Coletor » AçõesColetor

Terra Falsa

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

Coletor, with the support of Movimento 90, presents Fake Earth, a project consisting of one happening held on the parking of lot of Rua Santa Isabel, 197, in downtown São Paulo (June 25, 2016), and one publication to be published during the second half of 2016.

Following Coletor’s project of temporary appropriating urban spaces for the use contemporary artistic practices, Fake Earth is a poetic interstice across the urban void given by the terrain. This is a zone that welcome works of art in various languages, most unprecedented and thought for the occasion. In common there is a nimpetus of tensing the symbolic forces that determine and monetize our living together, without appealing to rhetoric, commonplaces or cynicism. On the contrary, the works employ humor and irony in order to pluck you a (yellow) smile , and they shun away from the hermetic intellectuality of the white cube in favor of optimistic narratives in facing a remarkably dystopian future.

The publication, much more than a mere catalog recording the activities of June 25th, will further conceptually the work undertaken in the parking lot and will include interventions specifically developed for it.

Opavivará / I love Camelô, 2009 / Photography printed in postcard 15,5 x 9 cm; plastic curtain 222 x 90 cm

Caroline Valansi / Political Pornography Series, 2015 / Silkscreen / 70 x 50 cm (each)

Caroline Valansi / Série Pornografia Política, 2015 / Serigrafia / 70 x 50 cm (cada)

Caroline Valansi / Political Pornography Series, 2015 / Silkscreen / 70 x 50 cm (each)

Carlos Monroy / Eggs to Fear (Eggs for Temer), 2016 / Performance

Traplev / Crisisprofit, 2015 / Banner / 150 x 600 cm

Bruno Mendonça & Felipe Caprestano / No revolutionary intention / Performance / 20′

Fabio Tremonte / The earth is the body, 2016 / Wood and humus / 200 cm (diameter) x 15 cm (height)

Fabiana Faleiros / Satan Cecília, 2016 / Performance

Cezar Sperinde / No man is an island, 2016 / 150 polypropylene bags , screen printed red&blue EU pattern , nautical rope knots and a conversation with Wolfgang Tillmans / 40 x 400 x 300 cm

Associação Massa Falida & Sol Casal / Censer, 2016 / Clay, charcoal, fire, bellows, brick and seven herbs: guinea, chamomile, surinam cherry, artemisia, laurel, rosemary and benzoin / 60 x 500 x 250 cm

(Background) Dalton Paula / Unguento, 2013 / Video-performance / 16′

Caroline Valansi / Wanted Series, 2015 / Adhesive vinyl over plastic board and instantaneous photography / 44 x 70 cm

Nelson D / Fertility, 2016 / Performance / 15′

Bruno Faria / Alegoric car, 2016 / Styfoam, 150 x 400 x 200 cm / 5 hours action

Como diz o outro

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

The term “as one would say”– popular expression that serves more as the announcement of a following aphorism – presents us with an ambiguous situation. It points out to a discourse supposedly based on empathy, whereas it is an argument of authority based on a rhetorical ploy, also responsible for reproducing information in public sphere.

As we incline over its nature we approach the mechanisms that enable and permits the wide and uncontrolled dissemination of data through networks – physical or virtual. It is important to think, then, how these mechanisms responsible for determining the subjects that gain broad access to the detriment of those who are remotely visited operate. In present terms: what deserves to viralize or not.

On the other hand, we can take it literally and find a state of alterity that makes us face the voice of the other, their identity, history and needs. Our eyes and ears are directed for those who are what we never are; for which our central narratives do not notice.

Taking place in a Xerox place – which also works as a lan house and a 3×4 photo booth – open to the street, the show avails itself on the very form and function (functionality) of the space as activators of what it intends to think. In a popular commercial establishment which social purpose is precisely to replicate, circulate and exchange content, it is possible to use the structure of photocopying machines, computers and its surroundings to explore a common social fabric made up of different stories; as well as examine the possibilities of telling, listening, interpreting and propagating them.

Fernando Ticoulat e Germano Dushá, curators.

Matheus Rocha Pitta – Fonte para o Manifestante Desconhecido

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

With “Fountain for the Unknown Protester” Matheus Rocha Pitta continues the experimentations on the boundaries between different mediums and expressions. The work consists in placing a slab marked with negative shapes of plastic bottles and newspaper clippings that shows a protester whose face is veiled by a high pressure water jet shot by the police. In a second moment, the viewers are invited to bring water bottles to be laid down and uncapped in front of the site, all pointing to the same direction, in a way that the liquid drains until the limit and the recipient keeps the dead volume. A large collectively constructed installation is thereby formed by voluntary giving acts and its residues.

The image of a person whose identity is covered by a repressive violent gesture is nevertheless dubious: the effort that represses him fiscally is the same that masks – a strategy used voluntarily by those who protests. In other words, it protects the person from a possible identification and, consequently, from future prosecutions. Even more important, disposes the void – result of the personification impossibility of the subject – at the service of the the emblem, ready to represent an idea and, naturally, anyone who can identify or have sympathy with the situation.

The use of this photograph in a rectangle cement slab, as in the formation process of graves made with few resources – in which newspapers are used to isolate the back of the cast – is the ignition key for a specific activity. This being, the artist’s operation begins at an object that, from its own nature refers to permanency and perpetuity, to bow onto the ephemeral field and, most of all, the unpredictable. By Juxtaposing the image and the action, the management of the same element in two opposite gestures, one of coercive brutality and another one of a simple generosity, the procedure evokes a discourse equally consternated and spirituous.

A monument is raised whose act is a fable of global aspects. In a single roundup we have a picture of a fact that occurred in Turkey, cut out of a German newspaper and exposed in the central region of São Paulo, exactly on a site under which happens to have a river buried under the asphalt, whose name Anhangabaú – from a Tupi source – can be understood as water of harm, probably baptized as such because of historical conflicts. And by taking shape in the symbolic center of the imminent collapse of the country’s water resources, it also naturally aims for new meanings. In a scenario where for many water is lacking even for the basic needs, the artist asks us to jointly water the soil on this land whose condition was foiled by the urbanizing progress.

During the action, the artist creates an amount of sensations that act always in a transforming sense, bearing the future in mind. In the words of Gilles Deleuze: “a monument does not commemorate or celebrate something that happened, but passes onto the future the persistent sensations that embody the event: the constantly renewed suffering of men and women, their re-created protests, their constantly resumed struggle.” Thus scanning the imaginary that gives life to the diligences that inspire it, such as the oratory of the Deceased Correa in Argentina and the “Tomb of the Unknown Soldier” versions around the world – memorials that are visited, and receive, respectively, donation of water bottles and floral wreaths.

Inscribed in the tissues of an urban way marked by some social heterogeneity and different architectonic layers, – which may only come to be via conflict – we come across a depositary capable of receiving a trivial matter and involve it in new senses. From the bottle depository and water spillage, to the receipt and storage, the grammar of experiences and the bounds that constitute the common occupations are examined. We witness, in the end, a set of ideas that possibly configures new exchanges in the space and time in which we live together.

Germano Dushá

Performance view

Anton Steenbock – Pop Tower

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

At the front of the house a huge banner arises, and throughout the neighbourhood uniformed people provided with large arrows and countless leaflets announces a large real estate development. All of it highlights the news as an excellent opportunity. This is a new construction model, based on modular units. It will be more than three thousand kitchenettes, compact and functional. All of them identical. They say that the building will also have an intermediary leisure and complete commercial area. In the ad, the slogans yell about the arrival of the dream of living in that valued vicinity, and one can see the image of a colossal construction, whose architecture can only be taken as absurd and with futuristic finishing.

Nearby residents and workers in the region have heard about the future building that will be erected there. Their interest is, therefore, reinforced. It seems that, after so much suspense and speculation, they will now finally know the end of the story. On the street the curious and those who reveal amazed are many. Most people prostrate themselves astonished, complaining about what would be a great nonsense, and fiercely criticise aspects of the project. Others show real commercial interest. In the following weeks, added to these reactions is a flood of access on the website and a torrent of messages in the email inbox disclosed in advertising material.

The project named “Pop Tower” – and subtitled “popular units” objectively presents its function –could well be real. However, it is an action-intervention of artist Anton Steenbock, which joins a number of other works conducted in different cities and situations, from a social housing project in the urban center of Jena in Germany to a hotel in the form of a peeled banana in the middle of the Guanabara Bay waters in Rio de Janeiro (providing direct reverence to the idea of Milton Machado, developing it). In the project in question, Anton profits precisely from the waiting and expectation moment to act in the micro period of time that the house will no longer have any more utility, and remains empty until its imminent demolition. With this effort, he provokes, discusses and ventilates questions about aspects of the development process of large cities; the architectural and aesthetic options in vogue; the signs and choices involving the civil construction and the advertising and marketing of their products, and how these forces can be diversely perceived in different economic tiers.

Naturally, it aims to create noise between the people that lives there, which are forced to face a story that supposedly puts an end to a routine situation of comfort. Next to the prospect of a scenario where it would be possible to considerably increase the population density of the street and vastly expand its economic access, perplexity and rage are imminent. The work does not, however, attempt to draw a manichean plot, in which the moral and functional resolutions are easily identifiable. On the contrary, it is a device capable of revealing the complexity of the issues surrounding urban centers. In this sense, the proposed development can be faced by several spectrums. While it is imposed by its gigantism – reflected in a spectacular aesthetics with no identity – about a city saturated in its own growth, which would bear fruit to countless environmental ills, would also serve to promote the approach of abruptly distant social layers, and even, could be a reasonable solution to improve the quality of life and mobility of low-income workers. Next to the image of an infinite story tower is the phrase “The dream of Jardins at your fingertips! Live where you work! “; but its meaning is intentionally dubious: it depends on who reads it.

The action of Anton assumes the specificity of place, time and social context in which it appears to think its own potential for acting. At a first glance it completely eliminates the aesthetic distance from the workpiece before the world by not positioning itself as an artistic gesture. In this process, it deeply penetrates in the urban tissue, and by doing so, emulates everyday icons and figures to shake the fibers that form it. In addition, it intends to unfold itself in its records, expanding the potency of its effects and shooting the discomfort of many problems.

It acts, therefore, as an instrument capable of throwing art into life; that thinks the possibilities and limits of contemporary art production to the extent it directly operates in the perception of the social, economic and cultural conjuncture we find daily at our doorsteps. It is not a prank, a mirror aiming to report great truths with resent, or an infiltration movement into the bowels of a alleged domination dully identified, but a device capable of working towards transformation by synthesising tensions in the core of subjectivity and the practical decisions that shape the future.

Fernando Ticoulat e Germano Dushá

Performance view

Lais Myrrha – Ensaio de Orquestra

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

In an auditorium housed in an old chapel – whose acoustics is said to be enviable – an orchestra meets to rehearse a symphony. Everything is filmed by a TV crew that intends to record the moment. Gradually, small misunderstandings, especially among musicians and the conductor who abuses his authority, set up a general malaise. Given the vanities, personal priorities, bureaucratic issues and ideological clashes, a scenario of uncontrollable disorder arises and develops on the rise: some make obscene graffiti on the wall, others play their instruments blaring, while many shout with fervor: “Orchestra, terror, death to the conductor. “The confusion is only interrupted by an absurd situation: after successive bangs, a piece of the venue is knocked down by a huge wrecking ball. The perplexity and the doldrums before the fact are overcome while the group tries to work together once more.

As in these scenes from the movie “Orchestra Rehearsal” by Federico Fellini – of which this exhibition borrows its title – this present work of Lais Myrrha progresses form potential harmony to growing dissent. First an exhibition room is offered in a perfect state but completely empty. The situation of the space points to their occupation possibilities and, naturally, suspends its vocation. At a second moment, we hear noises common to the practices of construction. These are the same racket, commotion and bangs that spread every day throughout the city streets. Soon the uproar takes over of the environment and, although we do not see any corresponding image, it is inevitable to mentally build them in great detail. Every beat, every scrape, invokes the figure. At the top of this action, a wall is demolished. Bricks from the top start to fall, then blocks fall apart, and soon almost the whole structure is dismantled. A room in the house is revealed, entirely deboned, and at the back we see a pile of rubble. Once this ended, the men who were operating the destruction on the other room wall cross their wreckage and leave.

The curtain here is of masonry: to show what it veils it needs to be toppled, and once on the ground it does not present possibilities of reconstitution. When it breaks up, we immediately see the landscape of debris advance to the other side – aseptic and untouched. This movement makes one think in the hereafter insinuating itself on the current function of the place. The ruin left from the action promoted by the artist shows more than traces of something that already was; time as a whole is frozen: before, now and after captured in a single moment. In this transient state we see the body of play of a house that will soon no longer exist, and of which future use of the area that will be left in legacy we do not know, may only suppose.

The artist leads us to witness part of a voluntary operation that dismantles and builds. In this sense, by portraying the real it places us face to face with the relentless daily life and the countless questionings that follow its track. We wonder who operates it; to which wills it submits its flow; what must collapse and what deserves to rise.

The “Orchestra Rehearsal” of Lais employs its force to renegotiate the distinctions and boundaries between modes of discourse that tells our story, highlighting their constitutive tensions by taking in equal measure reality and artifice. As at the beginning and end of the film of Fellini, the artist presents us, without the need of visual rhetoric, the sounds of a common chaos; and when it ceases its activities it does not put a full stop, but it is concerned only in opening paths. Under the echoes of the verbs of progress it sheds light on the processes that lead our day-to-day, and leaves us enough to think: after here, what will be?

Fernando Ticoulat and Germano Dushá

Renata De Bonis – Suíte

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 geologist 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.

From the actions that give its shape its negative élan is revealed, and so 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 fundamental. 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

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

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

Programa de Ações e Situações Site-specific

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, Janaina Wagner, Bruno Baptistelli, Raquel Uendi, Leonardo Stroka.

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.

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

Third Space: 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

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

Final: Raquel Garbelotti / 07/12/2014

Final: Rafaela Jemmene / 07/12/2014

Final: Natália Coutinho / 07/12/2014

Final: Bruno Mendonça / 07/12/2014

Final: Raquel Uendi / 07/12/2014

Final: Leonardo Stroka / 07/12/2014

Final: Installation view / 07/12/2014

Final: Janaina Wagner / 07/12/2014

Final: Bruno Baptistelli and Raquel Uendi / 07/12/2014

Postcodes: Kind

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

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

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

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

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

Bruno Palazzo – Som sobre nada

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

Mesa Técnica, 2014 / 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

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”

Estado de Suspensão

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

São Paulo, June 12, 2014.

As this text is written there is an incessant noise situation everywhere. Horns, trumpets, drums and screams are added to the ever usual noises of a city used to hustle and bustle. Alongside, the sports news and its unfolding flood the communication medias. On the small remaining space, one can read about different clashes between protesters and the police force. It is possible to assume today – and the coming days – as the culmination of a long period marked by uncertainty about the near future and permeated by a widespread anxiety.

Aligned with the immediate context in which it falls to, this show is about now. Between months staged by mass events of global impact repercussion] large constructions – some not undertaken and others finished under the risk of the provisional –, big figures transactions, marches, strikes and ideological battles in a pre-election process, it deals with the instant one speculates what may or may not happen.

By bringing together works that come to realize the obscurity of our time, proposes an environment that recreates, highlights, enhances and discusses its tensions. Aware of the implications of these movements, in an age where everything is recorded and the eyes of the world turn to the great broadcasts, the invited artists make use of the video – in its different ramifications – and other strategies to explore the fragility of this transient state characterized by an always disturbed expectation.

Moving forward, it seeks to overcome the present in order to lean over the lapse that separates it from tomorrow. Positioning itself in the elusive threshold between what is yet to be and what has been, avoids being blinded by the evident or stitching the dissent, preferring the in between lines instead of the explicit. In the sense of pointing out the charged social discomfort we find ourselves in, it invents, articulates, expands, inverts, absents and dismantle the image.

Fernando Ticoulat and Germano Dushá, curators.

Installation view

Deyson Gilbert / faixa-PROUN 15+20+15 (OTO) [Opacidade Transitiva para Ocupação], 2014 / Action-intervention at the 50th anniversary edition of the Marcha da Família com Deus Pela Liberdade (Family Walk with God for Freedom) in São Paulo

Cinthia Marcelle and Tiago Mata Machado / O Século, 2011 / Video / 9’37”

Matheus Rocha Pitta / Fundo Falso #3 (soro), 2014 / Plastic, white wine, milk, wood, acrylic / Dimensions variable

Matheus Rocha Pitta / Olho de Peixe, 2009 / Video, 34’46″ (253 flash animated digital photographs), wood and monitor / 300 x 260 x 70 cm

Matheus Rocha Pitta / Olho de Peixe, 2009 (detail) / Video, 34’46″ (253 flash animated digital photographs), wood and monitor / 300 x 260 x 70 cm

Janaina Wagner / Letargia, 2014 / Video (5 channels) / 1’17”

Installation view

Lenora de Barros / Estudo para facadas, 2012 / Video / 1’32

Nicolás Robbio / Pêndulo, 2014 / Video / 1’22”

Nicolás Robbio / Sentou pra descansar, 2014 / Flashlight, wood, envelope and pencil on paper / Dimensions variable

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

Jorge Menna Barreto e Traplev / Incômodo, 2013 / Movie still; poster, off-ser printing, third edition, 200 grams, 200 copies / 40 x 60 cm

Ricardo Carioba / Lapso, 2014 / Video, sound and mirrors installation in a black room / Dimensions variable

Conversas, rearranjo e fósseis

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

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

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

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

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

Ricardo Carioba – sem título

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

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

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

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 / 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