Notebook of collages with newspaper photocopies
The piece is part of the research process of filing journalistic images, shown in notebooks with collages that are related to the everyday and his experience. These notebooks deal with the day to day and how images can transform the regard of the multitude. Concepts of repetition and disposability are equally found in this study, which uses photocopies as an execution of the repetition and deletion of information.
The work deals with the multitude in mass media images. A multitude of disperse images and multidirectional senses, with homogenous and heterogeneous meanings as they are inserted in or separated from the original channels of information. Observing the processed, distributed and redistributed image, the work cuts the common and everyday into a set of identities.
Born in São Paulo, in 1983, Diego Castro holds a Bachelor’s in Fine Arts from Faculdade Santa Marcelina (2005).In 2012, he completed a Master’s in Visual Poetry at ECA-USP. His early art career is marked by the appropriation of images, with the aim of taking their meanings and the media where they are placed out of context, exploring spatiality, color and repetition.
Installation with postcards
The MPM – Military Police Museum is a museum created in July 2013 that built its collection through a set of apprehensions, and not by acquiring artworks. In March 2014, it was presented as a temporary physical headquarters at Fundação Joaquim Nabuco, in Recife. In the Multitude exhibit, the collection of postcards made using signs apprehended in protests and other types of groupings of people are displayed.
Fabiana Faleiros, also known as Lady Incentivo, is a poet, performer and visual artist. She is currently writing the book Ninguém é você with a grant from PROAC and is a doctoral candidate in Contemporary Art Processes at UERJ.
Single-channel video, 22′
“Perhaps Cuevas’ most chilling work, Cinepolis forecasts an image-driven invasion of everyday life, picture-perfect and unnoticed. This alien intrusion comes in the form of a fully branded consumerscape that cheerily foists fast food along with the fantasy. Irreverent and biting, Cuevas fights back with the only weapon available: images of the enemy, and the enemy’s images” Steve Seid, Pacific Film Archive, 2004.
Mexico City – Mexico, 1963
Cuevas is obsessed with micro-movements in everyday life, the limit between truth and fiction, and the “impossibility” of reality. Her work incessantly seeks to find the layers of lies covering daily representations of reality while systematically exploring the fictions of identity and gender. She studied film at Columbia University and the New School for Social Research, both in New York. Her videos have been shown at festivals like the New York Film Festival, Sundance and the Berlin International Film Festival. She has been a guest speaker at many events, including events sponsored by the Pacific Film Archive, in San Francisco, the Museum of Contemporary Art, in San Diego, the Guggenheim in New York, and, more recently, the Guggenheim in Bilbao. Among the many backings she has received are: FONCA (Fondo Nacional para la Cultura e las Artes do México); Eastman Kodak Worldwide Independent Filmmaker Production; and from the Rockefeller, MacArthur and Lampiada foundations. Nine of her videos are part of the permanent collection at the Museum of Modern Art (MoMA) in New York.
Assemblages is an audiovisual research project on Félix Guattari and his revolutionary psychiatric clinic, political activism and ideas on ecosophy, and his interest in animism, especially in the Brazilian and Japanese contexts. The installation shows excerpts from documentaries, films/essays, radio interviews, and conversations with Guattari’s friends and colleagues. There is also material on the La Borde clinic (France) and institutional psychotherapy, in addition to what was produced in Brazil in the course of the study. Presented as a triptych of different sized screens, the installation refers to ideas of movement and imminent gravity in the cartographies of animistic art and concepts of immateriality in Asian art. Each screen intensifies a modality of the senses: seeing, hearing, reading. The assembly of the archive material is conceived of as a mirror to Guattari’s concept of assemblage, as well as a main topic throughout the installation.
Munich – Germany, 1961
Melitopoulos lives in Berlin, Germany.
As a researcher of time-based arts, the artist has developed research projects with media installations, still displays, archive performances, documentaries and sound pieces since 1985. Her video work and philosophical thought are focused on mobility and on the production of subjectivity. Many of her experimental projects work with the action between media, the collective memory and forms of resistance placed in relation to the precept of geography formed by a nomadological approach. Since the 1990s, she has collaborated with the sociologist and philosopher Maurizio Lazzarato. Angela Melitopoulos studied Fine Arts with Nam June Paik. Her videos have been awarded and shown at various international festivals, exhibits and museums: Generali Foundation Vienna; Taipei Biennial; Berlin Film Festival; Antoni Tàpies Foundation (Barcelona); KW Institute of Contemporary Art (Berlin); Manifesta 7, Georges Pompidou Center (Paris); and Whitney Museum (New York). She is a professor at the Royal Academy of Fine Arts in Copenhagen.
Lazzarato lives in Paris, France.
An independent sociologist and Italian philosopher, he lives in Paris where he carries out studies on immaterial work, ontology of work, cognitive capitalism and post-socialist movements. He is a co-founder of Multitudes magazine along with philosopher Antonio Negri. He writes about film, video and new image production technologies. Along with the Knowbotic Research Group, he created the IO_dencies/travail immatériel project for the 48th Venice Biennale, in 1999. Lazzarato participates in initiatives and reflections on “intermittent performance artists” under the auspices of the CIP-idf (Coordination des Intermittents et Précaires d`Île-de-France), where he coordinates a major “research/initiative” on the status of show business and art world workers and professionals, as well as other precarious workers.
Installation – video projection
Manifestations was done as a series of street interventions in downtown Moscow in 2000 and later repeated in 2002. A group of ordinary people gathered on the sidewalk while waiting for the traffic light to turn green. When they began to cross the street, red signs were raised, making it look like a typical revolutionary movement. The visual aspect of the video documentation allows us to see that any social group in movement can be recorded and conveyed as if it were a political march, just as any action can be captured on film and a distinct and arbitrary visual narrative can be made through editing. The political dimension of this work points to a critical take on the system of democratic representation and the dictatorship of the means of mass communication. Manifestations achieved international success when it was shown at the Manifesta 4 biennial, in Frankfurt, in 2002; it was later shown at countless conferences and shows and in catalogs, becoming a reference in periodical publications and books, such as monographs, art magazines, etc.
Group created in 1997
Group based in Moscow, Russia
The Radek Community is a collective of young artists, musicians, and art critics. It started out participating in actions and performances at the School of Contemporary Art in Avdei Ter-Oganian (1997-1998). The community took part in many actions for the Non-Governmental Control Committee of Anatoly Osmolovsky and among its most important projects are Manifestation (2000) and Well, It’s…Accord!!!, shown at the Davai (Berlin, 2002) Russian art show. Now the members of the Radek Community are working on their own gallery, entitled France.
Installation with folded paper
Blow gathers paper pinwheels on which are printed images taken from the internet of groups mobilized for the PasseLivre movement in 2013. The artist cites Anaximenes of Miletus (circa 585-528/5 BC), who said that there is only one underlying nature: the air. It is also makes the movement through which it provides transformation eternal.
The installation shown at Multitude includes public participation, providing folding instructions and printed paper for making new pinwheels.
Araçatuba, SP – Brazil, 1955
Lives and works in São Paulo.
Holds degrees in Math and Law. Studies Contemporary Art with Carlos Fajardo. Was a student of Paulo Whitaker, Charles Watson and Paulo Pasta. Since 2006, has participated in exhibits at art showrooms, museums and cultural spaces.
length 15 min - direction, script, camera, editing: Ines Cardoso
“Cocais, the reinvented city” is a poetic documentary made together with patients and employees at a mental asylum city in the interior of Sao Paulo state. This is the story of a city that reinvented itself through film, or the story of a film that was invented by a city.
“Cocais, the reinvented city,” has been featured at more than 40 festivals and screenings, among them the 51st International Leipzig Festival for Documentary (Germany) and the 11th Brooklyn International Film Festival (New York, USA). The film won the Panda Prize at the 6th Santos Short Film Festival in 2008, the Excellent Award in 2009 at the Tokyo Video Festival in Japan; awarded a prize at the 11th One World Film Festival, Prague (Czech Republic) for Best Soundtrack 2009; Special Jury Prize at the FESTIVAL de Cinema CINE PE, 2009; and the Grand Prize for Best Documentary at the International Women’s Film Festival, Rio de Janeiro, 2009.
Stephen Vitiello, Mikhail Rudy, Jukka Mikkola and Jyrki Siukonen.
Ines Cardoso is an artist working in the media of video art and documentary. Since 1994, she has presented her work at national and international cinema and video festivals. She creates her own work independently and in a wide variety of formats, such as installations, videos, short films and interactive projects.
Play, 140′ (2 breaks)
The proposal of Pending Vote is not the false version of a real parliamentary debate, but the true version of the current false debate. It is no longer the fiction of politics, but rather the politics of fiction: genuine politicians against the real politicians. The theater is transformed into a parliament in this interactive play, with the audience as the protagonist. Each spectator, equipped with a remote control, goes on to govern the theater.
June 6 (Friday) and 7 (Saturday), 9pm
June 8, 6pm
TECHNICAL DATA SHEET
Creator and director: Roger Bernat
Playwright: Roberto Fratini
Data visualization: Mar Canet
Devices and software: Jaume Nualart
Music: The sinking of the Titanic by Gavin Bryars, PatchWorks, and others
Sound design: Juan Cristobal Saavedra
Lightning: Ana Rovira
Assistant director and technical director: Txalo Toloza
Set design: Marie Klara González
Special effects: Cube.bz
Program collaborators: Pablo Argüello, David Galligani and Chris Hager
Content advisors: Oscar Abril Ascaso and Sonia Andolz
Acknowledgements: David Cauquill, Raquél Gomes, Marcela Prado and Magda Socias
Producer: Helena Febrés Fraylich
An Elèctrica Productions (Barcelona) production, co-produced by Centro Dramático Nacional (Madrid), Fundación Teatre Lliure/ Festival NEO along with Le Manège de Reims Scène Nationale / Reims Scènes d’Europe and Le Manège de Mons/CECN, TechnocITé under the auspices of the Transdigital project, supported by Europe’s Interreg IV program. With the support of Spain’s Ministry of Education, Culture and Sports/INAEM and Institut Ramón Llull.
ROGER BERNAT (director)
Bernat studied Directing and the Dramatic Arts at Instituto do Teatro in Barcelona, where he graduated with the Extraordinary Award in 1996. From 1997 to 2001, he founded and directed the General Eléctrica with Tomás Aragay, a creative theater and dance center. He is the author and director of plays including:10.000 kg (Special Critics Award 96/97); Confort Domestic (Critics Award for Dramatic Text 97/98), Álbum, Trilogia 70, the six-play series Bona Gente, LALALALALA, Amnésia de Fuga, Tot és perfecte o Das Paradies Experiment. He has also done videos and installations: Polar, La Tribu (3 patriotic short stories), Vero o El que sap tothom i ningú no gosa dir. So far, his plays have been performed in 20 countries, on four different continents.
Reality film, locational and interactive
Enter a world of bombings and kidnappings in this tense work about political violence.
To start you call a phone number which is marked on the wall. Choose whether you will be Ulrike or Eamon then hang up. Once you’re in position your phone rings: now you are the person you chose. As you hear about the progression into violence and death you stare at the everyday surroundings. Find a vantage point, linger near a doorway or to find a nearby bus stop then use your keypad to make your choices. You hear about TV appearances, the firebombing of a supermarket and the night that Benno was shot by a cop on a demonstration. Or, as Eamon, you reflect on getting beaten by soldiers as a teenager, the killing of Ivan Toombs and your rise to the ‘Nutting Squad’ in charge of internal security for the Irish Republican Army. As Eamon and Ulrike reach the climax of their political actions, you too must make a choice. Hang up now and walk away. Or stay on the line…
A version of this work – Ulrike And Eamon Compliant – was commissioned for the 53rd Venice Biennale.
(1934 – 1976) was a German journalist that gained notoriety when she became a member of the Red Army Faction (a terrorist group in West Germany). Her fraught relationship with fellow members Andreas Baader and Gudrun Ensslin may have contributed to her suicide while she was awaiting trial in prison in 1976.
(1954 – 1999) was an active member of the IRA’s Nutting Squad, before becoming an informant that brought about the prosecution of a large number of the members of this organization. Collins was murdered in 1999, possibly as payback for his public testimony in relation to IRA activities and, in particular, for his testimony against Thomas Murphy (head creator of this organization).
Group created in London, England, 1991
Based in Brighton, England, since 2005.
Blast Theory is renowned internationally as one of the most adventurous artists’ groups using interactive media, creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores the social and political aspects of technology. Nominated four times for the BAFTA Award, Blast Theory has been shown at Tate Britain, ICC in Tokyo, the Sundance Film Festival, the Venice Biennale and the Royal Opera House. The group also won the Golden Nica for Interactive Art at Prix Ars Electronica and the Maverick Award at the Game Developers Choice Awards, in the United States.
Video installation. Digital HD video (rear projection). 4 + 2 p.a. edition
Hyper-consumerism and overabundance are put up for discussion in the work, which takes place in a warehouse meticulously destroyed by a group of people. Some knock over shelves, others empty out packages of food or rip toilet paper with indifferent faces and without interacting with each other. Despite the excitement that accompanies this kind of action, each of the participants acts as if they were in their own world. In a loop, the scene of destruction has an endless impact on the viewer. The work was shot on a set assembled at the Stedelijk Museum, in Amsterdam.
Groningen, Netherlands, 1962
Mik lives and works in Amsterdam, Netherlands.
Recognized for his video installations that combine performance and sculpture, the artist has already shown his work at the Bienal of São Paulo (1991) and represented the Netherlands at the 52nd Venice Biennale (2007). Among his recent exhibits are: Communitas, shown at the Stedelijk Museum, Amsterdam (2013); Jeu de Paume, Paris (2011); Museum Folkwang, Essen (2011); Reactivation, Power Station of Art, shown at the 9th Shanghai Biennale (2012); and Aernout Mik, at the CA2M Centro de Arte Dos de Mayo, Madrid (2012). Mik studied at Academie Minerva in the 1980s and was the winner of the Sandberg Prize in 1997 and the A.H. Heineken Prize for Art in 2002. His work is also part of major collections at Dutch museums.
Multichannel installation – 40 regular televisions
Using screens spread throughout the exhibit space, Küba shows images and voices from 40 people living in this Istanbul suburb, a place known for having homes occupied by leftist Kurds. The work provides us with a strange utopian idea around the complex structures and dynamics that constitute the mythology and narrative around a neighborhood.
We would like to thank Centro Cultural Brasil Turquia for translating the texts of the Küba work.
Istanbul – Turkey, 1961
Kutluğ Ataman is a contemporary artist and filmmaker whose works mostly look to document the lives of marginalized people. He examines how they create and rewrite their identities using self-expression, connecting reality and fiction. His artworks and some of his films have been described as a combination between cinema/documentary and the intimacy of the home/cinema genre. He studied film at the University of California, Los Angeles. In his art practice he has exhibited at the Venice and São Paulo biennials and at Documenta, was shortlisted for the 2004 Turner Prize and won the Carnegie Prize in the same year for Küba. In film he won the Special Jury Prize at the Berlin Festival for Lola + Bilidikid (1998); Best Director and Best Film at the Ankara and Antalya festivals and Best Film at the Asian Film Festival in India for 2 Girls (2005). His film Journey to the Moon (2009) was shown in the official selection of the International Istanbul Film Festival (2009) and is part of the Mesopotamian Dramaturgies series of visual works. His most recent movie, The Lamb (2014) won the CICAE Art Cinema Award at the 64th Berlin Film Festival. Sakıp Sabancı, a multi-image artwork of nearly 10,000 screens, opened in Istanbul in April 2014. www.kutlugataman.com
Acrylic paint on recycled truck canvas – 300 x 400 cm (approx.)
The Farsa series presents a comparison between historical paintings that discuss revolutions and wars – such as Picasso’s Guernica and David’s The Death of Marat – and contemporary photographs collected from the internet covering this same matter. The title is a reference to the famous statement by Karl Marx: “History repeats itself, first as tragedy, then as farce.”
DORA LONGO BAHIA
São Paulo – Brazil, 1961
The artist lives in São Paulo.
Dora Longo Bahia holds a Ph.D. in Visual Poetry from the School of Communications and Arts at the University of São Paulo – USP. In 2012, she received the Capes Thesis Award in Arts and Music. Her artistic work includes painting, photography, sound and video installations, films and books. Her connection with punk rock in the 1980s has resulted in her participation with various bands, such as Disk-Putas, Verafisher, Maradonna, Blá Blá Blá and, currently, Cão. The artist has held various individual and collective shows, including: Imagens Claras x Ideias Vagas, Galeria Vermelho, São Paulo; 28th International Bienal of São Paulo; Escalpo Carioca e Outras Canções, Centro Cultural Banco do Brasil, Rio de Janeiro; The Spiral and the Square, Bonniers Konsthall, Stockholm; Eloge du Vertige, Maison Européenne de La Photographie, Paris; Los Matices del Por Qué, Museo de los Metales, Cuenca; Vídeo et Après, Centre Pompidou, Paris; IX Bienal Monterrey, FEMSA, Centro de las Artes, Monterrey. In 2002, she received the Sérgio Motta Cultural Award and in 2010, the CIFO (Cisneros Fontanals Art Foundation) Award.
Video documentary of an action. In collaboration with Rafael Ortega and Cuauhtémoc Medina. Single-channel projection with sound
During an event held in Peru, in April 2002, 500 volunteers received shovels and formed a single line to move a 500 m tall sand dune 10 cm from its original position.
Antwerp – Belgium, 1959
Alÿs lives in Mexico City, Mexico.
With a degree in Architecture and Urbanism, Alÿs moved to Mexico in 1986 to work with local NGOs. In 1990, he began to work with the visual arts. He works with multiple media, from painting and drawing to video and photography. Although his studio is based in Mexico City, in recent years Alÿs has done countless projects in collaboration with communities around the world, from South America to northern Africa. He has held solo shows at museums including: Museum of Modern Art (MoMA), New York, 2011; Tate Modern, London, 2010; Hammer Museum, Los Angeles, 2007; Israel Museum, Jerusalem, 2005, Museum of Contemporary Art, Barcelona, 2005; and the Museum of Modern Art, Mexico City, 1997. The artist was awarded the Blue Orange in 2004, the Vincent Award in 2008 and the BACA in 2010.
Performance with the EIA (Immersive Environmental Experience) collective
The EIA is a self-governing artistic collective that is formed by people who have in common the need to problematize, in a playful and relational way, the modes of life in an urban environment. Completing 10 years of existence in 2014, the EIA develops actions that bring together themes such as art, technology, urbanism, communication, the environment, urban anthropology, and social movements, among others. We are attuned to networks of people, institutions, organizations and other initiatives committed to the creation – in the here and now – of more joyful, collaborative and inventive ways of living that take into account the complexity of the city of São Paulo.
Performance “Laboratory of Affections”
June 25, 26 and 27; Wednesday at 6pm, Thursday and Friday at 7pm; on the main street of Sesc Pompeia
The EIA has been developing the Laboratory of Affections since 2012. Its activating agents offer to the public various “formulas” in spray bottles to deal with contemporary issues. The formulas can transform, reduce and enhance affections in circulation. By creating your “personal formula,” blending existing formulas and creating others, you activate your ability to re-invent the life and dynamics of the city. All the new formulas created are appended to the initial formulas and function as a mapping of urban subjectivity.
The EIA currently consists of:
Classes and texts surrounding the theme Multitude
The texts and classes brought together by João Gomes are the result of research underway that seeks to understand historically and archeologically (in the meaning that Foucault and, after him, Agamben gave to this term) the social and political process of the formation of what we call multitudes. Beyond its real physical presence and its strong imagery, multitude is above all a complex of meanings brokered in an apparently unruly manner and of idiosyncratic duration, permeated fundamentally by ancient interpretations of a Judeo-Christian character. At this moment, therefore, were conceived two manners to make this content available. The first was in the form of two classes, or presentations, for which we chose to present two sides of the question, one of them with sources and a time frame that were very remote and biblical, and the other inserted into the heat of contemporary debates about image. The second option comes in the form of five texts brought together to be freely accessed in its physical (book) and virtual (website of the event) forms.
“Every Multitude is sacred”
Classes and distribution of texts:
July 6, Sunday, at 11am and July 19, Saturday, at 11am:
João Gomes got his degree in History from PUC-SP [Pontifical Catholic University – Sao Paulo], a Master’s in Social History from Unesp [Paulista State University] and a PhD in History from Paris-I Sorbonne. He was a substitute professor at Unesp-Franca and Special Visiting Professor at Unicamp, in addition to teaching courses at PUC-SP and at FESPSP [School of Sociology and Politics of Sao Paulo Foundation].
Vídeo single-channel, 11’52″
The Empty Plaza/La Plaza Vacia is a single-channel video. Inspired by the organized public protests in the Middle East beginning in 2011, the artist took note of the communal spaces around the world being utilized and, in contrast, those left empty.
Lives in New York, USA
Coco Fusco is a New York-based interdisciplinary artist and writer. She is a recipient of a 2013 Guggenheim Fellowship, a 2013 Absolut Art Writing Award, a 2013 Fulbright Fellowship, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in two Whitney Biennials (2008 and 1993), BAM’s Next Wave Festival, the Sydney Biennale, The Johannesburg Biennial, The Kwangju Biennale, The Shanghai Biennale, InSite O5, Mercosul, Transmediale, The London International Theatre Festival, VideoBrasil and Performa05. Her works have also been shown at the Tate Liverpool, The Museum of Modern Art, The Walker Art Center and the Museum of Contemporary Art in Barcelona. She is represented by Alexander Gray Associates in New York. http://www.thing.net/~cocofusco/
Single-channel video, 4′
The video takes place during the 2002 World Cup celebrations, in a public square in Mexico City. At first sight, it looks like a festive, yet disturbing scene, conveying a sense of celebration with an underlying tone of tension. The video shows us the moment when some girls are sexually harassed by a hoard of men excited by the collective euphoria of their team’s win. The music that accompanies the narrative is the Concierto de Aranjuez (by Joaquin Rodrigo - performed by Herb Alpert and Tijuana Brass), traditionally associating Spain as the land of bullfights and Goya’s paintings.
Guadalajara – Mexico, 1972
Lebrija lives in Guadalajara.
Geared towards the artistic exploration of the captured moment, Lebrija’s work has been part of several shows in Mexico and abroad, such as Resisting the Present, (Mexico, 2000-2012), ARC – Museum of Modern Art of Paris (France, 2012), and Energy Effects, Museum of Contemporary Art Denver (United States, 2010). His most recent individual exhibits are Possibility of Disaster, Centro de Las Artes (Mexico, 2013); Deriva Especular, Museum of Modern Art (Mexico, 2011); and The Distance Between You and Me, I-20 Gallery (United States, 2010). The artist studied at the Instituto Superior de Estudios de Occidente and is a co-founder of the Oficina para Proyectos de Arte (OPA), a not for profit exhibition space in Guadalajara.
Fofoque-me: VOX POPULI is a kinetic sculpture with a public communication system. SMS messages sent to the system go through a series of cell phones before being rebroadcast by a megaphone and a voice synthesis program. The cell phones send this message between each other by using a motorized support system that physically joins them in a linear succession. This movement outlines a physical path for the messages, providing location, direction and speed to a digital and invisible occurrence. At the same time, the cell phones interfere in the message that is being conveyed with their personalities and partiality. They forget or repeat certain words and even mix up and broadcast old messages.
Campanha, MG – Brazil, 1985
The artist lives in São Paulo, Brazil.
Radamés Ajna is a multimedia artist who has studied physics, computing and math. He started out in art and technology by coordinating the interface lab for the Museu da Imagem e do Som in São Paulo. He works as a consultant and developer for various artists, designers, musicians and architects, helping them to create work involving new technologies. As an educator, he has created the Hacklab.es space at SESC, where he teaches art and technology to students with various backgrounds. He has given creative computing and electronics workshops at different festivals. Recently, he was awarded with an artist production incentive from the VIDA 15.0 contest held by Fundación Telefónica, along with Thiago Hersan.
São Paulo – Brazil, 1981
Hersan lives in Oakland, USA.
With an undergraduate and Master’s degree in Electrical Engineering and Computing, he has already worked as a researcher and designer of integrated circuits. Today, he works with education, digital culture, and other things. As a member of the Astrovandalistas collective, he develops digital technologies to expand the possibilities of affective communication and create shared public situations. He currently works as a design engineer at a company that develops robots for educational purposes. He was recently awarded with an AiR artistic production residency from the Autodesk company, along with Radamés Ajna.
Installation – intervention with thread, rope and clothes donated and sewn together
O Varal was conceptualized based on an urban intervention “naturally” executed by residents in the Santo Amaro district of Recife. At the edges of a major avenue, Agamenon Magalhães, people began to appropriate the urban space to dry clothes. The various clothes lines set up modify the urban landscape with a basically functional aim. By reassembling clothes lines in other places, the Cuquinha installation instills a sense of awkwardness in passersby, raising issues that go beyond those restricted to the circuits of galleries and cultural spaces.
Olinda, PE – Brazil, 1975
The artist lives in São Paulo, Brazil.
Lourival Cuquinha is an artist who works in the areas of fine arts, audiovisual arts (photography, film and video) and urban intervention. His work deals with the political area, usually based on strict and personal impressions. He participates in national and international exhibits, with work characterized by its interactivity and dialogue with the public in the urban environment. His work constantly reflects thoughts on individual freedom and the control that society and culture exercise on the individual, as well as the control exercised by institutions on artistic freedom. The artist’s work spans an arch that has political tones and poetic force, appearing as a place for provocation that leads us to think about the place that art could occupy in negotiations to exercise freedom. Cuquinha holds a Master’s in Film from the University of Wales and has studied Chemical Engineering, Philosophy, Law and History (courses not concluded) at Universidade Federal de Pernambuco.
Showcase of collective work 2002-2012, 90″
Photo credit: Antonio Brasiliano [Photographs taken during recordings of artist Manifestations]
Zona de Poesia Árida (Arid Poetry Zone) was the name given to a showcase of collective work done from 2002 to 2012. Selected films show the work of some art collectives in the city of São Paulo. These collective artistic actions are a contemporary cultural movement that expands the borders of art/aesthetics/politics and leverages their social role by connecting and dialoging with other areas of knowledge, other publics, different spaces of action, new artistic practices and new forms of organization. Work was complied by Tulio Tavares, of Coletivo Nova Pasta.
The artist lives in São Paulo, Brazil.
An artist, curator and producer of art shows, in his portfolio, Tavares mixes production of political performances, urban interventions, media manipulations, curator projects and art shows, along with drawings, paintings, videos and photography. His work moves through the city’s public and private spaces, oftentimes applied to everyday life, accompanied by the restlessness, challenges and contradictions of life in the big city. At the same time, the author produces work that explores thematic freedoms and technical and aesthetic discussions, matters that solely refer to art. His work takes place among museums, galleries, public equipment, publications, streets and occupations. Despite the diversity of his work, it is all within discussions related to art in the contemporary world.
Installation – video 7′
The motion of the masses: a crowd running towards food. The movement is nearly imperceptible, yet it is fierce. Sadness, disappointment, and powerlessness. The rationale of survival is not related to hunger, but to fear and desperation. A sort of surveilled carnival, where the poor vent their more contained rage in a territory inhabited by alienation. In Multitud, Gabriela Golder reuses images recorded by the media during the 2001 riots in Argentina. These sequences were shown repeatedly on TV during the time of the crisis: a group of people running towards food thrown from a truck. The work shows a process used by Gabriela in some of her videos: the slowing down of takes, a resource that shows a “choreography” of exasperated human movements – like in a Goya painting, each person playing a role.
Buenos Aires – Argentina, 1971
Golder lives in Buenos Aires.
A visual artist, independent curator, professor and co-director of the Bienal de la Imagen en Movimiento (BIM), Golder works with film, video and installations. Her work poses fundamental questions related to memory, identity and the world of work. Among her most recent exhibits are: Panoramas do Sul, Videobrasil, São Paulo, Brazil (2013); Monitoring, Kassel, Germany (2013); and Women Commentators, Center for Contemporary Art Ujazdowski Castle, Warsaw, Poland (2013). Among the awards she has received are the Luis Espinal – Mostra CineTrabalho, Brazil (2011) and the Sigwart Blum, from the Association of Art Critics of Argentina (2007).
14′, 16 mm, color, no sound (1974, shown in 1976)
From a high viewpoint, the camera watches a crowd gathered in Quito through seven different optical filters. The people are waiting to see an image of Christ whose face, they say, looks like Che Guevara’s.
Buenos Aires – Argentina, 1938
Katz lives in Buenos Aires.
An Argentinean artist, writer and filmmaker, he is known for his films and photographic installations. His work includes long duration projects that touch on Latin American themes, incorporating historical research, anthropology and the visual arts. He has produced 18 books (including artist books) and 17 narrative and non-narrative films. His documentary El Día que Me Quieras (1997) won the Coral Prize at the Festival del Nuevo Cine Latinoamericano de La Habana, among other prizes.From 1965 until 2006, he lived in New York, where he carried out academic and creative endeavors. His show Arrebatos, Diagonales y Rupturas was recently shown at Espacio Fundación Telefónica, in Spain, curated by Bérénice Reynaud.
Projected video installation, 11′ 20″
Accompanied by the sacred Allegri’s Miserere Mei, Deus hymn, the only scene that we see is a pair of automatic double doors at the London City Airport, at the international arrivals gate, through which passengers enter the United Kingdom. The travelers walk towards the spectator and do not know that they are being filmed. Using slow motion, the video fills each movement with additional meanings, demarcating the automatic opening of the doors as if it were the hand of God. The fading of the image reinforces the idea of a heaven, the Kingdom, where each arrival is also a departure, and vice-versa.
Chigwell – England, 1959
Wallinger lives in London, England.
A painter, sculptor and video artist, in the mid-1980s, his work began to deal with the traditions and values of British society, its class system and organized religion. The variety of approaches he adopts reflects his desire to highlight his roots in a tradition of leftist English thinking. In the early 1990s, his personal enthusiasm for horse racing became a theme through which he explored questions of ownership and pedigree. At the end of this same decade, he redirected his focus to questioning the institutionalization of religion and spirituality. The skepticism and irreverence of his work, typical of his good humored approach, were later minimized in a public sculpture authorized for the fourth plinth in Trafalgar Square: Ecce Homo (1999). Next to the edge of the solid stone plinth, Wallinger placed a life-sized model of a young man that represents Christ being presented by Pontius Pilot to the Jews. This work suggested contemporary relevance for the themes of suffering and redemption, as well as an appeal for racial and religious tolerance. Wallinger studied in London, at the Chelsea School of Art (1978–81) and at Goldsmiths College (1983–85). He was nominated for the Turner Prize in 1995.
Video documentary and digital photography
Photographer Sérgio Silva lost sight in his left eye when he was shot by a rubber bullet fired by a São Paulo Military Police officer during the protests on June 13, 2013 – while he was working, providing coverage of the protests. This day was notable not only because of the police violence to which he was subjected, but to which various other protesters and journalists were also subjected.
Urban Pirates shows photographs of people wearing eye patches. Among portraits are friends, celebrities and unknowns that were made aware of and sympathized with the photographer’s story.
The series of portraits continues in the Multitude exhibit through a device to the side that allows the public to take a picture as an Urban Pirate against repression.
São Paulo, Brazil
Sérgio Silva began his professional career in 2010 when photography stopped being just a hobby and he began to develop work connected to cultural and social activities. According to the photographer, “the idea came up as a way to protest the violence I suffered. What could I do to overcome this trauma? Photography has shown that there is a path possible.”
Sound installation with short range radio transmitter and 3 battery powered radios with headphones
A micro free radio that puts all of the social movements on the same tuning frequency, seeking to give a voice and visibility to the struggles that are discussed or broadcast very little on traditional communication channels.
São Paulo, Brazil
Lives and works in Belo Horizonte
Vilela works as a visual artist, photographer, video artist and social projects coordinator. He created and coordinates FIF BH – International Photography Festival of Belo Horizonte, the EXA – Experimental Art Space, the Walls: Shared Territory project, Rede Artéria, the Z/L – BH Photography Marathon, and other things. He worked with cultural and social projects at the Oficina de Imagens NGO from 2004 to 2013.
In Greek mythology, Atlas was condemned by Zeus to carry the sky on his shoulders. Atlas is a performance that gathers 100 people from different professions on the stage. In this work, Ana Borralho and João Galante intend to build an Atlas of human social organization, a representation of human beings through the role they play in their society. One of the drivers of the play is the ideas of artist Joseph Beuys: We are the revolution and Every man is an artist. A silent revolution. A work motivated by the belief that art should play an active role in society. Joining art and life. The performance was inspired by the chorus of a children’s song: “If an elephant bothers lots of people, two elephants bother even more people…,” but instead of an “elephant” each of the 100 people says their own profession.
TECHNICAL DATA SHEET
Creators and artistic directors: Ana Borralho & João Galante
Lighting: Ana Borralho & João Galante
Lighting advisor: Thomas Walgrave
Playwriting collaboration: Fernando Ribeiro and Rui Catalão
Artistic collaborators and group coordinators: Catarina Gonçalves, Cátia Leitão (Alface), André Uerba and Tiago Gandra
Executive producers: Ana Borralho, Mónica Samões
Performers: 100 people from different professions
Co-producers: Maria Matos, Teatro Municipal
Artistic Residency: Atelier REAL, Alkantara
Support: Junta de Freguesia de Santos-o-Velho
August 9 (Saturday) and 10 (Sunday), time TBD
ANA BORRALHO AND JOÃO GALANTE
The artists live in Lisbon and Lagos, Portugal.
They met while they were studying fine arts at Ar.Co. As actors/co-creators, they have regularly worked with the Olho theater group. Since 2002, they have worked in partnership in the areas of performance art, dance, installations, photography, sound and video. Themes that are frequent in the pair’s work are: body/mind, inside/outside, I/others, private/public, social/political, gender/sexual ambiguity, erotic imagination, self-portrait. Since 2004, they have presented their work at international festivals in Portugal, France, Spain, Switzerland, Scotland, Brazil, Germany, England, Austria, Italy, the United Arab Emirates, the Czech Republic, Slovakia, Slovenia, Finland and Belgium. Notable among the plays they have created together are: Mistermissmissmister, sexyMF, No Body Never Mind, World of Interiors, Untitled, Still Life, Atlas, Linha do Horizonte and Art Piss (on money and politics). They are the founding members of the Jymmie Durham band of non-musicians, co-founders of the casaBranca cultural association, programmers and artistic directors of the Verão Azul (Lagos-Algarve) performing arts festival, and co-programmers of the Electrolegos (Lagos-Algarve) electronic music festival.
In “Safety Strategies,” portraits in the shape of posters are placed in public spaces where cases of homophobic aggression have been registered in the city of São Paulo. The portraits of victims of this kind of abuse undergo a graphic treatment and are placed over stripes containing 4 behavior tips published by the Folha de S. Paulo newspaper, listed as security strategies adopted by those in the Av. Paulista region to avoid aggression.
According to Rodrigo, these posters highlight a gender normative discourse conducted by mainstream media in an attempt to classify behaviors and limit diversity in urban space.
During the exhibition, the artist will make new portraits of the visitors to the Multitude exhibit. To contact him to schedule a time, call (11) 95360-4786.
Coronel Fabriciano, MG, Brazil
Lives and works in São Paulo
Rodrigo Moreira holds a degree in Graphic Design and Social Communication with a minor in Fine Arts. He has taken open courses at the Museu de Arte de São Paulo and participated in study groups focused on art and technology. He has already taken part in exhibits in Brazil, Spain and Colombia.
Workshop – experimental political practices
Currently on the rise are movements that have horizontality as one of their principles. In these movements, meetings play a central role, constituting the height of deliberation, of strategic decision-making, of the exchange of information and experiences, and of coexistence among organized groups and common causes.
The objective of the Deliberative Constellation is to transfer the debate of ideas into space, using the relation of bodies to represent the relationship of the proposed ideas. Using the body and space as ways to represent abstract ideas based on their physical/spatial positioning in relation to other ideas expressed, seeking to better aesthetically represent divergences in order to find commonalities that bring them together.
July 1, 2 and 3, from 7:30pm to 9:30pm:
“Deliberative Experimental Constellation”
Workshop With Ana Claudia Banin and Ian Soffredini
The workshop seeks to offer an experience in practical deliberation that goes beyond already-existing models of assembly, which uses only verbal language as a way of proposing and debating ideas and arguments.
The workshop is divided into three parts: contextualizing and explaining the methodology of the Experimental Deliberative Constellation; experiencing the methodology in practice; and a third moment for reflecting on the new, alternative methodology for assemblies.
Ian Soffredini is an actor and director, who graduated from the City University London and a researcher of varied theatrical languages.
Ana Claudia Banin has a bachelor’s degree in Sociology and a graduate degree in Project Management. The authors of the work are actively involved in various social movements in Sao Paulo, such as Organismo Parque Augusta, Casa Amarela, and Buraco da Minhoca, in addition to supporting various other movements in the city.
Installation – 12,265 metal figurines, variable sizes
Manufacturing of tin soldiers reached its peak between the two world wars, while the Middle East was undergoing the process of redrawing its borders. Prior to the modern period, only children from wealthy homes were able to play with these soldiers. At that time, the children of royalty would receive sophisticated sets of these toys as gifts, in order to prepare them for the future. The contemporary armies of the Middle East are still reproduced in sets of toy soldiers. Tin Soldiers is a representation of nine armies involved in or subject to acts of war in the Middle East today (Egypt, Iran, Iraq, Israel, Jordan, Lebanon, Palestine, Syria and Turkey). The work was produced in the context of the 12th Istanbul Biennale (2011) and Home Works 5′, Ashkal Alwan, Beirut, 2010.
The artist lives in Amman, Jordan.
Working with video, installation and projects based on publications, Ala Younis analyzes how the Arab identity and modernism are shaped by ideology and politics. Her projects begin with found objects and images, which at first seem strange or intriguing. As a meticulous researcher, her narratives take place in sophisticated storyboards, built using archive material. Some are profoundly intimate, while others have an iconic nature. Her recent exhibits include the 9th Gwangju Biennale (2012); the New Museum Triennial (2012); Tea with Nefertiti at the Mathaf, Institut du Monde Arabe and Instituto Valenciano de Arte Moderna (2012-13); the 12th Istanbul Biennial (2011); Home Works ’5, Beirut (2010); and PhotoCairo 4 at The Contemporary Image Collective, in Cairo.
Installation with 25 pickets of varying sizes and materials
Anonymous Pickets is a collection started in 2012, comprised of objects that serve to establish limits and order and signal and demarcate spaces in the city. The objects, with varied sizes and made of different materials, are found on the street and incorporated into the collection. In most cases, the artist contacts the owner of the object and proposes an exchange. In others, the artist reproduces a similar picket and substitutes it for the one found.
The pickets are assembled for various purposes: obstructing passageways, keeping doors opened, hidden in corners, or gather in a group to form clusters, lines and designs in space. Despite having the same basis of support, they are unique items.
Santos, Brazil, 1988
Lives and works in São Paulo.
Gustavo Ferro holds an undergraduate degree in Visual Arts from Sé. He currently coordinates Phosphorus, a space managed by Maria Montero, which holds artist residencies and exhibits, focused on experimental practices. In 2007, he created the Beco da Arte, an independent space that developed collective exhibits, workshops, talks and other initiatives; he worked in the Vila Mariana district of São Paulo until 2010.
Photography on duratrans
Borá is the result of superimposing 450 images of residents of Brazil’s smallest city in terms of population. According to the 2010 census, the city of Borá has 805 inhabitants.
The Borá essay began in 2006 and is the result of superimposing 450 images of residents of Brazil’s smallest city in terms of population. According to the 2010 census, the city of Borá has 805 inhabitants and is located in the state of Sao Paulo.
Davilym Dourado 1975,
São Paulo – SP, Brazil.
Davilym Dourado began his photography studies at the ICP (International Center of Photography) in 1999 when he moved to New York. Back in Brazil since 2000, he began his professional career collaborating with the country’s leading magazines and newspapers. He has an undergraduate degree in Sociology and Politics, with studies in Visual Anthropology. He is currently developing photography projects that straddle contemporary documentation and experimental analogic photography.
Cinema sem Volta is an infinite slideshow that is automatically fed with Instagram images. Produced by conflicting groups that use the same hashtags, a battle of languages is staged between the rabble and the crowd. No looping, no rewind. http://www.desvirtual.com/multitude
São Paulo – Brazil, 1962
The artist lives in São Paulo.
A media artist and professor at FAU-USP, where she is the design coordinator. Her work includes interventions in public spaces, network projects and mobile art applications, shown internationally at top art and media museums, such as ZKM (Germany), Callit2 (UCSD, USA) and the Pompidou Center. She curated the Nokia Trends, Fiat Mostra Brasil, III Mostra 3M de arte Digital and she was the Director of the Sergio Motta Art and Technology Award. She has received various awards, including The Top 50 Best (International Media Art Award, ZKM/ SWR).
Type Stove is considered by its creators as an “interactive transitory installation” which is built on the archive of living memories. The archive, a parchment formed by joining together sheets into an 18-meter document and which has been built at each iteration of the Type Stove installation. The participating public uses a typewriter to write on the parchment. The living memory archive was built during the interventions carried out by artists Daniela Pinheiro and Patricia Camelatto of the Kinguio CasaArtStudio collective at urban and rural spaces in the states of Sao Paulo, Rio de Janeiro and Rio Grande do Sul; with the themes: Feed your words, Prostituted Words (Daspu); The machine and its sounds; Liquid words (alphabet soup); I hear the wind pass; Change what changes, pass what passes?; Words travel, shove off to the ocean – Navigational Words and Earth Words. The project is a skeleton of open fragments, a creative process that doesn’t end in becoming an object.
The installation proposes a sonorous universe that moves through the exhibition space, merging three sonic textures created by songwriter Kika Simone throughout the project. A mixture of noises and sounds captured from several places through which the typewriter moved; “they are variations and textures that seek to include us wherever the waves flow,” the artists say.
The interactive transitory installation Type Stove assembled at Multitude Project has the theme: Thousands of drops of water form a river, but a drop of water is enough to begin the river.
Photo credit: Daniela Pinheiro
Kinguio is a House/Art/Studio based in the city of Sao Paulo. We emphasize our work in contemporary art, visual poetics and other forms of artistic, human, environmental, and intergalactic expression that pass through us like fluid lines changing direction, returning, cracking, surging, cutting, dulling. We seek to create transitory interventions – where other participants and artists resonate, exchange, and make noise in a collective process with Kinguio CasaArtStudio, and vice versa. Kinguio was created by artists Daniela Pinheiro and Patricia Camelatto. In movement, in passing, in trips, in maps, in the branching of rivers that reach the sea and are contaminated by thousands of rhizomatic expressions. “We create based on these branches, which change us,” the artists say.
Presentation: July 27, from 1pm to 5pm, at the exhibit space arena
“So he threw open the window and saw the obvious: he body was split.”
Performance in 3 acts.
Contours, outside, inside, identity/alterity, Frankenstein, relationship, affection, singularity. The body imagined and built using the objects of others, of need, of artifice. The brand, the trait. We carry objects that are necessary, futile, excessive, wide-open, secret; representations and projections of a human archeology contained in the things that are accumulated, that run out, and others with no expiration date. In the restlessness of existence, in that which escapes us and is formed, we also intend to define the other.
Performance/Live Art Study and Creative Group
The goal of the performance and live art creation group is to take an in-depth look at questions regarding the language of performance, based on studies and the scenic and existential materialities and immaterialities that arise in their meetings. Based on theoretical and practical outcomes of research and creation, they seek forms to build a heterogeneous collective that covers the singularities of the individual. The structure of the group is open and floating, according to the possibilities or each one.
Performers: Angela Adriana, Carlos Andres Gutierrez, Jacqueline Mazuchelli,
Jessica Ferraz , Leandro Rossato, Lucimara Amorim, Maiko Sabino, Maria Tereza de Castro Piedade, Mariane Miguel, Marilia Simões, Pamela Regina, Paulo Dersu, Rubya Caroline, Suzie Becker.
Conceived and directed by Elisa Band
Documentary – 54’25″
On the outskirts of Buenos Aires, two structures dialogue based on certain coincidences. They are: the La Boca sports city and the Interama amusement park. Currently in ruins, both were created as spaces for relaxation and leisure, built by different dictatorships. Among the various aspects shown by the documentary, we are able to see what is left around these constructions, as well as the settlements and villas inhabited by thousands of families, immigrants and indigents.
MARTIN M. OESTERHELD
Buenos Aires – Argentina, 1974
The artist lives in Buenos Aires, Argentina.
A visual artist, he is on the staff at the Laboratorio de Investigación en Prácticas Artísticas Contemporáneas (LIPAC) at UBA/CCROJAS. His recent work includes La Multitud, a documentary feature film, shown and awarded at several international festivals; Ricky y El Pájaro, a performance lecture, CCGSM, Buenos Aires; and Tránsito, HD video EME3 / CCCB, Barcelona.
informação e participação
O Site Multitude
Um espaço público aberto às temáticas relacionadas à multidão. Divide-se em duas partes: a primeira mais informativa, contendo toda a programação do evento; E a segunda, como forma de alargar a compreensão do termo "multitude", é composta por ferramentas de participação do público. Navegue, agende-se e contribua com suas ideias e referências.
A partir de 30 de maio (sex)
Encontros: Conferências e Re:Conferências
6 a 8 de junho (sex-dom)
Espetáculo "Pendente de Voto"
22 a 27 de abril
Mapeando o Comum em São Paulo
A multidão está engajada na produção de diferenças, invenções e modos de vida. Deve, assim, ocasionar uma explosão de singularidades. Essas singularidades são conectadas e coordenadas de acordo com um processo constitutivo sempre reiterado e aberto. Seria um contra-senso exigir que a multidão se torne a “sociedade civil”. Mas seria igualmente ridículo exigir que forme um partido ou qualquer estrutura fixa de organização. A multidão é a forma ininterrupta de relação aberta que as singularidades põem em movimento.
Trecho extraído das questões de Nicholas Brown e Imre Szeman a Michael Hardt e Antonio Negri. Leia na íntegra >