ganhou o prmio Projteis de Arte, da Funarte,

o ar em movimento; sua ao anima a pea, insuflando vida a algo que num primeiro momento

em 2007. | Over the course of an artistic project begun in 1998, Malta Tavares has used sculpture,

pura exterioridade. O nome alude divindade grega relacionada ao disco solar e ao gs hlio

photography, drawing, video, performance, and installation to investigate structural aspects of

que, alm de ser mais leve que o ar, uma das substncias mais abundantes no universo. | The

physical phenomena. His recent solo exhibitions include Heri (MAC Niteri, RJ, and Instituto Tomie

viewers presence triggers a ventilator that makes a strip of fabric dance into anthropomorphic

Ohtake, So Paulo, 2010) and O Barqueiro (Galeria Marlia Razuk, So Paulo, 2008). He has created

shapes or fleeting landscapes. Rather than simply represent, the work presences air in movement

urban interventions for So Paulo, Rio de Janeiro, and Chicago, USA. Winner of the Funarte Projteis

by animating the satin, breathing life into something that was previously only pure exteriority. The

de Arte Prize in 2007.

title alludes to the Greek sundisc god and to the gas, which is not only lighter than air, but one of
the most abundant substances in the universe.

Brasil [brazil] SP - frana [france], 1971

Wagner Morales
242

Artista e curador, tem mostrado filmes, vdeos

e instalaes em exposies individuais e
coletivas desde 2000. Nos ltimos dois anos,
fez mostras individuais na Cable Factory, em
Helsinque, Finlndia, e no Palais de Tokyo,
em Paris, Frana. Tambm atua como curador
independente desde 2006, tendo concebido
Museu Nacional de Arte Contempornea de

Beautiful, ordinary, but still

beautiful, fucking beautiful

Bucareste, Romnia; Le Silo, Paris; e Galeria

| 2010 | Videoinstalao, trs canais,

Virgilio, em So Paulo, entre outras. | Artist

sancas de gesso e luzes embutidas

and curator, Morales has been exhibiting films,

[threechannel video installation,

videos, and installations at solo and group

plaster ogee, and sunken lights]

exhibitions since 2000. Over the last two years

Ao lanar um olhar irnico sobre eventos

he has held solo shows at the Cable Factory,

prosaicos a passagem de um navio por uma

Helsinki, Finland, and at the Palais de Tokyo, in

ilha envolta em um mar gelado, transeuntes

Paris, France. He has also been working as an

que se movimentam na cidade, uma grande

independent curator since 2006, having created

embarcao que surge da neblina e segue seu

exhibitions for such institutions as MNAC

rumo , a obra revela paisagens ao mesmo

National Museum of Contemporary Art/

tempo naturais, sociais e polticas. | Casting

Bucharest, Romania; Le Silo, Paris; and Galeria

an ironic gaze upon banal eventsthe passage

Virgilio, in So Paulo, among others.

of a ship by an island in icy seas, passersby

mostras para instituies como o MNAC

milling about a city, a large tanker emerging

from the fog as it pursues its course, the work
reveals landscapes that are at once natural,
social, and political.

Colmbia [Colombia], 1979

Ximena Velsquez Snchez

244

Mestre em arte pela Universidade Nacional da

Colmbia e Universidade Tadeo Lozano, ambas
em Bogot, especialista em histria e teoria
da arte moderna e contempornea. Expe seu
trabalho artstico desde 2005. | With a masters
degree in art from the Universidade Nacional da
Colmbia and Universidade Tadeo Lozano, both
in Bogot, the artist is a specialist in the history
and theory of modern and contemporary art.
She has been exhibiting since 2005.

la contemplacin

| 2009 | vdeo

[video], 4451 A obra convida a refletir sobre

a contemplao da paisagem, retomando a

atitude romntica do sculo 19 a partir de
um lento plano no qual apenas a luz natural
varia. Apesar da presena de uma mulher
que contempla, o ato de ver que detm o
protagonismo na obra. Tambm se invoca a
figura do viajante, ator importante na pintura
de paisagem e representante da gratuidade,
da negao teleolgica, da pura explorao
visual. | The work invites reflection on the
contemplation of landscapes, returning to
the romantic appreciation of the 19th century
through a slowmoving plane on which the only
variations are those of natural light. Despite the
contemplative presence of a woman, the true
protagonist of the work is the act of watching
itself. Also evoked is the figure of the traveler, an
important agent in landscape painting and an
advocate for gratuity, teleological negation, and
pure visual exploration.

Turquia [Turkey] - holanda [holland], 1978

Zafer Topaloglu
246

Bacharel em cinema e TV pela Istanbul Bilgi University, estuda mdias digitais no Piet Zwart Institute

aisha in wonderland | 2010 | vdeo [video], 321 A obra trata de uma das

de Roterd, Holanda. Seu trabalho artstico lida frequentemente com a dor humana. Nos ltimos

consequncias mais nefastas do conflito palestino: a violncia fsica e emocional a que so

dois anos, seus vdeos foram exibidos em festivais na ustria, Frana, BsniaHerzegovina, Itlia,

submetidos, em carter permanente, os refugiados que vivem em campos como o de Mar Elias, no

Inglaterra, Grcia, Espanha, Alemanha, Irlanda e Ucrnia. | With a degree in cinema and TV from the

Lbano. Alm de traar o retrato de uma realidade, o artista cria uma metfora do confinamento

Istanbul Bilgi University, Topaloglu studies digital media at Piet Zwart Institute Rotterdam, Holland.

das aspiraes polticas e da imaginao humanas. | The work addresses one of the most

His artistic work often deals with human pain. Over the last two years his videos have been shown at

harrowing consequences of the Palestinian conflict, namely, the physical and emotional violence

festivals in Austria, France, BosniaHerzegovina, Italy, England, Greece, Spain, Germany, Ireland, and

to which refugees are systematically submitted in camps such as Mar Elias, Lebanon. In addition

the Ukraine.

to depicting a reality, the artist also creates a metaphor for the confinement of political aspirations
and human imagination.

17 festival internacional de arte

contempornea sesc_videobrasil

as equipes do festival agradecem

s seguintes pessoas e instituies:

17th international contemporary art festival

sesc_videobrasil

the committees of the festival wish to thank

the following people and institutions:

direo e curadoria geral |

curatorship and direction
Solange Oliveira Farkas
conselho curatorial | curatorial committee

Eduardo de Jesus, Fernando Oliva, Marcos Moraes,

Marcio Harum, Valquria Prates
assistentes de curadoria | curators assistants

Mariana Valdrighi Amaral, Chico Davia

direo executiva e coordenao geral |
executive direction and general coordination
Ana Pato

docncia do curso de formao em arte contempornea

para professores | teaching staff on the teachertraining course in contemporary arts

coordenao de logstica |
logistics coordination
Rafael Moretti

Andr Costa, Christine Mello, Valquria Prates

assistente | assistant

projeto grfico | graphic design

Carolina Stfani

Celso Longo

transporte de obras | works transportation

ALConsultancy

material educativo | educational publications

ilustraes | illustrations

Veridiana Scarpelli
Manu Vasconcelos

assistente | assistant

Alita Mariah

estagirio | intern

Nathalia Cury

assistente | assistant

Marcio Junji Sono

estagiria | intern

direo de arte e design |

design and art direction
Carla Castilho, Lia Assumpo | Janela Estdio
assistente de arte | art assistant

Nino Rossi
produo grfica | graphic production
Signorini Produo Grfica
fotografia | photography
Everton Ballardin

atendimento e acervo | reception and collection

Juliana Costa
assessoria jurdica | legal affairs
Cristiane Olivieri

catlogo
catalogue

curadoria educativa | educational activities

Valquria Prates

Tet Martinho

seminrios panoramas do sul |

southern panoramas seminars

Marcio Junji Sono

Valquria Prates, Marcio Harum (coordenao |

coordination); Adriano Pedrosa, Bisi Silva, Clarissa
Diniz, Cristiana Tejo, Cristina Freire, Eduardo de Jesus,
Fernando Oliva, Janaina Melo, Lisette Lagnado, Luis
Camnitzer, Luisa Ungar Ronderos, Marcio Harum,
Marcos Moraes, Mara Inz Rodrguez, Miguel Lpez,
Nadia Moreno Moya, Olu Oguibe, Pablo Len de La
Barra, Paola Santoscoy, Solange Farkas, Tain Azeredo,
Tania Bruguera, Thereza Farkas, Valquria Prates
coordenao de visitas mediadas |
guided tours coordination

assistncia de edio | edition assistant

projeto grfico | graphic design

Angela Detanico, Rafael Lain

design

Carla Castilho, Lia Assumpo | Janela Estdio

verso em ingls | english version

Anthony Doyle
reviso bilngue | bilingual proofreading

Regina Stocklen

videobrasil na tv

assessoria de imprensa | press relations

Adelante Comunicao Cultural

Marcela Tiboni, Valquria Prates

cobertura on-line | online coverage

Frum Permanente

Cristina Walter, Gabriela Piernikarz, Igor Girotto,

Juliana Cappi, Leandro Ferre Caetano, Thiago Rezende,
Ricardo Hino

consultoria | consultancy

website
arteninja.com.br

participantes convidados | guests

Marco del Fiol, Jasmin Pinho

projeto arquitetnico | architectural design

Andr Vainer Arquitetos | Alessandro Muzi,
Fernanda Jozsef, Marina Ferreira, Tiago Wright

crditos de imagem
image credits

Leandro Carvalho Coelho

edio | edition

identidade visual | visual identity

Angela Detanico, Rafael Lain

Almir Almas, Ana Thom, Benjamin Serrousi, Camila

Regis, Daniel Rangel, Fariba de Bruin-Derakhshani,
Glaucia Santana, Gabriel Soucheyre, Heitor Martins,
Isabella Prata, Janana Bernardes, Joel Girad, Karim
Anouz, Krishna Luchoomun, Luciana Cury, Marcelo
Mattos Arajo, Marcos Moraes, Mirtes Marins, Paulo
Fontes, Pedro Farkas, Raquel Schwartz, Renato
Cury, Rodolfo Walder Viana, Rodrigo Novaes, Sergio
Edelstein, Taylor Van Horne, Telma Baliello, Tom Van
Vliet, Tunga, William Galdino

assistente de design | design assistant

administrativo | management
J Lacerda

coordenao de edio e comunicao |

communication and editorial coordination
Tet Martinho

250

projeto de iluminao | lighting design

Ricardo Heder

superviso da equipe de educadores |

educators team supervision

Almir Almas, Christine Mello, Coletivo Zebra 5, EduAbad,

Eduardo de Jesus, Euler Sandeville Jr., Fernando Oliva,
Gavin Adams, Hugo Fortes, Kiara Terra, Laerte Ramos,
Laura Teixeira, Leandro Cardoso, Marcos Muzi,
Ronaldo Entler

videobrasil on tv

Eduardo de Jesus
direo e produo | direction & production
assistncia | assistant

Gustavo Almeida
design grfico | graphic design

Julio Dui

Todas as imagens foram produzidas e gentilmente

cedidas pelos artistas, exceto: | All images were
produced and kindly cleared by the artists, except:
Pg. 49 Cortesia [courtesy] Sfeir Semler Gallery |
Pg. 52-3 Cortesia [courtesy] Galerie Imane Fars |
Pg. 65 Fotos [photos] Mattia Colombo | Pg. 75
Cortesia [courtesy] Galeria Polaris, Paris | Pg. 79
Imagem-matriz [Original image] Acervo do Museu
Paulista da USP/Coleo Santos Dumont | Pg. 89
Cortesia [courtesy] Box4, Galeria Vermelho | Pg. 95
Cortesia [courtesy] Gallery Tiziana Di Caro, Salerno |
Pgs. 126-7 Cortesia [courtesy] PROVMYZA | Pgs. 86-7
Cortesia [courtesy] Gonzlez y Gonzlez Gallery |
Pg. 133 Imagens de [images by] Sebastin Diaz
Morales | Pg. 137 Fotos [photos] 2009 Heewon lee,
Le Fresnoy Studio National des Arts Contemporains
| Pg. 143 Still de [Stills from] Staroye e novoye, Sergei
M. Eisenstein, 1929 | Pgs. 148-9 Fotos [photos]
Fernando Costa | Pgs. 168-9 Cortesia [courtesy]
gebauer, Berlin; Galeria Luisa Strina, So Paulo |
Pgs. 176-7 Cortesia [courtesy] Stills Gallery, Sydney
| Pg. 187 Foto [photo] Eduardo Ortega | Pg. 189 Foto
[photo] Rin Healy | Pgs. 205 Foto [photo] Gui Mohallem
| Pg. 212 Cortesia [courtesy] colecionador particular
[private collector] | Pgs. 236-7 Foto [photo] Diego de
los Campos | Pgs. 240-1 Foto [photo] Karen Kabbani |
Pgs. 55, 79, 108-9, 150-1, 171, 231, 245 Fotos [photos]
Everton Ballardin

panoramas do sul

olafur eliasson seu corpo da obra

servio social do comrcio

southern panoramas

your body of work

the social service of commerce

curadoria | curatorship
Solange O. Farkas

curadoria | curatorship
Jochen Volz

administrao regional no estado de so paulo |

regional administration in so paulo state

comisso de seleo e programao |

selection and programming committee
Fernando Oliva, Marcio Harum, Felipe Cohen,
Nilva Costa Da Luz

equipe estdio olafur eliasson |

studio olafur eliasson staff
Caroline Eggel, Caspar Anton Teichgrber,
Myriam Thomas, Sebastian Behmann

presidente do conselho regional |

president of the regional council

jri de premiao | prize jury

Agustn Prez Rubio, Bisi Silva, Gabriela Salgado,
Raquel Schwartz, Rodrigo Moura

coordenao de produo |
production coordination
Adriano Alves Pinto

rede videobrasil de residncias |

videobrasil residencies network
Galera Kiosko/residencias_en_red (Santa Cruz de
la Sierra, Bolvia [Bolivia]); Residncia Artstica FAAP
(So Paulo, Brasil [Brazil]); Instituto Sacatar (Itaparica,
Brasil [Brazil]); pARTage (Flic-en-Flac, Ilhas Maurcio
[Mauritius]); Videoformes (Clermont-Ferrand, Frana
[France]); Vrije Academie Werkplaats voor Beeldende
Kunsten (Haia, Holanda [Der Haag/Holland])

produo | production
Mara Torrecillas

prmio ateli aberto videobrasil |

open studio prize

252

coordenao casa tomada | casa tomada coordination

Tain Azeredo, Thereza Farkas

jri de premiao | prize jury

Ana Maria Tavares, Marcelo Rezende, Marcos Moraes

comisso de acompanhamento | follow-up committee

Ana Maria Tavares, Bernardo Mosqueira, Ronaldo Entler

trofu | trophy
Tunga
coordenao de produo |
production coordination
Marcos Farinha

montagem de obra | set assembly

Madeeeeira Marcenaria

associao cultural videobrasil

Tet Martinho
conselho de programao | programming committee

Eduardo de Jesus, Marcos Moraes, Tet Martinho

assistentes de curadoria | curators assistants

Mariana Valdrighi Amaral, Pedro Neves Marques da

Costa (Programa Inov-Art)
coordenador de produo | production coordinator

Adriano Alves Pinto

aes educativas | educational activities

Valquria Prates

assistentes | assistants

Alita Mariah

montagem de obra | set assembly

Pablo Vilar
udio e vdeo | audio and video

On Projees

diretor do departamento regional |

director of the regional department

manager Claudia Prado Coordenadores | coordinators

Danilo Santos de Miranda

superintendentes | superintendents
comunicao social | social communication Ivan Giannini
tcnico social | technical social Joel Naimayer Padula
administrao | administration Luiz Deoclcio Massaro

Galina assessoria tcnica e de planejamento | technical

assistance and planning Srgio Jos Battistelli
gerentes | managers
ao cultural | cultural action management Rosana

comunicao | communication

produo | production
Andra Armentano, Marina Torre, Yara Dewi Howe
Thassa Favaro, Anderson Araujo

sesc belenzinho

difuso e promoo | promotion and distribution manager

diretora de projetos | projects director

produo | production
produo e edio de vdeo | production and video editing

Marina Torre
administrativo | management

J Lacerda
web

Slvia Oliveira
atendimento e acervo | reception and collection

Juliana Costa
estagirio banco de dados | data bank intern

Leandro Carvalho Coelho

suporte tcnico | technical support

Bruno Favaretto (Banco de Dados/Data Bank)

programmer Juliano de Souza

Abram Szajman

Ana Pato

Solange O. Farkas

GERENTE | MANAGER Valter Vicente Sales Filho adjunta |

deputy manager Regina Salete Gambini programador |

Paulo da Cunha adjunta | deputy manager Flvia

Carvalho assistentes | assistants Cssio Quitrio,
Juliana Braga, Nilva Luz artes grficas | graphic design
manager Hlcio Magalhes adjunta | deputy manager
Karina Musumeci assistente | assistant Rogrio Ianelli

presidente e curadora | president and curator

sesctv

Marcos Ribeiro de Carvalho adjunto | deputy manager

Fernando Fialho desenvolvimento de produtos/edies
sesc sp | product development manager/sesc sp editions

Marcos Lepiscopo adjunto | deputy manager Evelim

Lcia Moraes assistentes | assistants Clvia Ramiro,
Ana Cristina F. Pinho, Julieta dos Reis Machado
contratao e logstica | contracts and logistics

Jackson Matos adjunto | deputy manager Roberto

Duarte Pera assistentes | assistants Lindomar Dias de
Sales, Marcos Roberto A. S. Cardoso relaes com o
pblico | public relations Paulo Ricardo Martin adjunto
| deputy manager Carlos Rodolpho T. Cabral assistente |
assistant Malu Maia

gerente | manager Marina Avilez adjunta | deputy

Antonio C. Martinelli Jr, Alessandra Machado Fialho,

Andressa de Gois e Silva, Edmilson Ferreira Lima,
Josu Cardoso, Mario Luiz Alves de Matos
sesc pompeia
gerente | manager Elisa Maria Americano Saintive
adjunto | deputy manager Jayme Paez coordenadores
| coordinators Ilona Hertel, Carolina Rovai, Nelson

Soares da Fonseca, Roberta Della Nocce, Rose Souto,

Silvan O. da Silva, William Moraes
sesc pinheiros
gerente | manager Cristina Riscalla Madi adjunto |
deputy manager Ricardo de Oliveira Silva coordenadores
| coordinators Cristiane Ferrari, Adriana Iervolino,

Cristina Tobias, Claudio Hessel, Fabiano Oliveira,

Luciano Amadei, Ricardo Paschoal

realizao | undertaking

apoio cultural | cultural support

colaborao | collaboration

restaurantes parceiros | support

 ASSOCIAO CULTURAL VIDEOBRASIL

Todos os direitos reservados. Nenhum texto ou foto desta publicao pode
ser reproduzido em qualquer meio sem autorizao prvia da Associao
Cultural Videobrasil. Ttulo e Crdito devem ser mencionados.

Dados Internacionais de Catalogao na Publicao (CIP)

F4292
17. Festival Internacional de Arte Contempornea SESC_Videobrasil / SESC
So Paulo; Associao Cultural Videobrasil; curadoria geral de Solange O. Farkas.
So Paulo: Edies SESC SP, 2011 . 256 p.: il. fotografias; edio bilngue
(portugus/ingls).
ISBN 978-85-7995-022-3
1. Arte Contempornea. 2. Catlogo. I. SESC So Paulo. II. Associao
Cultural Videobrasil. III. FARKAS, Solange O.
CDD 700

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