living - santander brasil · 1. sala de arte santander : são paulo : cidade : exposições...
TRANSCRIPT
LIVINGARTwith
temporary exhibitions2014
LIVINGARTwith
temporary exhibitions2014
Índices para catálogo sistemático:
1. Sala de Arte Santander : São Paulo : Cidade : Exposições 700.7481611
Convivendo com arte [livro eletrônico] : exposições temporárias
2014 = Living with art : temporary exhibitions 2014 / [gerente de
marketing cultural e curadora da coleção Santander Brasil Elly de
Vries; textos Joana Tuttoilmondo ; tradutor Paul Webb]. -- 1. ed.
-- São Paulo : Santander Cultural: Perfil Cultural, 2014. --
(Convivendo com arte) 3,6 Mb ; PDF.
Edição bilíngue: português/inglês.
ISBN 978-85-65954-06-8
1. Arte contemporânea - Exposições 2. Arte moderna - Exposições
3. Sala de Arte Santander (São Paulo, SP) I. Vries, Elly de. II.
Tuttoilmondo, Joana. III. Título: Living with art :
temporary exhibitions 2014.
14-11647 CDD-700.7481611
Dados Internacionais de Catalogação na Publicação (CIP)
(Câmara Brasileira do Livro, SP, Brasil)
5 Art at the Santander Tower
Marcos Madureira
7 Creative Reflections on the Urban Space
Elly de Vries
9 Collecting Art
Baixo Ribeiro
15 The City and Its Development
Mariana Dupas
CIDADe poéTICA [poeTIC CITY]
18 Artur Lescher
22 Brígida Baltar
26 Cao Guimarães
30 Carlito Carvalhosa
34 Lucia Koch
CIDADe poLíTICA [poLITICAL CITY]
46 paulo Bruscky
52 Milton Machado
56 oscar oiwa
60 Raul Mourão
64 Virgínia de Medeiros
MeeTING ARTISTS: SHN
77 Choque Cultural at Santander
83 Urban Art
94 Credits
TABLE OF CONTENTS
5
Over the past five years, the Living with Art program has been running exhibitions
primarily dedicated to bringing art to the public. The initiative brings everyone who
works in or visits our head office, in São Paulo, into contact with art recognized to
be of high quality in the various media now being explored by artists.
The visual arts are an increasingly powerful and significant force in the develop-
ment of the country. Reflecting this, the program values Brazilian contemporary art
and encourages the emergence of new audiences.
Marcos Madureira
Executive Vice President for Communications,
Marketing, Institutional Relations, and Sustainability
ART AT ThE SANTANDER TOWER
View from the Cidade poética exhibition,
showing works by Artur Lescher
7
CREATIVE REFLECTIONS ON ThE uRBAN SPACE
Most of our experiences through life take place in urban centers; that is where we live,
drive around, and go through the most significant moments in our history. The conceptual
line on which the Living with Art program was based in 2014 emerged from that fact.
The exhibitions aim to discuss how the experience of the city affects perception, sensibility,
and the way we relate to other individuals.
The first show presented at the Santander Art hall was on the theme of the Cidade
poética [Poetic city] and sought to show how the work of each artist can be understood
as a way of receiving and processing, in a poetic and creative way, the numerous stimuli
to which those of us who live in cities are subjected on a daily basis.
The second show, Cidade política [Political city], included works that question urban
space and the processes and attitudes that lead to its construction. We are all agents of
the city who help build and transform it. The artists reflect on or question this space and
the exclusion and inequalities embedded in it, and attempt to propose, in their work,
new possible constructions.
The year’s activities were rounded off by the urban art collective ShN occupying twenty-
two floors of the Santander Tower with an installation-exhibition of images showing the
artistic activities of the group in the city center, icons and colored stickers.
The texts and photos of this publication attempt to convey the spirit of those extraor-
dinary experiences. We invite you to discover how art encourages us to perceive, think
about, and imagine the city.
Elly de Vries
Cultural Marketing Manager and
Curator of the Santander Brasil Collection
OSCAR OIWA
Stairs, 2007
(detail)
9
It is easy to see that many new collectors have entered the contemporary art market in
recent years. These young collectors bring new energy and like to take risks, but feel
insecure on this unfamiliar terrain. After six years talking with many individuals who
began collecting art after visiting Choque Cultural repeatedly and who now also col-
lect the work of artists from other galleries, I put together a brief summary of what I
usually say to beginners.
The first piece of advice is that you must always respect your taste. There is no theory
or history that is more valuable to a collector than his or her personal taste. As a mat-
ter of fact, collecting is a process of putting this taste into practice, refining, making it
subtler and more sophisticated over time.
The second tip is never to buy art thinking of selling it on for a profit. It may sometimes
be tempting to treat the buying and selling of art as a gamble, but, in fact, apart from
being risky, this attitude betrays a lack of long-term commitment to artists, galleries,
and all those who are trying to build up a healthy art world. And it certainly won’t earn
you a good reputation.
The best story I have ever heard about why people should collect art arose in a conversa-
tion I was having with a friend a few years ago. he told me that he had grown up around
fine art because his parents had left him an excellent collection of work by modern art-
ists, including Portinari, Di Cavalcanti, and Pancetti. Surrounded by so much art, it had
never crossed his mind to acquire anything contemporary, until, leafing through a book
on graffiti art, he saw a reproduction of a piece by Zezão. Still intrigued by the images
he had seen, his seven-year-old son gave him a little “lesson” about the artist’s exploits
underground and how he had discovered a whole other world underlying our own.
The son had studied the work of Zezão at school and was a fan. At this point, my friend
realized that, just as his parents had left him a historical legacy, he could do the same for
his son. This story illustrates what I consider the best motivation for collecting contempo-
rary art: the cultivation of the history of one’s own time.
COLLECTINg ART
ShN
Coxa (Av. São João / São Paulo), 2014
10 11
This is very true, because by acquiring a painting you are investing in the career of an
artist you admire and in the development of the art of the present age and helping
value the things you would like coming generations also to value.
unfortunately, when the subject of contemporary art comes up, the first thing that
comes to many people’s minds is “what is it worth?” “how much have you profited
from it?” Art collectors are very concerned about monetary value, and the art market
has become a simulacrum of the financial market, even borrowing certain terms from
it, such as “advising,” “quotation,” “liquidity”…
however, most people who deal directly with the art market go out of their way to
advise against contemporary art as a sound financial investment since the risks are
enormous, and valuation is always excessively subject. It is true that the last two de-
cades have seen the creation of a much safer environment for investors and that, now-
adays, with the massive growth in the market, with numerous fairs, auctions, and new
agents, the market is much better organized, more professional, and far more robust.
But it is always wise to remember that art is, above all, an anarchic force, which is al-
ways challenging, questioning, and rubbing the logic of the market up the wrong way.
While, on the one hand, agents of the market are concerned to establish rules and
create stable environments, artists are always experimenting, exploring, pushing out
the boundaries into unknown territory, and hence creating instability.
This dynamics means that the market moves simultaneously in two opposing direc-
tions: it values the established and clearly recognized, but is also always open to avant-
garde movements that may one day establish themselves.
When we opened Choque Cultural, we were interested in getting in touch with the
new generations and discussing collecting from a different point of view that goes
beyond financial investment. We started out from the premise that anyone can be an
art collector, even if they are only collecting stickers or posters, without even spend-
ing money. We were inspired by the cultural kind of collector, who wants to cultivate
the culture of his or her generation, its styles, tastes, and ideas. This is very much in
tune with the punk, skate-boarding, and hip-hop movements, which have strongly
influenced younger generations.
Art is not just something that can be transformed into collectible products or tangible
works. graffiti and urban art brought this question to the center of the debate.
how, then, can we steer investment towards art that cannot always be easily circum-
scribed by the exhibition room? how can we create a sustainable environment for
artists whose work is non-conventional and not fully assimilated into the system? Fos-
tering investment in art is not just a question of ensuring that the collectors’ market
grows, but also of expanding sources of funding for interesting artistic projects. Col-
lecting art is not the only way of helping the artists you like.
Nowadays new ways of funding art involving crowdfunding are on the rise and the
public sector is now more involved in providing access to art and, primarily, using
tax incentives to encourage private companies to sponsor art projects that reach
out to new audiences.
I believe that any financial support is valid. What matters is that the artist does not
become dependent on one source of income or another. It is, therefore, fundamental
that we experiment and discover more and more sources of funding for artistic proj-
ects, and seek a proper balance between them.
The sustainability of the work of the artists cannot be linked only to the collectors’
market, because this too generates a dependence that emasculates artistic production.
This is worsened by the situation of a country such as Brazil, whose art market is still
small and incipient.
The new generations collect more than previous ones. The visual arts play a sig-
nificant role in the imagination of those born after 1980. These generations have
helped develop new environments and forms of collecting, and engaged in a lively
discussion on heritage, the ephemeral, and the funding of artistic movements that
represent their communities.
12
Tattoo, for example, is a new form of collecting, little studied and discussed, but still
a new model for the relationship with the artists, the support, the time of life, the
position of the collector, art, and its creator. This novelty is emblematic of the times
in which we live and the changes the world is going through. The conventional art
market is also changing with the Zeitgeist, albeit in a much more conservative climate
of slow-paced change.
The art market is part of a system that values exclusivity and is thus, by its very nature,
resistant to rapid growth… Despite this, new actors are emerging to support art proj-
ects that would not succeed in this market. Avant-garde art lies outside of the market,
exploring new media, such as tattoos, urban art, web art. Millions of new artists are
exhibiting their work and seeking out new spaces. They will find these spaces eventu-
ally and expand the currently rigid environment of the conventional market and its
traditional institutions.
Baixo Ribeiro
Curator and founder of
the Choque Cultural gallery
ShN
Estrela (Sé / São Paulo), 2014
(detail)
15
In 2014, the Associação para o Patronato Contemporâneo – APC [Contemporary Pa-
tronage Association] was invited to curate the Santander Art Room exhibitions, as part
of the Living with Art program, whose primary aim is to bring contemporary art to the
general public. Our theme this year is the city, reflecting the experiences of the people
who visit the Santander Tower, in this grand urban center that is São Paulo. We also
look at the intensive urban development that has been occurring in recent years in Vila
Olímpia, the district in which the Santander’s head office in Brazil is located.
Our fast-paced everyday routine often blunts our perception of what is going on
around us, limiting our vision to the objective things in life. The experience that we in-
tend in these two exhibitions, Cidade poética [Poetic city] and Cidade política [Political
city], encourages the audience to rediscover the keener, more contemplative but not
uncritical eye, which is so important for our understanding of the world.
These are relations that we establish that enable us to transform reality. And art is a very
powerful tool for helping us live freely and consciously, always questioning what appears in
our path, proposing new reflections and possibilities, and generating many controversies.
After all, what is YOuR city? This is our invitation for you to (re)discover, (re)invent, and
(re)live this experience. Enjoy the trip!
Mariana Dupas
Director, Associação para o
Patronato Contemporâneo – APC
ThE CITY AND ITS DEVELOPMENT
RAuL MOuRãO
#agradeeoar # 2, 2013
(detail)
The Associação para o Patronato Contemporâneo – APC is a nonprofit organization designed to promote the culture of con-
temporary art, helping to develop and spread knowledge of this culture in Brazil and overseas. APC develops and runs projects that
encourage people to value the contemporary artistic and cultural heritage, promoting research, education, and the democratization of
access to culture. This aim is pursued by various lines of action, including publications, exhibitions, consultancy, cultural productions,
and other projects.
CiDADE PoéTiCA
[PoETiC CiTY]
18 19
Cidade
poétiCa
Artur Lescher’s outstanding contribution to contemporary art is
his series of three-dimensional works that encourage us to see the
space differently.
using the essential geometrical forms of nature, Artur Lescher puts
together a minimal landscape of the world. The Metaméricos [Me-
tamerism] series, for example, plays with volume as it defragments
the lines of architectural space, while ponte [Bridge] is a symbol of
the city, of the construction that joins spaces together.
Several of these works deal with the notions of fluidity, malleability,
inconstancy, and movement, such as the pieces in the pantográ-
ficas [Pantographs] series, which expand and contract, producing
different designs and ways of occupying space.
The artist draws on ideas from various fields of knowledge to use
as tools for investigating art. The name Metaméricos comes from
the word metamere, the name given to the geometry of certain
arthropods whose bodies are made up of repeated segments.
The pantográficas series, in its turn, is based on the principle of the
pantograph, a device made up of interconnected bars that can be
used to mechanically copy, enlarge, or reduce the scale of drawings.
Artur Lescher (São Paulo, 1962)
Lives and works in São Paulo
In the 1980s, Lescher studied philosophy at PuC-
SP but did not graduate. he also attended open
courses in drawing, painting, and engraving. his
interest in the space of drawings led him to ex-
plore real space and construct sculptures, objects,
and installations. his participation in the 1987 and
2002 editions of the Bienal de São Paulo helped
bring him wider recognition as an artist. his work
features in the collections of museums such as Pi-
nacoteca and MAM, in São Paulo, and Malba, in
Buenos Aires, Argentina, and have been exhibited
in leading cultural institutions in Brazil, Europe,
the united States, and Latin America.
Artur Lescher
View from the Cidade poética exhibition,
showing works by Artur Lescher
21
Cidade
poétiCa
facing page
ARTuR LESChER
Coluna (from the Pantográficas series), 2013
ARTuR LESChER
Sem título #10 (from the Metaméricos series), 2010
(detail)
22 23
Cidade
poétiCa
Brígida Baltar
Brígida Baltar’s work blurs the boundaries between sculpture,
drawing, photography, installation, and performance. She cre-
ates her evocative work using intimate personal elements,
contrasting with the anonymity and impersonality that govern
contemporary urban life.
her home, in the Botafogo neighborhood of Rio de Janeiro, is
the point of reference for various works. Baltar brings bricks
from there, and piles them up around herself as a shelter and
uses brick dust as the raw material for sculpture and drawings,
such as Floresta vermelha [Red forest]. The house is understood
symbolically, as a place of refuge, dwelling, shelter, and con-
viviality, a hub of emotional relations.
Numerous works involve actions performed by the artist her-
self. Captured in photographs and videos, these create a fabu-
lous narrative. The Casa de abelha [Bee house] is inspired by
the world of bees. These are unusual drawings inhabited by
characters with honeycomb heads, or photos in which she is
portrayed wearing a beehive dress. The bees produce their
food, honey, which they transform into wax to build their hives.
Brígida Baltar (Rio de Janeiro, 1959)
Lives and works in Rio de Janeiro
Baltar graduated from the Parque Lage School
of Visual Arts in the late 1980s. From the 1990s
on, she has produced work using a variety of
supports. her work has featured in major ex-
hibitions, such as the havana (1994) and São
Paulo (2002) biennales, and the MAM-SP’s
Panorama da Arte Brasileira (2007). She has
staged exhibitions in cultural centers and muse-
ums in the united States, the united Kingdom,
Italy, Portugal, Spain, France, and Japan. her
work can be found in the collections of MAC-
uSP, MAM-RJ, Pinacoteca do Estado de São
Paulo, and in various collections overseas.
Works by Brígida Baltar
at the Santander Art hall
25
Cidade
poétiCa
BRÍgIDA BALTAR
Casa de abelha, dentro da natureza, 2002
facing page
BRÍgIDA BALTARCasa, 1997 / 2003
26 27
Cidade
poétiCa
Cao guimarães
Cao guimarães is one of the Brazilian artists who has most suc-
cessfully combined cinema and the visual arts. his works endow
simple images and everyday situations with a new meaning, re-
vealing their poetic or unique nature. In the Gambiarras [Quick
fixes] series, he presents a series of highly creative improvised
solutions to common problems. These fragile creations reveal an
uncommon view of things in the world.
Things that are not entirely seen, but merely insinuated, are a
striking feature of his works. In Coletivo [Collective], the signage
of buses is used to craft a visual poetry in which illuminated, inso-
far as the lighted words advance towards us, proper names and
those of places merge into one another and disappear. In paisa-
gens reais [Real landscapes], we see signs of an unexpected pan-
oramic view of the city diluted by fog. In the unparalleled subtlety
of these photographs, guimarães addresses the beautiful and
the ephemeral, and pays homage to guignard, a modernist artist
whose paintings captured the atmosphere of the Minas gerais
landscape.
Light, colors, shapes, textures, transparency, rhythm, and music
are just some of the most frequent elements of his work and
these are present in abundance in his short film Concerto para
clorofila [Chlorophyll Concerto]: an experience in vibrant sensa-
tions and perception of nature.
Cao Guimarães (Belo horizonte, 1965)
Lives and works in Belo horizonte
In the 1980s, guimarães studied philosophy at
uFMg and journalism at PuC in Belo horizon-
te. he holds a master’s degree in photography
from Westminster university, London. his work
includes photography, film, videos, and instal-
lations. he has produced many experimental
documentaries, including the award-winning
andarilho [drifter] (2007). his films have been
screened at major international festivals.
guimarães has exhibited at the São Paulo
(2002, 2006) and Mercosul (2011) biennales,
and in museums such as Tate Modern and gug-
genheim. his work features in the permanent
collection of these two museums and those of
the MoMA, MAM-SP, and Inhotim. his latest
film, o homem das multidões [the Man of the
Crowd], produced in collaboration with film-
maker Marcelo gomes, was shown in theaters
around the country in 2014.
Works by Cao guimarães in
the Cidade poética exhibition
28 29
Cidade
poétiCa
CAO guIMARãES
Paisagens reais – Tributo a Guignard # 4, 2009
CAO guIMARãES
Gambiarras # 104, 2010
30 31
Cidade
poétiCa
Carlito Carvalhosa
Carlito Carvalhosa’s paintings, sculptures, and installations are es-
pecially concerned with materials and the relation between form
and material in the construction of each work. his pieces cannot
be detached from their environment, and the way they are per-
ceived depends on the way they are positioned in space. They
create spatial situations that involve a certain sense of danger or
discomfort in those who view or pass through them.
Carvalhosa is interested in surfaces and has studied the way these
influence and transform the surroundings of the viewer. using
everyday industrial materials, such as plaster, mirrors, glass, and
aluminum, he attempts to produce unusual relations of meaning.
his paintings on mirrors bring us into the picture. The matt-finish
aluminum sheets transform our perception of the environment.
Their rigorous construction is not without an element of chance,
resulting from the way the plaster runs or the marks produced by
the way the metal is beaten. The procedures that the artist applies
to the materials balance regularity and irregularity, control and
indetermination.
Carlito Carvalhosa (São Paulo, 1961)
Lives and works in Rio de Janeiro
Carlito Carvalhosa began his career in the
1980s, after graduating in architecture from
FAu uSP. At this time, he was a member of the
Casa 7 group, producing large-scale canvases
using wax, pigments, and oil paint. Between
1989 and 1992, he received an art exchange
grant and lived in Cologne, germany. As of the
1990s, he started producing three-dimensional
works in plaster, porcelain, and wax, in ad-
dition to painting. Carvalhosa also creates
installations and has been especially active in
this field from the 2000s onwards. his work
has featured in the São Paulo (1985) and Mer-
cosul (2001) biennales, and he has staged solo
shows at prestigious Brazilian museums and at
MoMA, in New York.
View from the Cidade poética exhibition,
showing works by Carlito Carvalhosa
(foreground), and Cao guimarães
and Artur Lescher (background)
33
Cidade
poétiCa
CARLITO CARVALhOSA
Lente, 2011
facing page
CARLITO CARVALhOSA
Untitled (P 34), 2011
34 35
Cidade
poétiCa
Lucia Koch
Interventions, installations, videos, and photographs are just some
of the media chosen by Lucia Koch to examine questions relating
to light and space, always in profound relationship to architecture.
her pieces interfere in the environment by means of structures
built in a material way or, more intangibly, by way of light filters
or the reflection of images that deeply alter our experience of a
particular place.
In her photographs, the change of scale makes the inside of box-
es and empty packages appear to be architectural constructions
with walls, corridors, and windows. Lucia Koch thus creates vir-
tual spaces, stimulating and reorganizing our perception. parede
instantânea [Instant wall], in its turn, has a double effect on space,
as a portable architectural element and as a color that invades the
emptiness of the exhibition venue.
Interaction with the people who inhabit the space is a trademark of
her process of creating architectural interventions and can be found
in smaller-scale objects, of which the viewer becomes a participant.
Mostruário [Showcase], for example, can be handled by the audi-
ence, removing or superimposing mirrored sheets to produce new
patterns and textures.
Lucia Koch (Porto Alegre, 1966)
Lives and works in São Paulo
Lucia Koch produces works using various sup-
ports: sculptures, videos, photographs, and in-
stallations. She graduated in the visual arts from
uFRgS, and earned a doctorate from ECA uSP.
Since 2005, she has been an art teacher at FAAP.
her work is not confined to museums, biennales,
and galleries, and often occupies nonconven-
tional spaces in the city. She was a founding
member of the artists cooperative grupo Arte
Construtora and has been involved in the activi-
ties of the Jardim Miriam Art Club – JAMAC. her
work has featured in the São Paulo (2006) and
Mercosul (2011, 2005, 1999) biennales. She has
carried out architectural interventions in various
locations in Brazil, germany, France, Portugal,
and Turkey.
LuCIA KOCh
Mostruário – acrílico/espelho, 2012
37
Cidade
poétiCa
facing page
LuCIA KOCh
Parede instantânea, 2012
LuCIA KOCh
Cono Norte (San Martín de Porres), 2011
38
Cidade
poétiCa
39
BRÍgIDA BALTAR
Untitled, from the Casa de abelha [Bee house] series, 2001
blue ball-point pen paint on paper
29.7 x 21 cm
BRÍgIDA BALTAR
Untitled, 2003
brick dust on paper
75 x 55 cm
BRÍgIDA BALTAR
Untitled, 2003
brick dust on paper
75 x 55 cm
BRÍgIDA BALTAR
Casa de abelha – dentro da natureza [Bee house – inside nature], 2002
10-photograph set
ed 1/3 + 2 AP
25 x 36 cm (each)
BRÍgIDA BALTAR
Untitled, 2005
photograph
ed 1/3
30 x 40 cm
BRÍgIDA BALTAR
Floresta vermelha # 4 [Red forest #4], 2009
brick dust on paper
90 x 140 cm
ARTuR LESChER
Ponte [Bridge], 1989
wood
ed 1/3 + 2 AP
150 x 350 x 50 cm
ARTuR LESChER
Livro [Book] #3, 2013
wood and brass
ed 2/5 + 2 AP
29 x 41 x 3 cm
BRÍgIDA BALTAR
Torre [Tower], 1996
photograph
ed 2/10
27.5 x 75.3 cm
BRÍgIDA BALTAR
Untitled, 1990s
bricks
11 x 10 x 7 cm and 20 x 9 x 8 cm
BRÍgIDA BALTAR
Casa [House], 1997 / 2003
brick dust in 240 glass vials, wooden box
120 x 68 x 7 cm
BRÍgIDA BALTAR
Untitled, from the Casa de abelha [Bee house] series, 2001
blue ball-point pen paint on paper
29.7 x 21 cm
ARTuR LESChER
Untitled # 10, from the Metaméricos [Metamerism] series, 2010
wood and metal
ed 3/5 + 2 AP
two 80 cm segments, ten 30 cm segments, and one 70 cm segment
ARTuR LESChER
Coluna [Column], from the Pantográficas [Pantographs] series, 2013
wood and brass
ed 1/5 + 2 AP
32 x 34 x 17 cm (closed), 300 x 34 x 17 cm (open)
installation with variable measurements
CAO guIMARãES
Coletivo [Collective], 2002
capture format: Super-8
screening format: DV
BW ed 1/6 + AP
3’00”
CAO guIMARãES
Concerto para clorofila [Chlorophyll Concerto], 2004
capture format: Super-8
screening format: DV
ed screening copy
7’25”
Cidade poética18 March through 18 July 2014 | Works shown in the exhibition
40
Cidade
poétiCa
41
CAO guIMARãES
Paisagens reais – Tributo a Guignard # 2 [Real landscapes – Tribute to Guignard #2], 2009
digital photograph
ed 1/5 + 2 AP
53 x 80 cm
CAO guIMARãES
Paisagens reais – Tributo a Guignard # 3 [Real landscapes – Tribute to Guignard #3], 2009
digital photograph
ed 1/5 + 2 AP
53 x 80 cm
CAO guIMARãES
Gambiarras # 45 [Quick fixes #45], 2005
photograph
ed 1/3
45 x 60 cm
CAO guIMARãES
Gambiarras # 51 [Quick fixes #51], 2005
photograph
ed 3/3 + 2 AP
45 x 60 cm
CAO guIMARãES
Gambiarras # 106 [Quick fixes #106], 2010
photograph
ed 3/3 + 2 AP
66 x 100 cm
CAO guIMARãES
Gambiarras # 108 [Quick fixes #108], 2011
photograph
ed 2/3
66 x 100 cm
CAO guIMARãES
Gambiarras # 62 [Quick fixes #62], 2007
photograph
ed 2/3
45 x 60 cm
CAO guIMARãES
Gambiarras # 104 [Quick fixes #104], 2010
photograph
ed 3/3 + 2 AP
66 x 100 cm
CARLITO CARVALhOSA
Lente 09 bis [Lens 09 bis], 2011
optical lenses
ø 50 cm
CARLITO CARVALhOSA
Lente 12 bis [Lens 12 bis], 2011
optical lenses
dimensions variable
CAO guIMARãES
Paisagens reais – Tributo a Guignard # 4 [Real landscapes – Tribute to Guignard #4], 2009
digital photograph
ed 3/5 + 2 AP
53 x 80 cm
CAO guIMARãES
Paisagens reais – Tributo a Guignard # 5 [Real landscapes – Tribute to Guignard #5], 2009
digital photograph
ed 1/5 + 2 AP
53 x 80 cm
CAO guIMARãES
Paisagens reais – Tributo a Guignard # 7 [Real landscapes – Tribute to Guignard #7], 2009
digital photograph
ed 1/5 + 2 AP
53 x 80 cm
CARLITO CARVALhOSA
Lente 07 [Lens 07], 2008
optical lenses
50 x 75 cm
CARLITO CARVALhOSA
Lente 10 [Lens 10], 2008
optical lenses
49 x 62 cm
CARLITO CARVALhOSA
Lente 19 bis [Lens 19 bis], 2008
optical lenses
49 x 62 cm
42
LuCIA KOCh
Mostruário – acrílico/espelho [Showcase – acrylic/mirror], 2012
set of 9 laser-cut mirrored acrylic plates
ed 1/3
220 x 200 x 86 cm
LuCIA KOCh
Parede instantânea [instant wall], 2013
pantographic aluminum structure and acrylic modules
ed 1/1
230 x 230 x 30 cm
LuCIA KOCh
Cono Norte [Northern Cone] (San Martín de Porres), 2011
inkjet print on cotton paper
ed 6/6 + 2 AP
100 x 137 cm
CARLITO CARVALhOSA
Untitled (P 18), 2011
beaten aluminum
200 x 100 cm
CARLITO CARVALhOSA
Untitled (P 34), 2011
beaten aluminum
200 x 100 cm
CARLITO CARVALhOSA
Untitled, 2013
plaster, mirror, and glass
160 x 104 cm
CiDADE PoLíTiCA
[PoLiTiCAL CiTY]
4646 4747
Cidade
polítiCa
Paulo Bruscky
For more than forty years, Paulo Bruscky has been using art as a
strategy for countering political oppression and social inequality,
questioning the world around us, the art world, and the system
it is a part of.
In o que é arte, para que serve? [What is art, what is it for?,
1978], the artist roamed the streets of Recife, like a “sandwich
man” wearing a placard, which instead of advertising, carried this
question concerning the nature and the purpose of art. Bruscky
also remained “on show” at the window of a bookshop in the
center of Pernambuco capital city, making himself the object of
the question (Is this art?). Instead of providing a response, the
work demonstrates that a questioning attitude is one of the dis-
tinguishing features of contemporary art.
In his 1973 performance piece arte/pare [Art stop], recorded
on video and in photographs, the artist cordoned off both ends
of Boa Vista Bridge with tape, restricting the access of cars and
pedestrians. using this police procedure, Bruscky provocatively
sought to make everyone think about civil obedience and disobe-
dience, about barriers to freedom, and about how our perception
of things shifts when confronted by an unconventional situation.
Paulo Bruscky (Recife, 1949)
Lives and works in Recife
Bruscky is one of the Brazilian artists who has
aroused the greatest interest in the international
art world. his career has been marked by inces-
sant experimentation in a multiplicity of media.
In the 1970s, he was one of the first to conduct
research using photocopies and to create mail
art. he has produced a vast body of video art,
video installations, performances, and sound art
works. his work has featured in four editions of
the Bienal de São Paulo and various group and
solo shows in Brazil and overseas. his works can
be found in the collections of major museums
such as MoMA and guggenheim, in New York;
London’s Tate gallery; and São Paulo’s MAM and
MAC-uSP. In 2014, Paulo Bruscky staged two solo
shows, one at MAM-SP and another at the Nara
Roesler gallery.
View from the Cidade política exhibition,
showing works by Paulo Bruscky
4848 4949
Cidade
polítiCa
The way art circulates and is exchanged is a constant theme in this
artist’s work. For decades, his projects have been precursors of
the strategies and issues explored in recent works by contempo-
rary artists around the world. The small sample of various works
of mail art created by Paulo Bruscky demonstrate the network
of relations between artists around the world at a time when
communication was limited, not only by the paucity of existing
resources, but also by the restrictions on freedom of expression
imposed by the military dictatorships that ruled countries like Bra-
zil and other Latin American nations.
The videos a estética do camelô [The aesthetics of the street ven-
dor], Grafitte-NY [graffiti-NY], and arquitetura do imaginário
[Architecture of the imagination], produced in the early 1980s,
reveal the free perspective of an artist who relates poetically to his
surroundings, without losing his critical viewpoint. For Bruscky, as
with many artists from his generation onwards, the elements that
make up a work of art are immediately to hand, i.e., in everyday
life: in the orderly arrangement of products in a street stall, in the
graffiti we see on the streets, or in the disquieting visual appear-
ance of the façades of demolished buildings.
PAuLO BRuSCKY
Arte / Pare, 1973/2013
50 51
facing page
PAuLO BRuSCKY
Frágil, 1977
PAuLO BRuSCKY
Untitled, 1994
5252 5353
Cidade
polítiCa
Milton Machado
Drawing lies at the heart of Milton Machado’s work, which in-
cludes architecture, painting, sculpture, installations, perfor-
mance, music, photography, and video. his ‘mongrel’ drawings—
“against the grain,” casually scrawled, delirious, marginal—take
time to view and decode, because of the wealth of detail and the
strange juxtaposition and superimposition of fragments, which
do not fit into a linear narrative.
a Morte em vida de pedro José [The death in life of Pedro José],
produced in 1973, is one of the comic strips in a fanzine that cir-
culated underground in the city of Rio de Janeiro. It tells the story
of an atypical day in the life of a respectable investment banker,
who is attracted to the world of samba (which was connected
with views and forms of behavior deemed subversive at the time)
and ends up being tested to the limit. Machado was interrogated
about the content of the magazine by agents of the military re-
gime, who forced him to withdraw it from circulation.
edifício Galaxie [galaxie Building] is another work from the 1970s,
the time of the dictatorship and the so-called “economic miracle.”
Two luxury objects, a car and a beachfront apartment, in Ipanema
beach, Rio de Janeiro, complement one another as status symbols
and signs of social mobility. The backdrop of this gilded lifestyle is
the traffic, real estate speculation, and urban segregation.
Milton Machado (Rio de Janeiro, 1947)
Lives and works in Rio de Janeiro
With a degree in architecture from FAu uFRJ,
Machado is not only an artist, but also an art
critic and teacher. he holds a master’s degree in
urban planning and a doctorate in the visual arts
from goldsmiths, university of London. Since
2002, he has been teaching at the universidade
Federal do Rio de Janeiro’s School of Fine Arts.
his work has been featured in editions of the
Bienal de São Paulo in 1969, 1987, and 2010,
and at the Bienal do Mercosul, in Porto Alegre, in
2009, and other group shows in Brazil and over-
seas. he has recently staged solo shows at the
Nara Roesler gallery and the Parque Lage School
of Visual Arts, as well as the exhibition Cabeça,
which showed at Rio de Janeiro’s Centro Cultural
Banco do Brasil until September 2014, bringing
together over a hundred works by the artist,
produced since 1964. his works are included
in the public collections of institutions such as
the Daros Foundation (Zurich), the Museo Civico
di Arte Contemporanea, in gibellina (Italy), the
university of Essex (uK), and the São Paulo and
Rio de Janeiro Museums of Modern Art.
Works by Milton Machado in the
Cidade política exhibition
5555
Cidade
polítiCa
MILTON MAChADO
Edifício Galaxie (sobre a mobilidade), 1975 / 2002
facing page
MILTON MAChADO
A morte em vida de
Pedro José, 1973
5656 5757
Cidade
polítiCa
Oscar Oiwa
The son of Japanese immigrants, Oscar Oiwa is a cosmopolitan
artist, whose work is based on real and imaginary aspects of large
urban centers such as São Paulo, Tokyo, and New York. his paint-
ings are detailed representations of scenes that are at once famil-
iar and uncanny, plausible and absurd. Concrete facts and news
items from the media combine with fantastical, surreal situations.
The breakdown, dehumanization, and degradation of the urban
environment suggest a critique of the impact of globalization.
In Stairs, we see an aerial view of what appears to be a rundown
block or building site. Swathed in an oppressive gray, stairs ap-
pear from nowhere leading nowhere. The bright colors of Big
Circus present us with a jigsaw puzzle of disparate images with
references to the improvised entertainment of the circus and
symbols of the united States: the bald eagle, the bull of the New
York Stock Exchange, and an outline map of the country.
occupy everywhere refers to the Occupy Wall Street movement
and represents, through two improvised dwellings under a via-
duct, the gap between rich and poor. There are various allusions
to the history of art: the 1986 Crack is a Wack graffiti, by Keith
haring in New York; Andy Warhol’s Brillo Box (1964), which
appears as a discarded cardboard box, and Marcel Duchamp’s
Fountain (1917), appearing not as a readymade object, but as an
actual urinal in the midst of the trash.
oscar oiwa (São Paulo, 1965)
Lives and works in New York
With a degree in architecture from FAu uSP,
Oiwa is an artist whose work spans various me-
dia, including paintings, installations, texts, and
books. In 1991, the year he contributed to the Bi-
enal de São Paulo, he moved to Tokyo and, since
then, he has retained a deep interest in Japanese
art. Awarded a study grant in 1995, he lived
in London for two years. In 2002, he received
a grant from the guggenheim Foundation and
moved to New York. he has exhibited his work
in cities such as São Paulo, Rio de Janeiro, Tokyo,
Beijing, hong Kong, New York, Paris, and Barce-
lona. his works can be found in the collections
of the National Museum of Modern Art and Mu-
seum of Contemporary Art, in Tokyo, and at the
Phoenix Art Museum, in the united States.
Works by Raul Mourão and Oscar Oiwa
in the Cidade política exhibition
5858 5959
Cidade
polítiCa
OSCAR OIWA
Occupy Everywhere, 2011
OSCAR OIWA
Big Circus, 2011
6060 6161
Cidade
polítiCa
Raul Mourão
Raul Mourão often draws his inspiration from the urban land-
scape of Rio de Janeiro. his work includes sculptures, photos,
installations, drawings, videos, and performances, and is based
on objects, places, and situations from everyday city life: railings,
soccer pitches, traffic signs, scaffolding.
Railings began to appear in his work in the 1990s, when he saw
how the city was increasingly defined by the ostentatious presence
of these security measures, which, although designed to protect,
also imprison. his photographs of barred façades and windows
developed into work in other media, such as the sculptures that
reproduce the shape of the bars that guard air-conditioning units.
Displaced from their context and viewed as works of art, these
three-dimensional pieces become dysfunctional. Mourão thus
ironically questions the rationale underlying the construction of
urban space and, at the same time, highlights the tension be-
tween the chaos and brutality of the city and the clean order of
geometrical forms.
Raul Mourão (Rio de Janeiro, 1967)
Lives and works in Rio de Janeiro and New York
A graduate from the Parque Lage School of
Visual Arts, in Rio de Janeiro, Mourão also stud-
ied architecture, cinema, and photography. his
work began to feature in exhibitions in the early
1990s, when he was also in charge of the art
direction of videos and documentaries. Along
with producer Luiza Mello, and fellow artists
Eduardo Coimbra and Ricardo Basbaum, he set
up AgORA—the Artistic Organisms Agency,
an independent art initiative, part gallery, part
production company, that was active in Rio
between 2000 and 2002. he has also edited
o Carioca and item magazines. his work can
be found in the collections of the Museu de
Arte Moderna do Rio de Janeiro, the Museu de
Arte Contemporânea de Niterói, the ASu Art
Museum (uSA), and the gilberto Chateaubriand
Collection. he also works as a curator and a
producer, and has his blog entitled bRog.
Works by Raul Mourão in the
Cidade política exhibition
6363
Cidade
polítiCa
facing page
RAuL MOuRãO
Janela com ar, 2014
RAuL MOuRãO
Grade rádio, 2014
6464 6565
Cidade
polítiCa
Virgínia de Medeiros
Virgínia de Medeiros conducts research like an anthropolo-
gist: she crosses social and cultural boundaries and immerses
herself in an unfamiliar world. As a result, she questions her
habits and beliefs, and encourages us to do likewise. her
creative laboratory is the city she roams in search of places,
people, and situations that deep-set prejudices and stereo-
types relating to gender, sexuality, and social exclusion.
Medeiros lives among and has developed relations of trust
with the individuals who have become the characters that in-
habit her work, which is part art, part documentary. In order
to produce Fábula do olhar [The fable of the gaze], she set
up a photographic studio for a month and a half in two soup
kitchens for homeless people in the city of Fortaleza, in the
state of Ceará. She photographed and collected life-stories
from twenty-one men and women. She asked all of them,
“how would you like to see yourself or be seen by society?”
Then, she employed the services of master portrait artist Júlio
dos Santos to use digital photo-painting to color and interfere
with the pictures according to the desires of each individual.
The result is this series of images and texts that blur the line
between reality and imagination.
Virgínia de Medeiros (Feira de
Santana, Bahia, 1973)
Lives and works in São Paulo
Medeiros holds bachelor’s and master’s degrees
in the visual arts from the universidade Federal
da Bahia. her work has featured in the 2006 Bi-
enal de São Paulo and the 3rd Bienal da Bahia, in
Salvador, in 2014, in addition to group shows at
various cultural centers and museums through-
out Brazil. her works can be found in the collec-
tions of the Centro Cultural São Paulo and the
Museu de Arte Contemporânea do Ceará. She
has been artist in residence in Dili, East Timor
(2009) and Québec, Canada (2007). She won
an award at the 18th Videobrasil Festival and a
grant to work for two months at Residency un-
limited, in New York, in 2014. She received the
prize for Sérgio and Simone, a video shown at
the 31st Bienal de São Paulo.
VIRgÍNIA DE MEDEIROS
Fábula do olhar series, 2013
6767
Cidade
polítiCa
VIRgÍNIA DE MEDEIROS
Marcos, from the Fábula do olhar series, 2013
68
Cidade
polítiCa
69
MILTON MAChADOA morte em vida de Pedro José [The death in life of Pedro José], 1973
China ink on paper
Four parts, 29 x 20.5 cm each
MILTON MAChADOO estudante de urbanismo e a cidade do futuro [The urban planning student and the city of the future], 1979
pencil and watercolor on paper
56 x 228 cm
MILTON MAChADOTwo Frozen Characters Flying among Two Thousand Spaceships and Lost, 1987
China ink on paper
23.6 x 31.7 cm
MILTON MAChADOEdifício Galaxie (sobre a mobilidade) [Galaxie Building (on mobility)], 1975 / 2002
photograph / videotape / text
ed 1/5
30 x 40 cm (each photograph) / 62 x 164 cm (installed) / 1’30’’ in loop (video)
MILTON MAChADOA morte em vida de Pedro José [The death in life of Pedro José], 1973
print on paper
20.5 x 29 cm
OSCAR OIWAStairs, 2007
oil on canvas
227 x 333 cm
OSCAR OIWA Occupy
Everywhere, 2011
oil on canvas
227 x 444 cm
MILTON MAChADOThe Eye, from the Vira-latas [Mutts] series, 1988
ball-point pen and colored pencil on paper
28 x 35.5 cm
OSCAR OIWABig Circus, 2011
oil on canvas
227 x 333 cm
PAuLO BRuSCKYArt in Box, 1976
collage and stamp on postcard
ed 1/1
11.7 x 18 cm
PAuLO BRuSCKYUntitled, 1977
collage on paper
ed 1/1
15 x 10.5 cm
PAuLO BRuSCKYFrágil [Fragile], 1977
stamp and collage on adhesive
ed 1/10
16 x 10 cm
PAuLO BRuSCKYDia do carteiro [Postman’s day], 1977
stamp on envelope
ed 1/1
8.7 x 15.5 cm
Cidade Política15 October 2014 through 20 February 2015 | Works shown in the exhibition
70
Cidade
polítiCa
71
PAuLO BRuSCKYGrafitte – NY [Graffiti – NY], 1982
Super-8 film transferred to digital media
ed screening copy
3’29”
PAuLO BRuSCKYArquitetura do imaginário [Architecture of the imagination], 1982
Super-8 film transferred to digital media
ed screening copy
3’44”
PAuLO BRuSCKYEstética do camelô [The aesthetics of the street vendor], 1982
Super-8 film transferred to digital media
ed screening copy
5’50”
PAuLO BRuSCKYO que é arte? Para que serve? [What is art? What is it for?], 1978 / 2010
photograph
ed 1/3 + 2 AP
50 x 70 cm
RAuL MOuRãO#agradeeoar # 1 [#therailingandtheair #1], 2013
mineral pigment on cotton photograph paper
ed 1/5 + 2 AP
54 x 71 cm
PAuLO BRuSCKYO que é arte? Para que serve? [What is art? What is it for?], 1978 / 2010
photograph
ed 1/3 + 2 AP
50 x 70 cm
PAuLO BRuSCKYO que é arte? Para que serve? [What is art? What is it for?], 1978 / 2010
photograph
ed 1/3 + 2 AP
70 x 50 cm
PAuLO BRuSCKYMala concreta [Concrete suitcase], from the Malas [Suitcases] series, 2007 / 2009
photograph and suitcase made of concrete
ed 1/3
dimensions variable
PAuLO BRuSCKYRecife = Presépio urbano [Recife = Urban nativity scene], 1987
postcard / project
ed 1/3 + AP
15 x 20.5 cm
PAuLO BRuSCKYUntitled, 1989
stamp on envelope
ed 1/1
11.6 x 23 cm
PAuLO BRuSCKYArte / Pare [Art / Stop], 1973 / 2013
print on photographic paper from digitalized negatives
ed 1/5 + 2 AP
50 x 70 cm each
PAuLO BRuSCKYUntitled, 1994
collage and stamp on envelope
ed 1/1
26.5 x 34.5 cm
PAuLO BRuSCKYArte / Pare [Art / Stop], 1973
Super-8 film transferred to digital media; color
ed screening copy
2’30”
PAuLO BRuSCKYUntitled, 1982
collage and stamp on envelope
ed 1/1
11 x 21.8 cm
PAuLO BRuSCKYJ. Medeiros sol barcos selos [J. Medeiros sun boats stamps], 1978
stamp and collage on envelope
ed 1/1
12 x 23.8 cm
PAuLO BRuSCKYUntitled, 1978
stamp, postal stamp, felt-tip pen, and ball-point pen on envelope on Kraft paper
ed 1/1
26.5 x 35 cm
72
Cidade
polítiCa
73
VIRgÍNIA DE MEDEIROSMeiriele, from the Fábula do olhar [Fable of the gaze] series, 2013
VIRgÍNIA DE MEDEIROSMaria da Penha, from the Fábula do olhar [Fable of the gaze] series, 2013
VIRgÍNIA DE MEDEIROSZé Carlos, from the Fábula do olhar [Fable of the gaze] series, 2013
VIRgÍNIA DE MEDEIROSSeu Marcos, from the Fábula do olhar [Fable of the gaze] series, 2013
RAuL MOuRãOJanela com ar [Window with air], 2014
1020 steel and electrostatic paint
ed 1/1
150 x 103 x 57.6 cm
VIRgÍNIA DE MEDEIROSMarcos, from the Fábula do olhar [Fable of the gaze] series, 2013
digital photo painting printed on cotton paper, framed copy, and audio installation
ed 2/5 + 2 AP
120 x 90 cm (photo painting) /
40 x 50.5 x 5 cm (framed copy)
VIRgÍNIA DE MEDEIROSAlexandre, from the Fábula do olhar [Fable of the gaze] series, 2013
VIRgÍNIA DE MEDEIROSJéssica, from the Fábula do olhar [Fable of the gaze] series, 2013
VIRgÍNIA DE MEDEIROSAndrade, from the Fábula do olhar [Fable of the gaze] series, 2013
RAuL MOuRãO#agradeeoar # 3 [#therailingandtheair #3], 2013
mineral pigment on cotton photograph paper
ed 1/5 + 2 AP
54 x 71 cm
RAuL MOuRãOGrade rádio [Radio railing], 2014
1020 steel and electrostatic paint
ed 1/1
106 x 140 x 50 cm
RAuL MOuRãO#agradeeoar # 2 [#therailingandtheair #2], 2013
mineral pigment on cotton photograph paper
ed 1/5 + 2 AP
54 x 71 cm
CoNHECENDo ARTiSTAS[MEETiNG ARTiSTS]:
SHN
76 77
ShN
The Conhecendo artistas: ShN [Meeting artists: ShN]
exhibition was an exercise in the interaction of art,
architecture, and the everyday dynamics of a place of
work. The curator proposed to broaden the scope for
dialogue with the members of the public who visit the
Santander Tower through an installation-exhibition
and a communications program that transcended the
exhibition space and continued out into the virtual
space of the Internet.
The public spaces, distributed across all floors of the
ChOQuE CuLTuRAL AT SANTANDER
building, were treated graphically as units in a series
and could be “read” in terms of a visual program com-
posed of colors and icons designed specially for each
floor. People visiting the exhibition or the building
were thus able to follow a path in which the specific
variations in treatment on each floor formed a coher-
ent aesthetic whole. Communication with the public
occurred in two settings: physical and digital. In the
physical exhibition space, communication was estab-
lished through wall texts and a map that showed all
View from the 20th floor, showing
Conhecendo artistas: ShN
78 79
the floors making up the exhibition, highlighting the
mapping that was the guiding concept of the show.
With the aid of digital tools, such as the QR code and
social networks, the public were able to participate
and continue researching the artists, the Choque Cul-
tural gallery, urban art, and collecting.
The ShN is a multidisciplinary art group, originating in
the city of Americana, in upstate São Paulo. The ini-
tial core members, architect haroldo Paranhos, tattoo
artist Daniel Cucatti, and historian Eduardo Saretta,
were joined by Rogério Fernandes, André Ortega, and
Marcelo Fazolin.
The group was created to bring people together
around an ideology inspired by DIY (Do It Yourself)
and expressed through lived collective art. Over four-
teen years, its members experimented with collabora-
tive processes, mobilizing a local and international
community of partners and admirers.
Through performances, the ShN creates its own work
dynamic, in which art is not only shown, as a finished
product, but also presented as a process in constant
transformation. A good example of the modus ope-
randi of the collective was an action involving sending
stickers printed with specific designs to collaborators
in twenty cities around the world so that they could
be displayed in certain public places. The collaborators
then sent photographs of the urban interventions car-
ried out in these cities. The Santander project also in-
volved the world of Sticker Art (stickers signed by the
artist), an international phenomenon similar to graffiti
and urban art, which ShN is pioneering in Brazil.
ShN’s performance actions are grouped into different
presentation formats, exhibitions, parties, or occupa-
tions. In conventional shows, the collective exhibits
works that bear the vestiges of previous actions, in
addition to records and documents.
In an effort to confer as much value as possible on
the process of their work, the collective has developed
on this page
Photos posted on Instagram by
Santander collaborators
facing page
Mounting exhibition on the
floors of the Santander Tower
80 81
ShN
new exhibition dynamics, experimenting with other
presentation formats for their works and performance
actions. The party is one of the group’s typical ar-
rangements. Various actions and media are put to-
gether in an event that lasts for between three and
twelve hours. guests mix with collaborators and art-
ists, and the performance actions are juxtaposed with
Work spaces in Santander Tower
with ShN collective stickers
object-works, installations, videos, projections, music,
and many nonconventional supports, such as tattoos,
fashion, and gastronomy.
Baixo Ribeiro
Curator and founder of the
Choque Cultural gallery
Choque Cultural, founded by architect Mariana Martins, cultural producer Baixo Ribeiro, and historian Eduardo Saretta, is a gallery dedi-
cated to urban art that, since 2004, has been promoting experimentation with new media, presenting daring proposals by talented young
artists, alongside prestigious international figures. Starting out as a print shop, it has produced more than five hundred titles, including
posters, banners, books, and many experimental publications. The gallery invests in exchanges, residencies, exhibitions, partnerships with
cultural institutions, and research and discussion of new developments in the visual arts and other contemporary issues.
82 83
ShN
uRBAN ART
ShN
Olho – ícone, 2014
urban art is a term used to refer to various manifesta-
tions of art that use the city as their point of reference
and field of expression. It takes many forms, using dif-
ferent media and supports. The most well-known form
is graffiti art, which goes back more than forty years and
its characteristic features bring important innovations to
the field of contemporary art: the hyperactivity of youth,
creating a new kind of social activism through art; new
methods for learning through experience; new methods
for communicating and spreading information through a
network; and a powerful ability to renew interest in the
visual arts among the public.
Younger generations find graffiti and other forms of ur-
ban art especially appealing, as these best reflect the
spirit of the age (Zeitgeist). Two hundred years from
now, students of our time will not be able to ignore the
grand movement in visual expression that took over the
streets of all the cities of the world and involved young
amateur and professional artists for such a long time,
beginning in the final decades of the 20th century.
84 85
ShN
Stickers created by the
ShN collective
View from the 4th floor,
showing the
Conhecendo artistas:
ShN exhibition
associated with pre-Internet social networks related to
hip-hop, punk/hardcore, and skateboarding cultures
that built up their communities. When the Internet
came along, these networks expanded, and new ones
emerged. The photoblog was the platform that trig-
gered the creation of a significant international network
for artists and others interested in new urban forms of
artistic expression. Other platforms followed, making it
ever easier to exchange images and subsequently geo-
position them. The dissemination of ideas, portfolios,
and works created an entirely new environment for new
audiences. Perhaps the best example of the interaction
between street art and virtual public space is the story
of Banksy, an artist who is not represented by any gal-
lery and has never shown his face in public, but whose
work is increasingly highly valued and whose followers
are growing in number all over the world, using the pub-
lic open spaces of the street and the Internet to interact
with the public.
What makes urban art unique these days is the fact that
While, on the one hand, traditional art schools have
been slow to pay much attention to the new urban arts
media, on the other, the young artists have found their
own ways of exchanging information, distributing their
portfolios, and creating sustainable environments for
their art. In the process, cities have become real open-
air art schools, and young artists learn from older ones
by way of hands-on experience, collaborative work, and
new digital technologies. Contemporary education is in-
creasingly valuing this innovative, horizontal, networked
form of teaching and learning. In the past, only formal
education and the classical framed diploma were recog-
nized, but nowadays there is growing interest among
researchers in what happens outside of the classroom.
This is the “Apple effect”—in reference to the various
entrepreneurs of Silicon Valley who “dropped out” of
school to become some of the most successful and cre-
ative businessmen of our age, including figures such as
Bill gates, Steve Jobs, and Mark Zuckerberg.
graffiti art began to take off in the 1970s and was
86 87
ShN
ShN collective
screen-printing process
The success of urban art in São Paulo may, on a certain
level, be explained by the sympathy of the population,
which has at various times defended and protected it,
and provided funding for art in public spaces. As regards
the frequent association of graffiti with vandalism in São
Paulo, works of a pictorial nature produced to “embel-
lish the gray city” have found a place in the hearts of
the population and may appear alongside the more ag-
gressive activities of so-called ‘vandals.’ Public approval
for urban art is well demonstrated by cases such as the
removal of the large graffiti mural on Avenida 23 de
Maio, which had to be recommissioned by the City hall
and repainted by the same artists, after a public outcry,
picked up by all the press, even in foreign countries.
urban art has gained ground as a new way of think-
ing, producing, presenting, distributing, and living with
art. Its importance in the contemporary world is grow-
ing as we increasingly realized that we need to rethink
the way we live in big cities. The market, academia, and
traditional art institutions have been trying to absorb
cities need it. great metropolises need creative and in-
novative solutions to their problems. Most of the world’s
population lives in big cities. In Brazil, the urban popula-
tion has exceeded 70 percent. In this context, the art
that appears in public spaces gains in importance, since
it helps the citizen reflect on issues relating to collective
life, such as how to share spaces better and collaborate
with one’s neighbors, how to treat the eco-system re-
sponsibly and to develop the communities of which we
are a part.
São Paulo, as it is a great cosmopolitan metropolis, has a
large young population, and is known for its urban art, has
become one of the major world centers for production of
experiences in this field. Curators, urbanists, anthropolo-
gists, sociologists, educators, and specialists in various ar-
eas have been studying the case of this city. With so many
artists on its streets producing interesting work, São Paulo
has become a Latin American “Mecca” for people from
all over the world. urban art has certainly become one of
the trademarks of the city and a valuable tourist attraction.
88 89
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ShN
Pipa – ícone, 2014
and take on board some of the innovations that have
emerged from urban art experiments. And, beyond the
art world, the experiences of urban artists have aroused
the interest of planners, urbanists, sociologists, educa-
tors, and all those who are thinking about the future of
our cities and societies.
Baixo Ribeiro
Curator and founder of the
Choque Cultural gallery
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ShN
Coroa [Crown] (Câmara Municipal / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Garfo e faca [Knife and fork] (Nove de Julho / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Estrela [Star] (Sé / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Pipa [Kite] (República / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Pizza (Viaduto do Chá /
São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Nota [Banknote] (Prefeitura / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Lâmpada [Lamp] (Ed. Martinelli / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Apito [Whistle] (Maria Paula / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Raio [Ray] (Ed. Light / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Olho [Eye] (Ouvidor / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Coração [Heart] (Patriarca / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Guarda-chuva [Umbrella] (Copan / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Coroa – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Garfo e faca – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Estrela – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Pipa – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Pizza – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Nota – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Lâmpada – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Apito – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Raio – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Olho – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Coração – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Guarda-chuva – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Coroa – sticker
flexographic print on paper
10 x 10 cm
Garfo e faca – sticker
flexographic print on paper
10 x 10 cm
Estrela – sticker
flexographic print on paper
10 x 10 cm
Pipa – sticker
flexographic print on paper
10 x 10 cm
Pizza – sticker
flexographic print on paper
10 x 10 cm
Nota – sticker
flexographic print on paper
10 x 10 cm
Lâmpada – sticker
flexographic print on paper
10 x 10 cm
Apito – sticker
flexographic print on paper
10 x 10 cm
Raio – sticker
flexographic print on paper
10 x 10 cm
Olho – sticker
flexographic print on paper
10 x 10 cm
Coração – sticker
flexographic print on paper
10 x 10 cm
Guarda-chuva – sticker
flexographic print on paper
10 x 10 cm
Conhecendo Artistas: ShNMay 2014 through March 2015 | Works shown in the exhibition
92 93
ShN
Cruz [Cross] (Paissandu / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Caneca [Mug] (Largo São Francisco / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Flor [Flower] (Sé / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Coxa [Drumstick] (Av. São João / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Caveira [Skull] (Anhangabaú / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Moeda [Coin] (Sé / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Lápis [Pencil] (Teatro Municipal / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Avião [Plane] (Largo São Bento / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Câmera [Camera] (Ed. Martinelli / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Diamante [Diamond] (Pátio do Colégio / São Paulo), 2014
silkscreen print on paper (four-color variation)
32 x 33 cm (each)
Cruz – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Caneca – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Flor – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Coxa – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Caveira – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Moeda – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Lápis – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Avião – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Câmera – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Diamante – icon
silkscreen print on paper (eight-color variation)
22 x 22 cm (each)
Cruz – sticker
flexographic print on paper
10 x 10 cm
Caneca – sticker
flexographic print on paper
10 x 10 cm
Flor – sticker
flexographic print on paper
10 x 10 cm
Coxa – sticker
flexographic print on paper
10 x 10 cm
Caveira – sticker
flexographic print on paper
10 x 10 cm
Moeda – sticker
flexographic print on paper
10 x 10 cm
Lápis – sticker
flexographic print on paper
10 x 10 cm
Avião – sticker
flexographic print on paper
10 x 10 cm
Câmera – sticker
flexographic print on paper
10 x 10 cm
Diamante – sticker
flexographic print on paper
10 x 10 cm
Concept and Sponsorship
SANTANDeR
President of Board of Administration
Celso Clemente Giacometti
President
Jesús Zabalza
Executive Vice President for
Communications, Marketing, Institutional
Relations, and Sustainability
Marcos Madureira
Executive Officer for Institutional
Relations, Culture, and Sponsorship
Renata Zaccarelli
Cultural Marketing Manager and Curator
of the Santander Brasil Collection
elly de Vries
Communications and Institutional
Relations Analyst
Danielle Domingues
Institutional Relations and Archive
Preservation Analyst
Claudia Falcon
Administrative Assistant
Maria paula Costa Henriques
Museologist
Denise Michelotti
Base RH
Cultural Production Assistant
Iara Andrade
Base RH
Financial Administration Assistant
Camila Helfstein
Base RH
Trainees
Nathalia Ferreira
Daffany pires
LIVINg WITh ART EXhIBITIONS – 2014
Curatorship
Mariana Dupas
Associação para o patronato Contemporâneo (ApC)
Baixo Ribeiro
Choque Cultural
Text
Joana Tuttoilmondo
Exhibition Design Project
Marta Bogéa
Executive Producers
Barbara Daniselli
Cristiane Morine Chaves
Perfil Cultural
Production
Grace Bedin
GKGBedin
Visual Communication
Renato Salgado
Zol Design
Exhibition Installation
Install
PuBLICATION
general Coordination
elly de Vries
Executive Coordination
Barbara Daniselli
Perfil Cultural
Editorial Coordination and Texts
Joana Tuttoilmondo
graphic Design
Renato Salgado
Zol Design
Exhibition Photos
Ding Musa
Copyright Research
Perfil Cultural
Translation
english – paul Webb
Proofreading
english – Regina Stocklen
Editing and Proofreading
eliana Rocha
ACKNOWLEDgMENTS
Galeria Choque Cultural
Galeria Nara Roesler
Lítiza Bernardes
Marco Raposo
Marcos Shalders
Miguel Joaquim Gouvea
pedro Fogolin
piatã Stoklos Kignel