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abril 16, 2020
Projeto Quarentine: 45 artistas plásticos se reúnem em projeto de arte em tempos de quarentena
O projeto Quarantine é uma iniciativa das artistas Lais Myrrha e Marilá Dardot, da curadora Cristiana Tejo e da fundadora da plataforma 55SP Julia Morelli e surge da atenta reflexão sobre os grandes desafios que o mundo enfrenta devido à pandemia de Covid-19 e mais especificamente do seu impacto no campo das artes visuais no Brasil. A crise atual tem gerado uma suspensão no funcionamento dos museus, centros culturais, galerias, feiras de arte, residências artísticas, ateliês e trazido demissões, cancelamentos de mostras e de vendas. Ao mesmo tempo, o Corona vírus tem reforçado a importância da cooperação entre todes e da redistribuição mínima de condições materiais como as únicas possibilidades de sua superação. Sem a ação coletiva não há solução.
Esta situação sem precedentes na história recente mundial tem convidado-nos a repensar estilos de vida, alianças, formas de contribuição e maneiras de atuação profissional. Diante deste contexto de incertezas e de interrupção do cotidiano, o grupo propõe um experimento coletivo de re-imaginação de modelo econômico para as artes. Trata-se de uma espécie de cooperativa de artistas do Brasil, em que todos os trabalhos têm o mesmo preço e o que for vendido tem seu valor repartido igualmente entre xs colaboradorxs. Uma cota extra foi criada para ser doada para o fundo emergencial de apoio às pessoas trans afetadas pelo Covid-19 e assistidas pela Casa Chama, uma organização civil de ações socioculturais com foco em artistas Transvestigêneres: @casachama_org
Colaboram artistas de todas as regiões do país, momentos de trajetória, gêneros e raças que foram convidadxs a proporem trabalhos de acordo com as condições de quarentena (em casa, com os materiais e instrumentos disponíveis). As obras – desenhos, gravuras digitais, arte sonora, vídeos, fotos, textos, instruções etc – foram pensadas de modo que possam ser enviadas digitalmente e serem realizados (baixados, impressos e/ou executados) pelx compradorx também em condições de quarentena. Os trabalhos só serão visualizados pelas pessoas que os comprem.
Há a intenção de fazer uma exposição online com as proposições desenvolvidas no projeto ao fim do período de distanciamento social e da luta contra a pandemia no Brasil.
Os trabalhos podem ser adquiridos na Plataforma 55SP durante o período da quarentena no Brasil. O valor é de R$ 5 mil.
O projeto estará online a partir de segunda-feira, 13 de abril de 2020, e poderá ser acessado no endereço: www.55sp.art/quarantine
Participam do projeto:
Ana Dias Batista
Ana Lira
Arissana Pataxó
Armando Queiroz
Bruno Faria
Caetano Costa
Clarice Cunha
Cinthia Marcelle e Diran Castro
Clara Ianni
Daniel Lie
Debora Bolsoni
Denilson Baniwa
Fabiana Faleiros
Fabio Morais
Fabio Tremonte
Fernando Cardoso
Guto Lacaz
Jaime Lauriano
Janaina Wagner
João Loureiro
Laercio Redondo
Lais Myrrha
Lenora de Barros
Lia Chaia
Lucas Bambozzi
Manauara Clandestina
Marcellvs L.
Marcia Xavier
Marco Paulo Rolla
Mariana de Matos
Marilá Dardot
Marta Neves
Maurício Ianês
Nicolás Robbio
Patrícia Francisco
Paulo Bruscky
Rafael RG
Ricardo Basbaum
Romy Pocztaruk
Rosângela Rennó
Sara Não Tem Nome
Sara Ramo
Traplev
Yana Tamayo
Yuri Firmeza
Coordenação: Lais Myrrha, Marilá Dardot, Cristiana Tejo e Julia Morelli
ARTE SEMPRE: Marie-Caroline Hominal no Instagram da Casa Nova Arte
Nos próximos 15 dias, durante este período em que todxs estão #emcasa, vamos usar o Instagram da Casa Nova como um espaço expositivo para uma série de vídeo performances da artista Suiça Marie-Caroline Hominal. #fiqueemcasa #mariecarolinehominal @mch333555777999
A prática de Marie-Caroline Hominal inclui coreografia, performance, vídeo, desenho, música. Ela estudou dança no Janet Held Studio em Montreux, na Schweizerische Balletberufschule em Zurique e na Rambert School of Ballet and Contemporary Dance em Londres. Se aprimorou em dança na Schweizerische Ballettberufschule (ZHDK TanzAkademie) em Zurique e na Rambert School of Ballet and Contemporary Dance, em Londres, onde ingressou na National Youth Dance Company.
In the next 15 days, during this period when everyone is #athome, we will use our Instagram as an exhibition space for a series of video performances by Swiss artist Marie-Caroline Hominal. #stayhome #mariecarolinehominal @mch333555777999
Marie-Caroline Hominal 's practice includes choreography, performance, video, drawing, music. She did her Dance education at Janet Held Studio in Montreux, the Schweizerische Balletberufschule in Zurich and at the Rambert School of Ballet and Contemporary Dance in London.Marie-Caroline received her dance education at the Schweizerische Ballettberufschule (ZHDK TanzAkademie) in Zurich and at the Rambert School of Ballet and Contemporary Dance in London, where she joined the National Youth Dance Company. Photo: Lukas Beyeler
CANAL NO TUBO Casa Triângulo apresenta vídeos de Tony Camargo
Tony Camargo, VP28, da série Videomódulos, 2018
Tony Camargo, VP29, da série Videomódulos, 2018
Assista aos vídeos até 23 de abril de 2020
Através de espécies de aparelhos que justapõem elementos determinantes de pintura, cinema, fotografia, dança e design, os Videomódulos de Tony Camargo sugerem a utopia da transposição de lugar da pintura, mediante novas proposições técnicas, sem abandonar o caráter e a presença física tradicional de um quadro. Para Paulo Herkenhoff, "uma ação simultaneamente afirmativa e sabotadora da pintura como algo que para fazer sentido crítico no mundo contemporâneo, precisa se repensar não como objeto precioso, mas como fenômeno disponível para os novos modos de trabalhar o sensível".
O encontro de Tony Camargo [Paula Freitas, Brasil, 1979] com a arte é um encontro de atmosferas intangíveis com o peso dos objetos. Poderíamos dizer que seu trabalho é o de um artista conceitual, enquanto cientista do conceito, que descobre a cada realização outras dependências da matéria. Interessa para Tony Camargo o efeito de todas as coisas diante de nossos olhos quando suas funções originariamente atribuídas estão suspensas. Dentre exposições recentes destacam-se: Num Logo Lugar, Casa Triângulo, São Paulo, Brasil [2019]; Seleta Crômica e Objetos, exposição comemorativa de 20 anos de carreira, Museu Oscar Niemeyer, Curitiba, Brasil; Nightfall, Galeria Mendes Wood DM, Bruxelas, Bélgica [2018]; Modos de ver o Brasil: Itaú Cultural 30 anos, Oca - Parque Ibirapuera, São Paulo, Brasil; Contraponto, Coleção Sérgio Carvalho, Brasília, Brasil; QueerMuseu - Cartografias da diferença na arte brasileira, Santander Cultural, Porta Alegre, Brasil; 6º Prêmio Marcantonio Vilaça, Artistas Finalistas, Museu Brasileiro de Escultura, São Paulo, Brasil [2017]. Suas obras fazem parte de coleções públicas como Itaú Cultural, São Paulo, Brasil; Museu de Arte Moderna de São Paulo, São Paulo, Brasil; Museu Oscar Niemeyer, Curitiba, Brasil, entre outras.
Clique aqui para mais informações sobre o artista.
7 Mid-Career Artists on How They Are Facing the Enormous Challenges of the Coronavirus Pandemic by Naomi Rea, Artnet News
‘Everyone Is in a State of Panic Right Now’: 7 Mid-Career Artists on How They Are Facing the Enormous Challenges of the Coronavirus Pandemic
Matéria de Naomi Rea originalmente publicada no site Artnet News em 15 de abril de 2020.
Kader Attia, Kathe Burkhart, and others on how they have rearranged their lives in recent weeks
Nationwide lockdowns, closures of non-essential businesses, disruptions to supply chains: the impact of the coronavirus can be felt everywhere.
The art world is no different.
Cancelled exhibitions mean lost income for artists, while studio shutdowns leave assistants wondering when they will get their next paycheck. The obstacles seem endless.
To get a sense of the landscape, we asked seven artists how the crisis has affected them and what they expect its long-term consequences to be.
Janaina Tschäpe
At the beginning of March, when a lot of galleries, collectors, and friends were in New York for the Armory Show, we were still going to openings, dinners, and visiting the fairs. Late Sunday, I remember my daughter saying there were something like 150 cases in New York State by that time. The next day, I drove her to and from school because I didn’t want her to take the subway. By Wednesday morning, we came to the decision that my studio assistants should start to work from home and I made the decision to go to Brazil with my daughter before her school closed.
I am lucky to have a farmhouse in the mountains. We are pretty much self-sustainable here, and my daughter can attend school online and I have a studio where I can work.
It was a little traumatic, actually, when we first got to the farm. I didn’t realize how much anxiety I would cause the locals due to the fact that I was coming from New York. An audio recording started circulating on social media spreading fake news that my daughter and I were sick and were the first cases of the virus in the countryside. It was quite painful because as you can imagine, I started getting phone calls from everyone and even had an ambulance show up to the farm. I couldn’t install my internet or get gas or basic supplies because people were too scared to come near us. I finally sent around a video stating that we weren’t sick and just quarantining in our house.
Everyone is in a state of panic right now, with the closing of borders, people succumbing to racist sentiments, and fear driving people towards horrible actions. It is so worrisome that both Brazil and the US are stuck with ignorant leaders who continue to guide us in the wrong direction, concerned only about the economy and not about people. This situation is revealing a lot of our mistakes, and that we are putting a little too much money and attention in the wrong places.
I have now started a project to produce 2,000 masks for the community here. The nearby town is completely unprepared to deal with the virus, there is no infrastructure and no support. We’re trying to get someone from health services to go around the community and provide information to elderly people who are at greater risk of complications. We have already bought the fabric for the masks and recruited the help of local women to sew them. Hopefully, our efforts will make the town a little more prepared if the virus does spread to the countryside.
Kader Attia
In mid-February, I was in Lebanon for a workshop, and there, people were already talking about the virus and wearing masks in the street. That’s when I discovered that there was actually a coronavirus epidemic. When I came back to Europe at the end of February, I was very surprised to see that people were not taking this seriously.
In addition to my artistic practice, I run a space for debates and exchanges in Paris named La Colonie. On March 15, the French government ordered all cafés and restaurants to close. We have been happy to do our part to flatten the curve and help reduce the virus’s spread, but this also hits us very hard. The space is totally self-funded, so being closed is a financial disaster for us, and we don’t know if we will be able to come back from that.
Like everybody now, I am quarantining. I am using this time to read and try to reflect on and make sense of what is happening. There were inequalities and injustices before this pandemic, and with the economic crisis that will follow, they will only get wider and deeper. We need to invent new ways to deal with our environment, but also to anticipate the social and economical disaster that has already started. I am thinking about the acceleration of forms of racism that already existed before the pandemic, like the rise of fascism all over Europe and North and South America. There is a high risk that many countries could be seduced by the nationalist sentiment that this virus and the narrative surrounding it exacerbates.
There is a lurking neo-nationalism that is emphasized by this virus. Despite the French government’s efforts, both extremist left-wing and right-wing nationalist parties can criticize the French healthcare system for becoming neo-liberal, because hospitals are being treated more and more like companies and asked to generate profit. They could push the idea that the healthcare system needs to be nationalized, like other essential activities.
The problem with these kind of ideas is that, even if there is some truth to them, they are very dangerous because they can be the ground for helping nationalist ideologies to come to power. And we all know that nationalist ideologies are fueled by racism, exclusion of the other, isolationism, authoritarian policies, and so on. We need to be careful with this. I speak about France because it is the country I know best, but other countries can be tempted by this too.
Liu Xiaodong
At the end of January, I went to Eagle Pass, Texas, to paint, and since the opening of my show at Dallas Contemporary was scheduled for April 14, I came to New York to wait for the opening. As of today, I haven’t been able to return to my home in China. My shows—”Borders” at Dallas Contemporary and “Uummannaq” at the Faurschou Foundation in New York—have both been cancelled. Having shows cancelled is not a big deal, we all had to quit what we were doing and wait. Fortunately, these shows will be rescheduled for after the pandemic, hopefully in autumn.
Now, I’m in my New York apartment where I spend time cooking and doing watercolors of the streets. In the long-term, learning to slow down my life’s pace will be a good thing—to reduce what is unnecessary, to live a simpler life.
Kathe Burkhart
My generation has already been through the AIDS and Hepatitis C epidemics. Here we go again—except that now the whole world has to live the way we did, with so much fear and loss.
I work between Amsterdam and New York, and was due to fly back to New York this week. Now I’m stuck in place for an indeterminate time. The international borders are closed. I worry about my friends in the States, especially in New York. Someone dear to me has been sick.
I had a solo show that was scheduled to open at Fredericks & Freiser on April 30. It has been postponed to the fall. If there is a fall. This means loss of sales and income, loss of visibility, disappointment, life and work on hold.
We are on an “intelligent lockdown” here, so I am social distancing and staying at home mostly, since I have some autoimmune issues and have to be very careful. I go to my studio, which is a 10-minute walk away, but less frequently. I’m still working, and reading and writing, when I’m able to concentrate.
The long-term impact of the crisis remains to be seen. My transatlantic lifestyle may become impossible if it’s not safe to fly. I really don’t want to risk it until there’s a vaccine or a medicine that works, but I may have to. I may have to lose a country. It’s bad here, but it’s worse there. For those of us who can survive, the aftermath could radically restructure New York. In recent years, the city has become unsustainable for artists to work in. So maybe there’s a potential for radical positive change. But a best-case scenario could be a long way off.
Patricia Cronin
A major national museum cancelled a large commission [of mine]. I don’t think most salaried curators understand artists are actually small businesses with substantial financial responsibilities. I think artists are the most optimistic people. We rent commercial real estate, pay commercial real estate taxes, pay for insurance, electricity, and heat before we buy one brush, tube of paint, or block of clay. And then most of us work alone day after day, year after year, decade after decade, on something we believe is important, serious, hoping someday someone will trade us money for some of that work. If that isn’t optimism, I don’t know what is.
I’m obligated to pay the studio rent, [but] even if I was eligible for the [US government’s] Small Business Administration money, it would have been tiny, and would go straight to the landlord and cover less than 3 months. Artists are pretty much on their own. Art supply stores and foundries are closed now, so I’ll use materials I already have. It might not be the best business model, but it’s a meaningful way to spend a life.
Sophie Whettnall
The crisis hit me when I realized I had to stay confined at home and face the reality of having two wild kids 24 hours a day. So I went directly to my studio and brought back home a kind of survival kit to be able to work from here. Right now, I am getting back to work with a simple notebook, or just paper, scissors, and a pencil. When I start a new work, I find these are the best tools for me to put down my thoughts. Luckily, I am just coming out of two very intense years of exhibitions and books. The beginning of this year was dedicated to an intense studio practice, so I am continuing to do that, but on a smaller scale.
Until now, none of my projects have been cancelled but everything has been postponed. I have a lot of public projects for Belgium and France, and let’s hope they will [still happen].
My days are sober and quite well-organized. I do homework in the morning with kids, and in the afternoon and evening, I work for myself. I must say, I deeply enjoy this very simple life: no rush, no stress, no hurry. But there is of course a big “but.” What are we going to become after this big pause? How will the world recover from this crisis? What will the world be like?
All this is constantly in my head and I am sure it will transfer into my work. We have always managed to overcome wars, crises, and drama. Let’s hope we will make something constructive out of it for the planet. Of course, art has an important role in this, as it has always had.
Ann Craven
My main concern right away is my studio assistants and how to make things work with quarantine. So I am trying to get grants and loans that are being offered to small businesses and trying to keep it going for them. They need to work and pay rent and live life, we all do, so I’m trying my hardest.
Some group shows [that I’m in] have been cancelled, but I’m working on shows for the end of this year that are staying put. I am working on a US Embassy Project of Sri Lanka birds that is helping to keep my creative spirit in gear. The birds in Sri Lanka are unreal, gorgeous, and thriving, and nature always wins, you know. So for me to be painting these magnificent birds right now is really an incredibly uplifting experience.
I am in close touch with a local Sri Lankan bird photographer who takes photos of the local birds in his spare time. There is a huge lockdown in that country, so this gives the photographer an excuse to get out and shoot more photos when he is allowed.
Naomi Rea
Associate Editor, London
abril 15, 2020
ARTE SEMPRE: Grupo Corpo Free Streaming #4 - Suíte Branca e Dança Sinfônica
Continuando a sequência de vídeos para assistir gratuitamente, Suíte Branca e Dança Sinfônica já estão disponíveis no Vimeo.
12 a 19 de abril de 2020
Como assistir:
1. Acesse vimeo.com/grupocorpo
2. Faça login em sua conta.
3. Selecione um dos vídeos contemplados na promoção.
4. Clique em Alugar (NÃO preencha dados de cartão de crédito).
5. No campo “aplicar código promocional” digite: grupocorpo45anos
Grupo Corpo - Suíte Branca (2015)
Apresentação gravada no Palácio das Artes - Belo Horizonte/ agosto 2015
Suíte Branca marca a primeira colaboração da coreógrafa Cassi Abranches com o Grupo Corpo. Cassi foi bailarina do Corpo por 12 anos e utiliza esta bagagem como base para a criação de sua própria linguagem.
Coreografia: Cassi Abranches
Música: Samuel Rosa
Cenografia: Paulo Pederneiras
Figurino: Freusa Zechmeister
Iluminação: Paulo Pederneiras e Gabriel Pederneiras
Grupo Corpo - Dança Sinfônica (2015)
Apresentação gravada no Palácio das Artes - Belo Horizonte/ agosto 2015
Dança Sinfônica celebra os 40 anos do Grupo Corpo - a coreografia é a expressão desta história, com referências ao universo coreográfico e às pessoas que participaram desta trajetória.
Coreografia: Rodrigo Pederneiras
Música: Marco Antônio Guimarães
Cenografia: Paulo Pederneiras
Figurino: Freusa Zechmeister
Iluminação: Paulo Pederneiras e Gabriel Pederneiras
Letter From Madrid: The Director of the Reina Sofia on What It Will Take for Museums to Rise Again—and What They Can Do in the Meantime, Artnet News
Letter From Madrid: The Director of the Reina Sofia on What It Will Take for Museums to Rise Again—and What They Can Do in the Meantime
Opinião de Manuel Borja-Villel originalmente publicada no site ArtnetNews em 6 de abril de 2020.
The director of Madrid's Reina Sofia Museum calls for a Marshall Plan-style effort to rebuild culture in the wake of the crisis.
It is hard to believe, but it was less than five weeks ago that Madrid’s art museums were thronged with visitors and its international art fair, ARCO, was in full swing. Now, the city’s art institutions are shuttered indefinitely and the fair’s venue has been transformed into a temporary field hospital. The director of Madrid’s Reina Sofía Museum has been working to keep his institution operating remotely in the hopes that it can serve as a beacon to those looking for inspiration. He reports that although some of his staff members are sick, none have died, and that they have kept their jobs thanks in part to Spain’s governmental assistance program. Borja-Villel has led Spain’s national museum of Modern and contemporary art since 2008 and also serves as a leading member of the Institute of Radical Imagination. As experts predict the coronavirus death toll has peaked in hard-hit Spain, the curator and art historian reflects on what the pandemic might mean for society and cultural life in the future.
Nobody could imagine this a month ago. Many of us were complaining about the state of the world in general, about how the health care system had been weakened, about the need to care more for nature, but no one could have imagined the emergency would develop so quickly, and that things would go this badly. There will be a “before” and an “after” this crisis. It will be a paradigm shift, just as everything changed after World War II.
The economic effects are going to be almost like a postwar situation when it is clear that what has happened is that the system failed. Things should not be like they were before. We will need something like a Marshall Plan for society and, of course, for culture—not to rebuild things as they were, but rather to imagine new worlds in which caring for other people and other species should be central.
In the art world, there are many things that need to be reconsidered. Eventually, museums will reopen, but will people be afraid of being close to one another? Will we be able to continue developing large exhibitions that are anti-ecological? Maybe blockbuster exhibitions are over. Maybe we should think more about process and research.
When the Reina Sofía reopens—certainly to begin with—we will have to limit the number of people in the Guernica room. But in addition to managing visitor flow safely, we also need to be careful that we do not turn into a society in which people are not empathetic, in which they are afraid even to touch each other. We cannot let public spaces disappear. There is an element of joy, of learning, and of democracy in being together with other people.
Right now, we are working with l’internationale, a confederation of European museums, to curate a visual manifestation of the balcony singing that has become so popular and uplifting in Italy. We have invited 14 artists initially to participate, but everybody will be included. We are asking them to create an intervention in their window, or on their balcony. They have complete artistic freedom, of course, but we are asking them to reflect on what it means to be on lockdown, and to imagine a better future. It is important to remember that human beings cannot be separated from nature, the importance of joy, and the importance of care.
Fortunately, we have always been big believers in archives, so we have a huge resource that until now we have not been able to fully activate. We also have a radio program, we have videos, we have documents on our website. We are now working to make more of this material available for free. We always imagined that, eventually, we would make it free, so we have already paid for the rights.
At the same time, we are developing new programs online. One is a poignant lecture by the art historian José Emilio Burucúa, which he was supposed to deliver at the museum. He traveled through Paris but was caught there when the lockdown began. When he went back to Argentina, he had to go into quarantine, so we did the lecture through Zoom. It was very emotional. The title was, “Like a Bird, Hope Flies.”
One World: Together At Home, Global Citizen and World Health Organization
A Global Citizen tem o orgulho de apresentar One World: Together At Home, uma transmissão especial transmitida e televisionada globalmente no sábado 18 de abril, curada em colaboração com Lady Gaga e apresentando seus artistas e comediantes favoritos - tudo em apoio à Organização Mundial de Saúde (OMS) e ao profissionais de saúde nas linhas de frente da crise COVID-19.
ONDE ASSISTIR
O One World: Together At Home será transmitido ao vivo no sábado, 18 de abril de 2020, às 21h (horário de Brasília), e você pode assistir diretamente na página de Facebook do Global Citizen.
O show contará com histórias de profissionais de saúde da linha de frente da COVID, compromissos de filantropos, governos e corporações e aparições dos seguintes artistas:Alicia Keys, Amy Poehler, Andrea Bocelli, Awkwafina, Billie Eilish, Billie Joe Armstrong of Green Day, Burna Boy, Camila Cabello, Celine Dion, Chris Martin, David & Victoria Beckham, Eddie Vedder, Ellen DeGeneres, Elton John, FINNEAS, Idris and Sabrina Elba, J Balvin, Jennifer Lopez, John Legend, Kacey Musgraves, Keith Urban, Kerry Washington, Lang Lang, Lizzo, LL COOL J, Lupita Nyong’o, Maluma, Matthew McConaughey, Oprah Winfrey, Paul McCartney, Pharrell Williams, Priyanka Chopra Jonas, Sam Smith, Shah Rukh Khan, Shawn Mendes, Stevie Wonder, Taylor Swift, e Usher. O especial será apresentado por Jimmy Fallon, Jimmy Kimmel e Stephen Colbert.
O especial também será exibido nas redes TV Globo, Globoplay e Multishow. Além disso, será transmitido nas seguintes plataformas digitais: Alibaba, Amazon Prime Video, Apple, Facebook, Instagram, Joox, LiveXLive, Roku, Tencent, Tencent Grupo de entretenimento musical, TIDAL, TuneIn, Twitch, Twitter, Yahoo e YouTube. Saiba mais em globalcitizen.org/togetherathome. O pré-programa inicia às 15h nas plataformas digitais.
abril 12, 2020
ARTE SEMPRE: Rodrigo Bueno no acervo da Marilia Razuk
A Galeria Marilia Razuk apresenta uma seleção de seu acervo em seu Instagram (@galeriamariliarazuk)
O Ateliê #MataAdentro onde vive e trabalha Rodrigo Bueno, é um convite aberto ao encontro. Rapidamente torna-se um mocambo, um verdadeiro polo de reflexão e experimentação de artes integradas. Um laboratório de criatividade onde elementos como a música, a palavra, a comida, o corpo e a espiritualidade, orquestram junto às pinturas e esculturas, potentes espaços dinâmicos, pontes entre a natureza e os conceitos que fundamentam sinestesia entre o humano e seu entorno. Um lugar de encontros periféricos, entre jovens e figuras ancestrais de todas as artes.
Das paredes da casa brotam composições mistas de resíduos da cidade. A cadeira, antes abandonada, é plantada e ganha vida literalmente. “Se um objeto tem uma função, mas depois ele adquire uma nova função, eu estou dando um novo ciclo de vida, ou uma ‘re-função’ ”, explica Rodrigo. E nesse movimento, tudo ao redor, nos faz pensar quem já fomos um dia, onde estamos e para onde vamos.
___________________
#RodrigoBueno // Ateliê @mataadentro , is where the artist Rodrigo Bueno lives and works, and it is an open invitation to meetings. The space quickly became a mocambo, a real reflection and experimentation center for integrated arts. A creativity laboratory where elements such as music, words, food, body and spirituality, together with paintings and sculptures, powerful dynamic spaces, bridges between nature and the concepts that underpin synesthesia between the human and his surroundings. A place of peripheral meetings, between young people and ancestral figures from all arts.
The walls of the house sprout mixed compositions of waste from the city. The chair, previously abandoned, is planted and literally comes to life. “If an object has a function, but then it acquires a new function, I am giving it a new life cycle, or a ‘re-function’”, explains Rodrigo. And in this movement, everything around us makes us wonder who we once were, where we are and where we are going.
#GaleriaMariliaRazuk
#contemporaryart
#ancestral
#artiststudio
#afrobrasil
#arteecomida
#atelierdeartista
#studiovisit
#stayhome
#fiqueemcasa
CANAL NO TUBO Marilia Razuk apresenta Ana Dias Batista e Rodrigo Bueno
Ana Dias Batista, A rotina do polvo, 2018
Apresentação de nado sincronizado na piscina da Residência Yunes, com coreografia baseada nos movimentos de um polvo, criada por uma treinadora de nado e executada por quatro atletas na abertura da exposição "Águia de duas cabeças".
Registro em vídeo, 5min42seg
Coreografia e treino: Andrea Curi
Atletas: Grupo Corpo D'Água
"Águia de duas cabeças", Coleção Ivani e Jorge Yunes, São Paulo, Projeto Caixa de Pandora
Rodrigo Bueno, Vida Nova, 2013
Processo de corrosão do livro"A Gallery of Great Paintings". Umidade, traças e cupins devoraram um livro de pinturas de 1958.
Trilha Sonora Villa Lobos Festa no Sertão, Edição Sergio Pinzón.
RODRIGO BUENO • CURA IN NATURA (Cidade Matarazzo 2014) from BRUTAL • AGENCY on Vimeo.
Terra prometida - Rodrigo Bueno from Pangeia de Dois on Vimeo.
Rodrigo Bueno mostra o seu ateliê alquímico, onde elementos da natureza, materiais recuperados e rituais se transformam em obras. "Meu trabalho honra o passado, a ancestralidade, a resiliência da natureza. Forças que me inspiram", conta à Bravo! o artista paulistano.
Rede Ubias lança chamada para receber ensaios sobre o mundo pós-Covid-19
A rede Ubias (Institutos de Estudos Avançados Baseados em Universidades, na sigla em inglês) está com chamada aberta para receber ensaios sobre o tema “Como o mundo irá/deverá mudar? A crise do corona como um desafio interdisciplinar” (“How will/should the world change? The corona crisis as an interdisciplinary challenge”). Poderão participar pesquisadores de todas as áreas e países.
Os artigos serão publicados no site da Ubias, na página em inglês do IEA e no blog “Interdisciplinarity”, administrado pelo ZiF – Center for Interdisciplinary Research, da Universidade de Bielefeld. Os textos devem ter, no máximo, 10 mil caracteres, incluindo espaços, serem escritos em inglês e enviados até o final de maio para os emails zif@uni-bielefeld.de ou ubiasnetwork@gmail.com. Se o conjunto do material recebido for considerado de alta qualidade, é possível que gere posteriormente uma publicação da Ubias.
Sobre o tema
Segundo a coordenação da Ubias, a situação provocada pelo novo coronavírus desafia não apenas o controle de doenças e a capacidade de administrar crises: deve ter impactos de longo prazo e alcance nos Estados, sociedades e cooperação internacional.
“Há crescentes indicadores de que o mundo será diferente depois desta crise e que a globalização será questionada em muitas áreas. De acordo com essas observações, a crise do corona deve marcar um momento de virada. Em tempos de grandes incertezas, a ciência é solicitada a olhar para o futuro e oferecer um discurso racional sobre como reagir à situação”, avalia a carta da chamada.
A rede de IEAs
A Ubias é composta atualmente por 41 membros, que representam 44 institutos de estudos avançados, todos ligados a universidades. Guilherme Ary Plonski, vice-diretor do IEA, é o coordenador para o biênio 2018-2020. A rede tem como objetivo a troca de experiências e a realização de pesquisas conjuntas. Para essa chamada, a Ubias atua em parceria com o ZiF.
Fonte: Instituto de Estudos Avançados da USP
Passeio virtual na mostra de Sandra Cinto no Itaú Cultural
Faça um passeio virtual pela exposição dedicada à obra da artista Sandra Cinto
Em Sandra Cinto: das Ideias na Cabeça aos Olhos no Céu, o curador Paulo Herkenhoff e o Itaú Cultural (IC) apresentam uma panorâmica de 30 anos de produção da artista. Com o fechamento temporário do IC e a impossibilidade de visita às exposições em cartaz, a organização disponibiliza um passeio pelos três pisos da mostra, que perpassa pelo processo criativo de Sandra, em desenhos, pinturas, objetos, fotografias, projetos, documentos e vídeos.
O visitante pode escolher para qual eixo da exposição pretende olhar enquanto a artista comenta o processo de construção e a seleção da curadoria. Entre outros temas, Sandra fala também sobre a importância da educação em sua obra e descreve o espaço como um ambiente amoroso.
Veja também:
>> “A obra deve dialogar com a arquitetura e com o entorno”, diz Sandra Cinto
>> Itaú Cultural lança plano de aula inspirado na obra da artista Sandra Cinto
>> Versão legendada do vídeo
>> Catálogo da exposição
CINEMA Anna Maria Maiolino + Cildo Meireles no Canal Curta!
Anna Maria Maiolino é personagem de episódio inédito de ‘Matizes do Brasil’
O processo de criação da artista plástica Anna Maria Maiolino é tema de episódio inédito da série “Matizes do Brasil”, dirigida por Bianca Lenti. Nascida na Itália, em 1942, Maiolino se muda ainda jovem para o Rio de Janeiro, onde desenvolve suas habilidades, estuda e conhece outros grandes nomes das artes brasileiras, como Helio Oiticica e Lygia Clark. Com o passar dos anos, ela se firma como artista e, hoje, assina obras que compõem coleções particulares e de museus como Reina Sofia, em Madri, MoMA, em Nova York, e Galleria Nazionale, em Roma.
Dividida em 14 episódios, “Matizes do Brasil” é uma produção da Giros Filmes, inédita e exclusiva, viabilizada pelo Fundo Setorial do Audiovisual (FSA) para o Canal Curta!. A série mostra trabalhos emblemáticos de artistas como Ernesto Neto, Cildo Meireles, Djanira, Helio Oiticica, Lygia Pape e Tunga. Especialistas, como curadores e críticos de arte, fazem comentários sobre as obras. O episódio estreia na Terça das Artes, 14 de abril, às 23h30.
Próximas Exibições:
Qua, 15 abr às 03:30h
Qui, 16 abr às 11:30h
Sáb, 18 abr às 19:10h
Ouvir o Rio: uma escultura sonora de Cildo Meireles, de Marcela Lordy, 2013
Cildo mostra como a relação do homem com a água amplia nossas percepções, criando uma espécie de escultura sonora. O artista naturalmente chama atenção para temas ecológicos e a importância de preservar este elemento fundamental para a vida. O documentário com 79 minutos de duração está programado para terça-feira, 14 de abril, às 21h.
Próximas Exibições:
Qua, 15 abr às 01:00h
Qui, 16 abr às 09:00h
Dom, 19 abr às 11:25h
Resultados da pesquisa
Resultado da Web com links de sites
Canal Curta!
Algar TV: Canal 391
Oi TV: Canal 76; Canal 75 (Satélite SES-6)
Claro TV: Canal 56; Canal 556 (HD)
Nossa TV: Canal 20
Pertence a: Synapse
NET: Canal 56; Canal 80 (Brusque, Dourados, Rondonópolis, Sete Lagoas e Varginha); Canal 556 (HD)
Roma Cabo: Canal 113