living - santander brasil · 1. sala de arte santander : são paulo : cidade : exposições...

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


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)


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.


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)


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


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


photograph

ed 3/3 + 2 AP

45 x 60 cm

CAO guIMARãES


photograph

ed 3/3 + 2 AP

66 x 100 cm

CAO guIMARãES


photograph

ed 2/3

66 x 100 cm

CAO guIMARãES


photograph

ed 2/3

45 x 60 cm

CAO guIMARãES


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


optical lenses

dimensions variable

CAO guIMARãES


digital photograph

ed 3/5 + 2 AP

53 x 80 cm

CAO guIMARãES


digital photograph

ed 1/5 + 2 AP

53 x 80 cm

CAO guIMARãES


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


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


beaten aluminum

200 x 100 cm

CARLITO CARVALhOSA


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)


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)


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


ed screening copy

3’44”

PAuLO BRuSCKYEstética do camelô [The aesthetics of the street vendor], 1982


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


photograph

ed 1/3 + 2 AP

50 x 70 cm


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


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


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”


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


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



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



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

ShN

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

90 91

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


32 x 33 cm (each)

Estrela [Star] (Sé / São Paulo), 2014


32 x 33 cm (each)

Pipa [Kite] (República / São Paulo), 2014


32 x 33 cm (each)

Pizza (Viaduto do Chá /

São Paulo), 2014


32 x 33 cm (each)

Nota [Banknote] (Prefeitura / São Paulo), 2014


32 x 33 cm (each)

Lâmpada [Lamp] (Ed. Martinelli / São Paulo), 2014


32 x 33 cm (each)

Apito [Whistle] (Maria Paula / São Paulo), 2014


32 x 33 cm (each)

Raio [Ray] (Ed. Light / São Paulo), 2014


32 x 33 cm (each)

Olho [Eye] (Ouvidor / São Paulo), 2014


32 x 33 cm (each)

Coração [Heart] (Patriarca / São Paulo), 2014


32 x 33 cm (each)

Guarda-chuva [Umbrella] (Copan / São Paulo), 2014


32 x 33 cm (each)

Coroa – icon

silkscreen print on paper (eight-color variation)

22 x 22 cm (each)

Garfo e faca – icon


22 x 22 cm (each)

Estrela – icon


22 x 22 cm (each)

Pipa – icon


22 x 22 cm (each)

Pizza – icon


22 x 22 cm (each)

Nota – icon


22 x 22 cm (each)

Lâmpada – icon


22 x 22 cm (each)

Apito – icon


22 x 22 cm (each)

Raio – icon


22 x 22 cm (each)

Olho – icon


22 x 22 cm (each)

Coração – icon


22 x 22 cm (each)

Guarda-chuva – icon


22 x 22 cm (each)

Coroa – sticker

flexographic print on paper

10 x 10 cm

Garfo e faca – sticker


10 x 10 cm

Estrela – sticker


10 x 10 cm

Pipa – sticker


10 x 10 cm

Pizza – sticker


10 x 10 cm

Nota – sticker


10 x 10 cm

Lâmpada – sticker


10 x 10 cm

Apito – sticker


10 x 10 cm

Raio – sticker


10 x 10 cm

Olho – sticker


10 x 10 cm

Coração – sticker


10 x 10 cm

Guarda-chuva – sticker


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


32 x 33 cm (each)

Caneca [Mug] (Largo São Francisco / São Paulo), 2014


32 x 33 cm (each)

Flor [Flower] (Sé / São Paulo), 2014


32 x 33 cm (each)

Coxa [Drumstick] (Av. São João / São Paulo), 2014


32 x 33 cm (each)

Caveira [Skull] (Anhangabaú / São Paulo), 2014


32 x 33 cm (each)

Moeda [Coin] (Sé / São Paulo), 2014


32 x 33 cm (each)

Lápis [Pencil] (Teatro Municipal / São Paulo), 2014


32 x 33 cm (each)

Avião [Plane] (Largo São Bento / São Paulo), 2014


32 x 33 cm (each)

Câmera [Camera] (Ed. Martinelli / São Paulo), 2014


32 x 33 cm (each)

Diamante [Diamond] (Pátio do Colégio / São Paulo), 2014


32 x 33 cm (each)

Cruz – icon


22 x 22 cm (each)

Caneca – icon


22 x 22 cm (each)

Flor – icon


22 x 22 cm (each)

Coxa – icon


22 x 22 cm (each)

Caveira – icon


22 x 22 cm (each)

Moeda – icon


22 x 22 cm (each)

Lápis – icon


22 x 22 cm (each)

Avião – icon


22 x 22 cm (each)

Câmera – icon


22 x 22 cm (each)

Diamante – icon


22 x 22 cm (each)

Cruz – sticker


10 x 10 cm

Caneca – sticker


10 x 10 cm

Flor – sticker


10 x 10 cm

Coxa – sticker


10 x 10 cm

Caveira – sticker


10 x 10 cm

Moeda – sticker


10 x 10 cm

Lápis – sticker


10 x 10 cm

Avião – sticker


10 x 10 cm

Câmera – sticker


10 x 10 cm

Diamante – sticker


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

living - santander brasil · 1. sala de arte santander : são paulo : cidade : exposições...

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