Coletor » AçõesColetor

Fake Earth

Administrador — Tue, 27 Sep 2016 12:50:58 +0000

Sorry, this entry is only available in Português.

As one would say

Administrador — Tue, 30 Jun 2015 04:27:05 +0000

Sorry, this entry is only available in Português.

Matheus Rocha Pitta – Fountain for the Unknown Protester

Administrador — Sun, 12 Apr 2015 21:26:34 +0000

Sorry, this entry is only available in Português.

Anton Steenbock – Pop Tower

Administrador — Tue, 24 Feb 2015 15:01:54 +0000

Sorry, this entry is only available in Português.

Lais Myrrha – Orchestra Rehearsal

Administrador — Wed, 24 Dec 2014 04:08:44 +0000

Em um auditório instalado numa antiga capela – cuja acústica é dita invejável – uma orquestra se reúne para ensaiar uma sinfonia. Tudo é filmado por uma equipe de TV que pretende registrar o momento. Aos poucos, os pequenos desentendimentos, principalmente entre os instrumentistas e o maestro que abusa de sua autoridade, instauram um mal-estar generalizado. Diante das vaidades, prioridades pessoais, questões burocráticas e embates ideológicos, surge um incontrolável cenário de desordem, que se desenvolve em franca ascensão: alguns fazem grafites obscenos na parede, outros batem estridentes seus instrumentos, enquanto muitos gritam com fervor: “Orquestra, terror, morte ao condutor!”. A confusão só é interrompida por uma situação absurda: após sucessivos estrondos, um pedaço do recinto é derrubado por uma enorme bola de demolição. A perplexidade e o abatimento ante ao fato são superados ao passo que o grupo tenta trabalhar junto mais uma vez.

Assim como nestas cenas do filme “Ensaio de Orquestra” de Federico Fellini – do qual toma emprestado o título – o presente trabalho de Lais Myrrha progride da potencial harmonia ao crescente dissenso. Primeiro oferece um campo expositivo em perfeito estado mas completamente vazio. A situação do espaço aponta para suas possibilidades de ocupação e, naturalmente, suspende sua vocação. Em um segundo momento, fazem-se ouvir barulhos comuns às práticas da construção civil. São os mesmos ruídos, estardalhaços e estrondos que se espalham todos os dias pelas ruas da cidade. Logo a barulheira toma conta do ambiente e, apesar de não vermos nenhuma imagem correspondente, é inevitável construí-las mentalmente com riqueza de detalhes. Cada batida, cada raspada ouvida, invoca a figura. No cume desta ação, uma parede é demolida. Os tijolos do topo começam a cair, em seguida blocos se despedaçam, e não tarda para que quase toda sua estrutura esteja desmanchada. Revela-se então um cômodo da casa completamente desossado e, aos fundos, um amontoado de entulhos. Findo isto, os homens que estavam operando a destruição na sala do outro lado da parede atravessam seus destroços e vão embora.

A cortina aqui é de alvenaria: para que surja o que veda é preciso ser derrubada, e uma vez no chão não apresenta possibilidades de reconstituição. Quando rompe-se, enxergamos em imediato a paisagem do escombro avançar para o outro lado – asséptico e intocado. Este movimento faz pensar então no porvir se insinuando sobre a função atual do lugar. A ruína que sobra da ação promovida pela artista mostra mais do que vestígios de algo que já foi; congela-se o tempo como um todo: antes, agora e depois capturados num único momento. Neste estado transitório vemos o jogo de corpo de uma casa que em breve não irá mais existir, e cujo uso futuro da área que deixará em legado não sabemos, apenas supomos.

A artista nos faz presenciar parte de uma operação voluntária que desmantela e constrói. Nesse sentido, ao ficcionar o real nos põe de frente com o implacável cotidiano e os inúmeros questionamentos que acompanham seu pavimento. Nos perguntamos quem o opera; às quais vontades se submete o seu fluxo; o que deve ruir e o que merece subir.

O “Ensaio de Orquestra” de Lais emprega seu vigor para renegociar as distinções e fronteiras entre os modos do discurso que conta nossa história, ressaltando suas tensões constitutivas ao tomar em igual medida realidade e artifício. Como no começo e encerramento da obra de Fellini, a artista nos apresenta, sem a necessidade da retórica visual, os sons de um caos comum; e quando cessa suas atividades não coloca ponto final, preocupa-se apenas em abrir caminhos. Sob os ecos dos verbos do progresso joga luz sobre os processos que conduzem nosso dia-a-dia, e nos deixa a ponto de pensar: depois daqui, o que será?

Renata De Bonis – Suite

Administrador — Thu, 13 Nov 2014 16:33:02 +0000

“There is no possible salvation other than the imitation of silence (…)”
E. M. Cioran

On the contrary route to the verbosity of cities and its spectacular narratives, the work of Renata De Bonis has been developed by means of a lowering of expectations. With a vocation for the wilderness and the naturalist tract common to the geol- ogist to deal with the things, what we find in her work are the qualities reserved for the exercise of the retreat and the ability to give back to landscapes and insignificant details their full potential.

As of two gestures that explore with new impetus her known verve, “Suite” is born under the sign of silence. The first relies on a literal appropriation that embodies the word to serve to a large installation at the top of the house, in a language game that ventilates more than one semantic possibility. The second intervenes in order to subtract architectural content, and cuts off possible answers by opening a bewildering angle in the floor of a room. One rises and takes the exhibition space to the whole surrounding region while the other jumps into the soil and retreats itself in a specific point.

If from the actions that gives its shape its negative élan is revealed, it’s clear from the outset the intention to think against itself. As soon as it acts it is to suggest an acute aphonia and an oblique cut in what we take for granted and funda- mental. This tension throws us into an indissoluble clash between the inopportune of coming into the world and the temptation to exist. It is as if it was necessary to move to arrive to Nothing, in a balance that interrogates its own condition while allowing itself to be attracted by the shine and amplitude of emptiness.

The other works composing this exhibition arise from the slit which opens from these two vertical opposed marks. “Part #3″ and “Part #4″ are collections from the residues taken from the ground. The earth and concrete pieces that were used in the skeleton of the subterranean gains the surface in an operation that deliberately manages the cycles of construction and demolition to reprogram the roles in the common narrative. These are volumes that at the same time remits to small geographical features and points out the future of the site in which they find themselves: an enormous construction site that will later originate huge buildings.

In “Part #5″ the cartographic notions of the house are mixed up. The second floor, a space that remains veiled whenever there are visitors, is brought to the social center by the mediation of devices usually used as security instruments. On the monitors what we see is a mythology of oblivion, capable of creating a tissue that makes it possible to interpret the history of the spot. In this sense, Renata makes known the prosaic minutiae of an old habitation – transferred by a short term loan and to be sequentially demolished; and brings out the negotiations that allow the exhibition itself to happen.

As a single piece divided into different parts – all available to a generic nomenclature – this suite may be that of the connotation of music, geography or the domestic environment. Anyway, this is a foray – the result of almost a year of attendance in the place – the developments of which always point to the vacuity at the expense of the unique possibility worldly speech; and asserts that what is possible for it to tell will always be less important than what it shuts up; than it’s silent depths.

Germano Dushá

: Part #1, 2014 / Wooden sign / 120 x 700 cm

: Part #2, 2014 / Architectural intervention / Dimensions variable

: Part #2, 2014 / Architectural intervention / Dimensions variable

: Part #2, 2014 / Architectural intervention / Dimensions variable

: Part #2, 2014 / Architectural intervention / Dimensions variable

: Installation view

: Installation view

: Part #3, 2014 / Pillar made of concrete blocks taken from the ground / 300 x 30 x 28 cm

: Part #3 (detail), 2014 / Pillar made of concrete blocks taken from the ground / 300 x 30 x 28 cm

: Part #4, 2014 / Volumes made of earth taken from the ground / Dimensions variable

: Part #4 (detail), 2014 / Volumes made of earth taken from the ground / Dimensions variable

: Part #5 (detail), 2014 / Security cameras in the second floor conected to monitors in the first floor / Dimensions variable

: Part #5 (detail), 2014 / Security cameras in the second floor conected to monitors in the first floor / Dimensions variable

: Part #5 (detail), 2014 / Security cameras in the second floor conected to monitors in the first floor / Dimensions variable

Raquel Uendi – Fio

Administrador — Tue, 07 Oct 2014 16:03:46 +0000

The power lines that runs through the city cuts our vision and fragments the landscape at the same time they are veins that unite us in a large urban narrative. While they, tear they also tie. In a period which the constant are the marks of trauma and social change, Raquel traces a text within this tangle and indicates possible trajectories between distinct signs.

The photograph ceases to be two-dimensional. It exists creased, folded, torn and overlapped, reassuming its presence in the world by challenging the boundaries between the virtual space of the printed image and the actual exhibition space. As of this three-dimensional editing, its possibilities are investigated in the expanded field, beyond its flatness, veiling and revealing the sensitive of the image. The glass loses its traditional function of protection obtaining another status and also becoming an editing and assembly tool. The artist opposes the control of formal operations to an experimental process, disrupting the constriction of the form with an energy that makes simple elements and basic structures assume uncontrollable routes. Thus we observe the fusion of languages in which the image becomes first abstract and then sculptural.

Raquel’s aesthetics is not a style, but an attitude in which carefully considered gestures prevails over the production of material things. It is a series of strategies that is not perceived as a complete, autonomous, form, but as a recipient, an interstice between images and distinct materials. The artist rejects any monumentality in favor of a fluid and transient practice. After all, if life is ephemeral, why can’t art also be?

“Thread” asserts nothing, but questions everything, from its formal qualities to its place in the world. There are no slogans and manifestos, but a personal strife in which the fragmented forms and torn images discusses less the limits of art than proposes an engagement with life. It is not about the representation of a reality in chaos and dissent, but an actual piece of it, a metonym of our time, insinuating itself into their fibers to string together possible stories.

The unstable binding of pieces and fragments of different narratives in this exhibition acquires a body that rejects a linear meaning. There are no individual readings, but networks of images without semantic content or a clearly identifiable account, only a coupling of emotions and moods in an ambivalent “installative” atmosphere that leans over affective memories and unconscious pulses. They are the loose pages of a story – which is not ours, but could be – in constant “resignification”, where past, present and future are in motion and continuous transformation.

Fernando Ticoulat, curator.

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

: Fio, 2014 / Inkjet printing on paper, C-41 amplified photography, glass, varnish and staples / Dimensions variable

Programme of Site-specific Actions and Situations

Administrador — Tue, 23 Sep 2014 21:13:01 +0000

Project organized by Bruno Mendonça e Rafaela Jemmene.

Invited artists and researchers: Débora Bolsoni, Lais Myrrha, Jorge Menna Barreto, Raquel Garbelotti, Natália Coutinho e Rodrigo Queiroz.

Created from the intense dialogue on issues and questions concerning the notion of site-specific and its consequences, the program develops itself in different meetings and for several months; and is made of two axis: Indirection - activation of the space through open public conversations with guest artists and researchers, and Third Space - activation of the space through experiments and artistic interventions.

Final intervention: Bruno Mendonça, Rafaela Jemmene, Janaina Wagner, Bruno Baptistelli, Raquel Uendi, Leonardo Stroka, Natália Coutinho, Raquel Garbelotti.

: Third Space: Intervention with the Acervo Móvel project / 20/09/2014

: Third Space: Intervention with the Acervo Móvel project / 20/09/2014

: Third Space: Intervention with the Acervo Móvel project / 20/09/2014

: Third Space: Intervention with the Acervo Móvel project / 20/09/2014

: Third Space: Débora Bolsoni / 20/09/2014

: Third Space: Débora Bolsoni / 20/09/2014

: Indirection: “Urbanismo Geral”: talk with artist Débora Bolsoni / 20/09/2014

: Indirection: “Urbanismo Geral”: talk with artist Débora Bolsoni / 20/09/2014

: Indirection: “Urbanismo Geral”: talk with artist Débora Bolsoni / 20/09/2014

: Indirection: “Urbanismo Geral”: talk with artist Débora Bolsoni / 20/09/2014

: Third Space: distribution of the artist’s multiples “Incômodo” by Jorge Menna Barreto and Traplev; and “Experimento 2: temperatura crítica – pressão parcial – cronomatografia gasosa” by Bruno Mendonça e Rafaela Jemmene / 04/10/2014

: Third Space: distribution of the artist’s multiples “Incômodo” by Jorge Menna Barreto and Traplev; and “Experimento 2: temperatura crítica – pressão parcial – cronomatografia gasosa” by Bruno Mendonça e Rafaela Jemmene / 04/10/2014

: Indirection: “Teoria das Bordas”: talk with artist Lais Myrrha / 04/10/2014

: Indirection: “Teoria das Bordas”: talk with artist Lais Myrrha / 04/10/2014

: Indirection: “Teoria das Bordas”: talk with artist Lais Myrrha / 04/10/2014

: Indirection: “Retrato Instável”: talk with artist Natália Coutinho and researcher Rodrigo Queiroz / 18/10/2014

: Indirection: “Retrato Instável”: talk with artist Natália Coutinho and researcher Rodrigo Queiroz / 18/10/2014

: Final: Raquel Garbelotti / 07/12/14

: Final: Rafaela Jemmene / 07/12/14

: Final: Rafaela Jemmene / 07/12/14

: Final: Natália Coutinho / 07/12/14

: Final: Natália Coutinho / 07/12/14

: Final: Bruno Mendonça / 07/12/14

: Final: Bruno Mendonça / 07/12/14

: Final: Raquel Uendi / 07/12/14

: Final: Raquel Uendi / 07/12/14

: Final: Leonardo Stroka / 07/12/14

: Final: Leonardo Stroka / 07/12/14

: Final: Installation view / 07/12/14

: Final: Janaina Wagner / 07/12/14

: Final: Janaina Wagner / 07/12/14

: Final: Bruno Baptistelli and Raquel Uendi / 07/12/14

Postcodes: Kind

Administrador — Mon, 15 Sep 2014 03:58:52 +0000

Adriano Amaral
Asif Kapadia
Blake Rayne
Jan Kiefer
Kaspar Müller
Maria Loboda
Mauro Cerqueira
Raquel Uendi
Rodrigo Matheus
Viola Yeşiltaç

Presented by Gabriel Lima e Pedro Wirz

In a moment they bent into arcades, like Roman aqueducts.
A long cornice was next formed at the top, and above it rose innumerable castles, all perfectly alike; these again changed into towers, which were shortly after lost in colonnades, then windows, and at last ended in pines, cypresses and other trees.

Postcodes:
Today, the coordinates of long-dominant systems of geographic codification, and the modern logics of governance embedded within them, have been scrambled across a planet increasingly bound in complex systems that have unmoored identity from its traditional ties to place whilst producing nodes of increasingly intensive interaction. In this new world the distance between locations has been simultaneously collapsed and splayed open in overlapping, multi-scalar layers producing new relationships between place and identity, new forms of subjectification and the possibility for new dynamics of evasion and control.

Postcodes seeks to question how dominant patterns of codification are being transformed today by bringing together artistic practices that challenge our assumptions about the relationship between location and identity, distance and proximity, and the forms of knowledge and representations that these relationships are grounded upon and the subjectivities they produce. The program poses these interrogations within the context of the city of São Paulo, and aims to dynamically respond to the complexities of an emerging international cultural hub.

Postcodes will foster collaboration between diverse groups of young international artists via a series of exhibitions, artist mediated lectures and a dedicated publication. Its aim is to provide a singular and long-standing platform for both contributors and the public.

: Installation view

: Installation view

: Viola Yeşiltaç / Habite de Tabletier (the oblique move), 2013 (detail) / Black and white print on Tyvek, 6 hand blown glass vessels / Dimensions variable

: Adriano Amaral / Untitled, 2014 / Duct tape and plaster/ Dimensions variable

: Adriano Amaral / Untitled, 2014 / Duct tape and plaster/ Dimensions variable

: Blake Rayne / The Lustre of Ghostscript, 2014 – Warmilk / Paint on glass / Dimensions variable

: Installation view

: Installation view

: Kaspar Müller / Lake of Zuerich, 2014 / 12 photographs on cardboard and paint / Dimensions variable

: Kaspar Müller / Lake of Zuerich, 2014 (detail) / 12 photographs on cardboard and paint / Dimensions variable

: Blake Rayne / The Lustre of Ghostscript, 2014 – Untitled / Video projection and cheese can / Dimensions variable

: Adriano Amaral / Untitled, 2014 / Found metal box, paint, iPad and video / Dimensions variable

: Rodrigo Matheus / Eclipse, 2012 / Reflectors, tripods and camps / 200 x 150 x 95 cm

: Installation view

: Jan Kiefer / Lift, 2014 / HD Video / 3’10

: Mauro Cerqueira / Pratas, 2014 / Typographic plates, mirror, photographs / Dimensions variable

: Maria Loboda / Weapons are stashed securely for an unknown future, 2014 / Buried katana swords, display and bambus katana case / Dimensions variable

: Raquel Uendi / Albuns, 2014 / Photographs printing and collage on paper / Dimensions variable

: Installation view

: Kaspar Müller / Forever Alone and Around the World, 2014 / Video / 19’37″

: Blake Rayne / The Lustre of Ghostscript, 2014 – Hello World / Screen printed cotton shirts / Dimensions variable

: Mauro Cerqueira / Untitled, 2014 / Steel structures / Dimensions variable

: Installation view

: Jan Kiefer [and Othmar Farré] / Sem título, 2014 / Menu display box, laser print and various materials / Dimensions variable

: Mauro Cerqueira / Pratas, 2014 / Typographic plates, mirror, photographs / Dimensions variable

: Viola Yeşiltaç [and Oliver Input] / Habite de Tabletier, 2014 / Performance [in collaboration with Lucas Rampazzo] / 40 min

: Viola Yeşiltaç [and Oliver Input] / Habite de Tabletier, 2014 / Performance [in collaboration with Lucas Rampazzo] / 40 min

: Viola Yeşiltaç [and Oliver Input] / Habite de Tabletier, 2014 / Performance [in collaboration with Lucas Rampazzo] / 40 min

Bruno Palazzo – Sound on nothing

Administrador — Tue, 12 Aug 2014 19:39:03 +0000

We live enveloped by a constant noise. In cities we have the sound of traffic and the neighbor’s dogs. On the countryside, the current of the river and the rustling of the wind. This eternal buzz is the background of our existence. We do not hear it, for us it is nothing. But this nothing is all but empty. If every sound with meaning – music, spoken word – is sound issued in an organized manner, then the noise of the world means the possibility for all predicates. Therein lies the universal, the genetic material of everything.

The work of Bruno Palazzo is circular and impersonal. Circular since it does not suggest temporal linearity, succession or direction. Impersonal because, like in the installation Fotos Sobre Nada/Som Sobre Nada, the artist has created nothing, he merely rearranged found objects. There is no predefined intention. There exists no narrative, a beginning, middle and end, only a flow that does not require a critical response. And in this exercise, meanings of everyday life are subtracted to launch us into the nothingness.

In Drone para Rádio Cultura FM, the environment created by the artist starting from the appropriation of radio transmission breaches our traditional frontal relationship with artworks. This aspect, present in many of his works, challenges the hegemony of the visual and shifts our attention away from one fixed point to the surrounding context. As such, the exhibited works are immersive, and only comes to be before the viewer. This approach proposes an equivalence between languages and aspires a reciprocity between artwork and individual, raising a vague and instinctive relationship among them.

By assembling electronic devices, sound processors, found objects and sound captured in the air, the artist promotes a fusion between aural and physical phenomena, investigating the possibility of a unified aesthetic. The combination of the constituent traits of the three elements – sound, physical and subjective – form a coherent whole that pushes us into our maze of meanings. This sensory, bodily, experience destabilizes our cartesian perception and allows us a more intimate contact with our own subjectivity.

Fernando Ticoulat, curator.

: Installation view

: Drone para Rádio Cultura FM, 2014 / Radio devices, effect processors, speakers and acoustic foam / Dimensions variable

: Drone para Rádio Cultura FM, 2014 / Radio devices, effect processors, speakers and acoustic foam / Dimensions variable

: Mesa Técnica, 2014 / Signal generators, oscilloscopes, drawings and speakers / Dimensions variable

: Mesa Técnica, 2014 (detail) / Signal generators, oscilloscopes, drawings and speakers / Dimensions variable

: Mesa Técnica, 2014 (detail) / Signal generators, oscilloscopes, drawings and speakers / Dimensions variable

: Installation view

: Melodias Mortais, 2014 / Books, acrylic supports and sound design / Dimensions variable

: Melodias Mortais, 2014 (detail) / Books, acrylic supports and sound design / Dimensions variable

: Fotos Sobre Nada/Som Sobre Nada, 2014 / Photographic papers, plastic cases and sound piece for Tape Deck / Dimensions variable

: Fotos Sobre Nada/Som Sobre Nada, 2014 / Photographic papers, plastic cases and sound piece for Tape Deck / Dimensions variable

: Installation view

: Coletor de Presença, 2014 / Microphones for capturing sound in the external area, mixer audio channels and speakers / Dimensions variable

: Máquina, 2008 / Video / 7’31”

: Máquina, 2008 / Video / 7’31”

: Máquina, 2008 / Video / 7’31”

: Máquina, 2008 / Video / 7’31”

Estado de Suspensão

Administrador — Thu, 26 Jun 2014 03:17:50 +0000

Cinthia Marcelle e Tiago Mata Machado
Deyson Gilbert
Janaina Wagner
Jorge Menna Barreto e Traplev
Lenora de Barros
Matheus Rocha Pitta
Nicolás Robbio
Ricardo Carioba

São Paulo, 12 de junho de 2014.

Enquanto escreve-se este texto há uma incessante situação de barulho por todo lugar. Buzinas, cornetas, batuques e gritos se somam aos já habituais ruídos de uma cidade acostumada à agitação. Em paralelo, o noticiário esportivo e seus desdobramentos inundam as mídias de comunicação. No pequeno espaço restante, fala-se sobre diferentes confrontos entre manifestantes e a força policial. É possível assumir hoje – e os próximos dias – como o auge de um longo período marcado pela incerteza sobre o futuro próximo e permeado por uma angústia generalizada.

Alinhada em imediato com o contexto em que insere-se a mostra “Estado de Suspensão” é sobre agora. Entre meses protagonizados por eventos de massa de repercussão global, grandes construções – algumas não realizadas e outras concluídas sob o risco do provisório -, operações de grandes cifras, passeatas, greves e batalhas ideológicas num processo pré-eleitoral, trata do instante em que se especula o que pode ou não acontecer.

Ao reunir trabalhos que apercebem-se da obscuridade de nosso tempo, propõe um ambiente que recria, evidencia, potencializa e discute suas tensões. Atentos às implicações desses movimentos, em uma época em que tudo se registra e os olhares do mundo se voltam para as grandes transmissões, os artistas convidados se valem do vídeo – em seus diferentes desdobramentos – e de outras estratégias para explorar a fragilidade deste estado transitório caracterizado por uma sempre conturbada expectativa.

Indo além, busca-se aqui superar o presente para se inclinar sobre o lapso que o separa do amanhã. Posicionando-se no limiar inapreensível entre o que ainda vai ser e o que já foi, evita-se cegar pelo evidente ou suturar o dissenso, preferindo as entrelinhas em detrimento do explícito. No sentido de apontar o carregado desconforto social em que nos encontramos, inventa-se, articula-se, expande-se, inverte-se, ausenta-se e desmancha-se a imagem.

Fernando Ticoulat e Germano Dushá, curadores.

: Vista da exposição

: Deyson Gilbert / faixa-PROUN 15+20+15 (OTO) [Opacidade Transitiva para Ocupação], 2014 / Ação-intervenção na reedição de cinquenta anos da Marcha com Deus pela Família em São Paulo

: Cinthia Marcelle e Tiago Mata Machado / O Século, 2011 / Vídeo / 9’37”

: Matheus Rocha Pitta / Fundo Falso #3 (soro), 2014 / Plástico, vinho branco, leite, madeira, tinta acrílica / Dimensões variáveis

: Matheus Rocha Pitta / Fundo Falso #3 (soro), 2014 / Plástico, vinho branco, leite, madeira, tinta acrílica / Dimensões variáveis

: Matheus Rocha Pitta / Olho de Peixe, 2009 / Vídeo, 34’46″ (253 fotografias digitais animadas em flash), madeira e monitor / 300 x 260 x 70 cm

: Matheus Rocha Pitta / Olho de Peixe, 2009 (detalhe) / Vídeo, 34’46″ (253 fotografias digitais animadas em flash), madeira e monitor / 300 x 260 x 70 cm

: Janaina Wagner / Letargia, 2014 / Vídeo (instalado em 5 canais) / 1’17”

: Janaina Wagner / Letargia, 2014 / Vídeo (instalado em 5 canais) / 1’17”

: Vista da exposição

: Lenora de Barros / Estudo para facadas, 2012 / Vídeo / 1’32″

: Nicolás Robbio / Pêndulo, 2014 / Vídeo / 1’22”

: Nicolás Robbio / Sentou pra descansar, 2014 / Lanterna, madeira, envelope e lápis sobre papel / Dimensões variáveis

: Nicolás Robbio / Sentou pra descansar, 2014 / Lanterna, madeira, envelope e lápis sobre papel / Dimensões variáveis

: Jorge Menna Barreto e Traplev / Incômodo, 2013 / Vídeo / 2’02″

: Jorge Menna Barreto e Traplev / Incômodo, 2013 / Vídeo / 2’02″

: Jorge Menna Barreto e Traplev / Incômodo, 2013 / Still de filme; cartaz, impressão off-set, terceira edição, 200 gramas, tiragem de 200 exemplares / 40 x 60 cm

: Deyson Gilbert / faixa-PROUN 15+20+15 (OTO) [Opacidade Transitiva para Ocupação], 2014 / Ação-intervenção na reedição de cinquenta anos da Marcha com Deus pela Família em São Paulo

: Deyson Gilbert / faixa-PROUN 15+20+15 (OTO) [Opacidade Transitiva para Ocupação], 2014 / Ação-intervenção na reedição de cinquenta anos da Marcha com Deus pela Família em São Paulo

: Deyson Gilbert / faixa-PROUN 15+20+15 (OTO) [Opacidade Transitiva para Ocupação], 2014 / Ação-intervenção na reedição de cinquenta anos da Marcha com Deus pela Família em São Paulo

: Deyson Gilbert / faixa-PROUN 15+20+15 (OTO) [Opacidade Transitiva para Ocupação], 2014 / Ação-intervenção na reedição de cinquenta anos da Marcha com Deus pela Família em São Paulo

: Ricardo Carioba / Lapso, 2014 / Instalação de vídeo, áudio e espelhos em sala preta / Dimensões variáveis

: Ricardo Carioba / Lapso, 2014 / Instalação de vídeo, áudio e espelhos em sala preta / Dimensões variáveis

: Ricardo Carioba / Lapso, 2014 / Instalação de vídeo, áudio e espelhos em sala preta / Dimensões variáveis

Talks, rearrangement and fossils

Administrador — Thu, 05 Jun 2014 01:16:13 +0000

André Sztutman
Bhagavan-David
Pedro Maia
Lucas Rehnman
Thiago Nassif

Talks, rearrangement and fossils is a crossing of personal pathways into the same place – shelter, site of craft and, later, material and support. Therefore, it does not leave of pre-defined conditions and rules or of the intention to show what already existed. This project is based on a distinct desire: to experience the living together, allowing the spontaneous and respecting the chance. This is, first and foremost, a continued attempt, led by great uncertainty and by the dialogue with this uncertainty.

During the period of one month, we attended this situation with intensity. In a house that will soon cease to exist in favor of a new construction, this exhibition was installed by means of an action dealing openly and directly with the immediate context. As such, operates subtle movements in the same direction – which sometimes reveals and in others gives form. It is possible to think of an archeology of the present, which discovers and registers while invents and intervenes. The works that are born thence organize ideas, meet landscapes and record experiences; but also unite objects, shift figures, and suggest new meanings for the findings on the path. In this sense, it is not only arrival points, but also residues of practices and exchange.

It is on this terrain, rife with conversation – taken in its different forms and possibilities and also as a legitimate support for the artistic making – that devices are reinvented; places created; personal objects and thoughts organized in diagram; obsolete books become paintings; and elements found and reconfigured compose a precise scenography. In common, these artworks arise from a tension in which the sensitivity to everyday life and its bodies aligns with the immaterial dimension of each thing, each corner. There is then a rearrangement of the space, that without being safe from the future action of brokers and tractors, may, nevertheless, resist in other dimensions.

Germano Dushá, curator.

: Bhagavan-David / Sem título (untitled), 2014 / Intervention on old intercom box / 20 x 30 cm

: Installation view

: Bhagavan-David / Lugar 114,5, 2014 / Steel cable and polypropylene rope structure between trees, photographic documentation and excerpt of the Diário Oficial do Estado de São Paulo / Papers: 29,7 x 21 cm and structure: dimensions variable

: Bhagavan-David / Lugar 114,5, 2014 / Steel cable and polypropylene rope structure between trees, photographic documentation and excerpt of the Diário Oficial do Estado de São Paulo / Papers: 29,7 x 21 cm and structure: dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Pedro Maia / Escoro-Tatuí, 2014 (detail) / Found objects, bough, piece of cloth, paper, plastic, wood, nail, battery, led lamps, steel, screws, adhesive tape, tubes, books, stones, latex and spray / Dimensions variable

: Lucas Rehnman / Zona Azul (para Florensky) / Acrilic on found wood structure / 138 x 51 x 6 cm

: Installation view

: Thiago Nassif / Jogral / Sound / 72’

: Installation view

: André Sztutman / Vaso Branco / Acrilic on books / 42 x 43 cm

: André Sztutman / Pescaria (detalhe) / Acrilic on books / 150 x 180 cm

: André Sztutman / Epigrama I e II, 2014 / Acrilic on books / 16 x 20 x 13 cm e 17 x 20 x 14 cm

: André Sztutman / Epigrama I e II, 2014 / Acrilic on books / 16 x 20 x 13 cm e 17 x 20 x 14 cm

: Lucas Rehnman / Diagrama: fora da armadilha de Kitano, 2014 / Acrilic and adhesive on wall, twine, ladder, vynil LP conver cover, video, led lamp, c-clamp, books, cardboard, mixed media on paper, iron structure, assemblage, cloths, sunflower, plastic bag with leaves and twigs / Dimensions variable

: Lucas Rehnman / Diagrama: fora da armadilha de Kitano, 2014 (detail) / Acrilic and adhesive on wall, twine, ladder, vynil LP conver cover, video, led lamp, c-clamp, books, cardboard, mixed media on paper, iron structure, assemblage, cloths, sunflower, plastic bag with leaves and twigs / Dimensions variable

: Lucas Rehnman / Diagrama: fora da armadilha de Kitano, 2014 (detail) / Acrilic and adhesive on wall, twine, ladder, vynil LP conver cover, video, led lamp, c-clamp, books, cardboard, mixed media on paper, iron structure, assemblage, cloths, sunflower, plastic bag with leaves and twigs / Dimensions variable

: Lucas Rehnman / Diagrama: fora da armadilha de Kitano, 2014 (detail) / Acrilic and adhesive on wall, twine, ladder, vynil LP conver cover, video, led lamp, c-clamp, books, cardboard, mixed media on paper, iron structure, assemblage, cloths, sunflower, plastic bag with leaves and twigs / Dimensions variable

: Lucas Rehnman / Diagrama: fora da armadilha de Kitano, 2014 (detail) / Acrilic and adhesive on wall, twine, ladder, vynil LP conver cover, video, led lamp, c-clamp, books, cardboard, mixed media on paper, iron structure, assemblage, cloths, sunflower, plastic bag with leaves and twigs / Dimensions variable

: Lucas Rehnman / Diagrama: fora da armadilha de Kitano, 2014 (detail) / Acrilic and adhesive on wall, twine, ladder, vynil LP conver cover, video, led lamp, c-clamp, books, cardboard, mixed media on paper, iron structure, assemblage, cloths, sunflower, plastic bag with leaves and twigs / Dimensions variable

: Thiago Nassif / Amostra 3 Natural Sem Tratamento, 2014 (detalhe) / Wood, speaker, bark of tree, boughs, galego lemon and sound piece / Dimensions variable

: Thiago Nassif / Amostra 3 Natural Sem Tratamento, 2014 (detalhe) / Wood, speaker, bark of tree, boughs, galego lemon and sound piece / Dimensions variable

: Thiago Nassif / Amostra 3 Natural Sem Tratamento, 2014 (detalhe) / Wood, speaker, bark of tree, boughs, galego lemon and sound piece / Dimensions variable

Ricardo Carioba – untitled

Administrador — Thu, 10 Apr 2014 16:22:39 +0000

Since the actual nature is lost, everything can be nature.
Lezama Lima

Since his early works, Ricardo Carioba has been developing his oeuvre under the sign of decomposition and the subtraction of expressive forms. Employing minimal elements only, such process of reduction is pervaded by a mistrust concerning language and the narratives it entails, and finds equivalence first in the loss of importance of the two-dimensional surface in favor of video, and later of music. It is as if one had to retreat to the immaterial nature of sound in order to build a legitimate artistic object, disembarrassed of constraints as far as possible.

For this site-specific artwork currently exhibited at Coletor, Carioba develops devices previously seen in earlier works (hypothetic fluid, dark horizon) to create some sort of audiovisual immersive sculpture, which overlaps the exhibition space and unfolds some of its features. In the contiguous rooms of a no longer inhabited house, two large natural light openings are covered by filters – one red, the other one green – and three videos are projected. At the center, the first one shows white ellipses moving and overlapping themselves according to the frequency variances of the sound composition. On the sides, projections oriented towards the ceiling follow the music’s grave and acute beats, thus fractioning time as tiny bursts. On the left, right next to the green light entry, two white squares of different dimensions switch positions and disappear; on the right, next to the red light entry, flashes a faint and also white line. Spread throughout the space, the music conducts and orders everything.

In this brand new spatial, hybrid unit and by using minimal formal elements (the square, the ellipse, the line), light, video, and sound define a sensorial experience that claims no thing, since its round time sets history aside. In such space, no works can reach out to an ending (work isn’t even possible), as if we were somewhere after the end of places, devoid of expectations or interlocutors.

The actual space gets dissolved in the empty house. Listeners-spectators submerge in a sound-light that seems to come from a no longer existing star, but whose light continues to reach out to us, simultaneously carrying both the beauty and the melancholy of something long gone. No construction or technical optimism manage to survive (as if the artwork itself ceased to be a work, something destitute of human spirituality and industriousness); the ellipsis in the central video, from its very name – élleipsis, Greek for ‘suppression’ –, points towards a pure experience (also numinous, in a certain way) that orients the work. On the other end, music is connected with the most basic degree of our
physical experience, with a corporality that is not animal, but rather issued from celestial bodies.

Here, neither is the lost nature replaced by a complaint or a nostalgic moan, nor is the abandonment of language and narrative felt as an absence. Instead, this distance is required, so as to allow some freedom to emerge from silence; the refusal of illusion and hope provides the thought with the ether of a new space. In our time barren of specialness – this spiritless era of ours –, we once again find the point of departure from which our word can resume. After all, it is like we are finally able to listen to the echoes of our own stuttering.

Gabriel Bogossian

sem título (untitled), 2014 / Installation using lighting filters on glass walls, 3 channel video projection, led lighting, electronic circuit and quadraphonic audio / Dimensions variable

aber-tura

admin — Sun, 09 Mar 2014 10:33:07 +0000

Anton Steenbock
Janaina Wagner
Leonardo Stroka

The house built several decades ago in a narrow and small street of one of the oldest neighbourhoods in the city of São Paulo has surely been through several transformations until turning into an ordinary warehouse – its social function over recent years. Set to be demolished, we seeka a last appropriation, experimenting possibilities that have not yet inhabited it.

Initiating this activation process – which will last until the arrival of 2015 – three artists were invited to think the space through a relational exercise that would propose occupancy ideas while discussing its potential uses and transient condition. The works of Anton Steenbock, Janaina Wagner and Leonardo Stroka were conceived or rethought specifically to this context and uses the house itself as support to intervene with other meanings in what had been otherwise taken as obsolete.

To overcome the apathy of this residential construction with an art show represents a challenge that may only be overcome by a forthright dialogue towards the exhibition space. Accordingly, the neutral and immaculate white cube model was avoided. Likewise, it was proposed to the participants a direction not be imposed as boring theoretical shackles: being a group exhibition comprised of artists with heterogeneous backgrounds, interests, research and productions, it is only natural to have an ever free narrative plot. Each artist was stimulated to subvert the corners of the house autonomously, without seeking a visual or formal proximity between the results. The cohesion came from the shared vigor with which they penetrated along there, in an aperture move able to launch new risks onto the site.

Germano Dushá, curator.

: Installation view

: Installation view

: Janaina Wagner / Casa V, 2014 / Carbon paper on wall / Dimensions variable

: Janaina Wagner / Casa V, 2014 (detail) / Carbon paper on wall / Dimensions variable

: Janaina Wagner / Casa V, 2014 (detail) / Carbon paper on wall / Dimensions variable

: Janaina Wagner / Casa V, 2014 (detail) / Carbon paper on wall / Dimensions variable

: Installation view

: Installation view

: Janaina Wagner / Terreno, 2014 / Video / 11’25’’

: Installation view

: Leonardo Stroka / Bandeira, 2014 / Copper and Acrylic polymer / Dimensions variable

: Leonardo Stroka / Bandeira, 2014 (detail) / Copper and Acrylic polymer / Dimensions variable

: Installation view

: Leonardo Stroka / Mesa, 2014 (detail) / Trestle, lamps and silicone prosthesis / 138 x 75 x 82 cm

: Leonardo Stroka / Mesa, 2014 (detail) / Trestle, lamps and silicone prosthesis / 138 x 75 x 82 cm

: Leonardo Stroka / Haste, 2014 / Copper, plaster and leather / 290 x 18,5 x 16 cm

: Leonardo Stroka / Haste, 2014 (detail) / Copper, plaster and leather / 290 x 18,5 x 16 cm

: Leonardo Stroka / Untitled, 2014 / Resin, plastic and plaster / 35 x 28 x 12,5 cm

: Leonardo Stroka / Untitled, 2014 (detail) / Resin, plastic and plaster / 35 x 28 x 12,5 cm

: Installation view

: Anton Steenbock / Doze doses para Arnold, 2013 / Windscreens, cachaça and piezo microphones / Dimensions variable

: Anton Steenbock / Doze doses para Arnold, 2013 (detail) / Windscreens, cachaça and piezo microphones / Dimensions variable

: Anton Steenbock / Doze doses para Arnold, 2013 (detail) / Windscreens, cachaça and piezo microphones / Dimensions variable

: Anton Steenbock / Doze doses para Arnold, 2013 (detail) / Windscreens, cachaça and piezo microphones / Dimensions variable