Dados by daniela brilhante

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1. documento, informação ou testemunho que permite chegar ao conhecimento de algo ou deduzir as consequências de um fato; para

conjunto

análise;

instruções,

por

material

representação

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sinais

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conceitos

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passível de ser transmitida ou processada; 4. evidências.

(from

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given)

1. document, information or testimony that allows knowing something or deducing the consequences of a fact; 2. body or

collection

representation through can

signals

information

of in

facts, a

transmitted

available concepts

formalized or

processed;

for

analysis;

and

instructions

manner 4.

that evidence.

ÍCONES / Icons CASA #1 / House #1 CASA #2 / House #2 CASA #3 / House #3 Projetos externos / External projects Projetos internos / Internal projects Projetos externos/internos / External/Internal projects

Prestação de serviços / Services

Participação como artista / Artist participation

Residência / Residency Exposição / Exhibition RUA [ruídos urbanos amplificados] / RUA [amplified urban noises] Conversa Aberta / Open Talk Oficina / Workshop Debate / Debate Orientação de projetos / Project orientation sonZeira / Sound project Ação/Intervenção / Action/Intervention Performance / Performance Performance audiovisual / Audio-visual performance Lançamento de publicação / Publication launch Objeto / Object Texto / Text Publicação / Publication Vídeo / Video Mapeamento / Mapping Comida / Food Festa / Party Bazar / Bazaar CineCaverninha / CineCaverninha Rede e articulação / Articulation and network Biblioteca / Library Fonte de financiamento (prêmios, editais e patrocínios) / Funding sources (prizes and sponsorships) Projeto concebido e realizado pelo Ateliê Aberto / Project conceived and carried out by Ateliê Aberto Marcos / Milestones Extras / Extras Páginação / Paging PAGE META side PÁG. lado DADOS PAGE DATA side PÁG. lado META

PÁG. PÁG.

Conteúdos vinculados / Linked contents PAGE refers to META side referente ao lado META referente ao lado DADOS PAGE refers to DATA side

AT E L I Ê AB E RTO

METADADOS

1a edição

Campinas [SP|Brasil] Ateliê Aberto Produções Contemporâneas 2016

A864m 709.81

Ateliê Aberto Metadados / Ateliê Aberto; organização de Henrique Lukas, Maíra Endo, Samantha Moreira e Ruli Moretti. – Campinas, SP: Ateliê Aberto Produções Contemporâneas, 2016. 496p. il. ISBN: 978-85-5947-000-0

1. Arte brasileira. 2. Arte contemporânea. 3. Arte e mundo. 4. Arte. l. Título. ll. Lukas, Henrique. III. Endo, Maíra. lV. Moreira, Samantha. V. Moretti, Ruli.

CDD – 22.ed. 709.81

Ficha catalográfica: Simone Rabelo CRB-2/971

www.atelieaberto.art.br contato@atelieaberto.art.br

Índice [Index]

_Dados

[Data]

Créditos [Credits] ------------------------------------------------------------

Mapas [Maps] Ateliê Aberto / Campinas -----------------------------------

Ateliê Aberto / Mundo [World]------------------------------- 168

Arquivo [Archive] Casa #1 [House#1] ------------------------------------------

Casa #2 [House#2] ------------------------------------------

Casa #3 [House#3] ------------------------------------------

_RUA (ruídos urbanos amplificados) [amplified urban noises] _Cinecaverninha

138 152

Mural [photo display] ------------------------------------------------------------- 155 Bibliografia [Bibliography] ------------------------------------------------------------- 167 Tradução [Translation] ------------------------------------------------------------- 170

_Créditos [Credits]

_exposição [exhibition] metadados

ateliê aberto www.atelieaberto.art.br

Coleção [Collection] Ateliê Aberto Abertura [Opening] Esse projeto foi realizado durante a gestão e

8 de junho de 2015 [June 8th, 2015] Visitação [Visitation]

coordenação de Henrique Lukas, Maíra Endo e Samantha

09 de junho a 8 de julho de 2015 [June 9th to July 8th,

Moreira. [This project was carried out during Henrique

2015] Curadoria [Curators] Henrique Lukas, Maíra

Lukas, Maíra Endo and Samantha Moreira’s management.]

Endo e Samantha Moreira Artistas [Artists] Alice Grou, Ana Montenegro, Andrea Brandão, Ateliê Aberto, Beto

projeto [project]

Shwafaty, Carla Barth, Cristina Ribas, Daniel Acosta, Denise Valarini, Diogo Bueno, Estefania Gavina, Fabio

_metadados

Luchiari, Felipe Steinberg, Flaviana Tannus, Francisco Ivan

Realização [Execution] Ateliê Aberto Concepção

Russo, Gustavo Torrezan, Isadora Gutmann, Jorge Menna

[Conception] Henrique Lukas, Maíra Endo, Marina

Barreto, Jurandy Valença, Keyla Sobral, Kikie, Lazoo, Lia

Pinheiro e Samantha Moreira Coordenação

Chaia, Luciana Camuzzo, Maíra Dietrich, Manoel Veiga,

[Coordination] Henrique Lukas, Maíra Endo e Samantha

Marcelo Moscheta, Marepe, Marilá Dardot, Mário Dias,

Moreira Produção Executiva [Executive production]

Nazareno, Nino Cais, Cristiano Rosa aka Pan&tone ,

Maíra Endo Comunicação [Communication] Henrique

Paulo Meira, Reginaldo Pereira, Ricardo Cruzeiro, Rogerio

Lukas e Samantha Moreira Assessoria de Imprensa

Ghomes, Roseno, Samantha Moreira, Sarah Vale, Scooby,

[Press agent] Henrique Lukas Pesquisa [Research]

Studio Nomade, Studio Public Collective, Thiago Martins

Marina Pinheiro

de Melo, Thomas Perina, Tiago Rivaldo, Tom Lisboa e Vitor Cesar Produção [Production] Maíra Endo e Samantha Moreira Assistente de produção [Production

Conteúdo online [Online content] atelieaberto.art.br/metadados

assistant] Marina Pinheiro Programação Visual [Graphic design] Reginaldo Pereira Recepção [Reception] Diego Cavalcan

Realização | Execution

Distribuição gratuita, proibida a venda | Free distribution prohibited the sale

_livro [book] metadados Organização e edição [Organization and editing]

Participações [Participations] Adir Sodré, Alejandro

Henrique Lukas, Maíra Endo, Samantha Moreira e Ruli

Haiek, Ana Helena Grimaldi, Ana Luisa Lima, André

Moretti (editora convidada | guest editor) Coordenação

Sant'Anna, André Severo, Andrea Brandão, Aruan Mattos,

de edição e produção gráfica [Editing coordination and

Ateliê397, Benjamin Seroussi, Cacá Toledo, Carolina

print production] Henrique Lukas Residência editorial

Krieger, Daniel Acosta, Daniela Castro, Del Pilar Sallum,

[Editorial residency] Henrique Lukas, Maíra Endo, Ruli

Duda Miranda, Érika Pozetti Judice, Fábio Luchiari,

Moretti e Samantha Moreira (1 a 15 de junho de 2015

Fabio Morais, Felipe Steinberg, Filipe Espindola, Flavia

- Ateliê Aberto - Casa#3 [ June 1st to 15th, 2015 - Ateliê

Regaldo, Francisco Ivan Russo, Gabriel Sto., Giovana

Aberto - House#3 ] ) Conversa aberta [Open talk]

Mastromauro, Henrique Lukas, Igor Vidor, Ivan Grilo,

Henrique Lukas, Maíra Endo, Samantha Moreira e Ruli

Jaílton Moreira, Jarbas Lopes, Joana Meniconi, Jorge

Moretti (15 de junho de 2015 - Ateliê Aberto - Casa#3

Menna Barreto, Jurandy Valença, Keyla Sobral, Lia Chaia,

[June 15th, 2015 - Ateliê Aberto - House#3 ] ) Projeto

Lilian Maus, Lucas Bambozzi, Lucas Guedes, Lucas

Gráfico [Graphic design] Elisa Carareto e Rafael Azevedo

Silveira, Luísa Nóbrega, Maíra Endo, Marcelo "Beso"

Diagramação [Layout] Daniela Brilhante, Elisa Carareto e

Veronese, Marcelo Amorim, Marcelo Moscheta, Marcio

Rafael Azevedo Capa [Cover] Daniela Brilhante

Harum, Marina Pinheiro, Melina Marson, Mercedes Torres, Natasha Marzliak, Nazareno, Nino Cais, Paris Lado B Gastronomie, Paula Almozara, Paulo Meira, Pedro Hurpia, Pepa D’Elia, Philippe Dias, Ricardo Basbaum, Ricardo Cruzeiro, Rogerio Ghomes, Ruli Moretti, Samantha Moreira, Studio Nômade, Thais Rivitti, Thiago Martins de Melo, Tiago Rivaldo, Virginia de Medeiros e Yro (Elie Blanchard). Revisão de texto [Portuguese proofreading] Maria José Gargantini Moreira Tradução [Translation] Milena Durante Fotografias [Photographs] Arquivo Ateliê Aberto [Ateliê Aberto’s Archive] Impressão [Print] Pancrom - Indústria Gráfica Produção do lançamento e distribuição do livro [Book launch production and distribution] Samantha Moreira

Este livro foi concebido entre junho de 2015 e fevereiro de 2016 em Campinas | SP. Foram impressos 1.000 exemplares em offset na gráfica Pancrom - Indústria Gráfica. No miolo foram utilizados papel couche fosco 90g/m2 e papel vegetal 92g/m2. Na capa foi utilizado papel cartão supremo Duo Design 350g/m2. A família tipográfica utilizada foi a Roboto, desenhada por Christian Robertson e publicada originalmente em 2012. This book was created between June 2015 and February 2016 in Campinas – SP. 1,000 copies were printed in offset at Pancrom printing company. Coated matte paper 90g/m2 and tracing paper 92g/m2 were used inside. On the cover we used cardboard Supremo Duo Design 350g/m2. The font family used was Roboto, designed by Christian Robertson and originally published in 2012.

1997

2001

_Casa #1

[House #1]

Rua Dr. Carlos de Campos, 126 Vila Industrial – Campinas São Paulo / Brasil CEP: 13035-610

22°54'29.9"S 47°04'41.6"W

_coordenadores [Coordinators] Reginaldo Pereira e Samantha Moreira (Junho [June]/1997 — Fevereiro [February]/2001) _Colaboradores [Collaborators] Braulio Flores, Érika Pozetti, Maria Cristina Zelmanovitz e Patricia Favrim

A Vila Industrial é um dos bairros mais antigos de Campinas (século XIX), próximo aos trilhos da antiga ferroviária e vizinho a um dos patrimônios históricos da cidade, a Vila Manoel Freire, reduto de operários da década de 1930

Era assim: uma casa de vila, com cachorro, horta, bananeiras, janelas grandes, pé direito alto e piso de madeira. 1997, eu (recém chegada de uma especialização na Itália),Tuca, minha pequena beagle que sorria com rabo de helicóptero) e Patrícia Favrim (historiadora),amigas desde a universidade e do movimento estudantil, com o desejo de dividirmos um espaço entre casa, lugar de acontecimentos e ateliê. O imóvel era dividido em duas partes: um galpão em que funcionava uma oficina mecânica e atrás, uma casa (em um nível acima do terreno), com entrada lateral por uma escada. Alugamos a casa. Um pequeno portão levava a um corredor longo com muro alto, onde aconteciam intervenções temporárias e festas. Pintamos as janelas de turquesa e a casa de uma mistura de tintas e pigmentos que resultou um carmim com frescor de casa de vila latina e de fachadas italianas. Patrícia fica grávida de Pedro e sai para ter seu canto com a nova família. Logo chega Reginaldo Pereira e os espaços de ateliê tomam cada vez mais o imóvel e o cotidiano. A casa é aberta para atividades como conversas com artistas convidados, oficinas e residências (ainda informais). Damos início a uma série de projetos em curadoria e design gráfico, o espaço passa a ter uma movimentação constante de nossas produções e de projetos externos. Assim nasce o Ateliê Aberto, sem planejamento, sem determinações do que desejávamos, sem um plano certo. Haviam somente nossas intenções. A grande cozinha, além das refeições acompanhadas de prazerosas conversas, deu origem ao primeiro painel de fotos

que se expandia a cada evento (com redes sociais inexistentes na época o preenchimento do painel entre um evento e outro era o mais aguardado). Da cozinha saíamos para uma área de serviço onde o bar acontecia nos eventos e dali o quintal cheio de bananeiras e uma horta. O banheiro era dividido em dois (um com o vaso, outro com a ducha), dois grandes cômodos que cambiavam entre ateliês e quartos e uma sala com biblioteca, som, computador sofá, poltronas e uma ótima pista de dança. Ainda nesse período passam por lá Braulio Flores (cineasta, que se muda depois de alguns meses para a China) e Maria Cristina Zelmanovitz,(escritora, pedagoga e que mora na casa/ateliê por algum tempo junto ao seu cão Caetano, amigo de Tuca desde pequeno). Havia ainda um quartinho externo, com acesso ao corredor , com um pia e janela para o jardim. Ali também o espaço se transformava conforme a necessidade entre quarto de residiência e espaço de produção de trabalhos. Depois de um ano a oficina fechou e o foi galpão desocupado. Alugamos a parte da frente, abrimos uma passagem da sala para o galpão e construímos um mezanino de madeira com uma escada que levava ao novo espaço de ateliê, com bancadas, materiais de trabalho e mais um banheiro. O mezanino passa a ser o lugar de intervenções e o primeiro site specific realizado por Daniel Acosta.

antigas de Campinas, e ao atravessar a rua a casa e ateliê do gentil, charmoso e grande artista, Thomás Perina. O Ateliê Aberto passa a ser um lugar de referência, que desde aquela época preenchia o vazio e a inconstante política cultural na cidade de Campinas, colocando em prática a atuação do que parecia, inicialmente, um coletivo para um espaço independente de arte (na época, a nomenclatura mais usada era alternativo). Em 2000, o projeto BR 500 (realizado a convite de Fabio Luchiari, junto ao Museu de Arte Contemporânea de Americana), leva o Ateliê Aberto para uma proposição mais ampla e a necessidade de um novo lugar. Junto a isso, Reginaldo segue para carreira solo em São Paulo e Fábio passa a fazer parte do novo processo. Ali, na casa do Ateliê da Vila, foi um tempo de muita felicidade, de amigos e parceiros que duram até hoje, de trabalhos históricos, do começo de um projeto que hoje tem corpo e coração de muitos e muitos lugares.

Samantha Moreira

A vizinhança era bastante simpática: um sapateiro sorridente, uma quitanda e um supermercado que supriam nossas urgências, alguns botecos com assíduos frequentadores moradores da Vila, uma senhora que vivia em uma das casas mais

_Casa #1 | Planta Baixa [House #1 | Floor Plan]

Casa de Tuca e Caetano

Jardim [Garden]

[Tuca and Caetano's house]

ร rea de serviรงo/Bar [Service area/Bar]

Cozinha [Kitchen]

Lavabo Banho [Toilet] [Shower]

Bananal/horta [Banana trees/ vegetable garden]

Quarto 3 [Room 3]

Quarto 1 [Room 1]

Tanque [Tank]

Quarto 2 [Room 2]

Acervo/depósito [Archive/deposit]

Galpão ateliê [Art studio shed] S Sala/ Biblioteca/ Pista de dança [Living room/ Library/Dance Floor]

Mezanino [Mezzanine] Corredor [Corridor]

Muro [Wall]

Jardim (banheiro embaixo) [Garden (bathrrom downstairs)]

Jardim [Garden]

1997

[1]

[3] [2]

[4]

_Julho Inauguração do Ateliê Aberto Abertura da casa na Vila Industrial | Samantha Moreira¹,³,4 e Reginaldo Pereira² 14

1997

_Idealização, coordenação e gestão Reginaldo Pereira e Samantha Moreira [Junho/1997–Fevereiro/2001]

_Segundo semestre oficina Arte livre | Samantha Moreira 1998

conversa aberta | mapeamento Visita Carla Zaccagnini, curadora adjunta do Rumos Artes Visuais Itaú Cultural 1999–2000 e responsável pela região, para mapeamento e conversa aberta com os artistas locais. Samantha Moreira | selecionada para integrar o banco de dados do programa.

[5]

[6]

_Junho e Julho exposição | ação/intervenção | vídeo I Semana Fernando Furlanetto – Intervenções no Teatro Municipal de São João da Boa Vista/SP | Kiko Goifman [SP], Vânia Mignone [SP], Tonico Lemos6 [SP],Mauro Restiffe [SP], Rogerio Ghomes5 [PR], Sylvia Furegatti [SP], Ben Trevisan [SP], Fernando de Bitencourt [SP], Samantha Moreira [SP], Alexandra Lima e Landa Costa [SP] Concepção | Samantha Moreira , Helio Fonseca Filho e Dep. de Cultura de São João da Boa Vista. Curadoria | Samantha Moreira Montagem | Ateliê Aberto Local | Teatro Municipal de São João da Boa Vista/SP 15

1999

_Maio prestação de serviço | exposição O nosso escritório tem arte | Del Pilar Sallum [Campinas], Erik Olsen [Noruega] e Rogerio Ghomes [Paraná] Curadoria | Samantha Moreira e Reginaldo Pereira Local | Nosso Escritório [Campinas/SP]

_30 de Janeiro

festa | exposição | sonzeira Reginaldo Pereira e Samantha Moreira Festa no Ateliê

_Setembro residência Marepe [BA] 16

1999

_Outubro e Novembro exposição lugar de qualquer lugar | Marepe [BA], Del Pilar Sallum [SP], Marta Strambi [SP], Jimena Duarte [SP], Fabio de Bittencourt [SP], Fernando Limberger [RS], Reginaldo Pereira [SP], Sylvia Furegatti [SP], Braulio Flores [SP] e Fritz [SP] Curadoria | Samantha Moreira Produção | Ateliê Aberto Local | Museu de Arte Contemporânea de Americana/SP

_Ano todo oficina Criação e desenvolvimento de projetos | Samantha Moreira, Reginaldo Pereira e Braulio Flores

_Ano todo oficina Experimentação | Samantha Moreira

_Ano todo oficina Design e arte digital | Reginaldo Pereira 17

CONVITE FESTA NO ATELIÊ

POLAROID MAREPE 2

2000

_Ano todo oficina Pesquisa em linguagens fotográficas | Braulio Flores [Campinas]

_Ano todo residência | exposição BR500 | Duplas e Trajetos | Oriana Duarte e Paulo Meira – São Paulo/Recife, Jarbas Lopes e Marepe – Rio de Janeiro/Bahia, Braulio Flores e Lucio Praxedes – São Paulo/ Rio de Janeiro, Tiago Rivaldo e Fabiana Rossarola – Rio Grande do Sul, Fábio Montez e Tibico Brasil – Ceará, Milton Marques e Oziel Araújo – Distrito Federal, Ronaldo Macedo e Hosana Celeste – Minas Gerais, Edilson Viriato e Charles Fusinato – Paraná, Reginaldo Pereira e Cristina Zelmanovitz – São Paulo/ Pará, Washington Neves e Felipe Dellaqua – Campinas/ São Paulo Foram convidados vinte artistas de diversos lugares do Brasil, que se dividiram em duplas que, durante quatro meses, viajaram por alguns trajetos escolhidos de diversas formas, para realização do trabalho. A exposição aconteceu durante o ano todo. Curadoria | Samantha Moreira Produção | Fábio Luchiari e Ateliê Aberto Projeto gráfico | Reginaldo Pereira Projeto em parceria com os Museus de Arte Contemporânea de Americana e Campinas e Oficinas Culturais da Secretaria de Cultura do Estado de São Paulo. Residência Local | Ateliê Aberto Locais | Museu de Arte Contemporânea de Americana/SP, Museu de Arte Contemporânea de Campinas/SP, Festival de Arte Cidade de Porto Alegre/ DC, Navegantes/RS, Oficina Cultural Oswald de Andrade – São Paulo/SP, Espaço Cultural Fernando Arrigicci – São João da Boa Vista/SP, Armazém 7 – Porto de Santos – Oficinas Culturais – Santos/SP Uma das mais instigantes Mostras que vi nesses últimos tempos no Brasil, sem dúvida foi BR 500, no Museu de Arte Contemporânea de Americana, estado de São Paulo. Um exemplo de como é possível realizar, sem muitos recursos, uma exposição que testemunha o dinamismo e as potencialidades da arte contemporânea brasileira, “BR 500” (concebida pelo diretor daquela Instituição, Fábio Luchiari, e com curadoria de Samantha Moreira) flagra algumas duplas de jovens artistas das mais diversas regiões do país que conseguem com sucesso adequar suas respectivas subjetividades aos novos meios tecnológicos. Depois de ser apresentada em Americana e Campinas, mais cidades poderão entrar em contato com a produção desses artistas que, no novo século que se aproxima, irão ajudar a transformar o próprio conceito de arte brasileira. Tadeu Chiarelli Texto escrito para a segunda edição do material gráfico do projeto.

2000

_Fevereiro, Março e Abril prestação de serviços le cercle de la litote a São Paulo [França] | Acompanhamento e produção do grupo no Brasil + Visitas a ateliês de artistas em Campinas e São Paulo Coordenação | Itaú Cultural e Samantha Moreira Produção | Ateliê Aberto e Rumos Artes Visuais Itaú Cultural Intercâmbio do Programa Itaú Cultural Rumos Visuais em parceria com o Consulado Geral da França no Brasil. residência Locais | Ateliê Aberto + FAAP oficina Gravura + apresentação em escolas de São Paulo

_Fevereiro conversa aberta Lúcia Koch [Porto Alegre]

_Março oficina Papel marchê | Jimena Duarte [Campinas]

_Março residência | conversa aberta Fabiana Rossarola [Porto Alegre]

_Junho conversa aberta Filipe Espíndola [Campinas]

_Agosto conversa aberta Jurandy Valença [São Paulo] 21

BR500 | Material grรกfico FRENTE

23 MATERIAL GRﾃ：ICO VERSO

2000

_Agosto e Setembro oficina Poesia visual | Juli Manzi [Porto Alegre/ Campinas]

_Setembro e Outubro residência | exposição | conversa aberta | festa Projeto mezzanino | Daniel Acosta [Porto Alegre]

_ Fevereiro participação como artista | exposição SALDOS E RETALHOS | Reginaldo Pereira e Samantha Moreira Curadoria | Lucio Praxedes Local | Central Bar Arte Comida [Campinas/SP]

2001

_Março exposição | oficina aberta Você anda e não passeia - olhares e movimentos sobre a cidade Coordenação | Samantha Moreira e Braulio Flores Local | Museu de Arte Contemporânea de Americana/ SP

Projeto Mezzanino | Daniel Acosta 4

2001

_Casa #2

2010 [House #2]

Rua Santos Dumont, 323 conj 02 Cambuí ‑ Campinas São Paulo / Brasil CEP: 13024-020

22°53'33.8"S 47°03'23.9"W

_coordenadores [Coordinators] Fábio Luchiari e Samantha Moreira (Março [March]/2001 — Julho [July]/2004), Érika Pozetti, Guilherme Fogagnoli, Hermes Renato Hildebrand, Samantha Moreira e Sylvia Furegatti (Agosto [August]/2004 – Maio [May]/2005), Érika Pozetti, Samantha Moreira e Sylvia Furegatti (Junho [June]/2005 Março [March]/2007), Érika Pozetti e Samantha Moreira (Abril [April]/2007 - Abril [April]/2009), Maíra Endo e Samantha Moreira (Maio [May]/2009 – Maio [May]/2010) _Produtores [Producers] Cristina Smidarle, Isadora Gutman e Maíra Endo (Janeiro [January]/2007 – Setembro [September]/2008) _Estagiários [Interns] Ana Silveira, Anelise Araujo, Isadora Gutman, Maíra Endo (Janeiro [January]/2004 – Dezembro [December]/2006), Mariana Fedrizzi Miranda, Maryana Orru e Renata Casarini

0000

O apartamento ocupado pelo Ateliê Aberto entre 2001 e 2010 ficava na rua Santos Dumont (bairro Cambuí) e tinha 3 quartos, sala, banheiro, cozinha e área de serviço. Ficava no primeiro andar de um sobrado de esquina que hospedava vários pequenos negócios. Era preciso ser um bom observador, ou um curioso, para enxergar a discreta placa no portão que sinalizava nossa existência. Para chegar ao Ateliê, era preciso identificar-se pelo interfone e subir uma escada. Em dias de abertura de exposição ou outro evento, nada disso era necessário: o portão ficava aberto, assim como as duas portas que davam acesso ao apartamento no primeiro andar. Neste espaço aconteciam exposições, performances, conversas abertas, debates, palestras, oficinas, orientação de projetos e bazares. O uso dos espaços No início, além da sala, um dos quartos também funcionava como espaço expositivo. Em 2004, com a entrada da designer e pesquisadora Érika Pozetti na coordenação do Ateliê, este quarto transformou-se em um escritório de design. Porém, em 2009, este mesmo quarto volta a acolher projetos de arte. Os outros dois quartos abrigaram, durante todo o período, a biblioteca e o escritório do Ateliê Aberto. A cozinha era, como costuma ser em toda casa de respeito, o lugar da felicidade e da alegria. Era lá que estava a música, a pista de dança, a fumaça. A luz ficava apagada e um pequeno canhão de luzes coloridas dava o tom da noite. A música, sempre dançante, ficava por conta de Samantha Moreira e seus convidados, amigos músicos ou djs. Cobrindo as paredes, centenas de fotos eram a prova da diversão vivida pelos amigos e visitantes em cada evento: largos sorrisos estampados, corpos fumegantes e afagos de toda ordem. A área de serviço, que abrigava o bar, era um mundo à parte. Apesar do

espaço pequeno, além do responsável pelo bar, era sempre possível encontrar uma ou duas outras pessoas enfiadas lá dentro, apoiadas sobre o batente da janela, batendo o papo da vida enquanto fumavam. O que acontecia ali, ficava ali. Como a cozinha era relativamente pequena se comparada ao desejo de socializar dos frequentadores, em um dado momento da noite, tomava-se conta do espaço expositivo. A limitação do espaço físico do apartamento fazia com que tudo no Ateliê Aberto acontecesse junto e misturado. O corredor - que ligava o espaço expositivo aos quartos e também ao banheiro costumava ficar tomado de gente: uma parte estava na fila do banheiro e a outra estava conversando com quem estava na fila. E quem queria passar para chegar aos quartos, enroscava ali também. Realizado em 2006 pela dupla de arquitetos da Ultradesign, Defenestratorio foi um apêndice ao corpo do Ateliê Aberto: território expandido sobre o rufo do vizinho de baixo, nesta época um clássico do Cambuí, o Crepe Suzette. Ali era o lugar perfeito para uma reunião, enquanto o sol se escondia por trás dos prédios. Público e vizinhança O público do Ateliê sempre gostou de arte tanto quanto de festa. A música e a pista de dança também sempre foram parte dos eventos. Neste período, quem frequentava o Ateliê eram artistas locais, músicos, jornalistas, pesquisadores, dentre outros profissionais, a maioria na faixa dos 30 anos. Claro que jovens e pessoas de mais idade também estavam presentes, mas de forma menos intensa. Além do Crepe Suzette, também eram nossos vizinhos o escritório de arquitetura Studio X, o armazém Carro de Boi, um ateliê de costura, uma loja de roupas, uma loja de

bijuterias, um escritório de contabilidade, uma floricultura, um casal de senhores e o hotel Newport, um de nossos parceiros mais importantes, desde 2004. O cubo branco e o site-specific Na virada do século, muitos espaços de arte ainda atendiam a prerrogativas do cubo branco como uma matriz contextual. À primeira vista, o espaço expositivo do apartamento da rua Santos Dumont apontava para um provável alinhamento do Ateliê Aberto com essa visão: paredes brancas e ambiente isolado dos outros cômodos por portas igualmente brancas. Porém, os invioláveis preceitos do cubo branco – tanto espacialmente, paredes brancas, iluminação vinda do teto e ausência de janelas, quanto conceitualmente, a idealização do espaço expositivo onde a arte se manifeste livremente e o isolamento da obra e espectador do mundo exterior na criação de um meio atemporal que garanta a imutabilidade dos valores artísticos transmitem um formalismo, purismo e ingenuidade que não eram parte de nós. A meu ver, as características físicas do espaço que recebe a obra, pouco tem a ver com a liberdade da arte. Por outro lado, a organização e gestão do espaço de arte, podem sim levantar barreiras intransponíveis e comprometer a autonomia da arte. Sendo um espaço independente (ou interdependente, autônomo, intencional, alternativo), o Ateliê Aberto sempre teve na manga essa moeda de troca ao convidar artistas: a liberdade consentida para pensar e realizar projetos. Mas em última instância, acredito que o que determina a liberdade da arte, vem mais de dentro do artista do que de fora. No entanto, é preciso reconhecer que existia uma predileção, nunca acobertada, por projetos que dialogassem - seja

interferindo ou incorporando - com os atributos físicos do espaço expositivo do Ateliê Aberto: a arte feita para sítios específicos ou site-specific art. O fato é que neste período, foram poucas as propostas que fugiram a essa regra. Sempre foi um gosto para nós vermos a transformação do espaço expositivo em consonância com as produções e processos de cada artista. A gestão Nesta época, a gestão não era uma questão que fizesse parte de nosso dia a dia, nem mesmo ocasionalmente falava-se disso. À época, discutiam-se, principalmente, as ideias de cada artista para as exposições, os recursos que tínhamos disponíveis internamente, os recursos que precisariam ser buscados fora, a montagem da exposição e a recepção do artista em Campinas (boa parte dos artistas vinham de outras cidades do estado ou, em alguns casos, de outros estados). No caso de projetos externos, falava-se em idealização e produção de projetos. Claro que também falava-se em estabelecer parcerias, geralmente baseadas em permuta. Foi o caso da relação do Ateliê Aberto com o Vitória Hotéis e com alguns restaurantes do bairro, como o Spice e o Fiduccia. Tampouco, falava-se sobre espaços independentes. Isso, porque eram poucos e espalhados pelo vasto território do Brasil. Muitos dos que existiam sequer sabiam da existência dos outros. O termo “espaços independentes” não era comumente utilizado e a preocupação em caracterizar e definir uma nomenclatura não existia. É preciso reconhecer que toda reflexão e debate produzem momentos de grande valor mas existe sempre o outro lado: e quanto a beleza e emoção pelo navegar cego, guiado pela intuição, sem as amarras geradas por uma visão mais ampla?

Maíra Endo

_Casa #2 | Planta Baixa [House #2 | Floor Plan]

área de serviço/bar [service area/bar]

banheiro [bathroom]

biblioteca [library] Defenestratorio (projeto [project] Ultradesign)

Pé direito [Wall height]: 2.80 m

2.90m

escritório [office]

0.60m

dep贸sito [deposit]

cozinha/ pista de dan莽a [Kitchen/dance floor]

1.40m

1.20m

entradas [entrances]

2.97m

3.60m

sala expositiva [exhibition room] 3.10m

sala expositiva [exhibition room]

1.90m

3.34m

2001

_Idealização, coordenação e gestão Fábio Luchiari e Samantha Moreira [Março/2001–Julho/2004]

_Ano todo orientação de projetos | Samantha Moreira

_Ano todo oficina Linguagem para apresentação em projetos arquitetônicos | Érika Pozetti

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TIAGO RIVALDO | ROAD MOVIES – INTERIOR – NOITE [2000] Fotografia câmera obscura – pinhole 1

2001

_Abril conversa aberta Clube da Lata | Adriana Boff e Tiago Rivaldo [Porto Alegre]

_Maio conversa aberta Celina Yamauchi [São Paulo]

_Junho conversa aberta Chico Machado [Porto Alegre]

_Julho conversa aberta José de Paiva [São Paulo]

_Setembro, Outubro e Novembro oficina Uma poética do corpo – manifestação e plasticidade | Del Pilar Sallum [Campinas] 2002

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira

_Março oficina FOTOGRAFIA como suporte na construção da linguagem | Rogerio Ghomes [Londrina] 34

2002

_Março a Junho residência | exposição | conversa aberta Território ocupado | Rogerio Ghomes [Londrina]

_Abril, Maio Junho oficina Dispositivos contemporâneos | Sylvia Furegatti [Campinas]

_Julho e Agosto

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prestação de serviços | exposição | ação/intervenção | performance | publicação III Bienal de São João da Boa Vista | Lia Chaia [SP], Neide Jallageas [SP], Fábio Luchiari [CPS], Ana Montenegro [SP], Cecília Stelini³ [CPS], Jurandy Valença [SP], José Roberto Aguilar [SP], Ana Nitzan [SP], Tabajara Arrigucci [SJBV], Beth Turkieniez [SP], Caciporé [SP], Cazarré [SP], Ivald Granato [SP], Gustavo Rosa [SP], José Marcondes [SJBV], Ju Corte Real [SP], Cristiano Mascaro [SP], Otoni Gali Rosa [SP], Paulo Queiroz [SP], Antônio Peticov [SP], Tomoshige [SP], Cláudio Tozzi [SP] e Ronaldo Noronha [SJBV] Curadoria geral | Rô Gonçalves Curadoria de vídeo arte e intervenções temporárias | Samantha Moreira Layout e montagem da exposição | Ateliê Aberto Realização | Dep. de Cultura de São João da Boa Vista Local | Espaço Cultural Fernando Arrigucci 35

2002

154

_Agosto ação/intervencão | performance | sonzeira | festa 12h de duração | Studio Nômade [Campinas]: Filipe Espíndola, Guilherme Fogagnoli, Cacá Toledo, André Lemgruber, Giba G e Francisco Ivan Russo Participação | Projeto Sang Fezi [Campinas]: Du Cabelo, Marcos Piolho e Giba G Concepção | Fábio Luchiari e Samantha Moreira 36

2002

_Agosto, Setembro e Outubro oficina Grupo de Semiótica | Del Pilar Sallum [Campinas]

_Agosto, Setembro e Outubro oficina Tempo e imagem – a história da arte através de suas linguagens | Sylvia Furegatti [Campinas]

_Setembro exposição | ação/intervenção | performance Ações fotográficas - o processo, o instantâneo, o movimento, o tempo | Fernando Petermann, Ricardo Lima LLK, Frâncio de Holanda, Rodrigo Acedo e Marcos Perón [Campinas] sonzeira DJ Du Cabelo [Campinas]

_Outubro conversa aberta Raquel Garbelotti [SP]

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_Novembro exposição | conversa aberta Aqui ali | Célia Macedo4, Christina Meirelles, Fernando Velázquez5, Luís Armando Ferrante, Madú Almeida, Margarida Holler6, Maria Lúcia Saddi, Mariana Palma, Mirella Zavatto, Norma Camargo e Reginaldo Pereira. Ocupação do Ateliê Aberto por doze artistas que se reúnem no Ateliê Fidalga [São Paulo] Curadoria | Sandra Cinto e Albano Afonso

exposição Coletiva Studio Nômade ação/intervenção Ritos de Passagem | Samantha Moreira Local | Studio Nômade [Campinas]

2003

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira

_Fevereiro e Março exposição | performance AMOR | Ana Almeida [CPS], Cecília Stelini [CPS], Marcos Lemes [Mogi Mirim] e Nilza Volpato [Americana] Curadoria | Samantha Moreira Produção | Fábio Luchiari 38

2003

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2003

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_Março a maio residência | exposição A sala da Lia / O quarto do Fran | Lia Chaia7,8,9 [São Paulo] e Francisco Ivan Russo¹0,¹¹ [Campinas] 40

2003

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_Agosto, Setembro e Outubro prestação de serviços | exposição | ação/intervenção | residência | publicação VI Semana Fernando Furlanetto A Casa Onírica | Amílcar Packer, André Komatsu [SP], André Santangelo [BSB], Caio Reisewitz [SP], Domitília Coelho [SP], Fabiano Marques¹³ [SP], Fafá Noronha [SJBV], Gabriela Oliveira [SJBV], Graziela Kunsh [SP], Gustavo Rezende¹² [SP], Martha Lacerda [SP], Odires Mlászho [SP], Paulo D’Alessandro [SP], Raquel Garbelotti [SP], Rochelle Costi [SP], Sylvia Furegatti [CPS], Vanessa Poitena [SP] Curadoria | Juliana Monachesi Coodenação | Samantha Moreira Produção | Ateliê Aberto Layout e montagem da exposição | Fábio Luchiari e Ateliê Aberto Coordenação do projeto de educação | Ateliê Aberto e Suzie Signori Realização | Dep. de Cultura de SJBV Local | Espaço Cultural Fernando Arrigucci [São João da Boa Vista / SP]

_Abril, Maio e Junho oficina Dispositivos contemporâneos | Sylvia Furegatti [Campinas]

158

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_Junho residência | ação/intervenção | exposição | performance 6 \ 6 – Performances + ações O Canto | Ana Montenegro¹5 [SP] Barraca dos segredos | Jorge Menna Barreto [SP] lançamento de publicação Premonitor – arte específica para livro | Projeto e edição | Katia Prates e Mario Ramiro ARS – Edição | Departamento de Artes Plásticas da ECA / USP In classificados | Felipe Barbosa e Rosana Ricalde sonzeira projeto Sang Fezi - Du Cabelo, Érika Pozetti, Marcos Piolho e Giba G [Campinas] 41

2003

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_Agosto prestação de serviço | exposição | ação/intervenção | publicação | performance Observações sobre o espaço e o tempo | Daniel Acosta¹9 [RS], Daniel Lima [SP], Jorge Menna Barreto [SP], Kiko Goifman e Jurandir Müller¹6 [SP], Jurandy Valença²² [SP], Marilá Dardot²³ [SP], Marcelo Cidade²¹ [SP], Maurício Ianês¹7 [SP], Mônica Nador²4 [SP], Odires Mlászho¹8 [SP], Raquel Garbelotti²0 [SP] e Rosana Paulino [SP] 30 anos de UNICSUL Realização | Universidade Cruzeiro do Sul | Concepção e curadoria | Samantha Moreira e Fábio Luchiari Produção, layout e montagem das exposições | Ateliê Aberto Coordenação do projeto de educação | Ateliê Aberto e Sylvia Furegatti Local | Campi Anália Franco e São Miguel [São Paulo/SP]

[25]

2003

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_Agosto a Outubro residência | exposição O que ocupa o corpo | Fabiana Rossarola²5 [Porto Alegre] e José Roberto Shwafaty²6 [Campinas]

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_Outubro e Novembro exposição Coletiva Ateliê Aberto | Samantha Moreira²8, Fábio Luchiari²7, Beatriz Janota, Nilza Volpato [Americana], Sylvia Furegatti, Francisco Ivan Russo e Marcelo Moscheta²9 [Campinas] Curadoria | Adriana Penteado Produção | Ateliê Aberto e Adriana Penteado Arte Contemporânea Layout e montagem | Ateliê Aberto Local | Adriana Penteado Arte Contemporânea [São Paulo/SP]

Mostra Latinidades / Projeto Zona Franca Ação na rua | Trabalho escolhido para instalação em outdoor na Av. Brigadeiro Faria Lima Curadoria | Daniel Lima Participantes | Fábio Luchiari e Samantha Moreira Local | Unidades do SESC São Paulo

2003

155

_Outubro e Novembro residência | exposição A coleção Duda Miranda [Belo Horizonte –MG] | Produção | Marilá Dardot e Matheus Rocha Pitta lançamento de publicação Revista ITEM.6 – FRONTEIRAS | Número DOIS – O espectador no poder 44

2003

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_Outubro/2003 a Janeiro/2004 exposição Cada um dos pedaços | Del Pilar Sallum³0 [Campinas] e Marcelo Moscheta³¹ [Campinas]

_Novembro oficina FOTOGRAFIA como suporte na construção da linguagem | Rogerio Ghomes [Londrina]

2004

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira

_Fevereiro e Março exposição Impressões | Ricardo Cruzeiro [Campinas]

_Maio e Junho exposição Paisagem de Delírio | Mariana Palma [São Paulo] 46

2004

_Junho e Julho prestação de serviços | exposição Contemporâneas & Pós-contemporâneas | Adriana da Conceição, Alice Grou, Cecília Stelini, Dorothea Freire, Marly Salum, Norma Vieira, Re Gobbo, Vera Orsini e Vera Richter [Campinas] Curadoria | Marco do Valle Montagem | Ateliê Aberto Local | Museu de Arte Contemporânea de Campinas

_Junho a Agosto exposição Espelho | Marilde Stropp [Campinas] lançamento de publicação Borboletas | Ana Jensen Volpato, imagens de Nilza Volpato [Americana]

_Julho exposição do que está pra nascer | Ana Almeida [Campinas] Curadoria | Samantha Moreira Montagem | Ateliê Aberto Local | Ana Almeida Studio [Campinas]

_Idealização, coordenação e gestão Érika Pozetti, Guilherme Fogagnoli, Hermes Renato Hildebrand, Samantha Moreira e Sylvia Furegatti [Agosto/2004–Maio/2005] 47

2004

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_Outubro e Novembro exposição Q.U.E.R.O. | Érika Pozzeti, Guilherme Fogagnoli, Hermes Renato Hildebrand, Samantha Moreira e Sylvia Furegatti [Campinas] ação/intervenção Transição Listrada³² [Fortaleza] lançamento de publicação Revista NÚMERO – O Estado da Arte sonzeira DJ Fred Jorge [Campinas] e Vitor Cesar [Fortaleza]

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_Outubro e novembro exposição Seja lá onde for | Daniel Acosta [RS], Mariana Palma [SP], Daniel Trench [SP], Christina Meirelles [SP], Ricardo Vieira [SP], Lia Chaia³³ [SP], Marilde Stropp [CPS], Marcos Lemes [Mogi-Mirim], Ana Almeida [CPS], Maurizio Mancioli [SP], Marcelo Moscheta [CPS], Jurandy Valença [SP], Fabiana Rossarola [RS], Sarah Valle [CPS], Rodrigo Scooby³4 [CPS] e Nilza Volpato [Americana] Curadoria | Samantha Moreira Produção | Ateliê Aberto e Maíra Endo Local | Museu de Arte Contemporânea de Americana/SP 48

2004

_Novembro a fevereiro/2005 exposição Título de Pintura | Ana Montenegro [SP], Caio Reisewitz [SP], Camille Kachani [SP], Carla Zaccagnini [SP], Claudio Matsuno [SP], Cristina Ribas [RS], Del Pilar Sallum [CPS], Fabiana Rossarola [RS], Fabiano Marques [SP], Helio Siqueira [RS], Jorge Menna Barreto [SP], José Roberto Shwafaty [CPS], Jurandy Valença [SP], Lia Chaia [SP], Manoel Veiga [SP], Marcelo Moscheta [CPS], Mariana Palma [SP], Marilá Dardot [MG], Mario Gravem Borges [CPS], Maristela Cabello [SP], Mônica Nador [SP], Monica Schoenaker [SP], Odires Mlászho [SP], Paulo Miranda [SP], Reginaldo Pereira [SP], Ricardo Basbaum [RJ], Rogerio Ghomes [PR] e Rosana Paulino [SP] Curadoria | Ateliê Aberto

prestação de serviços | exposição sobre tudo o que se deve guardar | Marcelo Moscheta [Campinas] Expografia e montagem | Ateliê Aberto Local | Museu de Arte Contemporânea de Campinas

prestação de serviços | exposição volume1 | Samantha Moreira [Campinas] Produção, expografia e montagem | Ateliê Aberto Local | Museu de Arte Contemporânea de Campinas

2004

prestação de serviços | exposição corpo - cidade | Jurandy Valença [Campinas] Expografia e montagem | Ateliê Aberto Local | Galeria do Centro Cultural Evolução [Campinas]

DEBATE Apresentação de propostas para a Pasta de Cultura | Discussão aberta com 06 representantes políticos dos partidos que disputavam a eleição municipal de Campinas.

oficina Dispositivos contemporâneos | Sylvia Furegatti [Campinas]

oficina O contemporâneo desdobrado | Sylvia Furegatti [Campinas]

2005

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira e Sylvia Furegatti

_Fevereiro e Março exposição Aberto Expandido (DELIVERY) | Fabiano Marques³5 [São Paulo] lançamento de publicação São as coisas que você não vê que nos separam | Nazareno [São Paulo] sonzeira Mo'Ma – Guilherme Maglio e Samantha Moreira [Campinas]

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2005

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_Abril e Maio exposição Área de Lazer | Cristina Ribas³6 [Porto Alegre] objeto Paisagem Polissêmica | Ana Montenegro [São Paulo] sonzeira DJ Kowalski e Mo’Ma [Campinas]

_Idealização, coordenação e gestão Érika Pozetti, Samantha Moreira e Sylvia Furegatti [Junho/2005–Março/2007]

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_Junho e Julho exposição Contêiner/pele | Luana Veiga³7 [Campinas] objeto Costura | Marcos Lemes [Mogi-Mirim] sonzeira DJ Bitcho e Mo’Ma [Campinas] 51

2005

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_Agosto e Setembro exposição Venha, é sério! | Nazareno³8,³9 [São Paulo] objeto Rosa Morena [Campinas] sonzeira DJ DouglaZZ e Mo’Ma [Campinas]

_Setembro prestação de serviço | ação/ intervenção A Quadra | Cecília Stelini [Campinas] Realização | Secretaria de Transporte e EMDEC – Empresa de Desenvolvimento de Campinas – Jornada Internacional “Na cidade sem meu carro” Produção | Ateliê Aberto Idealização e coordenação | Samantha Moreira Local | Centro de Convivência [Campinas]

_Setembro a Novembro prestação de serviços | exposição Afinidades Eletivas | Marco do Valle, Walter Silveira, Marcelo Moscheta, Daniel Senise, Ana Almeida, Ernesto Neto, Fabio de Bittencourt, Gil Vicente40, Del Pilar Salum, Beth Moisés, José Roberto Shwafaty, Daniel Acosta, Luana Veiga, Clarice Lispector, Cecilia Stelini, Arthur Barrio, Pedro Hurpia, Edouard Frapoint, Vânia Mignone e Osvaldo Goeldi Curadoria | Agnaldo Farias Realização | Espaço Cultural CPFL Produção e montagem | Ateliê Aberto Local | Espaço Cultural CPFL [Campinas] 52

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2005

_Outubro e Novembro exposição Lugar Algum | Jurandy Valença [São Paulo] sonzeira Luciano Lima [Brasília] e somdasá (Samantha Moreira) [Campinas]

159

_Dezembro a Fevereiro/2006 exposição Notas de Rodapé | Cristiana Tejo [PE], Celso Fioravante [SP], Daniela Labra [RJ], Fernando Oliva [SP], Guy Amado [SP], Juliana Monachesi [SP], Marcos Rizolli [CPS], Paula Alzugaray [SP], Paulo Klein [SP] e Rodrigo Moura [MG] Curadoria | Ateliê Aberto sonzeira DJ Jura [São Paulo] e Mo’Ma [Campinas] 53

2005

oficina | ação/intervenção Arte em Trajeto – memória, paisagem e percursos Coordenação | Samantha Moreira e Sylvia Furegatti Local | SESC Campinas

mapeamento | conversa aberta Visita de Lisette Lagnado, curadora geral do Programa Rumos Artes Visuais Itaú Cultural, para mapeamento e conversa aberta com os artistas locais. Ateliê Aberto selecionado pelo mapeamento para integrar o programa de exposições.

oficina Dispositivos contemporâneos | Sylvia Furegatti

2006

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira

_Fevereiro e Março exposição Desenhoemprocessoconstante | Sarah Valle [Campinas] sonzeira Roni + Carlota e Mo’Ma

_Abril e Maio exposição Cidade Ateliê Aberto | Alcides Barbosa, Daniela Rubbo, Daniele Rossi Lopes, Eduardo Palhares4¹, Fábio Moneda4¹, Ed Sarro [SP], Érika Pozetti, Graça Seleghin4¹, Guilherme Maglio4¹, Júlio Seleghin4¹,Luciana Fujii, Luciana Spadaccia, Mario Mastrotti, Patrícia Martins, Patricia Nobre e Wanderlei Pare [Campinas] Curadoria | Ateliê Aberto sonzeira Mo’Ma + Keka [Campinas]

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2006

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exposição Rumos Artes Visuais | Curadoria | Aracy Amaral, Cristiana Tejo, Luisa Duarte e Marisa Mokarzel participação como artista Título de Pintura | Ateliê Aberto Locais | Itaú Cultural4³ – São Paulo, SP | Paço Imperial44 – Rio de Janeiro, RJ | Museu de Arte Contemporânea4² – Goiânia, GO Projeto selecionado pelo Rumos Visuais Itaú Cultural – 2005/2006.

_Julho e Agosto exposição Duas Pinturas | Manoel Veiga [São Paulo] lançamento de publicação Cadernos EP Design Gráfico sonzeira Mo’Ma [Campinas]

2006

_Agosto ação/intervenção VIP – Very Important Persons | Ateliê Aberto Realização | Ateliê Aberto, Paço das Artes e Espaço Cultural CPFL Curadoria | Daniela Bousso Palestras + caldinho VIP | Lucia Santaella, Giselle Beiguelman, Patrícia Canetti, Daniela Bousso, Lucas Bambozzi e Anja Pratsche Locais | Espaço Cultural CPFL, Ateliê Aberto e Clube Informal.

_Agosto participação como artista | exposição Marte é Aqui | Curadoria | Ana Teixeira, Fernanda Chieco, Juliana Monachesi e Renato Dib Local | Casa de Kika Nicolela [São Paulo, SP]

_Agosto e Setembro

152

exposição Vistas Possíveis | Paula Almozara [Campinas] BotaFora | Fabiana Rossarola45 [Porto Alegre/Barcelona] lançamento de publicação Revista Número SETE sonzeira Mo’Ma [Campinas]

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2006

_Novembro e Dezembro exposição Ateliê Monitorado | Pedro Hurpia [Campinas] lançamento de publicação Corpo Modificado, Corpo Livre? | Kenia Kemp [Campinas] sonzeira Mo’Ma [Campinas]

ação/intervenção Projeto Instantâneo – música e artes visuais | Ateliê Aberto, Submagem e Sang Fezí - Du Cabelo, Érika Pozetti, Marcos Piolho e Giba G Local | Clube Informal [Campinas] oficina O contemporâneo desdobrado | Sylvia Furegatti

2007

_Primeiro semestre orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira

_Março e Abril exposição Campina | Marcelo Siveira [Recife] lançamento de publicação Armazém de tudo | Marcelo Silveira, com organização de Moacir dos Anjos Revista Número OITO - LIMITES sonzeira Mo’Ma e Fábio Araújo [Campinas]

_Idealização, coordenação e gestão Érika Pozetti e Samantha Moreira [Abril/2007–Abril/2009]

2007

_Março e Abril prestação de serviços | exposição Comunidade em Foco – Mostra de Fotografia Digital CDI Campinas | Jovens da comunidade Produção e montagem | Ateliê Aberto Local | Parque D. Pedro Shopping [Campinas]

_Abril a Outubro prestação de serviços | exposição | conversa aberta Arte Viral . VideoArte . Desenho – Intervenção | Adriana Conceição, Alice Grou46, Cecilia Stelini, Dorothea Freire, Flaviana Tannus, Marilde Stropp, Norma Vieira e Sarah Valle [Campinas] Concepção, curadoria e produção | Ateliê Aberto Local | Policamp [Campinas]

[46]

2007

_Maio e Junho prestação de serviços | exposição Projeto Ponte | Ana Almeida, Cecilia Stelini47, Dorothea Freire, Flaviana Tannus, Marilde Stropp e Sarah Valle [Campinas] Curadoria | Samantha Moreira e Sylvia Furegatti Direção de arte e design gráfico | Érika Pozetti Produção e montagem | Ateliê Aberto Local | Tote Espaço Cultural [Campinas]

[47]

_Segundo semestre orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira e Maíra Endo

[48]

[49]

_Dezembro a Fevereiro/2008 exposição Pelos Tubos | Lia Chaia48 [São Paulo] performance audiovisual Filosofia de Botequim | V-DOC49 [Campinas] sonzeira Mo’Ma [Campinas]

exposição Work in progress | Érika Pozetti, Samantha Moreira e Sylvia Furegatti [Campinas] sonzeira Mo’Ma [Campinas]

folder escultura 24 horas | Texto Sylvia Furegatti | MAIO de 2007

2008

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira

[50]

[51]

_Fevereiro e Março exposição Carta Branca | Reginaldo Pereira48 [São Paulo] Via de Mãos Dadas | Tiago Rivaldo47 [Rio de Janeiro] sonzeira Mo’Ma e André Bianchi [Campinas] 62

2008

_Maio exposição Voltando pra casa | Rogerio Ghomes [Londrina] e Mo’Ma [Campinas]

[52]

[53]

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_Maio a Julho exposição { (x1, x2, x3, x4) em R4 ; 0 ≤ x ≤ 1 } | Alice Grou 5² [Campinas] Cristaleira | Flamínio Jallageas 54,55 [São Paulo] Armadilhas | Nino Cais5³, 55 [São Paulo] conversa aberta Carlota Cafiero [Campinas] 63

2008

154

2008

_Junho participação como artista | ação/intervenção | performance audiovisual Projeto Fluxus – arte, saúde e informação | Samantha Moreira, Érika Pozetti, Maíra Endo, Guilherme Fogagnoli, Isadora Gutmann e Guilherme Maglio Curadoria | Jeff Keese Realização | Programa do DST/AIDS – Secretaria Municipal de Saúde de Campinas Locais | Mercado Municipal de Campinas e Praça Bento Quirino 65

2008

_Julho Criação do CNPJ

_Agosto a Outubro exposição Saída pela porta dos fundos | Isadora Gutmann56 [Campinas] vídeo Fluxus-Ateliê Aberto - DST/Aids | Ateliê Aberto sonzeira DJ KID [Campinas]

[56]

[57]

[58]

2008

[59]

[60]

_Setembro Ar Livre – paisagens audiovisuais exposição | conversa aberta Gisela Motta e Leandro Lima59, Raquel Kogan e Léa Van Steen, Tiago Judas, Marilá Dardot, Felipe Cohen60 e Daniel Trench60 e Mario Ramiro [São Paulo] performance audiovisual Du Cabelo, Mo’Ma AV, V-DOC58 e UAISÔ debate Lucas Bambozzi e Marcelo Araújo57 Realização | Secretaria de Estado da Cultura de São Paulo Idealização | Ateliê Aberto e Oficina Cultural Regional Hilda Hilst Concepção | Guilherme Maglio e Samantha Moreira Coordenação | Érika Pozetti e Samantha Moreira Produção | Isadora Gutmann e Maíra Endo Programação Visual | Guilherme Maglio Local | Parque Ecológico Monsenhor Emílio José Salim [Campinas/SP] 67

criação do cnpj | julho de 2008

2008

[61]

[62]

_Setembro e Outubro exposição Idéias em trânsito para circulação balanceada e sobrevivência | Alexandre Órion [SP], Alice Grou6² [CPS], Christian Román [Argentina], Denise Valarini [CPS], Diogo Bueno6¹ [CPS], Fábio Martins [Americana], Gustavo Torrezan [Piracicaba], Isabel Caccia [Argentina], Isadora Gutmann [CPS], Nicolás Robbio [SP], Norma Vieira [CPS], Sarah Valle [CPS] e V-DOC [CPS] Concepção e curadoria | Samantha Moreira e Maíra Endo Produção e Montagem | Ateliê Aberto Local | Museu de Arte Contemporânea de Americana/SP

mapeamento | conversa aberta Visita de Marcio Harum, curador adjunto do Programa Rumos Artes Visuais Itaú Cultural, para mapeamento e conversa aberta com os artistas locais

2009

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira e Maíra Endo

_Janeiro e Fevereiro exposição | conversa aberta Quanto Como Um Desenho | André Favilla [São Paulo] sonzeira Carol Tonetti [SP] e somdasá [Campinas]

_Abril e Maio exposição | conversa aberta Ando meio aéreo | Diogo Bueno [Campinas] sonzeira a.b.c.d.E&F [Campinas] Locais | Ateliê Aberto (exposição e SonZeira), PUC Campinas (conversa aberta). Parceria entre o Ateliê Aberto e Coordenação da Faculdade de Artes Visuais da PUC Campinas

_Idealização, coordenação e gestão Maíra Endo e Samantha Moreira [Maio/2009–Agosto/2012]

_Junho e Julho exposição Pausa | Alice Grou, Ana Helena Grimaldi6³, Estefania Gavina e Helena Giestas [Campinas] Curadoria | Samantha Moreira Programação Visual | Érika Pozetti Produção | Ateliê Aberto, Maíra Endo e Isadora Gutmann Montagem | Fabio Luchiari e Ateliê Aberto Local | Tote Espaço Cultural [Campinas]

[63]

2009

_Junho e Julho exposição | conversa aberta O marco amador – sessão a perder de vista | Paulo Meira [Recife] Locais | Ateliê Aberto (exposição), PUC Campinas (conversa aberta). Parceria entre o Ateliê Aberto e Coordenação da Faculdade de Artes Visuais da PUC Campinas 71

2009

_Agosto exposição | performance No bico do pardal e Mira! Mira! | Capim-Capivara [Campinas] Local | Ateliê Aberto

_Agosto exposição //22ºS.-50ºN. – Conexão vidéo//graphiques | Brasil – Bélgica | Paula Almozara, Michel Barzin, Greet Billet, Marco Buti, Claude Celli, Kikie Crevecoeur, Maria Ivone dos Santos, Paul Dumont, Paula Éster, Hélio Fervenza, Chantal Hardy, Sylvie Karier, Ingrid Edent, Marcelo Moscheta64, Salete Mulin, Sebastião Pedrosa, Danilo Perillo e Maria Luiza Pignatti

[64]

_Agosto a Outubro exposição Teu Corpo e(m) Paisagem | Bruno Faria [Recife], Talita Caselato65 [Campinas] e Waléria Américo [Fortaleza] texto Yuri Firmeza [São Paulo/Fortaleza] Fundo de Incentivo à Cultura de Campinas | Secretaria de Cultura (FICC 2011) [65]

2009

_Outubro e Novembro exposição | conversa aberta Por um caminho diferente | Nazareno [São Paulo] Locais | Ateliê Aberto (exposição), PUC Campinas (conversa aberta). Parceria entre o Ateliê Aberto e Coordenação da Faculdade de Artes Visuais da PUC Campinas 73

2009

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2009

_Novembro a Janeiro/2010 exposição 79>09 – 30 anos artes visuais Campinas. Ribeirão Preto | Campinas67,68 | Afrânio Montemurro, Alberto Teixeira, Alice Grou, Ana Almeida, Berenice Toledo, Bernardo Caro, Capim-Capivara, Cecilia Stelini, Celso Palermo, Clodomiro Lucas, Danilo Perillo, Del Pilar Sallum, Dimas Garcia, Diogo Bueno, Egas Francisco, Emanuel Rubin, Fabio de Bittencourt66, Fernando Catani, Filipe Espindola, Francisco Biojone, Fulvia Gonçalves, Geraldo Jurgensen, Geraldo Porto, Gilmar Bartolo, Grupo Antropoantro, Gustavo Torrezan, J. Noboro Ohnuma, João Bosco, João Proteti, José Roberto Shwafaty, Kiko Goifman, Lucia Fonseca, Luise Weiss, Marcelo Moscheta, Marco Buti, Marco do Valle, Maria Helena Motta Paes, Marilde Stropp, Mario Bueno, Mario Gravem Borges, Norma Vieira,Pama Loyola, Paula Almozara, Paula Éster, Paulo Cheida Sans, Paulo Costa, Pedro Hurpia, Raul Porto, Ricardo Cruzeiro, Rosa Morena, Roseno, Sarah Goldmam, Sylvia Furegatti, Thiago Bortolozzo, Thomaz Perina, Vânia Mignone, V-DOC, Vera Ferro, Zay Pereira. Ribeirão Preto | Adda Prieto, Adriana Amaral, Álvaro Nóbrega, André Costa, Bassano Vaccarini, Célia Soares, Cleido Vasconcelos, Cordeiro De Sá, Dante Velloni, Daré, Eny Aliperti, Eurico Rezende, Fernando Dias, Francisco Amêndola, Gabriel Nehemy, Geraldo Lara, Hélio Martins, Iolanda Marchesi, Ithamar Vugman, Jair Correia, Juliana Cassab, Leonardo Rodrigues, Leonello Berti, Lucas Arantes, Macalé, Marcelo Dias, Marcelo Maimoni, Maurilima, Nívea Martins, Odilla Mestriner, Olavo Senne, Paló, Pedro Manuel-Gismondi, Renata Lucas, Renata Vallada, Renato Andrade, Rubens Salles Guerra, Silvia Jábali, Sofia Borges, Sueli Reis, Theodoro Paterno, Thirso Cruz, Ubirajara Júnior, Vera Barbieri, Waldomiro Sant Anna, Weimar Realização | EPTV.com Produção | Direção Cultura Idealização e coordenação geral | Samantha Moreira Curadoria | Samantha Moreira e Nilton Campos [Ribeirão Preto] Programação Visual | Érika Pozetti e Ricardo Cruzeiro Produção e montagem | Maíra Endo e Isadora Gutmann Coordenação de montagem | Fabio Luchiari Locais | MARP – Museu de Arte de Ribeirão Preto e MACC – Museu de Arte Contemporânea de Campinas

2009

_Dezembro performance audiovisual Monóxidomaresia | V-DOC [Campinas]

_Dezembro bazar 2222 – das 2 às 2 do dia 22 – arte. moda. design. objetos. música. bar | Alice Grou, Projeto Benedita, Capim-Capivara69, Diogo Bueno, Francisco Ivan Russo, Norma Vieira, Paula Almozara, Reginaldo Pereira e Sabrina Antonelli sonzeira Abrasong, Projeto Sang Fezi - Du Cabelo, Érika Pozetti, Marcos Piolho e Giba G + somdasá [Campinas] Local | Ateliê Aberto

[69]

2010

_Ano todo Programa de estágios | Parceria com o Curso de Artes Visuais da PUC Campinas

[70]

_Abril exposição SHN70 [Americana], Katxere Medina [Suécia] e Capim-Capivara [Campinas] bazar Arte Acessível | Adriana Antunes, Kauê, Tatiana Braga, Moda Bovary, Caderninhos Hau, Silvanas Bezerras e Lucy Bravinha ação/intervenção Carro árvore sonzeira Garotas Voyage [Campinas] e SHN DJs [Americana] Parceria entre Ateliê Aberto e Bazar Clube das Pin-ups 76

2009

_Maio conversa aberta Local vs. Global | Tzvetomira Tocheva [Bulgária] e Sébastien Carimalo [França] Local | Oficina Cultura Hilda Hilst Parceria entre Ateliê Aberto, Oficina Cultural Hilda Hilst e Ana Magalhães [São Paulo]

_Maio e junho prestação de serviços | exposição Epifanias de Paisagem | Alice Grou [Campinas] Produção e montagem | Ateliê Aberto Local | Centro Municipal de Educação Adamastor / Guarulhos 77

2010

2015

_Casa #3

[House #3]

Rua Major Solon, 911 Cambuí ‑ Campinas São Paulo / Brasil CEP: 13024-091

22°53'25.9"S 47°03'28.6"W _coordenadores [Coordinators] Maíra Endo e Samantha Moreira (Junho [June]/2010 – Agosto [August]/2012), Henrique Lukas, Maíra Endo e Samantha Moreira (Setembro [September]/2012 – Agosto [August]/2015),Henrique Lukas e Samantha Moreira (a partir Setembro [Setember]/2015)

_Produtores [Producers] Cristina Smidarle, Henrique Lukas (Abril [April]/2011 – Agosto [August]/2012), Isadora Gutman, Leonardo Scopin, Lucas Guedes, Marina Pinheiro e Natasha Marzliak. _Estagiários [Interns] Henrique Lukas (Fevereiro [February]/2011 – Março [March]/2011), Lucas Cardoso e Lucas Guedes. _Atendimento ao público e assistência de comunicação [Public Attendance and Communication Assistance] Bruno Chiarotti e Diego Cavalcante. _Colaboradores [Collaborators] Cristina Smidarle e Marina Pinheiro

“A memória é uma ilha de edição” Wally Salomão

Às vezes tornar-se estrangeiro de si é um exercício necessário para entender as coisas que são mais próximas a nós, coisas que se confundem com nós mesmos. E a memória tem um pouco disso, inventar distâncias para aproximar sentidos - mesmo que a distância seja para dentro. A terceira casa do Ateliê Aberto é nosso passado próximo, parece ainda sem fim, sem ponto. Casa escolhida a dedo e criada com cuidado e carinho, a arquitetura de um sonho. A mudança começou com a aquisição do imóvel pelas minhas sócias e parceiras Maíra e Samantha, com ajuda e apoio de seus familiares. Na verdade, o imóvel era formado por duas casas que davam fundos uma a outra, atravessando o quarteirão. Uma tinha sido construída na década de 1940 e a outra era um imóvel mais recente, provavelmente da década de 1990. Os projetos e a casa sempre caminharam juntos. A readequação e a reforma do espaço foram pensadas para receber o Ateliê Aberto¹, assim como outros projetos nasceram a partir das possibilidades e impossibilidades daquela casa. Foi nesse momento que nasceu o CineCaverninha (programação e exibição de vídeos com conversas no porão do espaço), o seZjaZZ (jam session mensal às segunda-feira com Pepa D'Elia Quarteto e comidinhas do Paris Lado B), o RUA [ruídos urbanos amplificados] - projeto de intervenção na fachada da rua Major Solon com artistas convidados - e foi também quando surgiram as residências dentro do espaço, primeiro na garagem multiuso e depois nos quartos na casa dos fundos. A casa dos fundos também teve sua própria história. No começo, a locação dos quartos daquele espaço possibilitava 80

uma renda fixa ao Ateliê Aberto, permitindo cobrir nossos gastos mínimos de manutenção. Nesse espaço existiu o Árvore, um coworking com diversos profissionais liberais que também faziam eventos abertos ao público, Photografie, uma galeria de fotografia, a sede do LHC (Laboratório Hacker de Campinas) e o Paris Lado B Gastronomie, nosso parceiro na cozinha e no seZjaZZ. Apesar de outros serviços e trabalhos, a terceira casa representa o comprometimento total e a prioridade de nós três com o Ateliê Aberto, como gestores, artistas e curadores. Era um projeto de arte, uma possibilidade de vida e também o nosso trabalho, a forma como queríamos ser e estar no mundo. As decisões nesse período foram sempre pautadas nessa direção: querer viver de e no Ateliê Aberto. Nossa experiência em gestão foi ampliada nos últimos anos, aprendemos sobre contabilidade, prestação de contas, finanças, impostos, custos, planejamentos, metas, sem deixar a atmosfera da criação e do compartilhamento. Começamos investindo no espaço com verba própria - juntamente com artistas e parceiros -, tivemos também um período de intensa prestação de serviços e projetos externos, que possibilitavam manter as atividades internas do Ateliê, e, no fim desse período, os projetos do próprio espaço se "pagavam", principalmente através de editais e de patrocínio. O espaço sempre foi um mistério para a cidade de Campinas e até mesmo a mídia local. Muitas das pessoas que vinham não o entendiam muito bem, se era bar, centro cultural, casa, biblioteca, galeria, escola, balada ou loja. Um lugar sem

lugar, mas que todo mundo se sentia à vontade. Apesar de não ser pensado desde o início, Ateliê Aberto sempre foi o termo mais apropriado para dar nome ao nosso trabalho e espaço. Atuamos e vivemos nesse "entre" experimentando e sendo vários ao mesmo tempo. Nossa imersão, compartilhamento e convivência durante os anos foi em todos os sentidos. Sempre foi uma delícia entrar naquela casa, trabalhar com todos na biblioteca, receber pessoas, conversar e tomar um cafézinho no balcão da cozinha ou até mesmo deitar no aconchego dos ninhos de HO² para recarregar as forças. O difícil era sair, sempre foi. Não existiam fronteiras entre o trabalho, o afeto, a balada, os amores, era tudo junto e misturado. Era raro qualquer balada que não terminasse com nós três conversando sobre ideias e projetos para o Ateliê. Do mais objetivo ao mais subjetivo e abstrato, nosso trabalho conjunto sempre teve muita potência, trocamos, criamos e compartilhamos uns com outros, crescemos muito.

[1] A reforma da casa foi pensada em conjunto à Unitá Arquitetura. [2] Em 2011 realizamos a produção executiva e coordenação de montagem de três obras na itinerância da 29ª Bienal de São Paulo: Obras selecionadas | Há sempre um copo de mar para o homem navegar, no SESC Campinas. Uma parte da obra Ninhos de Hélio Oiticica ficou para o Ateliê Aberto, as fronhas e colchas foram tingidas de preto e tiramos os tecidos que revestiam as estruturas de madeira, formando o mobilário da nossa garagem multiuso.

A terceira casa não era apenas uma casa, ela foi um tempo. Ela era muito maior que os concretos e tijolos no número 911 da Major Solon, ela era nós três, nossos amigos, família, frequentadores do espaço, nossas festas, músicas, livros, encontros, a cidade, parceiros, os projetos, as trocas, os artistas, as obras, o aprendizado. E foi naquele tempo, naquela arquitetura de afetos e memórias, o impossível virou possível, pelo menos por um período. E o que era trabalho, lazer, afeto, inquietações, buscas, pesquisa, família, tesão e amor era tudo a mesma coisa, sem distinção, classificação, gênero ou grau. Era a vida do jeito mais nosso.

Henrique Lukas 81

Entrada fundos [Back entrance]

Av. [Avenue] Orozimbo Maia

15 7.87m

S Acesso para o CineCaverninha [CineCaverninha access]

4.25m

_Casa #3 | Planta Baixa [House #3 | Floor Plan]

2.01m

4.03m

8.21m

3.51m

1.18m

3.70m

Rua [Street] Major Sólon

Entrada principal [Main entrance]

4.55m

1 Sala expositiva (térreo – frente) [Exhibition room (ground floor – main entrance)] 2 Biblioteca (térreo – frente) [Library (ground floor – main entrance)] 3 CineCaverninha (subsolo – frente) [(basement – main entrance)] 4 Escritório (térreo – frente) [Office (ground floor – main entrance)] 5 Cozinha (térreo – frente) [Kitchen (ground floor – main entrance)] 6 Área de convívio 1 (térreo – frente) [Living area 1 (ground floor)] 7 Área de convívio 2 (subsolo – frente) [Living area 2 (basement – main entrance)] 8 Banheiro (térreo – frente) [Bathroom (ground floor – main entrance)] 9 Banheiro (térreo – frente) [Bathroom (ground floor – main entrance)] 10 Depósito (subsolo – frente) [Deposit (basement – main entrance)] 11 Área de serviço (subsolo – frente) [Service area (basement – main entrance)] 12 Jardim (subsolo – frente) [Garden (basement – main entrance)] 13 Garagem Multi (térreo – fundos) [Multi Garage (ground – back entrance)] 14 Banheiro (térreo – fundos) [Bathroom (ground floor – back entrance)] 15 Área de convívio 3 (térreo – fundos) [Living area 3 (ground floor – back entrance)] 16 Quartos de residência (1o andar – fundos) [Residency rooms (First floor – back entrance)] 17 Banheiro (1o andar – fundos) [Bathroom (First floor – back entrance)]

2010

140

[1]

[3]

[2]

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_Junho a Agosto Inauguração da nova casa rua Gradeado | Lia Chaia¹ [São Paulo] exposição Bio-transportes²,4 | Francisco Ivan Russo [Campinas] Direito de Subir (H.Q.) | Tiago Judas³ [São Paulo] sonzeira SURTIDO ::: som + imagem | Maíra Endo e Samantha Moreira [Campinas], Du Cabelo [Campinas], Atendimento – Antonio Filho [São Paulo] e Tsunami – Marcos Navarro [São Paulo] 84

2010

[5]

[6]

CARTAZ DF – DEPOIS DAS FRONTEIRAS | DESIGN GRÁFICO ÉRICA POZETTI

2010

[7]

[8]

[9]

[10]

2010

[11]

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_Julho DF | Depois das Fronteiras – experiências sonoras e visuais no planalto Realização | Ministério da Cultura e Centro Cultural Banco do Brasil Idealização, Produção e Montagem | Ateliê Aberto Curadoria | Guilherme Fogagnoli, Maíra Endo e Samantha Moreira Produção executiva | Cristina Smirdale Assistente de produção | Isadora Gutman Identidade Visual | Érika Pozetti Local | CCBB Brasília performance audiovisual BijaRI¹¹ [SP], Bruno Vianna7 [RJ], Coletivo Desconstrução [BSB], Du Cabelo5 [CPS] + Vj Eletro-I-Man [BH/Barcelona], Embolex [SP], Grupo Mesa de Luz¹0 [BSB], Hapax¹² [RJ], HOL [BH], Laborg [SP], luiz duVa [SP], Nego Moçambique [BSB], Cristiano Rosa aka Pan&tone 6,8 [POA], Projeto Sang Fezi [CPS], Spetto [SP], V-DOC [CPS] e Vj Xorume + Gérson De Veras [BSB] conversa aberta9 Daniela Bousso, Lucas Bambozzi e luiz duVa Edital do Centro Cultural Banco do Brasil e Lei Roaunet

_Agosto conversa aberta Local vs. Global | Laura Martin [França], parceria entre Ateliê Aberto, Oficina Cultural Hilda Hilst e Ana Magalhães [São Paulo] 88

2010

140

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_Agosto a outubro O que não pode ser que não é rua Acho que isso tem a ver com aquilo outro | Ana Almeida¹²,¹³ [Campinas] exposição Paragem | Marilde Stropp¹¹ [Campinas] sonzeira Frâncio de Holanda, Gui Galembeck, Ricardo Lima LLK e Sombra [Campinas]. Programação do IV Festival Hercule Florence de Campinas 89

2010

_Outubro e novembro prestação de serviços | exposição Tempos Ácidos | Norma Vieira [Campinas] Produção e montagem | Ateliê Aberto Local | Galeria de Arte da Unicamp

_Outubro

153

cinecaverninha | festa Inauguração do Cine Caverninha | Laboratório Cisco [Campinas] sonzeira DJ Digão, DJ Galeta e somdasá [Campinas]

_Novembro residência | exposição | conversa aberta Lazoo [França] rua Lazoo [França], Bonga [São Paulo] e Shock [São Paulo] Parceria entre Ateliê Aberto, Aliança Francesa de Campinas e Consulado Honorário da França.

141

_Novembro mapeamento | publicação O Ateliê Aberto é selecionado através de um mapeamento de espaços auto-geridos na América Latina pelo MACBA - Museu de Arte Contemporânea de Barcelona [Barcelona] para intercâmbio de publicações. 90

2011

_Ano todo orientação de projetos Grupo de trabalho e estudo formado por artistas | Samantha Moreira e Maíra Endo

141

_Fevereiro rua | exposição Tecidades | Gustavo Torrezan e Luciana Camuzzo [Campinas e Piracicaba] sonzeira Around BARCELONA | NSISTA + (((equipo))) [Barcelona]

_Fevereiro oficina Introdução à gravação, mixagem e masterização | Cristóbal Saavedra [Barcelona]

RAP 90’ + Desenhando Histórias lançamento publicação Didatização de produções culturais não-canônicas no Ensino Médio | Tese de Doutorado de Anna Fonseca [Campinas] oficina Projeto nas escolas | Fernanda Sunega e Thaís Milagres [Campinas] sonzeira MSJy [Campinas]

2011

142

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cartaz SURFE de LONA | marรงo de 2011 2

[16]

2011

_Março conversa aberta | biblioteca 1001tardes | Apresentação do acervo de publicações do Museo de Arte Contemporáneo de Barcelona [MACBA] e do Centro Cultural Banco do Brasil Brasília [CCBB] doados para biblioteca do espaço. lançamento de publicação | mapeamento Espaços Independentes | Ateliê 397 [SP]

_Abril exposição | conversa aberta Issotudoévizinho em Campinas | Projeto de exposição itinerante realizado pela Casa Contemporânea [São Paulo]. sonzeira SURTIDO ::: som + imagem | Maíra Endo e Samantha Moreira Edital ProAC de Ação Cultural

_Abril prestação de serviços | exposição ART.É RIA – arte colaborativa | Ateliê Aberto, Mateus Menegatti [Campinas], Waka Paco [Moçambique] Local | Espaço Arte-Mídia no SESC Campinas conversa aberta Fazendo Arte Colaborativa | Igor Vidor oficina Caderno de notas práticas nº2: Trabalho para descansar | Marcio Harum Local | SESC Campinas/SP 94

2011

[17]

conversa aberta | redes e articulação | mapeamento Visita de Luiza Proença¹7 [São Paulo], curadora adjunta do Programa Itaú Cultural Rumos Visuais, para mapeamento e conversa aberta com os artistas locais.

_Maio performance audiovisual short lived like a butterfly | Cristiano Rosa aka Pan&tone [Porto Alegre/RS] oficina Circuit Bending – O que é, o que faz e como se faz¹8 | Cristiano Rosa aka Pan&tone [Porto Alegre/RS] [18]

_Maio sonzeira Inauguração do projeto seZjaZZ: projeto mensal de música e gastronomia às segundas-feiras | Curadoria | Pepa D’ Elia, com Pepa D’ Elia 4teto (Pepa D'Elia, Marcos Souza, Ricardo Matsuda e Felipe Silveira) e convidados (David Spencer, Zé Alexandre e Alex Bittencourt) Idealização e producão | Ateliê Aberto e Tatiana Braga comida Paris Labo B Gastronomie 95

CARTAZ SEZJAZZ #1 Artista: Samantha Moreira | MAIO de 2011

0000

2011 0000

143

_Maio e junho exposição | rua | lançamento de publicação superfície-mundo | Marcelo Moscheta [Campinas/SP]

_Junho conversa aberta 100 anos da fotografia cubana | Mario Diaz [Cuba] Programação do V Festival Hercule Florence

156

_Julho residência | exposição HORIZONTE DE NÓS DOIS | Tiago Rivaldo [Rio de Janeiro] sonzeira Buia [Campinas] e Tiago Rivaldo [Rio de Janeiro] 97

2011

_4 de Junho bazar | comida Clube das Pinups | Árvore Arte Acessível | Ateliê Aberto | Fernanda Lazzarini, Nilza Volpato, Diogo Bueno, Estefania Gavina, Del Pilar Sallum, Bia Porto, Maria Paula, Samantha Moreira, dentre outros. sonzeira Luiza Testa (11.16), Rubia Flesch (Super), Carol Vargas (blogueira), Carol Serrano (Americana), Carla Fraissat (LaCucaratcha), Milena Carlstrom (Bazar Clube das Pinups), Jéssica Coqueiro (Coletivo Ajuntaê), Larissa Vasques (Violentures), Leila Leila V Queen (Loge) e Maíra Bonilha (blogueira). prestação de serviços Relatório incompleto de abduções | Ricardo Cruzeiro [Campinas/SP] Painel realizado no Galpão do SESC Campinas.

2011

[19]

[20]

_Julho e agosto exposição Itinerância da 29ª Bienal de São Paulo: Obras selecionadas | Há sempre um copo de mar para o homem navegar prestação de serviços Produção executiva e coordenação de montagem de três obras | Ateliê Aberto vídeos Ninhos¹9 | Hélio Oiticica www.atelieaberto.art.br/ninhos_ho_montagem/ Platéia | Pedro Barateiro www.atelieaberto.art.br/plateia-montagem/ Sobre este mesmo mundo²0 | Cinthia Marcelle www.atelieaberto.art.br/sobre-este-mesmo-mundo-montagem/ Realização | Fundação Bienal e SESC Local | SESC Campinas/SP

_Julho a novembro prestação de serviços | ação / intervencão | exposição A Cidade Cara a Cara | Agostinho Gomes Produção do projeto de Intervenção Urbana | Ateliê Aberto Apoio cultural | EMDEC, SETEC e Secretaria Municipal de Cultura de Campinas Locais | Largo do Rosário, Terminal de ônibus Ouro Verde e Parque Portugal (Lagoa do Taquaral) – Campinas/SP ProAC ICMS | Patrocínio: 3M

_Agosto redes e articulação | conversa aberta CAPACETE (Encontro de Gestores da América Latina) sonzeira Candeia Peba [Campinas/SP] | Formada por integrantes das Bandas SACICRIOLO e Tatu com Cobra + participação de Waka M´Paco [Moçambique]. 99

2011

_Agosto residência | redes e articulação O Ateliê Aberto é selecionado para participar do Programa de Gestão – Capacete, intercâmbio entre gestores de espaços de arte da América Latina. Participantes | Samantha Moreira e Maíra Endo. Locais | São Paulo, Minas Gerais e Rio de Janeiro. 8ª Edição Programa Rede Nacional Funarte Artes Visuais, Ministério da Cultura do Brasil

_Setembro, Outubro e Novembro HABITAT rua Fernanda Lazzarini [Campinas/SP] exposição Laboratório Cisco²¹ [Campinas/SP] sonzeira Waka M’ Paco [Moçambique], Dj DouglaZZ e somdasá [Campinas] Programação do V Festival Hercule Florence de Campinas

142

[21]

oficina Fotografia de Busca | Pedro David [Belo Horizonte] Programação do V Festival Hercule Florence 100

2011

[22]

[23]

[24]

[25]

[26]

[27]

_Setembro, Outubro e Novembro exposição | publicação | vídeo INSTANTE – Experiência/Acontecimento em Arte e Tecnologia – SESC Campinas Curadoria e concepção | Gustavo Torrezan e Melina Marson performance audiovisual Laborg²² [SP], Bruno Vianna e Rodrigo Marçal [RJ], Grupo Mesa de Luz²7 [DF], HOL [BH], A_Factory Tranzmídia²4 [SP], luiz duVa²³ [RJ], Vj Palm e convidados [SP], Cristiano Rosa aka Pan&tone [RS], Embolex [SP], Otávio Donasci e Lucas Bambozzi [SP]. Local | Galpão SESC Campinas ação / intervenção VideoAtaq²5 [RJ] – ação de guerrilha pela cidade de Campinas, BijaRi [SP] – mapping no Balão do Castelo [Campinas], Spetto e United VJs²6 [SP] – mapping na Catedral Metropolitana de Campinas prestação de serviços Curadoria e produção das performances audiovisuais, live cinemas e vídeo mappings | Ateliê Aberto 101

2011

164

_Outubro e novembro Cinco dias e quinhentas noites | Projeto de colaboração entre Olga Robayo [Colômbia e Noruega], Mauricio Marcin [México] e a dupla performática RG Faleiros [São Paulo] residência | exposição Olga Robayo [Colômbia e Noruega] e Mauricio Marcin [México] performance RG Faleiros [São Paulo] oficina Workshop de Fanzine | Maurício Marcin [México] sonzeira | performance Mary Gagáá [São Paulo]

_Outubro, Novembro e Dezembro exposição | publicação 32ª Panorama da Arte Brasileira | Curadoria | Cauê Alves e Cristiana Tejo participação como artista Imagens Transportadas | Ateliê Aberto [Maíra Endo e Samantha Moreira] Artista convidado | Daniel Acosta Colaboradores | Henrique Lukas, Lucas Guedes, Marcos Tozzi e Natasha Marzliak Local | Museu de Arte Moderna de São Paulo www.atelieaberto.art.br/imagenstransportadas 102

cartaz Mary Gagรกรก | novembro de 2011 4

103

2011

_Novembro redes e articulação V Contato Festival Multimídia Colaborativo [São Carlos] performance audiovisual Eile | Yro [França]. Parceria entre Ateliê Aberto, Aliança Francesa - Campinas e Festival Contato Local | São Carlos [São Paulo]

2012

_Fevereiro, março e abril exposição Paisagens Modulares | Cesar Fujimoto [São Paulo] rua Beehive | Cesar Fujimoto [São Paulo] sonzeira Guilherme Brandão [São Paulo]

144

_Março e abril

144

redes e articulação residência Isabel Caccia participa de micro-programa experimental na Lapa [Rio de Janeiro]. Concepção I Marcio Harum e Ateliê Aberto Realização | Marcia Bonome e Chico Neves. Local | Residência Apartamento dos Arcos [Rio de Janeiro]

104

2012

157 174

[29]

[30]

[31]

[32]

105

2012

[33]

[35]

[34]

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_Março, Abril e Maio residência | exposição | oficina | ação/intervenção | publicação Daquilo que me Habita | Cabeça Nuvem³5 (Igor Vidor e Guilherme Teixeira) [SP], Carla Barth³6 [RS], Eduardo Srur²9 [SP], Isabel Caccia³³ [Argentina], Lia Chaia³0 [SP], Matias Monteiro³² [DF], Tom Lisboa³4 [PR], Studio Public Colective³¹ [Espanha/Bélgica] e Ivan Grilo [CPS] (identidade visual do projeto). Curadoria | Maíra Endo e Samantha Moreira Idealização, Produção executiva | Carlos Abras Produção | Henrique Lukas Produção local | Elisa Matos Assistente de Produção | Lucas Guedes Montagem | Fabio Luchiari Educativo | Ana Helena Grimaldi, Marília Panitz e Carlos Silva Realização | Ministério da Cultura e Centro Cultural Banco do Brasil Local | CCBB Brasília www.daquiloquemehabita.art.br Edital do Centro Cultural Banco do Brasil e Lei Roaunet 106

2012

144

_Abril, maio e junho residência | exposição | rua SOPRO - Trayecto Suspendido | Karina Alvarez [México] texto IN LOCO - Diálogos crítico-colaborativos | Ruli Moretti [São Paulo] Apoio da Universidade Autónoma de Baornia. sonzeira somdasá, Ricardo Lima LLK e Buia [Campinas]

_Maio cinecaverninha | conversa aberta Mostra de videoarte peruano | Rodrigo Quijano [Peru] Participação de PEITO ABERTO – experiência em crítica de arte | Ana Luisa Lima [Recife]

153

_Maio sonzeira 1 ano de seZjaZZ | Pepa D’Elia 4teto + Idriss Boudrioua comida Paris Lado B Gastronomie Idealização e produção | Ateliê Aberto e Tatiana Braga

_Maio debate Políticas Públicas na Cultura, debate com sete candidatos a vereador na cidade de Campinas. 107

Folder | Daquilo que me habita â&#x20AC;&#x201C; Identidade Visual | Ivan Grilo | outubro, novembro e dezembro de

de 2011

108

109

2012

145

[37]

_Julho Inauguração de nova área do Espaço Ateliê Aberto com entrada pela Rua Orozimbo Maia. exposição Harbour View | Pedro Hurpia³7 Noturna | Marcos Cimardi rua galeria f 2.8 [São Paulo] sonzeira Banda Casulê, JAM [Sacicrioulo e Candeia Peba] e DJ’s Riva, Bitcho e Milena Carlström. comida Cozinha experimental | Paris Lado B Gastronomie

_Agosto redes e articulação | mapeamento O Ateliê Aberto é convidado para integrar a Red de Gestiones Autónomas de Arte Contemporânea da América Latina, plataforma digital colaborativa sem fins lucrativos. www.gestionautonomadearte.net

_Agosto Participação no 41º Encontro Nacional da Indústria de Cerâmica Vermelha prestação de serviços Instalação Multimídia 20 Anos ANICER (Associação Nacional da Indústria de Cerâmica Vermelha) | Ateliê Aberto e Studio Laborg. Vídeo Cenário [show Sérgio Reis e Renato Teixeira/Festa ANICER] | Ateliê Aberto e Studio Laborg. video Vídeo Promo ANICER | Ateliê Aberto e Studio Laborg. Local | Campo Grande [Mato Grosso do Sul]

_Idealização, coordenação e gestão Henrique Lukas, Maíra Endo e Samantha Moreira [Setembro/2012–2015] 110

2012

146 [38]

153

[39]

[40]

[41]

[42]

111

2012

145 153 202

_Outubro

[43]

[44]

rua NUNCA ME LEMBRO DE ESQUECÊ-LO | Rogerio Ghomes [Paraná] exposição O espelho do avesso | Carolina Krieger4³ [SP] Curadoria | Ana Luisa Lima [PE/SP] texto O espelho do avesso | Ana Luisa Lima [Diálogos de PEITO ABERTO] oficina A Fotografia Contemporânea Brasileira | Rogerio Ghomes44 [Paraná] sonzeira DJ Barata [Campinas] lançamento de publicação Catálogos de residências artísticas | Terra UNA Parceria com a Oficina Cultural Hilda Hilst – Oficinas Culturais do Estado de São Paulo. Programação do VI Festival Hercule Florence

ação / intervenção Surfe de Lona Brasil Tour #2 | Igor Vidor e Ateliê Aberto Local | Minhocão [São Paulo/SP].

_Novembro Mostra Folhas de Viagens | Curadoria | Ana Magalhães participação como artista Projeto Quebrando Rocha | Mo’Ma AV (Guilherme Fogagnoli, Guilherme Maglio, Maíra Endo e Samantha Moreira) Local | Museu de Arte Contemporânea da Universidade de São Paulo [SP] 112

2012

_Dezembro/2012 a Janeiro/2013 exposição | participação como artista | conversa aberta | mapeamento Espaços Independentes – A Alma é o segredo do negócio | Curadoria | Ateliê 397 [espaço de gestão autônoma convidado] Local | Galeria Funarte de Artes Visuais São Paulo [SP] publicação issuu.com/atelie397/docs/espacos_independentes/ Prêmio Funarte de Arte Contemporânea 2012 – Galerias Funarte de Artes Visuais – São Paulo

2013

147 158

[45]

_Fevereiro, março e abril residência | exposição | rua | publicação | oficina | conversa aberta | lançamento de publicação Carta de Intenção – Residência artístico literária | Ana Luisa Lima, Jaime Lauriano, Leonardo Araújo, Gustavo Colombini e Maira Dietrich. O Ateliê Aberto acolhe o projeto desenvolvido pelo grupo Carta de intenção, envolvendo pesquisa, exercício e experimentação voltados a práticas que interseccionem arte e literatura. Interlocutores convidados | Julia Buenaventura45, Daniela Castro, Fabio Morais, André Sant’Anna e Jimson Vilela. publicação issuu.com/mairadietrich/docs/cartadeintencaofinalvirtual Edital ProAC | Secretaria do Estado de São Paulo | Prêmio Espaços Independentes – 2013 113

Fluxograma - Ateliê Aberto | Espaços Independentes – A Alma é o segredo do negócio | Dezembro/2012 a janeiro/2013

114

PROGRAMAÇÃO | CARTA DE INTENÇÃO 7

115

CROQUI COZINHA PORTÁTIL | DANIEL ACOSTA – COMESTÍVEL

116

2013

147 153

[46]

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[50]

[51]

117

2013

[52]

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118

2013

[59]

_Abril e maio COMESTÍVEL | Idealização e curadoria | Henrique Lukas, Maíra Endo e Samantha Moreira Producão | Ateliê Aberto residência | exposição | rua46,47,49 Antonio Silva Filho [SP] e Daniel Acosta [RS] ação/intervenção Cozinha Portátil (SAP – Systema de Alimentação Portátil)48,50,5¹,5²,5³ | Antônio Silva Filho e Daniel Acosta Local | Largo Santo Cruz e rua Major Solon - Campinas/SP. vídeo www.youtube.com/watch?v=Keu7HbdjgCw oficina Água na boca57,58 | Antônio Silva Filho ação / intervenção Sala de Jantar | Objeto de Sentir54,56 | Antônio Silva Filho Sala de Jantar | Devora-me e decifra-me59 | Paris Lado B Gastronomie e Daniel Acosta cinecaverninha Sessão Saliva | Curadoria | Ateliê Aberto [55] Via de mãos dadas, n.º2 | Tiago Rivaldo | 9'54'' | 2010 https://www.facebook.com/Comestivel Edital ProAC | Secretaria do Estado de São Paulo | Prêmio Espaços Independentes – 2013 119

Publicação

Poemas aos homens do nosso tempo – Diagramação Daniela Brilhante

"Senhoras e senhores, olhai-nos. Repensemos a tarefa de pensar o mundo" Hilda Hilst 120

Páginas Chorosas – Paulo Meira – Publicação Poemas aos homens do nosso tempo 10

121

2013

_Maio sonzeira seZjaZZ edição #20 | Pepa D’ Elia 4teto comida Paris Lado B Gastronomie Idealização e produção | Ateliê Aberto e Tatiana Braga

9 10

148 156

[60]

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_Maio, junho e julho residência | exposição | rua | performance | conversa aberta | vídeo | publicação Poemas aos homens do nosso tempo – Hilda Hilst em diálogo | Paulo Meira60 [PE], Nazareno [SP], Divino Sobral [GO], Thiago Martins de Melo [MA] e Adir Sodré6¹ [MT] Designer | Daniela Brilhante [PE]. Idealização e curadoria | Ana Luisa Lima, Henrique Lukas, Maíra Endo, Samantha Moreira e Jurandy Valença Realização e Produção | Ateliê Aberto e Instituto Hilda Hilst Local | Encontros e residência no Instituto Hilda Hilst (Casa do Sol), exposição e residência no Ateliê Aberto. https://www.facebook.com/poemaaoshomensdonossotempo http://issuu.com/atelieaberto/docs/phh_publica____o www.vimeo.com/71546330 9ª Edição Programa Rede Nacional Funarte Artes Visuais, Ministério da Cultura do Brasil 122

2013

_Junho prestação de serviço | exposição Indaiatuba Sustentável | Araquém Alcantara Produção | Syn Criativa Parceria com Secretaria de Educação e Cultura de Indaiatuba – SP. Expografia e montagem da exposição | Ateliê Aberto

155

_18 à 20 junho oficina | ação / intervenção | publicação Ocupação Temporária + Happening | Nuvem [RJ] Local | Ateliê Aberto, Centro de Convivência, Estação Ferroviária e Centro [Campinas] 9º Edição Programa Rede Nacional Funarte Artes Visuais, Ministério da Cultura do Brasil

_Setembro redes e articulação TENTATIVA E ERRO – Seminario de Gestión Autónoma de Arte Contemporáneo | Organização | Jorge Sepúlveda T. [Chile] e Ilze Petroni [Argentina] Participante | Henrique Lukas Local | Casa de Cultura Mario Quintana – Porto Alegre [Rio Grande do Sul]

_Setembro e Outubro prestação de serviços | exposição Vestígios – projeto Media Memory Collection | Kika Nicolela Montagem de exposição | Ateliê Aberto Local | Museu da Imagem e do Som de Campinas [SP] Concurso de Apoio às Artes Visuais do Estado de São Paulo e apoio LIFT – Liaison of Independent Filmmakers of Toronto. 123

CARTILHA

| NUVEM [RJ] | junho/2013

124

2013

148 152

_28 de Novembro VÍDEO Exibição do curta-metragem POEMAS AOS HOMENS DO NOSSO TEMPO | Direção, roteiro, imagens e edição | Henrique Lukas Lançamento da Revista da Biblioteca Mário de Andrade n.69: Obscena www.vimeo.com/71546330

_Novembro e Dezembro exposição banzo | me arrasa me quebra me mata | Natasha Marzliak e Giovana Mastromauro [Campinas/SP] texto Imergindo em banzo | me arrasa me quebra me mata | Marcelo Beso [Campinas/SP] sonzeira Dj Douglazz

156

Fundo de Investimento a Cultura de Campinas (FICC 2013)

125

2013

149 156

_Dezembro/2013 a Fevereiro/2014 residência | exposição | rua | performance Jardim das Torturas | Virgínia de Medeiros [Feira de Santana/BA] Curadoria | Jurandy Valença [Maceió/AL] texto Jurandy Valença [Maceió/AL] Edital Bolsa Funarte de Estímulo à Produção em Artes Visuais 2012 126

2014

_23 de Janeiro redes e articulação | conversa aberta Josué Mattos [SC]

_Janeiro a Junho redes e articulação | publicação | mapeamento Diagnósticos para Indie. Gestão – Residência para Espaços Autônomos | Jardim Canadá Centro de Arte e Tecnologia (JA.CA) + Ateliê Aberto Convocatória destinada à gestores de espaços autônomos no campo das artes visuais, com inscrições abertas para todo o Brasil. Coordenação | Francisca Capolari [MG], Joana Meniconi [MG] e Samantha Moreira residência Local | JA.CA [MG] www.jaca.center/publi/

187

10ª Edição Programa Rede Nacional Funarte Artes Visuais, Ministério da Cultura do Brasil

_15 e 16 de Fevereiro redes e articulação | publicação LABMOVEL + Ateliê Aberto oficina Fotografias Encenadas | Mario Ramiro [São Paulo/SP] e Bruno Schultze [São Paulo/SP] Coordenação | Gisela Domschke e Lucas Bambozzi [São Paulo/SP] Local | Ponto de Cultura Maluco Beleza [Campinas/ SP] Público alvo | pacientes do Centro de Atendimento Psicossocial da cidade e interessados Edital ProAC | Secretaria do Estado de São Paulo | Prêmio Espaços Independentes – 2013

_Emissão do alvará de uso do espaço do Ateliê Aberto

[Fevereiro]

127

emissĂŁo do alvarĂĄ |fevereiro/2014

128

2014

_14 de Março redes e articulação | conversa aberta Apresentação do Edital Residência Artística Red Bull Station 2014 (8ª e 9ª Edição) | Paula Borghi [SP]

_15 de Março redes e articulação | conversa aberta Visita dos participantes da 7ª Edição da Residência Artística Red Bull Station | Associação Massa Falida [SP], Beatriz Toledo [SP], Felipe Braga, Roberto Freitas [SC], Tiago Judas [SP], Tiago Santinho [SP] e a curadora Paula Borghi [SP] comida Paris Lado B Gastronomie

_Abril redes e articulação Circuitos da Desdobra | Ciclo de debate sobre a situação atual dos espaços autônomos para as artes visuais. Ateliê Aberto participa nas mesas: “Portas abertas – residências, mobilidade, relações com o entorno” (Samantha Moreira) e "Da sobrevivência : gestão, ferramentas, estratégias"6² (Maíra Endo) Local | Centro Cultural Hélio Oiticica [Rio de Janeiro/RJ] www.circuitosdadesdobra.com

[62]

10a Edição Programa Rede Nacional Funarte Artes Visuais, Ministério da Cultura do Brasil 129

2014

157

_Abril a Agosto residência Thiago Martins de Melo [MA], desenvolvimento do projeto Martírio para a 31ª Bienal de São Paulo

_10 de Julho conversa aberta Thiago Martins De Melo, Pablo Lafuente (curador da 31ª Bienal de São Paulo) e Luiza Proença (curadora associada da 31ª Bienal de São Paulo)

_Agosto e Setembro residência Keyla Sobral [Belém] redes e articulação Parceria Centro Cultural São Paulo Local | Ateliê Aberto e Instituto Hilda Hilst (Casa do Sol) [63] Nos amaremos no futuro | Keyla Sobral [Belém] – obra desenvolvida durante residência

157

Edital 2013–2014 de Artes Visuais do Centro Cultural São Paulo [63]

130

2014

_Julho e Agosto residência | ação / intervenção | conversa aberta | oficina DRENAR: Residência – Ação – Ocupação – Intervenção | Ateliê Aberto + JA.CA (MG) Programa de Estudos Sobre Arte Contemporânea promovido pela Oficina Cultural Hilda Hilst Realização | Oficinas Culturais do Estado de São Paulo. sonzeira BIKE FOGUETE (Lucas Silveira, Philippe Dias, Gabriel Sto. e Felipe Steinberg) [Campinas/SP]

157

_Agosto a Outubro residência | performance eu sou um sinal | Luísa Nóbrega [São Paulo] (Performance/ instalação do projeto Me escuta depois de eu morrer) redes e articulação Parceria Centro Cultural São Paulo Local | Ateliê Aberto e Instituto Hilda Hilst (Casa do Sol) Edital 2013–2014 de Artes Visuais do Centro Cultural São Paulo 131

2014

_Março/2014 a Março/2015 Código Aberto | Idealização e realização | Ateliê Aberto Curadoria | Henrique Lukas, Maíra Endo e Samantha Moreira Programação visual | Pedro Hurpia e Elisa Carareto Alves (artistas convidados) Patrocínio | Petrobras e Governo Federal do Brasil www.facebook.com/abrindocodigos publicação issuu.com/atelieaberto/docs/abrindocodigos

149 154 179

[64]

[65]

_Março, Abril e Maio/2014 Código Aberto: Módulo I – Cidade | residência | exposição | ação / intervenção SHN64,65 [Americana/SP] – coletivo convidado oficina aberta Serigrafia | SHN Mapping | Vj Ortega cinecaverninha | conversa aberta Cidade | Curadoria | Alejandro Haiek [Venezuela] e Francisca Caporali [MG] conversa aberta The Public Machinery | Alejandro Haiek [Venezuela] sonzeira SHN [Americana/SP] vídeo www.atelieaberto.art.br/cidade/ 132

2014 150 154

[66]

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[68]

_Julho, Agosto e Setembro de 2014 Código Aberto: Módulo II – Corpo residência | exposição | ação / intervenção De matéria mestiça | Rodrigo Braga66,68 [AM] – artista convidado oficina O corpo como atitude e a imagem técnica | Rodrigo Braga67 [AM] cinecaverninha | conversa aberta Extensão Curadoria | André Severo [RS] sonzeira DJ Barata [Campinas] vídeo www.atelieaberto.art.br/corpo/ 133

2014 150 154

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_Outubro, Novembro, Dezembro de 2014 Código Aberto: Módulo III – Tecnologia residência | exposição | ação / intervenção A palavra, o homem, o mundo | Flávia Regaldo e Aruan Mattos69,7¹ [MG] – dupla convidada oficina Máquinas Inúteis – Imaginários e Fabulações | Flávia Regaldo e Aruan Mattos [MG] cinecaverninha | conversa aberta Horàrio polìtico (obrigatòrio) – Programa I e II Curadoria | Marcio Harum70 [SP] sonzeira Jovem Palerosi [SP] vídeo www.atelieaberto.art.br/tecnologia/

134

2015 151 154

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_Janeiro, Fevereiro e Março de 2015 Código Aberto : Módulo IV – Imaginário residência | exposição | ação / intervenção ALDEIA | Carla Barth7³ [RS] – artista convidada oficina Processos Criativos: Desenhos Dimensionais | Carla Barth7²,75 [RS] cinecaverninha | conversa aberta Vaguear, transitar, caminhar, errar… Curadoria | Cauê Alves74 [SP] sonzeira DJ Paulão [SP] vídeo www.atelieaberto.art.br/imaginario 135

2015

151 235

136

2015

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_Fevereiro/2015 a Fevereiro/2016 residência | exposição | conversa aberta | publicação METADADOS | com Henrique Lukas, Maíra Endo, Samantha Moreira e Ruli Moretti [76] Barraca dos segredos | Jorge Menna Barreto Edital ProAC Espaços Independentes – Artes Visuais 2014

_Junho redes e articulação | debate O Artista gestor e a potência independente | Thais Rivitti (Ateliê397, São Paulo/SP), Camila Fialho (Associação Fotoativa, Belém/PA), Benjamin Seroussi (Casa do Povo São Paulo/SP), Renan Araujo (Bordel Ribeirão Preto/SP), Ricardo Basbaum (Rio de Janeiro) e Samantha Moreira (Ateliê Aberto, Campinas/SP), Sally Mizrachi (Lugar a dudas, Colômbia), Giuseppe Bernardi (Tupac, Peru), e Jorge Sepúlveda (Curatoría Forense, Chile). Realização | Ateliê397 e Curatoría Forense Edital ProAC Espaços Independentes – Artes Visuais 2014 137

183 191

2010

2015

_RUA [ruídos urbanos amplificados]* Rua Major Solon, 911, Cambuí ‑ Campinas São Paulo / Brasil CEP: 13024-091 *RUA [ruídos urbanos amplificados] foi um projeto de intervenção na fachada da Casa#3 com artistas convidados que se modificava periodicamente. *RUA [an acronym for 'amplified urban noises' which also means 'street' in Portuguese] was an intervention project at the facade of House#3 made by a group of invited artists that would periodically change. _Lia Chaia _Ana Almeida _Lazoo + Bong + Shock _Gustavo Torrezan e Luciana Camuzzo _André Amaral _Marcelo Moscheta _Fernanda Lazzarini _Cesar Fujimoto _Karina Alvarez _Galeria f 2.8 _Marilá Dardot _Rogerio Ghomes _Carta de Intenção (Ana Luisa Lima, Jaime Lauriano, Leonardo Araújo, Gustavo Colombini e Maíra Dietrich) _Antonio Silva Filho e Daniel Acosta _Paulo Meira _Andrea Brandão _Virginia de Medeiros _SHN _Rodrigo Braga _Aruan Mattos e Flavia Regaldo _Carla Barth _Reginaldo Pereira

138

Rua [Street] Major Solon

3,50 m

1,18 m

3,69 m

0,15 m

_Casa #3 | Fachada / Facade

3,69 m

1,70 m

2,95 m

5,80 m

2010 84

_Lia Chaia [S達o Paulo]

_Ana Almeida [Campinas] 140

2010 90

_Lazoo [França] + Bong [São Paulo] + Shock [São Paulo]

2010 91

_Gustavo Torrezan e Luciana Camuzzo [Campinas e Piracicaba] 141

2011 92

_AndrĂŠ Amaral [Rio de Janeiro]

100

_Fernanda Lazzarini [Campinas] 142

2011 97

_Marcelo Moscheta [Campinas] 143

2012 104

_Cesar Fujimoto [São Paulo]

107

_Karina Alvarez [México] 144

2012 110

_Galeria f 2.8 [S達o Paulo]

112

_Rogerio Ghomes [Ponta Grossa] 145

2012 111

_Marilรก Dardot [Belo Horizonte] 146

2013 113

_Carta de Intenção (Ana Luisa Lima, Jaime Lauriano, Leonardo Araújo, Gustavo Colombini e Maíra Dietrich) [São Paulo] 117

_Antonio Silva Filho [São Paulo] e Daniel Acosta [Rio Grande] 147

2013 122

_Paulo Meira [Arcoverde]

125

_Andrea Brand達o [Portugal] 148

2013 126

_Virginia de Medeiros [Feira de Santana], (grafite: Mirs Monstrengo)

2014 132

_SHN [Americana] 149

2014 133

_Rodrigo Braga [Manaus]

134

_Aruan Mattos e Flavia Regaldo [Belo Horizonte] 150

2015 135

_Carla Barth [Porto Alegre]

136

_Reginaldo Pereira [S達o Paulo] 151

2010

2015

_CineCaverninha* Vídeos [Videos] Rua Major Solon, 911, Cambuí ‑ Campinas São Paulo / Brasil CEP: 13024-091 *CineCaverninha foi um projeto de exibição de vídeos e conversa aberta no porão da Casa#3 com curadores convidados. *CineCaverinha [LittleCaveCinema] was a project of videoexhibition and talks in the basement of House#3 with invited curators.

152

2010 90

_Lançamento CineCaverninha cisco 7 anos | Curadoria: Laboratório Cisco 3x4 Cauê Nunes Meu avô e eu Cauê Nunes Tiro pela culatra Laboratório Cisco Os bem intencionados Laboratório Cisco Só não tem quem não quer Hidalgo Romero 2012

111

_Projeto AVer | Mostra audiovisual devir: mostra de vídeo-arte | Curadoria: Natasha Marzliak [ paisagem ] [ pensamento ] Paula Almozara plein vent Paula Almozara FLX | R Paula Almozara Desenho Corpo Lia Chaia Carlos Nader Carlos Nader Gio-gio e Jaq-lô ca em: Uma aurora sexual Natasha Marzliak Eu não posso imaginar Lucas Bambozzi imagética: mostra experimental de vídeo

| Curadoria: Henrique Lukas

Muro Tião Coagulate Mihai Grecu Centipede sun Mihai Grecu What do you think of me? Kika Nicolela Multicorridos Isabel Caccia Multifilamentos en amarillo Isabel Caccia Cancan recorrido Isabel Caccia Trópico de Capricórnio Kika Nicolela Do outro lado do rio Lucas Bambozzi Pan-Cinema Permanente Carlos Nader princesa d’ oeste: mostra regional de curtas-metragens | Curadoria: Mariana Atauri Maurer Carlito Maia Carlos Lopes Por uma segunda chance Roberto Giglio Desconhecido André La Salvia, Gustavo D’Agostino e Camila Toto Alentecer Santo Veiga

E Agora, Elena? Videobase Filmes Todos nós somos um Elaine de Queiroz Simplesmente Hilda Ricardo Picchi Voltei para buscar os bolinhos Alessandra Brum e Sérgio Puccini Outra cidade Coraci Ruiz Argentino Diego da Costa Escola de Bambu Vinicius Zanotti Brincando de gente grande Célia Harumi e Alessandra Brum Eles não vão a Daslu Vinícius Zanotti Business as usual Edilson Silva e Ruth Almeida Onde moram os anjos Otavio Paranhos Implacá vel Pedro Struchi ESPETA-CU-LAR Carlos Rafael Gonçales Marcha da liberdade Fabio Burnier Uma foto Mateus Loner Ferida - animação Tatiana Ribeiro Nogueira Henrique de Oliveira Jr memórias em um celuloide Marcos Craveiro 32 pequenas coisas brancas Flávia Recabarren Spectaculum Juliano Luccas Human João Solimeo Tiro pela culatra Laboratório Cisco Ela, Vanessa Marcos Zuin 3x4 Cauê Nunes 107

mostra de vídeos contemporâneos de artistas peruanos | Curadoria: Rodrigo Quijano 2013 _Projeto Comestível

117

sessão saliva | Curadoria: Ateliê Aberto (Henrique Lukas, Maíra Endo e Samantha Moreira) Negativo Rodrigo Braga Eu Ser Vida Ana Montenegro Vitamina de Santo Grupo Indigestão Ensopado de Barbie Grupo Indigestão Café de Mandinga Grupo Indigestão Via de mãos dadas, n.º2 Tiago Rivaldo Comendo paisagens Lia Chaia

153

2014 - 2015 _Projeto Código Aberto 132

cidade | Curadoria: Alejandro Haiek e Francisca Caporali Um lugar ao sol Gabriel Mascaro Como pular a cerca thislandyourland* Danger keep Out Ricardo Mehedff e Francisca Caporali Newtown Creek Laura Chipley Circunvalación Pilar Ortiz

133

extensão | Curadoria: André Severo

134

horàrio polìtico (obrigatòrio) programa i e ii | Curadoria: Marcio Harum Campanha PPUB 2015 Leandro Nerefuh She has a Beard Rita Moreira Varela no Congresso Ernesto Varela, o repórter - Olhar Eletrônico - Marcelo Tas e Fernando Meirelles Operação: Camuflagem Léo Ayres Glauber Rocha entrevista Brizola Programa Abertura da TV Tupi BRAZIL 2014, what do you know about? Rita Moreira Revolução instituição (segundo esboço) Roberto Winter Lucharemos hasta anular la ley Sebastian Diaz Morales COWS/VACAS Gabriela Golder Maranhão 66 Glauber Rocha Casa Blancam León Ferrari e Ricardo Pons

135

vaguear, transitar, caminhar, errar… | Curadoria: Cauê Alves Pra te conhecer - edição Piracicaba Jaime Lauriano Ação niilista em busca da utopia Felipe Cidade Falante Floriano Romano Chinelos Grátis Raphael Escobar Pé Vermei Paulo Nazareth Redflag [caminhando] Fabio Tremonte Through woods and lines Carla Chaim Geometria acidental Nicolás Robbio e Ricardo Carioba

154

1997

2016

_MURAL

[Photo display]*

Fotografias [Photographs] *O Mural apresenta Ateliê Aberto, uma Ele faz referência das Casas #1 e #2,

um recorte do registro fotográfico do pequena parte da nossa memória afetiva. ao painel de fotos que existia nas cozinhas uma rede social offline.

*Photo display presents a section of Ateliê Aberto's photographic records, a small part of our affective memory. It makes reference to the photo display that used to exist in the kitchens of the two first houses Ateliê Aberto used to operate, House#1 and #2. It is an offline social network.

155

_Bibliografia [Bibliography]

ITAÚ CULTURAL (org.). Rumos - Artes Visuais 2005/ 2006. Ed. Itaú Cultural. São Paulo/SP. 2005. ABERTO, Ateliê (org.). 79>09. 30 anos > artes visuais > campinas > ribeirão preto. Campinas/SP. 2009. RIVITTI, T.; (org). Espaços Independentes. São Paulo/SP. Ateliê 397. 2010 MAM/SP (org.). 32º Panorama da arte brasileira. MAM/SP. São Paulo/SP. 2012. SESC (org.). Instante. Experiência/Acontecimento. Ed. Sesc. São Paulo/SP. 2012. ABERTO, Ateliê (org.). Daquilo que me habita. Brasília/DF. Campinas/SP. 2012. FUNARTE (org). Rede Nacional Funarte de Artes Visuais ( 9. : 2012) / Izabel Costa (Coord.). Rio de Janeiro/RJ. 2012. LIMA, A.L; COLOMBINI G.; LAURIANO, J.; ARAUJO, L.; DIETRICH, M. (org). Carta de intenção. São Paulo. 2012. ABERTO, Ateliê (org.). Poemas aos homens do nosso tempos. Campinas/SP. 2013. AMARAL, A.; SANTOS,I.; QUEIROZ, B.; EUSÉBIO, C.; GOURLART, F.; QUITO (org.). Nuvem. Rio de Janeiro/ RJ. 2013. NUNES, K.; Espaços autônomos de arte contemporânea. Ed. Circuito. Rio de Janeiro/RJ.2013. MAUS,L. (org); WAQUIL, I. (entrevistas). A palavra está com elas: diálogos sobre a inserção da mulher nas artes visuais. Ed. Panorama Critico. Porto Alegre/RS. 2014. TOLEDO, D. (org). Indie.gestão: práticas para artistas/gestores ou como assobiar e chupar cana ao mesmo tempo. Belo Horizonte: JA.CA. 2014. DOMSCHKE, G.; BAMBOZZI, L.; PAVAM, M. (org.). Labmovel 2012-2014. Edições Diphusa. São Paulo/SP. 2014. PETRONI, I.; SEPÚLVEDA T.J. (org). Directorio de Gestiones Autónomas de Arte Contemporâneo – Latinoamérica. Córdoba: Curatoria Florense. 2014. GRIMALDI, A.H.; TEIXEIRA, A.; BARRETO, J.M.; MATTOS, J.; MOREIRA, S.; SESC (org.). Caixa matéria - Ateliê Aberto para a Invenção do Inexistente: uma experiência artistico-pedagógicocuratorial – FRESTAS – Trienal de Artes SESC Sorocaba. São Paulo.2014. ABERTO, Ateliê (org.). Código Aberto. Campinas/SP. 2015. ABERTO, Ateliê (org.). METADADOS. Campinas/SP. 2016. 167

sobre conex천es e fronteiras digitais [about connections and digital borders] Mateus Menegatti Vicentini, 2015 168

169

a house, a place for events and a studio.

TRANSLATION

The property was divided into two parts: a warehouse that used to be a garage and the house behind it, on the first level above the ground, with a staircase to the side

M E TA DATA

entrance. We rented the house. A small gate led to a long hallway with high walls

[english version]

where temporary interventions and parties used to happen. We painted the windows turquoise and the walls of the house with a mixture of paints and pigments

data

resulting in a carmine red color as fresh as latina houses and Italian facades.

meta

one. In this case, both were extremely curious to understand how the space

writings, encounters and other notes

worked. They showed deep empathy when we explained how we structured our work, our activities and initial doubts. One of

Torreão [2]

Torreão's projects was to invite artists to

Jaílton Moreira

occupy the specific space of a small tower

[2] Torreão is an art space that

we had. At that time Lia Menna Barreto

operated between 1994 and 2009

was occupying it with her new work 'Kit

in Porto Alegre and is one of

afetivo' [Affection Kit]. The intervention

the main references in terms of

consisted of a few plants, a fishbowl with

independent

fish and a birdcage with parrakeets which

Samantha

spaces

and

Moreira's

was

particular

reference at the time of Ateliê Aberto's

inauguration.

invited Jaílton Moreira, one of the

creators

and

coordinators

of this space, along with Elida Tessler, to participate of the book

with

this

new

text,

narrative about a period previous to

Ateliê

Aberto's

birth.

Torreão, a space dedicated to contemporary art education and dialogue in Porto Alegre, created by Elida Tessler and me, had already been operating for three years in 1997, when the first Mercosul Biennial was taking place in Porto Alegre, what brought an influx of visitors to the city. Although we were not connected to the event, we also received visitors from all over the country. A special visit made a great impression on us, an afternoon when Samantha Moreira and Bráulio Flores dropped by. The pair had come to see and film the Mercosul Biennial. We usually showed Torreão around to visitors and the conversations would be deepened or

176

demanded special attention and daily care. Some time after that I learned that Samantha had created Ateliê Aberto in Campinas. From what I understood, it had a few characteristics in common with Torreão. It was a time when other independent spaces appeared in Brazil, such as Alpendre in Fortaleza and Agora/ Capacete in Rio de Janeiro. The term 'collective' was not yet used in the art circuit then and, in our case, it was never used. During all this time we admired the work developed by Ateliê Aberto, its program and coherence, from a distance. Although we have never done anything together we knew there was affinity between our spaces. When a friend of mine would visit Campinas, I would always wait for news from Ateliê Aberto and Samantha's work. We met a few times in São Paulo in some exhibitions, and these encounters were usually very quick, but very affectionate. In 2002 when we started a project that consisted of a series of propositions for Torreão's students to create works for different landscapes and situations

spontaneously used by all. I remembered,

When ten days become 500 nights, eighteen years are infinite [3]

of course, of the homonymous space in

Lilian Maus

the name Ateliê Aberto began to be

Campinas and I was not sure if we should rename our project or not. I decided to keep the identical name because it would be a kind of dialogue, an echo of symmetrical practices that should stand out. We have had 13 editions of our Atelier Aberto until this moment. We have traveled to the pampas, mountains, beaches and deserts. The peculiar conditions each place offered suggested unusual practices, deep dialogues with students in the midst of standoffs in creative process. Torreão has ended its activities in 2009 but many of the projects that started there are still happening: art history classes, project tutoring, and work and study trips. One of Torreão's focus in terms of experiences and discussions revolves around the relations between art and place. The series of 89 artistic interventions at the same tower space emphasized this interest. With the loss of the building with such special characteristics that inspired this approach, the experiences of Torreão were reorganized in different ways. It was then clear to us that our interest was not only about the relations between art, architecture and places. The real place that Torreão had created was the place of meeting and that does not require a specific architecture. It only demands availability for improvising conversations and a taste for research. This is how we meet Samantha Moreira and the persistent Ateliê Aberto again – with the desire for dialogues that may cross paths and may project imponderable futures. August 2015

[3] In reference to the project 'Cinco dias e quinhentas noites' [Five days and 500 nights], Lilian Maus, artist and coordinator of Atelier Alegre 2006

Subterrânea (which

and

following created

operated

2015), this

Porto between

brings

narrative

for

the

specially

book.

Lilian

became a partner of Ateliê Aberto after 30 days of life shared with Maíra Endo and Samantha Moreira in the residency for art managers Residência de Gestores da América Latina – Capacete/FUNARTE in 2011.

The present book acts as a mnemonic, that is, a group of techniques that help our memorization process. It is an open archive, as Ateliê Aberto has always been, a kind of cloud or gaseous zone that provides us with a breathing pause and allows free associations and the development of our sensitivity. All participants, including the reader, should sew facts and affections together, but always according to their own logic. Here, there is no mistake, as long as we are able to maintain the discoverer and passionate spirit that Henrique Lukas, Maíra Endo and Samantha Moreira have nurtured along all the years of Ateliê Aberto's journey. What are 6,750 days and nights crossed by intense rigor and fantasy? After eighteen years, time begins to take shape and becomes a body of its own. If I were to draw Ateliê Aberto, I would sketch a house

177

similar to the House of Asterion from Jorge Luis Borges' short story, whose doors are infinite in number, open day and night, where anyone who wishes may enter and never the curious have found them closed.

About art, technology and an atelier always open (or: how I ended up here) [4] Melina Marson

Ateliê has always seemed to me like a kind

[4] Melina Marson is a regular

of Labyrinth of Crete, where idiosyncrasies

visitor of Ateliê Aberto (Casa

meet in narrow hallways that, in turn,

#2 and Casa #3) since her first

replicate themselves until they gain the

graduation in Bauru when she came

size of the world. Here a place can always

back to live in Campinas. She was

be somewhere else. We play, as in Plato's

Henrique Lukas' (Ateliê Aberto's

allegory, with the shadows inside the cave

coordinador)

and, by a touch of magic, certain basements

Federal University of São Carlos

or little caves turn into cinema. In this

and a partner of Ateliê Aberto,

house we also see beds multiplying as

specially during 2011 when she was

nests in the trees and, sometimes, garages

a member of the programming team

assume the form of a stage. At the snap of

of Sesc Campinas cultura center.

teacher

the

a finger canvas turns into waves only for the pleasure of surfing where the sea could not, out of our own free will and accord, arrive. Around this corridors, time does not obey the hands of the watch. It is stubborn! Ten days become 500 nights. And in the blink of an eye all these nights condensate as drops of dew late at night. This is how 500 nights become a sole mark on the calendar: November 4th 2011. I remember as if it were yesterday a strangely familiar encounter in which the whole universe turned around a luminous and colorful stage, built by many hands, including mine, piling up pallets and reused materials from industrial discharge, as an ode to the anthropophagy orchestrated by the artists Olga Robayo, Mauricio Marcin, Fabiana Faleiros, Rafael RG and Mary Gagá. A night that still remains vivid in the labyrinths of memory.

In the imagery of 19th and 20th centuries, specially in science fiction works, the future was usually seen in the midst of a technologic fetish, as if everything were permeated by high tech. However, in the beginning of the first decade of the awaited 21st century, we did not arrive in Jupiter nor autonomous artificial intelligence was available, as masterfully presented in the Stanley Kubrick film '2001: A Space Odissey'. Yet, undeniably, we are from a period in which technological evolution happened in stratospheric speed, only to continue with spatial metaphors... At this time, I went back to live in Campinas after a few years in Bauru, where I went to university. It was a very enriching cultural moment in the city that pulsated with the street of samba, Studio Nômade's performances, Centro Cultural Evolução with its black music parties and groups of samba, Cine Paradiso at Barão Velha Gallery, the super

178

8 film festival, Estação Cultura and the

expanded cinema and heated discussions,

nightclubs Kraft and Clube Informal.

promoting new artists, new projects and

After graduating in Social Science

great partnerships. Always eclectic and

and Communication, I did not know for

open to everyone, Ateliê Aberto has been

sure what I would do next, what I would

a bonding space with a festive flair.

work with... Video fascinated me, cinema

I attended many events promoted

seduced me, as well as issues such

by Ateliê during these years and its

as public cultural policies and artistic

particular festive aspect of an atelier that

production. Everything was very open,

was always open brought me closer to

wide and full of possibilities and, maybe,

visual arts, when I understood that this

the only certainty I had was that I would

was the 'place' I was looking for as a

work with art – I just didn't know how yet.

space to work, related to reflexion and

At the same time in Campinas, on Santos Dumont st. in Cambuí, there was Ateliê Aberto, on the second floor. An

fruition was located within contemporary art, in the field of art and technology. In the following decade, Ateliê Aberto

exhibition space that was festive, dedicated

and I organized the exhibition 'Instante:

to creation and fruition, to encounter and

experiência e acontecimento em arte

thinking, for admiration and estrangement.

e tecnologia' [Instant: experience and

As my education had been in audiovisual

happening in art and technology]. A

arts and my practical experience had

ambitious project that associated

been in production, I believe that one of

Deleuze's concepts to contemporary art

my first encounters with contemporary

establishing a historic path in Brazilian

art happened in Ateliê Aberto.

artistic production. The curatorial framework

As in most inland Brazilian towns, Campinas has few spaces dedicated to visual arts – and even less of them are dedicated to contemporary art. The presence of Ateliê Aberto in Campinas is extremely important to form a public, to circulate and democratize the access to contemporary art; it also works as a space where exchanges, discussion and thougth are produced, besides being a exhibition space for local artists. During the decade of 2000, Ateliê Aberto was probably the main space for performance, video-art, experimentation, happenings, interventions in public space, political art, urban art, parties, music,

privileged works conceived by processes of use, appropriation, deconstruction and reconstruction of the most diverse technologies and, through these processes, it ended up rethinking, questioning and expanding the field of art itself in Brazil. When we conceived the exhibition 'Instante', we thought it was important to mention and emphasize the field of art and technology in the title, specially as a form to consolidate and bring recognition to it. In the decade of 2000, several cultural institutions (such as Sesc and Itaú Cultural, for instance) developed projects within this art and technology framework (or video art, computer art,

179

electronic art, media art, digital art, etc.) Today, as one of the coordinators of Sesc

and September 2012. Since then, Lucas has become a partner, a

São Paulo's art and technology program,

friend

I find myself immersed in questionings

of the space, always dressed up

about the meaning of thinking art and

and looking beautiful in drag,

technology as a separate field, and I see

full of charm and friendliness.

how this distinction occurred in a very specific historical moment – and yes,

regular

Sure.

nowadays does not make sense anymore.

Ok. Is it good?

trajectory, that crosses Campinas and its

Come here and check.

art field, I understand the importance of

And we fucked.

a space such as Ateliê Aberto in the city. And if I am here today, thinking about the relations of art and technology, I owe much to its festive nights on Santos Dumont st. At this point, I return to the beginning of this (yes, sentimental) narrative and to the genius of Kubrick: in one of the most emblematic scenes of cinema, in the beginning of the film '2001', a species of ancestral man discovers that he can use a bone as a tool and a weapon – and there is when humankind begins. From mastering technology (the tool), humankind's relationship with art also begins. Thinking about art and technology means thinking about art. Period.

visitor

Can I take your picture?

at the time it was a political issue that Revisiting my personal and professional

and

It was Thursday, Friday, maybe Monday, but it was after 11pm and the artist alone contemplated his own work in the basement of the atelier. Although he was satisfied, he didn't want to hear any more compliments from unknown people in order to please him in his exhibition opening. In the beginning it's nice, he told me, but it's tiring. People are not really interested. They say congratulations. Congratulations on what? I take another picture. And another one. And suddenly we are stuck to each other, each glued to the other's body. The kiss, the photo, the time. I need to come back to work and he must come back to embraces. We pulled up our pants and climbed

A portrait of the artist when he fucks [5]

up the stairs that would take us to that

Lucas Guedes

A man greets him and he remembers he

[5] Our memory is made of stories and Lucas Guedes (writer, producer and artist) was responsible for many of them when he worked at Ateliê Aberto between June 2011

small hall where people drunkly smiled. needs to wash his hands. He laughs. At the door, in front of us, a sign draws his attention: Everything is allowed. He laughs. Meet me at the hotel in half an our? I cannot think of anything but time. Half an hour means nothing and suddenly it

180

becomes everything. Then I think of chance, of the beauty of encounters and of that newspaper article from the day before. When we are in front of something that charms us, said the article, we increase the production of dopamine, a chemical substance located in the orbitofrontal cortex of the brain, leading to extreme sensations of pleasure when activated. This phenomenon is common when we fall in love, taste a delicious dish, use drugs or when we observe a work of art. I start paying attention to the public, the works, the artist and to that independent space that had nothing to do with its surroundings, that were snob and arrogant. There I could find a taste for freedom I had never tried in any other workspace. And I am not talking about the specific sex in the basement situation. I inhabited that place and I didn't care if my function was to organize the library, make hotel reservations,

He is outside, where he is no longer at the spotlight. We go on together talking about how special AteliĂŞ is. We talk about how drugs operate in the body, the craziness of love, about the dopamine activated in the brain after that flashless photo he asked me if it had turned out any good. I thought of the image, that was beautiful, strange and difficult to decipher. An almost dark blur with a light beam illuminating that which I imagined being the face of the artist but, in truth, no one was there. What I saw was half light, half absence, as if that moment, in fact, had never been actually lived. I thought about time, of work, of AteliĂŞ and everything was already past. To me, then, there was nothing left besides leaving and waiting for the next days, the next hours, the next photos, with the certainty that there will always be another night. And in it, an artist alone contemplating his own work.

write a text or sell beer at the bar during party nights. The serious commitment to

I love the etc-artists [6]

art was manifested, an enormous respect

Ricardo Basbaum

for the people involved in the projects, but there also existed the possibility of each person being what they really wanted to be. There was affection and I was happy. I still remember very well the day I ended up there almost unintentionally. I remember the first exhibition, the following day when I showed up asking for a job, all the projects I was part of, every artist that had been there, all binges, sleepless nights, Mondays with jazz, love disappointments, and each characteristic of my working partners. I could cite specific names, trips and incredible events, but the artist awaits me in half an our in the hotel.

[6]

love

etc-artists'

was

originally published in English (available

http://www.e-

flux.com/projects/next_doc/ ricardo_basbaum.html) of

the

project

part

'The

Documenta should be curated by an artist', later published as a book (Frankfurt, Revolver Books, 2004).

The

Portuguese

version

is part of the book 'Manual do artista-etc' (BASBAUM, Ricardo / Rio de Janeiro: Beco do Azougue, 2013)

and

was

republished

181

this book for presenting aspects and references that have always permeated

Ateliê

Aberto's

practices. Basbaum is an artist, writer,

critic,

curator

(artist-etc),

creates

and

professor

and

coordinates,

along

with other artists, the independent initiative Organismos

Agora

–

Agência

Artísticos

[Agency

for Artistic Organisms] in Rio de Janeiro between 1999 and 2003.

I love etc-artists. Perhaps because I consider myself one of them. Etc-artists don’t fit easily into categories and are not so easily packaged for traveling around the world, due most of the times to several compromises that reveal not simply a busy agenda, but strong links to local art circuits they are immersed in. I see the ‘etc-artist’ as a further development of the ‘multimidia-artist’ that emerged in the mid 1970s, mixing the fluxus ‘intermedia-

WARNING:

artist’ with the ‘conceptual-artist’ – today,

Be aware of this vocabulary distinction:

most of the (interesting…) artists could be

(1) when a curator is a full-time-curator we call her/him a ‘curator-curator’;

considered as ‘multimidia-artists’, but for ‘speech’ reasons they are referred to only

when the curator questions the nature and function of her/his role we should write ‘etc-curator’ (so we can imagine several categories: writercurator, director-curator, artist-curator, producer-curator, agent-curator, engineer-curator, doctor-curator, etc); (2) when an artist is a full-time-artist we call her/him an ‘artist-artist’;

as ‘artists’ by the specialized literature and

when the artist questions the nature and function of her/his role we should write ‘etc-artist’ (so we can imagine several categories: curator-artist, writer-artist, activistartist, producer-artist, agent-artist, theoretician-artist, therapist-artist, teacher-artist, chemist-artist, etc);

dominant one (with the obvious help of a

The above assumption presupposes that the ‘curator-curator’ (or even an ‘artist-curator’) works differently than a ‘curator-artist’. It is around this point that I’d like to comment the proposed statement: ‘The next Documenta should be curated by an artist’. *****

media. The word ‘artist’ is a multilayermeaning word (the same with ‘art’ and related words such as ‘painting’, ‘drawing, ‘object’), that is it has several meanings at the same time though one writes it always the same way. Its multiple meaning is invariably reduced to just a strong and majority of conformist readers). Therefore, vocabulary differentiation needs to be made. The ‘etc-artist’ even brings to the forefront connections between art and life (Kaprow’s ‘un-artist’), art and communities, opening a pathway for the curious and rich mixture of casual and singular circunstances, cultural and social differences, and thought. If next Documenta is to be curated by an artist, we should expect to find an etc-artist working as a curator-artist. When artists curate they cannot avoid to mix their artistic investigation with the proposed curatorial project: for me, this

182

is their strenght and singularity when

compromise towards it. As a final proposal,

engaged in curatorship. The event can have

the Documenta should leave the city of

a chance to make itself clearly embedded

Kassel and begin a world tour, spending

in a network of proximate knotes/nodes,

six months in certain cities within the five

enhancing the circulation of ‘sensorial’

continents, being coordinated by a team

and ‘affective’ energy – a flow which the

of local etc-artists. When it finally resumes

field of art has managed to comprehend

again to its original place (should it come

in terms of its economy and circulation.

back to such a place called ‘origin’?) there

If a curator-artist should plan/direct/ curate the so called ‘major contemporary art event in the western artworld’, s/he has to include, beyond the various types of artists (with strong sympathy for etc-

would be enough material for a series of film documentaries about what is the role to be played by contemporary art in the today’s changing globe. To be appreciated safely at home in TV by every family in the world.

artists), contemporary thinkers from

I do love etc-artists.

different disciplines (to art critics: “either

Maybe because I consider myself one

you are a sensorial-thinker or you don’t

of them, and it’s not fair to hate myself.

exist”) – a whole set of non-artists such as people working in any field of research or occupation anywhere in the world. This people would not be producing art at all, but involved with the artists/artworks in a permanent forum/fair for real-time thinking (for more than 100 days), jointly producing sensorial provocative acts (SPACTs). Digital support is a fundamental requirement here. With such a dynamics, who would care about the ‘public’? The event would not be

[published at http://www.e-flux.com/ as part of the project ‘The next Documenta should be curated by an artist’, curated by Jens Hoffmann, July 2003] [printed at the book The Next Documenta Should be Curated by an Artist, Ed. Jens Hoffmann, Frankfurt, Revolver Books, 2004] ___________________ Ricardo Basbaum (São Paulo, 1961), artist and writer based in Rio de Janeiro, Brazil.

opened for the public, choosing instead to dedicate itself to ‘internal consumption’ – this self-enclosure should be understood as a recognition of the failure of the ‘public sphere’ and its transition into a new kind

Places to Teach and Learn – The Experiences Which Inhabit Me [7] Ana Helena Grimaldi

of pos-public arena (collective-multitude-

[7]

community-friendship diagram), gesture to

orientation group for artists in

be assumed as necessary provocation with

Ateliê Aberto, Ana Helena Grimaldi

the aim of seeking new forms of relating

– artist, teacher and specialist

to the audience. We want the visitors that

do come in to be subjects of a changing

– began to act as a partner of

process during (and after) the event, and

the space in several different

develop some sort of responsibility and

projects, such as 'Daquilo que me

After

art

and

integrating

education

the

projects

183

habita' [Of that which inhabits me] in 2012 at Centro Cultural

and enhancing the experience of visitors. The educational program's work

Banco do Brasil (CCBB) Brasília.

started with a research on the works and

Ana

participants' careers. During a week of

Helena

has

always

been

present in the activities offered

intense coexistence and proximity to the

by Ateliê Aberto, participating

place and professionals that were part of

about

the exhibition, I have interviewed artists

formal and non-formal education.

and from that a close contact with their

internal

discussions

creative processes was created through I have inhabited different places where

conversations about their poetics, ideas

art and education were both problematized

and questionings. These conversations

and experienced. I refer to formal education,

critically expanded towards education

which happens in school with previously

in museums and cultural institutions,

structured contents; and also to non-formal

reflecting how the artists evaluated

education that, according to Maria da Glória

processes of educational propositions

Gohn, 'is that which you learn in the universe

triggered by their work and research.

of life, through processes of sharing

I think this kind of approximation,

experiences, specially in collective spaces

that is so enriching, was potentialized

and daily actions'. (GOHN, 2006 p.27)

by specific characteristics, inherent to

I borrow the verb inhabit from the

independent and intentional art spaces.

name given to the exhibition 'Daquilo

These smaller projects, – but not less

que me habita', which took place in

relevant or important – compared to

CCBB Brasília in 2011, undertaken by

those of large institutions, tend to be more

Ateliê Aberto Contemporary Productions

'embraceable', welcoming, and tend to

to which I was invited to work in the

allow a more authentic exchange between

coordination of educational action.

participants, and theirs with the public.

Before that, my experience inhabited

Through the educational material –

schools, open courses, museums and

composed of educational practices at

cultural institutions (as teacher-partner

the exhibition and artists' workshops at

through visits and activities with students).

Universidade de Brasilia –, new questions

This action in CCBB Brasília was a

were asked, in an attempt to approximate

challenging and enchanting experience,

visitors to the exhibition's poetic universe.

with feelings that inhabit me to the present

In this experience with independent

day. The educational action was seen as a

spaces, I have experimented an affective

key aspect by Ateliê Aberto's curatorship,

proximity to the concepts of curatorship,

integrating the general concept of the

of working with artists and assembling

project, approximating artists and CCBB's

exhibitions. All that inspired me as an

Educational Program, creating an important

artist and as a formal education teacher.

bridge with the intention to present artists' perception in order to approach their work, 184

I believe that all these places where

education inhabits should be closer partners in a two-sided way. Non-formal education has a lot to teach to formal education. Educational practices happen in the relationship between people, opening spaces for chance and surprise. Art classes in school should bring more permeable propositions, favoring the experimentation with processes.

have seen, to verify it and have it verified. What is unknown to him is the inequality of intelligence. Every distance is a factual distance and each intellectual act is a path traced between a form of ignorance and a form of knowledge, a path that constantly abolishes any fixity and hierarchy of positions with their boundaries.' (Rancière, Jacques. The Emancipated Spectator, 2009, p. 10-11)

Teachers should exercise their listening abilities, be attentive and affective so that

By breaking rigid frontiers between

discussions may emerge as much as

students and teachers' protagonisms,

doubts, discontentments and difference.

formal education gets closer to

All of that happens in investigations in

the education in independent

which students and teachers go through

spaces: becomes collective and has

in classrooms shortening the distance

experience as its central value.

between them. According to Rancière:

It is up to the teacher to create a fertile environment, giving up the role

The distance the ignoramus has to cover is not the gulf between her ignorance and the schoolmaster’s knowledge. It is simply the path from what she already knows to what she does not yet know, but which she can learn just as she has learnt the rest; which she can learn not in order to occupy the position of the scholar, but so as better to practise the art of translating, of putting her experience into words and her words to the test; of translating her intellectual adventures for others and counter-translating the translations of their own adventures which they present to her. The ignorant schoolmaster who can help her along this path is named thus not because he knows nothing, but because he has renounced the ''knowledge of ignorance’ and thereby uncoupled his mastery from his knowledge. He does not teach his pupils his knowledge, but orders them to venture into the forest of things and signs, to say what they have seen and what they think of what they

of being the one who knows more teaching those who know less. Remembering Paulo Freire, 'educator and learner (leader and masses), when co-intentioned to reality, find themselves in a task in which both of them are subjects in the act of learning, not only unveiling it and therefore knowing it in a critical way, but also being subjects in the act of recreating this same knowledge.' (English version created for this book from the original in Portuguese: FREIRE, 2014, p.77-78) A new feeling that is created when education happens in a horizontal and non-catechizing way: that of belonging. Independent art spaces are generally managed by artists and usually allow the emergence of this aspect with different ways of receiving the public in exhibitions, lectures and tutoring encounters with other artists. It is always different to

185

enter an exhibition that unveils the

lectures for teachers who are interested

processes of research and construction

in art, and they approach topics which are

of the works, processes which may

relevant to large exhibitions. Everything

be accompanied with visits to open

happens in another scale and dimension.

residencies. Discussions about the works

And the challenges are also greater: how

take place directly with the artist who

to be welcoming and create, in such large

produces and with all the team who is

scale of scheduled visits, and in such a

responsible for its production, without

reduced time, a meaningful experience

the need of mediation, understanding

in which educator and visitors meet

that the experimental characteristic has

for dialogue, without eliminating the

the potency to reveal the values and

disturbance that more contemporary

meanings produced in its conception.

work may (and should) cause?

Ricardo Basbaum tells us about the 'the role of the artist as an event's agent and production's promoter in the face of the the dynamics of the art circuit': '(â&#x20AC;Ś) there are some artists who are not isolated only as producers of their own work, as creators immersed only into their own poetic universe but who also spend their time, also transform the time of production in dedication to promoting, producing and being agents of different events, involving other artists and creators.' (Basbaum, 2013, p. 107) Artists who create and keep these spaces of resistance, do it following the poetics of art, 'it has more to do with life commitment, an incorporation of its strategic demands directly in the body, behavior and attitude'. (Basbaum, 2013, p. 122) In large institutions, museums and cultural centers is not always that we can closely observe this kind of process. On the other hand, these institutions teach other kinds of knowledge and offer different kinds of experience, as it happens in educational programs, debates and

186

I have faced these institutional challenges in my most recent experience in institutional spaces education as an assistant educational curator of the 'I Frestas Trienal de Artes', at Sesc Sorocaba, whose curator was JosuĂŠ Mattos. The difference of this education program was the choice made by the main curator of an educational curatorship formed by the proposition made by artists who were part of the exhibition: Jorge Menna Barreto, Ana Teixeira and Samantha Moreira. These artists' works have a special characteristic of gathering people, creating participation and public collaboration. Their works generate a potent device for mediation. The curator artists proposed specific forms and lexicons for each activity and attributions of the educational program. The visits would take a path to see the works that was called 'route', alluding to the paths taken by the tropeiros, herdsmen who moved about between the state of Rio Grande do Sul and the state of SĂŁo Paulo, transporting cattle, horses, mules and regional items. Sorocaba used to be the main town for their stops.

The routes in our educational program were frequently unstable and risky, but supported by the concepts and bibliography discussed in the educators training program called 'disassembly,' a term that came up from the will to deconstruct the educational machine, not to remove or deny its functions, but to analyze each part of this device which constitutes its machinery. The educators were called 'misreaders'. The term 'misreading' was appropriated from the work with same name created by Jorge Menna Barreto who makes reference to the term used by the critic Harold Bloom (1930) that 'introduces the term 'misreading' to characterize the transgressive reading of his predecessors proposed by a poet. Arthur Nestrovski translated the term 'misreading' for 'desleitura' in Portuguese. The idea carries a quality of detour'. (Barreto, Jorge M., 2012 p.17) Thus the misreaders and the public

the school, where the Material Box (how we called the material distributed for teachers) was handed out for students. Time expanded in the will to establish a stretched moment of presence in front of the works, through conversation and exchange of ideas in an informal and careful way, in an environment that slowed down the triennial visitor's time, creating a place for metabolization and elaboration, fertile enough for this time to produce new meanings. Contemporary art already acts beyond mere raw materials. The field of possibilities has expanded. For using different materials, procedures and strategies, each artist becomes a researcher of life topics, of objects and processes in fields so diverse that they even become distant from those who are usually considered 'artistic'. That becomes a challenge for artist and public. And becomes a potent aspect

were 'authorized' and encouraged to

to be explored in education through the

start conversations from their own

transdisciplinarity moved by the dialogue

readings of the works. If on one side this

between different kinds of knowledge in art.

initiative calmed misreaders for valorizing

Contemporary artists are self-

their personal repertoires, it was also

determined to approach a certain

attributed to them the responsibility of

scenario, they become specialists in

avoiding spontaneism. This position

their scenarios and build a world from it,

was object of much discussion during

playing with the unknown, with infinity.

the whole period of the the training, which continued during the exhibition. With several strategies, an expansion of time and space was created within the exhibition. Through the educational material, that was innovative in the sense of not depending on works and artists,

They give us a gift. And such gift may be a risk, a problem. And it is from risks that we create education that is also contemporary and problematizes its own methods, always searching for new routes.

but on curatorial fundamental concepts, the expansion happened in the space of

187

Bibliographical References

"The Public Machinery or La Machinaria Publica is a project that wants to

_ Gohn, Maria da Glória - Educação não-formal, participação da sociedade civil e estruturas colegiadas nas escolas - Ensaio: aval. pol. públ. Educ., Rio de Janeiro, v.14, n.50, 2006

understand contemporary society as a gear, a mechanism capable of being driven by its actors. We a look at this topic through

_ Ranciére, Jaques – O Espectador Emancipado – Editora Martins Fontes, 2014 - Basbaum, Ricardo Roclaw - Manual do Artista-ETC. Beco do Azougue Editorial, 2013

citizenship related it to the experiences and technical knowledge of individuals, showing that it is possible to link people (or agents) starting from actions that are more mechanical, from a machinery

_ Freire, Paulo – Pedagogia do Oprimido. Editora Paz e Terra, 2014

that is moved, driven and undertaken by

_ Barreto, Jorge M. Menna – Exercícios de Leitoria – Tese de doutorado apresentada ao Programa de Pós Graduação em Artes Visuais da Universidade de São Paulo, 2012

analogy to how cities build, rebuild and

human force. This is a very interesting reprogram themselves through the demand, the necessity and the experience of its inhabitants. In this sense, La Machinaria Publica believes in a mission of the city that

The Public Machinery [8]

is much more connected to human and

Alejandro Haiek

collective participation, to a force capable

[8]

Transcription

Haiek's

interview

Alejandro

Henrique

Lukas in April 2014 after the open talk The Public Machinery during the first module of the project

Código

Aberto

[Open

Code]. Alejandro is coordinator of LAB.PRO.FAB, a mobile projects and

manufacturing

Caracas

lab

which

created

aggregates

design disciplines with applied investigation social

for

and

cultural,

environmental

development. The possibility of inviting

him

integrate

the

program came up from a partnership with JA.CA, a space located in Nova of

Lima Belo

(Metropolitan Horizonte),

Region

where

was in residency at the time.

188

of causing a relevant transformation in contemporary cities, not depending on State or altruism, charity and philanthropy. We must understand that we are capable of promoting important transformation in our urban space creating links between our knowledge and experience and this complex gear. This can happen with cooperation, connection, agreements, negotiations, discussions and confrontations placed by the city's inhabitants." "The topic of the border is an important one because there are so many different conceptions about it. We could say that the notion of border is related to the access we have to technical tools. There is a visual and substantial technological border regarding the form and evolution of contemporary society. The fact that some have access to tools and others don't, determines the

way we operate in contemporary reality.

intervention, we will build plan by plan until

But the border is also a physical topic,

it's finished. We must think of struggling

because we understand that the city has

against the market-based logic and use

its limits and borders, an infrastructure

the strategy of industry. It does not mean

of services connecting points which

thinking of industrialization, but thinking

sometimes are extreme. But, at the same

of industry's ability to produce. At least, of

time, this connection may create territorial

the most important ones, not necessarily

segmentation. This doesn't seem logic to

the social-related ones, but war and

me, because structural logic is based on

automotive industries, for example. The

connections, possibilities of connection,

experience in these industrial territories

of reducing distances and time. In the

implies a much more fractioned chain

existing applied logic one of our greatest

of time, that eventually may be systems

failures is implicit, that is exactly this

that are much more intrinsic, such as

territorial fragmentation, the construction

processes related to alloys, engines, shims

of imaginary and physical limits."

and other elements. Architecture evolves

"Much is said about the disciplinary

and now peaks with more than 5,000 years

ways of mixing, accessing and looking at

of history. This industry of production is

knowledge, because much is said about the

capable of not only providing materials

disciplined life, a form of relating disciplines

but also tools, techniques, instruments

in order to understand problems of several

and protocols that may implement a much

cultures within the many disciplinary fields.

more effective way to build on a technical

But the issue of transdiciplinarity is included

and instrumental ground, an operational

in it, a crossed or transversal line, diagonally

ground that allows cultural effervescence.

cutting all fields of knowledge. It is

In this sense, we may say that what these

interesting to understand interdisciplinarity

industries have learned lies in the possibility

in order to reformulate our own fields of

of understanding the city as hardware.

action, our body of knowledge, the cores

Instantly understanding the changes in

which establish umbral relationships to

architecture and urbanism and that the

other spaces of knowledge. It means

construction of the city is not only an effect,

understanding that architectonic fields

a massive one, but that it should provide

are lines crossing in space exceeding the

many technical structures that allow

disciplinary field. This is the importance of

actions that imply dealing with people, that

understanding this relationships as being

allow the proximity of the individual to the

umbral and not as being limits. An umbral

collective. A building by itself cannot do it,

can be seen as an intermediation through

there are many ways of doing it; not only

which the transit of knowledge is possible.'

boosting cultural manifestations through a

"We must think of other forms of building,

large museums and large cultural centers.

not only through the logic of spacing,

There are other forms of managing urban

building foundations and leveling floors

territories as open surfaces where several

in a progressive sequence: from the first

technical devices are capable of providing 189

such physical or technological support for

and driving the construction of the city is

cultural activities. Thus, in this sense, we

not enough. It seems to me that everyone

are amplifying the field of action reading

is capable of understanding the existing

may have and understanding it more

opportunities, without respecting the

like a field of urban strategies where the

clientelistic logic, that any urban concern

land is connected to the buildings."

can possibly be undertaken anytime we

"It is difficult to build the hardware of contemporary society. We must understand that the dynamics of construction are not made on its own, but its logic is to build massively. It is necessary to understand different protocols of relations which are able to be more active in the programming of territories. Programming here is understood as a series of strategies which help advancements related to cultural issues, and not seeing construction as a sole building, but as something capable of supporting different activities and cultural effervescence. This is very interesting because it sees human participation as a reading software that prioritizes such cultural activities that use infrastructure as physical support to cultural expression. It is fundamental to understand the notion of architecture as something more related to the reprogramming or reformulation of our territories and cultural dynamics instead of something of massive building construction. Cultural effervescence depends on different kinds of time, times which are not correlative and relatable to urban time, but the time of cultural relations, of human relations." "Our goal is to promote and find new fields of action for young Latin Americans. I understand that I stumble upon the premise that traditional architecture lies inside a studio, assuming a series of assignments. We understand that this form of practicing

190

are able to reformulate our practices. We have realized this principle because there is always an intention to undertake actions, embarking on the subversive, irreverent, extra-normal world and comprehending that they are actions that can boost the understanding of what is urban. And urban is not a urban grid of buildings but understanding that streets are a human invention, a space of participation, confrontation, leading to the field of understanding and formulation of ideas. That is why we call it subversive urbanism, because it is connected to irreverent actions implying public whistle blowing, a certain awakening of the population, respecting the understanding they have of their own territory. Tactic urbanism is surrounded by actions that seem much more relevant to us because they follow a principle of production that exceeds the notion of architecture, encouraging people to walk for themselves, with a certain autonomy that is independent from the project. Urban tactic's program is a lot more than just perennial actions; it allows the possibility of giving people logistic resources so they can transform their own space, independently from the State or private initiatives. The most interesting way to begin comprehending our territory is not to be waiting for State action or related to the building's instantaneity â&#x20AC;&#x201C; that is built and then is expected to have a simplistic cultural dynamic â&#x20AC;&#x201C; but it is understanding

how we structurally formalize this cultural

we finally understand that our disciplinary

effervescence. It is an inverse process,

ability is capable of transforming certain

it means not waiting for that building to

situations, certain urban problematics, and

support all social expectations of the

begin to understand our manual labor and

community, but it means start building it

machinery, we will see that our public force

having social expectation as the starting

driven from this collective machinery is the

point, a building that transforms, reprograms

only one capable of creating a discussion

itself and is capable of authorizing itself,

that allows the citizen's participation,

selecting itself, as it meets social demands."

global and local, in order to make decisions

"To our generation it is difficult to understand how we can live from the failure of the modern utopia and understand other forms of inhabiting. Collective and public actions should allow a much deeper process of consultation regarding the city; what collectivity wants is not an imposed city, not a city created 'from God's hands' or a city that sees itself for the community needs, but the city as a plan that is updated everyday, that allows prioritizing transformations that are effective basic needs. From that we begin to project the future; it's having in mind the notion that every project intends to anticipate the future, but somehow we must think in a non-instantaneous, non-immediate basis, seeing that the future is a collective construction and a connection of individual actions. Because the city is not built only of its infrastructure â&#x20AC;&#x201C; that is one vision of contemporary

that everyone participated of. It is not presuming that the State or someone beyond the community is to blame, because all relevant transformation we can get in our territory arise from ourselves and we are capable of guiding them ourselves. We must understand a city that updates itself from its own demands and is capable of reclaiming the guidance of a better way to think everyday life. And a city that sees we must observe its construction of the future, a construction that step by step will be useful for us in this future, that should have the user and human participation implicit in it, that is built from the demands and needs of its participants, and, in this sense, builds itself from experience and collective knowledge. Building a city is not the responsibility of one architect, engineer or politician, it is though a responsibility of all of us as urban participants."

urbanism that sees all solutions lie in infrastructures, etc... â&#x20AC;&#x201C; and of course these

A few burning issues to burst in flames [9]

structures are necessary but it is much

Marcelo Amorim

more important to understand that the

Thais Rivitti

creating transportation structures, road

and , AteliĂŞ397

city is built from our notion of citizenship

[9] Text developed from Marcelo

and of human relationships. In this sense,

Amorim's

these notions of citizenship are much more

the encounter 'Artist-manager and

relevant than structures. Because when

independent potency', organized

opening

speech

during

191

by Ateliê397 (space located in

superposed one another. These actions of

the city of São Paulo), further

Ateliê397's understood that the creation

complemented

of a network between spaces would

Thais

Rivitti

to be part of this book. Ateliê

configure a field of exchange. Experiences

Aberto

common to all could be exchanged and,

had the opportunity to

be part in other projects with

at the same time, we would have more

Ateliê397

visibility and more say as a group.

such

'Independent and

the

Spaces'

project

the

book

2010

'Independent

From that moment to now, I feel we have gained more space. The term 'independent

Spaces – The Soul is the secret

space' was created and it is on the top of

a list of terms that has been growing. To

the

business'

2012.

our satisfaction, more people are excited about creating these spaces strengthening

Networks, fabrics and webs: the birth of an alternative circuit Since 2010 Ateliê397 has been creating actions to reflect upon our practice as an independent space and to help creating a network. We think that the quality of the bond between people determines the strength of a chain, of a network. For this reason, we must create arenas where the agents of this circuit may be in contact and have common experiences. 'Espaços Independentes' [Independent Spaces] (2010) is an example of that, a book that mapped independent spaces in different regions of Brazil proving that the scale of this phenomenon was national. And also with the exhibition 'Espaços Independentes: a

a circuit that can convey other truths. I see that the broadening of the independent circuit has created a possible place for the arrival of new agents, artist or curators. I see names becoming known and legitimate from actions carried out in this circuit, even with few passages through galleries and institutions. The term 'independent space' is no longer a question mark, it is now affirmative. From it, public policies such as a public funding programs specially created for this kind of space were created in the state of São Paulo. We were one of those consulted by the Secretary of Culture when they were attempting to define what a visual arts independent space actually were. The network format, of collaboration

alma é o segredo do negócio'' [Independent

between equals as a possibility of

Spaces: the soul is the secret of the

structuring a new model of management

business] (2012) that gathered a handful

already attracted the attention of the art

of them at Funarte showing their diverse

field since the 1990s in a counterposition

strategies. The exhibition did not divide

to traditional models. Many agents of

spaces into niches as stands in a fair. On

this field (artists, curators, writers) felt

the contrary, it united spaces according to

dissatisfied when their production circulated

its practices. Thus, publications, residencies,

only among the commercial circuit: buying

debates and exhibitions clustered and

and selling works, exclusive contracts

192

with galleries that invest little or nothing

took place in the gallery's space (always

into artistic careers, commissioned texts

accompanied by debates and texts), as

with predetermined sizes and formats...

well as three site-specific projects on the

This kind of relationship, despite of its

hallway, an international management

importance, ceased to completely satisfy

encounter with about ten guests, a

many of the involved parts. For this reason,

lecture with an international speaker, an

from my point of view, we can see the

international video-art exhibition, a collective

emergence of independent practices.

exhibition with artists from Belém (part

But few independents have had, in fact, the courage and competence to face this problem in a straightforward way. That is, only a few of them really decided to fight it, to think of alternatives or to criticize the traditional circuit. Likewise, the definition of what is an independent space is also problematic; there are no definitive criteria to include this or that initiative within its scope, and a very complex plurality of intentions and visions is frequently present. Building a network between spaces that do not share the same initial goals is a task doomed to fail. In time, we started to notice which initiatives and managers were tuned to our way of thinking and to our practices. Thus, some partnerships became more frequent and the bonds were created in a more effective way. Independent spaces tend to a certain self-centeredness. The way we care for our own garden requires so much dedication that only a few times we can actually take a distance and observe the scene in a broader way. Planning the program, putting it in practice with the help of several professionals, documenting and publicizing it are daily tasks of all spaces and, in order to do them well, effort and time are important requirements. In Ateliê397, for example, in 2015 five solo exhibitions

of a larger project taking place in Belém and involving a seminar), an edition of an artist's book, an edition of a book about the last five years of our work, besides the continuity of our multiples program and the organization of the traditional auction Leilão Surpraise. We almost get out of breath. This is certainly a programming more intense than that of many large museums and cultural centers, for example. From this point of view, we are not talking about a possibility to make a space work or to present a constant programming and be part of the city's cultural calendar. In fact, this has already happened. It suffices looking at the years of history (18 years of Ateliê Aberto!) and the programming we have developed during all this time.

How to keep young New solutions, new problems. Art does not interest anybody until it becomes a commodity, until a name becomes a brand. Before that, art is disturbing, dirty, boring, poorly finished and everyone turns their back to it impatiently. Although, after crossing that limit, it begins to be desired, important and valuable. Independent spaces act in this disturbing phase, expanding the horizons of what is acceptable. For better or worse our practice usually results in nurturing, inverting the soil and refreshing the established circuit. 193

I feel that both the aesthetics and

As independent spaces' modes of

the carefree practice of independent

operation tend to be incorporated by the

spaces have been captured. Today it

formal circuit (talks with artists in galleries,

is more interesting to position yourself

open calls for young curators in art fairs,

as independent and the most diverse

parties thrown by museums to raise money

businesses present themselves as

for exhibitions, among other examples),

independent spaces: whether they are

they have to be rethought. Of course that

galleries, co-working spaces, catering

these displacements (from independent to

companies or party rooms. Tactics that

established spaces) cannot happen without

emerged as ways to simplify, ways to

a conservative turn in the conduction

exist in spite of precarity are understood

of activities. The talks in galleries bring

as something fashionable. So, instead of

speakers who legitimize the artist's work:

opening nights, we have dark and smoky

they are there to assure the quality of the

commissioned parties in museums.

'product'. The space for young curators in

Instead of charity auctions, we have

art fairs always has to be approved by the

raffles. Instead of white wine served

fair's organizers (and many of the more

by waiters, we have beer in coolers.

politically audacious curatorial projects

Galleries that are perfect white cubes

had a hard time to actually happen in this

open poorly finished warehouses to

environment). The parties to raise money in

host not very commercial proposals.

museums are events created by the elite for the elite itself, where the 'carefree' aspect

Everyone knows that the capitalist way

is carefully built, but evidently continues to

of dealing with dissensus is assimilating

be fake. However, in a certain way, we may

it. Becoming similar. If in the beginning

say that even the most official and square

we used to fight to be recognized as an

sectors have noticed the need to be open

important link within the circuit: here we

to new formats. But it was not a structural

are. This places us somewhere else, in

change in the operating mode of the art

need to rethink our practices. How can

system, that continues to place the market

we grow and continue to be critic at the

on the foreground. At the same time, it is

same time? How to avoid institutional

interesting to notice how the independent

formulas and bad habits? How to deal with

scene's actions echo, how they expand.

the market's powerful gravitational force? Today art fairs are more important than biennials, the awards granted by them are equally legitimizing. Curators play roles in these art fairs. Museums host galleries, giving us the impression that the only existing thing is the market. To whom does the independent circuit serve?

194

Maturity crisis? On the other hand, a certain kind of open call policy and its rarefied resources turn artists into specialists in writing projects that will respond to political interests, say what is being expected of them as they transform cultural producers in rivals, weakening the bonds within the

network, removing from the landscape

what we lose, if it is possible to subvert the

the idea that there is a higher purpose to

works funded by open calls... These are

independence: doing things in another way.

issues that are gradually becoming more

The word 'independent' usually leads to a false debate around itself. One of the most recurrent mistakes is associating it to financial emancipation or isolation, a refuse to dialogue. But it refers to an independence of action. Playing by the rules will always lead to the same expected

important. And it is with some joy that I recognize it. For, in a certain way, we are going through a maturity crisis. Thinking of the independent spaces's institutionalization issue is, once more, to rethink its general purpose, its operating modes, its duration, its size. This is how we go on.

results. What we do is not reasonable.

openings, to look at artists with sincerity

Reflections for a sensitive management of an intentional space [10]

and solidarity, to strive for fields favorable

Joana Meniconi

Art cannot emerge from reasonable. It is important to create vents and

to artists and creation. Today, the market and the suggestion of commercial success

[10] Joana Meniconi is a cultural

fills in the gaps between art with anxiety. An

producer, associated-founder and

anxiety to meet demands causing debate to

vice-president of JA.CA, where she

be less fruitful and the artist to paralyze. The

has been working as an executive

independent circuit has to be such space of

coordinator since 2013. Invited

freedom, a meeting space, where the soil

by us for being an Ateliê Aberto's

is being reverted and the ground is fertile,

reference in terms of management

impregnated with potency; a counterpoint

and executive production, Joana

to the suffocating game installed.

collaborated writing a new text

Open calls for public funding are a double-edged sword: at the same time they allow more consistent projects (by the financial support) to happen, they also tend to stifle the works and operating mode a little. They demand a strict timetable, without gaps or vents. What open calls do is normatize independent practices turning them into small institutions that should work according to the old logic: meeting deadlines, writing reports, accomplishing tasks. Thinking about if this is the way we want to follow, if what we earn – when we actually do earn something – is greater than

specially

for

this

book.

She

is one of the founders of the project Indie.gestão – organized in partnership with Ateliê Aberto in 2014 o discuss management in independent spaces – and Drenar, an

intervention

project

that

happened in Ateliê Aberto in 2014.

As many other artists/managers I learned management through practice. My first contact with the 'Science of Management' was in an extreme situation when I was part of the team responsible for executing a cultural program created by a large 195

company, that was going through an intense

other areas. It is undeniable that we have

process of institutional reformulation. Most

found in Business Administration some

of us accumulated experience proposing

very useful methodologies for projects we

cultural projects but we were not formally

have organized. But we cannot forget that

trained in management. Our little ability

those methodologies intend to improve

in management made it difficult to create

production's efficiency. The invention

''synergy' between the Program – that we

of Management is contemporary to the

learned should be written in capital letters

Industrial Revolution and therefore is

– and the processes of management being

intimately connected to the capitalist

internally implemented in the company that

ideology and its basis, such as the

created it. For them, the Program was a

division and organization of labor, the

dissonant 'enterprise' with 'low adherence

dissociation between production and

to the company's image'; for us it was

consumption, and productivity.

'innovative and rigorously executed'.

As artists/managers, we also guide

With the help of a consultant, we

our work by the production of activities

adapted the work in progress to the

that create results that belong to the

pertinent management models – we have

realm of the symbolic. Our goals are

established a mission, a vision and the

usually unattainable; as core values we

values of the Program. We divided the

establish playfulness, experimentation

mission into objectives, targets and results.

and the sharing of ideas. For its lack of

We established evaluation and monitoring

concreteness, the results we generate are

methods. We designed organization charts

not central to the maintenance of Capitalism

for the positions and roles and flowcharts

and this is reflected by the little relevance

for processes and, thus, we started to

art and culture exert in political agenda and

speak the same language as the sponsoring

in public and private funding budgets.

company. In a few months the relationship

The consequences of financial

of trust between 'implementing partner'

resources's instability are known by

and 'company' was re-established.

anyone who wants to implement

From this experience, that was a landmark in the beginning of my interest in studying and acting in management, I was somewhat disturbed. My career as a cultural producer made me observe that the dynamics of cultural and artistic initiatives are different than companies' dynamics and, for that reason, artistic and cultural initiatives should think about and establish their own management models, instead of importing them from

and maintain a medium or long-term project: reduced team, accumulation of functions and responsibilities, lack of focus, discontinuity or termination of the initiative. When the project involves fixed expenditures with the maintenance of a physical space – as it is the case for intentional art spaces –, inconsistency and uncertainty about sources of funding become even more impacting. Although, we advance very little when we limit our debate to financial difficulties.

196

By doing that, we assume a position

our own particularities. In an intentional

of dependence and submission to the

space it is people – and not money –

capitalist logic and we are not able to turn

who are at the core of the business. The

our reflections into more propositions.

sustainability strategies of the space

Even being aware of all challenges why

should, therefore, be oriented towards the

do we decide to entrepreneur in cultural

relationship we, artists/managers, establish

or artistic initiatives that involve cultural

with people. In a general categorization,

calendar programs in actual spaces?

that may be seen in three groups:

Finding answers for this question was

1. Those who make the space: those

the starting point of Indie.Gestão (1),

who work in intentional spaces are not

project created and organized by JA.CA in

there for financial return, but because they

partnership with Ateliê Aberto in 2014, to

desire individual accomplishments and

promote a residency experience between

to contribute with the construction of life

the artists/managers of initiatives similar

plans and world views. We must establish

to ours. Together, we noticed that although

dynamics with collaborators and our team

we had several different vocations, we

so that they can help update the meaning

were united by the strong desire to create a

of the space's existence. Individual desires

space open to the circulation of ideas and

and abilities should be coordinated and

people, favorable to the experimentation of

guided by collective will – when people

new possibilities for the world we live in.

recognize themselves in the configuration

We have chosen to create our own path in which dreams, affections and work are mixed and it is difficult to separate leisure moments from the productive ones – therefore we recognize ourselves as 'intentional spaces'. We define a intentional space by the will to coexist and by the creation of productive processes and practices that question the way Capitalism has been shaping the world. We lead ventures that are not structured

of the space, they consequently feel implied in its sustainability. 2. Those who occupy the space: those who use the diverse resources offered by the space and expand the limits of its potentialities, such as artists, researchers and critics. An intentional art space invests in experimentation and artistic processes; the artistic action is more important than its result. It is among this group that the most intense exchanges will be established.

by a classical logic of production and for

Thus, it is desirable that their relationships

this reason when we import, from other

be of trust and reciprocity. Whomever

areas, methods and tools applied to

occupies the space should understand

business administration we should consider

that their personal project is one of the

(1) Awarded with the 10th edition of Programa Rede Nacional Funarte de Artes Visuais [National Program Rede Funarte for Visual Arts], the project has developed actions of mapping and sharing management practices between seven art centers from different Brazilian contexts, all of them dissociated from major institutions. 197

actions that integrates a broader program

others that we remember and renew the

and echoes in the way how the space

meaning of our projects. This is a primordial

positions itself institutionally. In turn, the

point in order to create management

projects we foster help us think about the

methods and processes that are more

public dimension of our initiatives and

sensitive and compatible to our reality.

help us renew the meaning of our work. 3. Those who visit the space: if we intend to have public interaction, we must be politically committed and ethically responsible for the place where we act. An intentional space must be related to its surrounding, if it wants to be a place for encounter and access to art. Artistic and educational institutions, as well as social organizations acting in the same (and in neighboring) contexts, are potential partners for our initiatives. The identification of interests and needs of the communities who visit the space guide the connection with other institutions and contribute to increasing resources (not necessarily financial) for the maintenance and expansion of our activities. Considering people as the core of the business is understanding that without them, the space would not exist or, at least, would not have a meaningful existence. One of the most important things I have learned with Management is that any business should have a clear comprehension of the meaning of its existence so that strategies for its sustainability can be established from such meaning. As entrepreneurs of initiatives which seek to create other possibilities for the world presented to us, we should be attentive and positioned in a sensitive way towards people who exchange and participate of our spaces. It is in encounters and exchanges with

198

Tactic dependencies [11] Benjamin Seroussi [11]

This

text,

unpublished

before

was

created

from

that this the

was book,

lecture

given on July 28th 2015 at the round

table

manager", "The

"The

part

managing

independent Seroussi

curator the

artist power".

dedicates

seminar and

the

Benjamin himself

cultural projects of collective management as Casa do Povo, in Bom Retiro and Vila Itororó, in Bela Vista (both in the capital of São Paulo). He has also been part of 31st São Paulo Bienal's curatorial team (2014). The text updates and stimulates the debate around independent spaces, that are

also

artist-run

called

autonomous,

intentional.

This text was developed from the annotations that were the basis for a 40-minute talk at the round table "The curator as manager', organized by Ateliê397 with the collaboration of Curatoría Forense in São Paulo, July 2015. Invited by Ateliê Aberto, I have re-worked on this notes in order to publish them. This text is therefore the trace of a lecture, highlighted (to help reading) and repetitive (to clarify

meanings). By exposing this to readers, I

independent space? The curator may

don't intend to avoid critics, on the contrary,

create "independent spaces" in "not

I intend to share a thought that is in

independent" – or, in order to facilitate

progress and propose an open dialogue.

with terminology – institutional spaces?

Introduction (5 minutes)

Independent spaces | It seems easy to

Curatorship and management | If the

define an 'independent space'. It would be

work of the curator consists of articulating

a space that does not depend on anybody,

ideas, publics, resources, spaces and artistic

or, better said, a space that doesn't have to

practices, in its most diverse formats,

report to anyone – neither public forces nor

management is then an essential element

the market – and that would be constituted

of this activity, considering that many of the

from the demands of the artistic community

elements reunited in it are pre-existent to

(or a group of artists), bottom-up, and

the curatorial discourse. An attentive look

not through a political agenda that meets

to daily curatorial work points to an activity

demands of a consolidated and celebrated

whose creativity lies in the immanent

scene. But doesn't such definition make

association of what exists – association

independent – or dependent – spaces part

(or "mise en relation") that here I call

of a larger system in which they are inserted

management – and not in the production of

and to which they respond? It seems that

a knowledge that is transcendental to the

there is a model for independent spaces

world in which it is inserted, what a certain

that is repeated everywhere, independently

romantic image of the artist-curator might

from its contexts, taking a clear role in the

imply. Thus, management, which may look

neoliberal system of art production – taking

like a gray material (sad and undefined),

risks when institutions can't/don't want to

becomes the fundamental place where the

risk. In this frame that reproduces itself,

curator will act. Far from the dichotomies

independent spaces are small vulnerable

autonomy/heteronomy and dependence/

structures that organize young artist's

independence, the curator works to design

exhibitions with an editorial guerrilla

a network of tactic dependencies – who

policy and the always renewed dream of

can we depend on? – where the produced

a program undertaken with its respective

discourse circulates – and exists.

"surroundings" – usually reified. Not that this

Questions | To which extent this work would be different in spaces called independents? Determining that there are "independent spaces" wouldn't be a form of neutralizing what makes the specificity of a work that consists exactly

work, based in survival economics and, thus, resistant – is not important, but is it not just a repetition of the same format dependent of a globalized system and independent from its respective local contexts? Other questions | How can we rethink the

of designing tactic dependencies? The

questions of independence and autonomy?

work of an independent curator – outside

What is the intent of independence?

institutions – may be seen as a minimum

What does it serve? What kind of artistic

199

practices it wishes to defend and how?

inclusively making use of tax incentives?

Do we chose to be independent? Do we

What is then the right measurement unit

really wish to be independent? And for how

to analyze the production of knowledge in

long? Instead of promoting the discourse

Brazil today? Museums? Cultural centers?

of independency, shouldn't we focus on the

Studios? Artists? Producers? Curators?

choice of tactic dependencies that may help

Galleries? Universities? Open courses?

us build our discourse and our practices? How then can we think of the fragility of our practices without becoming precarious? Organization of the speech 1. (in)dependency as heritage

Since the 1980s there has been a growing emptiness in our institutions. As a consequence of a succession of budget cuts, institutions have had, little by little, to outsource its production structures,

2. creating structures

delegating this work to executive production

3. structures in construction

companies that could assume the market's risks, as the institutions could not hire

1. (in)dependency as heritage (10 minutes) 1.1. emptied institutions What is a "dependent", or to make terminology simple, a "institutional" space? A space that in order to exist, depends on public forces? Such as Pinacoteca do Estado de São Paulo, Museu de Arte Sacra, MIS? But are they dependent of which 'public force' exactly? Cultural policies? Visitors? Patrons? Tax incentive laws for culture investment? Of an Administrative Council? But aren't the so-called independent spaces also dependent on the government, the public and on budgets? 'Independent' producers may be seen as independent spaces? Why executive production companies such as Expomus and Base7, for instance, have become figures playing such important roles in Brazilian cultural scene? Why do artists create their own spaces? Why institutions remain empty? Why galleries or art fairs – directly dependent of the art market – develop non-commercial activities, 200

the necessary amount of people. This outsourcing of production ended up leading to the outsourcing of contents. 'Independent' producers have become proponents of projects and the institutions have become the space that receives this content. In this sense, Brazilian institutions are in a different situation – ahead? – of most Western world. In Europe and United States, cultural institutions are stuck in an aporia: they are either spectacular or they die. Paul B. Preciado – whose thought I would like to follow here – calls that the "becoming of modern and contemporary art museums in the neoliberal era" ('"MomaPompidouTate GuggenheimAbudhabi", in Liberation, March 13th 2015). To Paul B. Preciado, "museums are not democratic laboratories to reinvent public sphere anymore". They have been like that in the 1960s and 1970s, as a result of the fight of some curators – as pointed out by Hans Ulrich Obrist in its interviews with Szeemann, Zanini, Cladders, among other, in "A Brief History of Curating". That's how the independent curator was born. But

these curators didn't create independent spaces, on the contrary, they were inventing new practices, crossing boundaries and depending on the existent spaces. The unexpected legacy left by these curators, who fought to place life inside museums, is now seeing museums opened to the market. This is the exact change that Preciado describes and that becomes visible in the spectacular architecture of museums and in the way how they organize exhibitions, presenting a history without histories, presenting what we already know, mixing artistic productions from different periods of time, disconnecting them from their urgencies and contexts of creation. Coubert is no longer a member of the Paris Commune, but he is only a provocative genius. Everything is emptied. Preciado calls these museums 'necromuseums', in which the work of art has been destroyed for its commercial values. Preciado summons everyone up to occupy museums, to turn off the spectacle lights and chose public ruin instead of private rentability. But what is lacking in Preciado's opinion? Maybe something simple, as pointed out by Andrea Phillips in "Remaking the arts center" in Cluster, Dialectionary: when she remembers the vibrant and simple British cultural life of her youth: "locally-oriented, politically motivated and intellectually ambitious spaces of culture existed in all their messy and frustrating irregularity in Europe and North America, and in more ambivalent and misrecognized forms in other parts of the world". These spaces have become places "of cultural competition". We are competing now for resources, content and visibility.

1.2. we don't become (in)dependent, we are born (in)dependent But does this debate make sense in Brazil? Which ones of our museums would be related to these Paul B. Precisado describes? Pinacoteca is able to tell an art history from a local viewpoint only since 2011 – with its new long duration exhibitions – but is far from having become a blockbuster museum. Our institutions are fragile and usually continue emptied. They serve an elite but have minimum resources. The annual budget of Pinacoteca stays around 20 milllion reais, while Pompidou's is 300 million reais. For this reason, I believe that here, we are condemned to constantly reinvent our politics of (in) dependence, inside or outside institutions. We are condemned to create what Peter Pal Pelbart calls 'experimentation capsules' [bolsões de experimentação] ('Laboratório libertário, Folha de São Paulo, 2015/03/07) in all places in which we act – institutions or not. Instead of creating the 'enemy' that does not exist here (our global institution), to define ourselves later. We have to infiltrate institutions and rethink them in all their different formats. => Summary: I didn't mean to spend a lot of time discussing "independent" terminology because I believe we should just abandon it – unless it can tactically serve us to organize ourselves better, for example. Instead of limiting spaces that would have independency as specificity, we better ask what are the chosen dependencies, where do we go to work and how to enter existing spaces and question them form inside. If we are currently doing

201

everything (research, communication,

we studied Bourdieu but trying, at the same

editing, management, assembling) it is

time, to walk in other directions, rereading

not only for a desire to be independent nor

Simmel, Becker, Foucault, Chicago School,

to invent new structures but it is because

Goffman and discovering authors such

we are the result of â&#x20AC;&#x201C; we depend on â&#x20AC;&#x201C; a

as Latour, Callon, etc. Having a certain

historic construction that has emptied

feeling of impotence before the capability

our institutions from the 1980s on. This

of sociology to create a critical discourse

has become, at the same time, alienating

that could reach beyond a restricted group

and emancipating because the desired

of readers, I meant to focus on the practical

independence is not something we are

construction of other structures that

building, but something that was built on top

could generate other kinds of knowledge.

of the destruction of another way to work.

Management has then become essential

What is the freedom we have won if not that

for the construction of these structures.

of starving to death? How can we transform

I turned to contemporary art for many

this need in virtue? Are we really refusing

biographical reasons but also for the fact

traditional division of labor or have we just

that it is a space for encounter of many

inherited a precarious situation? How can

practices and languages, always having

we be fragile without being precarious?

the creation of knowledge and its public

How can we be flexible without being the

presentation as integral parts. I work in this

avant-garde of neoliberal management?

'world' but I am aware of its limitations.

2. creating structures (10 minutes) 2.1. where do I speak from? I would like to present myself better in order to make clear the position from where I speak. This can help you locate my discourse, not only from my practices but also the thought structure in which I am located, making the limitation of my knowledge clear (in relation to art history, for example), but also highlighting my research in management techniques, a lever for my curatorial practices. I entered the "art world" (I use the word 'world' as Howard Becker uses it in "Art worlds") through art sociology and

Because of this path I have followed, my work starts less from debates internal to contemporary art and more from questions that arise in places where I work and I try to invest in with questionings that, I hope, echo in contemporary art. The invitation for this lecture asked that it should have my own practices as a starting point, and that is the reason for a certain self-reference in the following examples (opening, I hope, space for critic and self-critic). But I also like to defend the idea that, as curator-manager, my thought is inseparable from these practices. 2.2. building our dependencies There is a broad vocabulary of words to

cultural management. I never thought that

indicate the places discussed here â&#x20AC;&#x201C; center,

separating management and knowledge

space, place, device, initiative, zone, house,

production was something relevant. My

gallery, room, association, foundation,

formal education happened in France where

agency, territory, platform, atelier, project,

202

organism, movement or studio – as well as there are many adjectives to reinvent managerial practices of these places – independent, alternative, self-managed, experimental, intentional, artist-run, selforganized, self-dependent, co-dependent, autonomous, interdependent, multipurpose, artistic and cultural. During the first part of my lecture I tried to deconstruct the idea that there are 'independent spaces' acting in parallel to 'institutional spaces' because, on one side, institutional spaces are often fragile and crossed by the real proponent (and consequently, creators of content) which are independent executive producers and, on the other side, because the spaces called 'independent' serve as an avant-garde for a neoliberal economy, totally dependent of the globalized structure in which we work. As in Europe and in United States many 'independent' spaces try to act between the solid existing institutions, here, in Brazil, we don't have in-between spaces because there is nothing to be in-between – considering the historical fragility of our institutions. For this reason, in our context, our challenge is not creating autonomous and independent initiatives but to create – or infiltrate into – structures that may choose its dependencies. We have to set aside the so pursued independence of our work and the pursued autonomy of our discourses in order to build networks where our practices may begin to exist. What did art get out

Attention: I don't advocate a heteronomous and dependent art – tied to public policies or to the market –, but I question the conceptual pairs in which we are accustomed to comfortably base our discourses upon – autonomy/heteronomy, dependence/independence – to the extent that the best way to be autonomous is, in my point of view, depending on many partnerships in several different ways! Through a precise management work, directed to the construction of small and multiple dependencies, I advocate a selfreflexive and non autonomous art, selfcritic and not narcissistic, questioning and dependent on the world in which it is inserted and not only on itself. Thus, the work of the curator is that of creating structures for this, wherever they may be: large or smaller institutions, inside your house or at MASP. 2.3. small case studies I would like to describe two works in which I got involved: Centro de Cultura Judaica [Jewish Culture Center] and Casa do Povo [People's House]. The first place could be seen as an 'institutional space' while the other could be considered an 'independent space'. What I want to emphasize, however, is that even though there is a difference in challenges placed for each project, the managerial techniques I have developed as a curator are the same.

of its autonomy besides having become

Case 1 / Centro de Cultura Judaica

a sphere of separate action in a world in

I was invited to work as 'program

which it intends to act upon? What did our

manager' at Centro de Cultura Judaica in

initiatives get from being independent

2009. I would like to describe a series of

besides having become self-

small actions I had to take in the institution

centered discourses?

trying to change it from inside. Before 203

that, I will briefly present the institution. Centro de Cultura Judaica opened

the changes it has gone through, and the way how it reacted to its different contexts.

its own headquarters in 2003, as a result

All of that to place it in dialogue with the

of a long history. It was a relatively solid

Brazilian cultural scene and with the recent

institution. Despite the lack of a curatorial

historiography around the notion of Jewish

axis and the strictness of the team's

culture. I suggested new ways to manage

relationship with the building, the institution

the team under my responsibility and

had a large team of staff members, a

proposed new definitions for each function.

consolidated council, regular sponsors,

I in-sourced the production so that I could

large exhibition spaces and it was very

in-source the creation of content, and

well located (beside Sumaré subway

therefore, of knowledge. I redefined their

station). The main public entrance was

relationship with artists and with the public.

very problematic due to a series of safety

I discussed with maintenance and security

requirements born from the trauma

staff new ways to rethink the entrance, by

caused by the attack to AMIA in Buenos

firstly creating a front desk and secondly

Aires in the beginning of the 1990s.

proposing an inversion of places for the

As a "program manager", I had to

front desk and the security staff (a project

manage an executive production team to

we didn't have time to implement). I have

implement the programs proposed by a

talked to the architect about ways to return

series of 'independent' consultants. The

to the original project of an open plaza at the

first thing I did was talking to the director

entrance (a project that went on after I left).

to redefine my functions and, therefore,

=> Summary 1: I did these small and

the relationship with the consultants – and

quiet actions. I have tested, from my

with the rest of the team. We added to the

position in the institution, several existing

job functions such as the possibility of

associations and dependencies in order

"devising and developing" – and not only

to create others, aligning some interests

"implementing" the program. After that, I

and, finally, placing the space in dialogue

talked to the consultants to see if these

with contemporary thought regarding

changes made sense to them and how to

Jewish culture. What does it have to do

turn them into invited proponents or creators

with our talk? I believe the institution always

of specific programs. It was up to me to

exists inside a knot of heterogeneous

define a general curatorial axis from which

associations – architectural, legal, political,

they could work from. In order to find such

economical and human. Programs are

curatorial axis, I suggested a reinterpretation

born from the consolidation of this knot

of their mission as it is written in what

into a structure. The curator’s work is then

we call the "social contract" (the founding

that of a manager whose role consists

document of the institution).. At the same

of creating worlds in which he/she acts,

time, to consolidate this interpretation, I

through the redefinition of associations

sought to understand and write the history

that compose networks. The content is the

of the institution: its origin in the 1950s,

result of the institution's structuring, not its

204

starting point. The accuracy of a program

practices of the Jewish youth socialist

cannot be measured by its independency

movements. All this work was possible

but it is constantly built repairing long

thanks to the reconstruction of the

heterogeneous links that form an institution.

institution's network that resulted in the election of a new board of advisors,

Case 2 / Casa do Povo I entered Casa do Povo in a very different way. I joined the school's ex-students group (the school operated in the space between 1953 and 1981) with the intent of reviving this space whose history – since its creation by a progressive part of the Jewish community until now – is marked by resistance, boldness and memories. The situation was radically opposed to that of Centro de Cultura Judaica. In a jesting reference to the title of the publication edited by Ateliê397 in 2013 – The soul is the secret of the business, edited by Thais Rivitti –, I would say that while the challenge of Centro de Cultura Judaica was that of repairing the soul of the business, Casa do Povo's challenge was to repair the business where the soul lively vibrated in an unstable structure. But the way I acted there as curator and manager is similar to what I did at Centro de Cultura Judaica. I have started refining my understanding of the institution's history organizing, along with this group of exstudents, a seminar followed by a strategic planning workshop whose intent was to define and use (and abuse) of the institution's history related to the contemporary context. We created a new project and a new team, defining the respective functions. We have started an archeological work discoverting management techniques, reproducing

composed by ex-students. At the same time, I drafted, with the new hired team, a cash flow based on a new business model. We defined a curatorial axis in consonance with its history and the current needs of São Paulo's cultural scene. We decided to create rules that could sound bizarre at first, but whose strangeness facilitated our institutional positioning: using the space as a means; sub-using the space to make visible its non-used potential, not creating exhibitions or seasons (unless the hosted projects demand it), but focusing on other/new artistic practices; dividing time to share the space; creating a program without a fixed schedule; adapting the space and our structure to the chosen projects; that is, inventing the structure necessary to the soul of the business. => Summary 2: in several countries there are management classes (in advertising, human resources, accounting and law school) but they rarely look at the specificities of the 'worlds' where acquired knowledge will be applied (art, finance, textile industry, etc.) – as if it were enough to have this tools to apply them in any context, as if they were neutral. We urgently need to invest in this field. Quoting Suely Rolnik (in the article Geopolitics of Pimping, 2006) we need to pimp the pimps in order to create the structures that we want because that is the only way to create new forms of thinking. While artistic directors keep being substituted by financial 205

directors, our form of resistance is also

moments of intense renovation and intense

related to investing in these fields. Without

crisis or disappearing, in long or short cycles

this work what kind of institution will we

(10 to 20 years in the case of our main

have? What kind of artistic production?

museums). Maybe the smaller initiatives (smaller spaces, self-publishing, artist's

3. structures in construction (10 minutes) This lecture is part of an encounter called "The managing artist and the independent power". Until now I have questioned the idea of independence but maybe the case is to focus on the issue of 'potentiality'. I would like to highlight, in this sense, two characteristics that seem essential to understand the potentiality of the structures we build as curators: their flexibility and their openness. 3.1. flexible structures For anyone coming from Europe, at first

studios) suffer less from this consequences since they have temporal limitations already inscribed in them. But the short life of all these initiatives, the lack of documentation of these practices, our lack of knowledge of the recent history of the art world in which we act, end up weakening our work. The actions lose themselves in time, knowledge survives only in the bodies of those who were there and, those who came afterwards, have to always reinvent the (same) wheel. We spend a lot of energy building the basics and – even if the construction of the basics have something of empowering – we end up tired before we have achieved the

Brazil looks fascinating for the flexibility it

consolidation of our efforts and discourses.

offers, for the possibility to create, to make

This flexibility, that seemed so fascinating

mistakes, invent other ways of working,

at first to whomever was outside it, sounds

thinking, being together. This does not

more like a trap now. It is the best tool to

happen without a certain wear and tear

weakening – strategically weakening –

because we have to create structures from

our work. Of course nobody will prevent

zero ground: we must flatten the ground,

us from doing whatever we want, since

erect walls, build windows and put glasses

everything we do is doomed to failure.

on them! We can't only arrive and program!

Political censorship has given place to

We have to build the worlds in which we act.

an economical censorship. To put this

However, this fantastic exercise of

discourse in perspective it is worth reading

imagination never finds the necessary

the brief historic overview "Lutaremos, e

conditions to exist beyond a short period of

ai de quem se opuser ao nosso esforço"

time. Everything we build depends on the

[We will fight, and I pity the one who tries to

effort of few and, once this effort gets tired

oppose our effort], written by Leonardo

(or is counteracted by conservative forces),

Araújo in Espaços autônomos da arte

structures disappear. It doesn't matter the

contemporânea, organized by Kamila

size of the initiative, it could be Pinacoteca,

Nunes, who tries to create a genealogy

MASP, Ateliê Aberto in Campinas, Alpendre

of this history upon which we act.

in Fortaleza, all of them go through 206

How can we position ourselves in face

of this? How can we think of a flexibility that

projects. This seems to qualify Casa do

doesn't erase our own initiatives? Without

Povo as a 'flexible structure': we don't have

stifling future practices, how can we create

a fixed scheduled program; we have not

the conditions so that, who comes after

imposed formats (in space and in time), as

us, does not have to reconstruct everything

exhibitions or seasons. We adapt our

from the beginning again? How can we think

architecture, our work, our sources of

flexibility not in its neoliberal axioms but in

funding and our work rhythm to the many

relation to structures that adapt to its times

projects we host. Casa do Povo's history

and from which we can take action? To

and physical structure allows this and we

use the terms proposed by this encounter,

only reinforce it. But, besides that, we also

how to think flexibility as a "potencial"?

resist by leaving Casa do Povo's spaces

Casa do Povo may be an interesting example of this. Playing with the terms we have questioned in the beginning of our lecture, as risking an obvious anachronism, I like to think of Casa do Povo as the oldest 'independent space' of São Paulo. This space was built bottom-up and has hosted, for political reasons, the theater avantgarde of its time; it has always been in crisis and for that reason it had to reinvent itself constantly, but maybe the most interesting is the fact that Casa do Povo was planned to be flexible and adapt, with much resilience, to its times. Based on clear premises, Casa do Povo was built to be what its founders have called a 'living monument', a place of memory where remembering – Jews who died in extermination camps – is the same

sub-utilized: the spaces aren't always used, and the ones that are in use now, are not always being used. Why defending a right to space idleness in a city where there is so much lack of it? Our idea is that, by keeping these spaces in a certain idleness, they can be not only flexible in the present, but also become flexible in the future. Every person who enters Casa do Povo can see, in a very palpable way, looking at its wide open plans, its more than 300 squared meters, different possible horizons, the potential (not achieved, by definition) of this space, what it could be, and through this exercise of imagination, each visitor also achieves this potential – inside Casa do Povo, in their minds, or somewhere else. => Summary: It is not enough to create

as taking action. Casa do Povo always

structures that support new forms to act

functioned in the junction between its

and think, we have to invent management

long history and its contemporary needs.

techniques that help us keep their duration

Whatever the times were, Casa do Povo

in time, as flexible structures, with a certain

adapted its modern architecture, made of

idleness and certain weariness to them,

large open plans, to the multiple uses it has

pointing to new forms of being in the world.

already hosted, building and destroying dividing walls during all the time. We continue today with this practice but in a synchronic way, constantly adapting spaces – as well as our practices – to the hosted

3.2. open structures The second characteristic of the potentiality of the structures we build and in which we work seems to be, in my point of view, their openness. As we always 207

have to reinvent the structures in which

annotations of the lecture I delivered in

we work, I think it is important to leave

Ateliê397. I didn't want to transform this

blurred limits between inside and outside,

notes into a resolved and closed text; I

between backstage and what is presented,

suggested the editors of this publication

between knowledge being produced and

to leave it open and insert their critics, as

already produced knowledge. The openness

a patchwork of notes, marked by orality,

of structures is a way to make the work

full of approximations, as it was on the

of construction of knowledge visible.

day I read it... On that day, by the way, I

I am involved in one of these

went a little bit over the time I had – 40

experiences, in a very literal way, in Vila Itororó's restoration project since 2014. It is a very controversial place that demands a longer analysis than the one that can be

minutes – and I concluded abruptly with a quoting. I will do the same thing here. Conclusion In a publication that thinks

made in the time we have available here,

other possible self-organization

but I would like to emphasize at least one

management models, Ana Vujanovi

aspect of the work being done there. I was

places the following reflection: "I hope

invited to think the format of the cultural

that it is clear that by focusing on the self-

center to be implemented in this 5.000

organization I do not mean support to

square meter complex. I suggested to open

art’s autonomy from the social reality such

the spaces that could already work without

as the modernist imperatively requested.

renovation, even if the rest of the complex

Quite the contrary: the emphasis is on the

is in a terrible state of conservation. Thus

fact that art itself is a form of the social

we resolved opening the renovation site

practice and it thus must be thoroughly and

and think of the work being done in this site

seriously considered, explored, and changed.

as an open experiment of cultural center.

On the one hand, numerous procedures

Everything there is visible: offices,

constituting the society in which art is

woodwork studio, the renovation site, the

created make very brutal incursions in the

workers, the people that began to use the

province of art, but on the other, art is that

space, the works made there by invited

relatively privileged space of the public

artists, as well as the conflicts that have

sphere in which one can explore how far

marked its recent history. The place is not

one can go in the analysis, creation, and

resolved, it is open, with its imperfections,

projection of a new society. That is why

doubts and fragilities. When people ask

I assert that art is ultimately a political

"when is it going to be ready?", we answer

activity." ("Self-organization: Notes on

it is ready and that it will never be ready!

the subject-matter of the conference").

The openness of the space also emerges as a way to make visible and assume the fragility of this enterprise. A possible image to illustrate this idea of "open" structures may be this text I am writing now from the 208

If art is a political activity, I believe that the curator is a manager whose work consists of working with the constant articulation of new associations –

creating new agencies – with the objective

Latin American managers in 2011,

of producing new possible practices (not

Residência de Gestores da América

only artistic) and, thus, other possible societies. More than independent spaces, we have to build initiatives that, in order to exist, depend on many and many things

Latina, that took place in Ateliê Aberto in 2012; and in the project 'Poemas

aos

homens

nosso

tempo', that happened in Ateliê Aberto and Casa do Sol in 2013.

(legal, political, economical, aesthetic, architectonic, among others), but whose dependencies must be chosen in a tactical way (since we cannot develop strategies). If demolishing the current world of art

And the boy With the bright of the sun In the apple of the eye

seems an illusion, we can go on fighting through our resistance, establishing potent structures, that is, structures whose potentiality lies in its flexibilities and opennesses; structures that may exist beyond its

Smiles and stretches his hand Giving in his heart And I deliver mine And I enter the circle And sing all the rhymes

creators; structures that point to other possible futures by the construction of other presents.

Cantigas d'amigo, man Of brothers and friends Singing songs of dawning Floodlighting all darknesses

Benjamin Seroussi - São Paulo Lecture delivered in July 28th 2015 Written text finalized in September 20th 2015

And it is as if I awoke from a dream That where I could not live in And life exploded in my chest

The mirror inside out [12]

With colors I could not have guessed

By Ana Luisa Lima

And it is as if I discovered

[12] Text developed by the curator and art critic Ana Luisa Lima for

That the force was in me all over Since the beginning

Krieger's

At the deep of the end

exhibition at Ateliê Aberto in

And back from the start

October 2012, as a part of the

At the deep of the end

the

homonym

program

Carolina

Festival

Hercule

Florence. This text was printed and

distributed

during

the

exhibition period. Ana Luisa also participated in the residency for

And back from the start (English version of Gonzaguinha's song de volta ao começo created for this publication) 209

– Can we stop for a while? – Are you tired of walking? – Where are we going? If I knew, I might wanna go. – That's what I'm saying. – But you were only silence since we began to walk. * We are suddenly assaulted by some emptiness and that, by itself, seems to be reason enough for deep angst. But there are some emptinesses and other emptinesses. Some mean lack and others are flooded with presence. Pain may reside in those we know that are made of lacking. Yet, have you taken notice of that that becomes present and yet you cannot specify? It is in this emptiness that the soul is sheltered: where we don't know when it begins or it's a pleasure that ends. What possibility is this, of existing without the distinction of what feeling is? It seems there is always an animosity that sharpens the nose behind any conflict that may bring back some familiar notion. To know yourself quiet, alleviated, is maybe the biggest of challenges. It is not by chance that we insist on the abysses of speech. There is in speech the

place, erect and motionless, his look would be completely overflown by the sea. The father came closer and asked: 'Guilherme, what are you looking for?' * Is it not on memories that we seek comfort? In that we are certain of? As if we had thrown an anchor to something that had actually been lived. We activate our memories in our states of solitude. That unbearable emptiness of being alone and meaningless. Wanderers. And what are memories if not a big empty space? Immaterial and intangible. Yet it is in this immaterial and bodiless place that we drop meaning. And then we think that we also make sense. In this instant we are the mirror inside out. As an ocean that reflects the sky. The face standing out is unquiet. Reflects and has the colors of the past. In the sky, everything is past. Something happening light-years from here. In the face standing in, everything is present, now, alive, pulsating. The deeper it is, the bluest, the darkest. They are other abysses. * I am not looking for anything, dad. I have found it.

desire to react to things unknown. As if

What did you find?

the verbs could animate such things and

Quiet and introverted, Guilherme

let their states remain inapprehensible. * The boy let go of his father's hand and ran to the last bench of the sidewalk that overlooked the beach. He stood up at the right corner leaving the tips of his fingers lingering to the front. In that exact 210

continued there, standing up. Slightly annoyed by the father's inconsistency in asking him, 'Come on, tell me, what have you found?' That was when he realized that being exactly seven years old allowed him to have that exact height, allowed only him to see what he saw.

* It was a long time ago that everything began to have a need to be known, acknowledged, named, unequivocal: light, shadow, sky, sea, truth, lie. That was how we distanced ourselves from the legacy of the God that made us indistinct. We are made of everything and nothing. As the sea, we leave our outside face to reflect what in us is past. And we fail to dive into herein, where everything is new, alive, deep and unfathomable. * On a certain day, Guilherme had asked his father what the horizon was. His father immediately told him, without a doubt, that it was the line that separated the sky and the ocean. But there, exactly, he had his feet on the horizon. And what he saw was sky-and-sea. Maybe, it could be something he alone could see. That is why his father never knew how to tell him in better words.

met people, made friends and exchanged experiences. In order to edit it, I saw myself in dialogue with Henrique, Maíra and Samantha, facing the three main people who constitute the history of Ateliê Aberto, each one of us full of wishes, memories and directly involved with every project created. Here, I will tell you a little about this experience and about the different paths this encounter has taken until it became the book the reader is now holding. Process We met for fifteen days in a publishing residency in June 2015 in order to define the editorial line we would trace. To start from, we had at our disposal Marina Pinheiro's research where she compiled all the material she had found about Ateliê Aberto and, starting from this extremely detailed and factual framework, we began to weave possible connections between previous and present moments creating a timeline, a trajectory over time, an overview of the projects in their chronological order.

come(in)between Notes and reflections on how this book has materialized Ruli Moretti

Among all publications produced in the course of these 18 years, this is the first one to be exclusively directed to Ateliê Aberto's history. As an invited editor, my challenge was to understand what the project meant as a whole – a priori, a book to celebrate the 18 years of existence of an independent art space I have been part of and where I have

After working with many artists and collectives, I have always come across the fact that the development of the work being done, in itself, should be the proposition of what we wanted to achieve. In this sense, Ateliê Aberto's ways of operating have always seemed related to the form which I began to work as a curator and process tutor. In other words, as Ateliê Aberto had always worked with the possibility of embracing projects not necessarily resultoriented, the process of adjusting to a series of vectors – such as infrastructure, initial plans, available resources, possible dialogues and contents addressed – and from them experimenting possible 211

solutions, means being sufficiently present

we filled in this period of 18 years with

in every situation, so that every solution

possibilities of connections and re-readings,

emerges exactly from the specificities

opening a path through what was in

of what we are being confronted with.

between blanks, highlighting essential

It is an exercise of not recurring to

contents, remembering people, situations

the easy option of applying ideas that

and experiences that would reflected on the

have shown themselves to be effective in

work developed in the following semester:

previous and similar contexts; of declining

rescued memories were the starting

pre-established models to apprehend

point for the construction of new ones.

through practice what is more specific in

To think this great book not only as a

every situation; a form of de-automatization

representation of what happened, and to

of thought; of never letting yourself become

understand that its entirety cannot fit into

stifled by solutions that have already been

a single system in order to be told, thinking

proved efficient. By creating a general

of a single way of telling this story was not

overview for several different contexts, it

possible, be it for the necessary effort to

is possible to activate only the necessary

shape a single narrative – to forge a sole

ones for a specific situation, giving up

approach or format – or for assuming that

everything else that has been lived until then

this history does not fit into a single narrative

in order to make room for what is new.

due to all different perspectives it presents.

The work then became a dialogue in

If on the one hand we notice it is

which I took the outside perspective: for

important not to leave anything off this

being obviously immersed in the rhythm

expanded memorial of all Ateliê Aberto's

and context of conception, production

activities that took place until now, on the

and maintenance of Ateliê Aberto's

other hand, establishing sections that would

activities, the opportunity of dedicating

create, a posteriori, new meanings for

myself to the analyses of this material,

direction, inclinations, options and choices

the simple exercise of concentrating

taken at the time could be an easy trap

to think how to tell someone who is

to a superficial solution. As the content

not acquainted with what is being told,

presented draws not only intrinsic relations

already allowed different organizations of

(between contents) but also extrinsic ones –

discourse, new rearrangements, readings,

in the concurrent relations between agents

understandings and meaning updates.

and situations of what we could ultimately

The sheer conversations about the contact with this material contaminated the other members of the group, bringing out not only the memory of such things, but also several other elements surrounding the activities' context of creation and execution. In this exercise of accurately going though our original raw material, 212

call a historic moment –, to establish hypothesis that condensed this experience in analytical categories would always incur in the risk of leaving something off. Maybe this cut could not be established now, and maybe establishing it would work as a sort of closing that did not

correspond to our will. In order to have

their own context: a newspaper facsimile, a

a historical look onto something, would

text written at that time or photographs of

it not be necessary to face the analyzed

activities, in a constant exercise of saying

object as part of the past, however recent

things and presenting them in themselves,

it may be? And what happens when this

leaving an openness so that the reader may

recent past is still present in a certain way,

sew them together as she/he wishes.

echoing in the process of conception of the work? Facing this kind of challenge and questionings we also came across an initial idea that appeared before I integrated the project; counting on the participation of artists and the option made was to replicate a curatorial logic already identified as a resource: choosing artists (instead of works or specific projects) and working with the ethics of allowing their free choice to work according to certain specifications, that in the context of this book were a certain number of words, a format, a guideline. An idea of curatorship within the space of the book. After the fifteen-day residency, we started working from a distance: through email, several skype conversations and exchanging archives in the cloud. In this work dynamic the objectives were always updated – to give meaning and shape to the interweaving of relations that started to take place – we organized commissioned artists' works, the separation of the book into parts and the selected texts. The exercise was not to present content as something static. In order to make it alive, we dispensed the use of some common procedures: we tried to produce discursive content whose perspective was not distant from what had been created. We chose not to produce texts that illustrated our path; we were concerned with forms of marking it with resources as close as they could be to

I think of this book as a process of condensation of memories, a sequence of film stills. I see it this book as a durational process: a consecution of pages, following two different ways that may become an analogy to a trajectory – a relation between a trajectory in space and a trajectory in time. Would the idea of time elapsed be analogue to that of distances covered in space? If the book/object/work's shape is only ready when it is finished, there is no way of foreseeing the meanings it is going to take – just like an exhibition opening or a talk about process –, therefore, to this open form, we offer an entrance door: Visits + Writings, encounters and other notes Selection of works proposed to integrate the book. Artists were invited to create works for determined spaces inside the publication. Present moments, new framings, works thought out for the book. Moments elapsed or aspects of personal paths that connect directly to Ateliê's history. Documentation of works, new propositions and texts that present narratives, reflections and ideas that permeate and connect not only to this path, directly shared with Ateliê, but also to established parallels between initiatives and processes undertaken during the period in which our history is circumscribed. This side of the book is also permeated

213

by pages that we chose to call "Inserted

places where activities were held can be

Memories: archive images" that do not

found. An ocean of words highlighting these

connect directly to any of the projects

connections throughout the book are made

present on the Data side, but that

by people who were part of this history.

somehow needed to be part of this book. Data Memorial of the undertaken activities,

On the names we give to things I think about word's specific attributes, nouns and forenames particularly:

separated into three blocks corresponding to

some cultures believe that the names

the three houses/headquarters (Casa #1, #2

given to individuals correspond to their

and #3) in which Ateliê Aberto has operated.

essence, to the role they will play within

Each block opens with a text about each

the community. The rite of passage

one of the houses, their physical space and

for adulthood is frequently marked

the range of possibilities offered by each

by a re-baptism – with the definitive

space while they hosted Ateliê Aberto.

name that the individual will carry.

At the end of the blocks, we present special contents such as CineCaverninha, RUA and Photo Display – the first ones make reference to resident projects (with several editions) undertaken at House#3 and the Photo Display that makes reference to the display that used to exist the physical space and was part of all houses' changes. Come(in)Between A bridge between the two sides of

I think about a suspicion, about a hypotheses: by attributing a name to something, we evoke its initial meaning every time it is pronounced, as if through repetition this meaning could be incorporated into the thing itself and conjure in it the aspects brought by that word and the meanings given to it, that are so rooted by a language's accumulated years of usage. We fecklessly cling to words, trusting them the power to

the book, containing texts produced

condensate what was not yet named and,

by members of the editorial board and

once baptized, such sprout will then begin

by the author of the initial research.

to exist in the world, carrying that name

Icons

and the meanings tied to it, meanings that

A solution to visually connect the

neither work nor author could foresee.

proximity of undertaken projects was the

New words arise, words take new

creation of icons that operate as subtitles;

meanings too; through social use, in

complementary information that can be

the different circles of knowledge; they

used as a browsing indexes. Beginning at

become obsolete; they are reinvented.

the flap, they illustrate how each project unfolds into different kinds of activities.

The word chosen to designate this book is uncommon: maybe because it does not

Index

have a consolidated meaning by constant

A key word (or onomastic) index, where

usage, yet, we took a poetic license to invent

all the people, collectives, partners and

214

for such word the meaning we would like

it to have. We grew fond of the idea that

found at the Analogical Dictionary (or

'meta' would always be something beyond,

Dictionary of Related Ideas) by searching

beyond the history being told; that it would

for words to which 'meta' and 'data' would

bring aspects not yet seen. And 'data' would

correlate. The dictionary, for those who are

be the unquestionable facts, presented in

not familiar with, operates in the opposite

advance. From this idea we mapped out

direction of a common dictionary (in which

where each content should be because

we search for possible meanings and

we needed to focus our attention onto the

uses for a specific term): we can consult

meaning that we first attributed to these

it from clouds of correlated words when

words. As the project had been previously

we already know the use and meaning

named, when ideas were going too far and

we want to express, but we want to find

desires were standing out, the urgency to

an exact word to convey the idea.

turn this book into an accurate testimony became something of an impracticable

META Limit; arrival; vision, field of vision,

complexity. One way or another – feeling

observatory, viewpoint, horizon, view

our way into what did not exist yet – we

from above, landscape, perspective,

were able to name connections that began

overview, scenario; intention: intent,

to form only during the process of work,

will, plan, outline, pretext, intentionality,

when parts of the book were beginning to

mind, end, finality, purpose, aim, desire,

become concrete, pages being designed

objective, program, project; final cause,

and the whole book started to take shape.

reason of being, scope, target, sight,

However, along this process, I could not

effort, sense, for what; desire: delight,

help but notice that, separately, the words

pleasure, love, fondness, contentment,

would take different meanings, and that

delight, intention, end, finality, longing.

only by chance none of us has noticed that. Of course that automatically identifying the word meta to its usual meaning would place us in a situation of meaning simplification: that of naming a book with a term that had been banalized by its constant use in project elaboration. Yet, I believe, that in the end, its goal – that is initial, and that is also a beginning, a middle and an end – was always to make a leap forward, beyond the format we were already working with,

DATA Evidence: facts, the logic of facts, premise, data, base; Reasoning; Supposition: supposed, presupposed, postulate, theory, principle, data, elements, proposition, premise, thesis, proposal; Fortuity: absence of intentionality in the succession of events; work of chance, luck, destiny, happiness, venture; surprise, fright, what is unforeseen, throw of dice.

beyond what we could suppose through an invitation, beyond as in a constant openness that even in an provisional ending, continues to point toward new horizons. I conclude with the list of words I have 215

The place of dissent 1 Henrique Lukas

THE THRID MARGIN OF THE RIVER 2 There is a problem of origin, a pronounced concern with the beginning and the end. The need of hyper-codifying the sensible and the abundant rationalization of things is born from a desire to dialogue, of wishing to understand (give meaning), share and invent the experience which is life, which is being alive. It is often necessary to remember what comes first, or rather, remember what is. Language searches the unattainable, the point of view of immanence, at the same time it covers and transforms it. It is no longer about leaving or arriving, but about what happens in between, on the third margin of the river.

In what is displaced, suspended, derived, in that which lets itself be lost, it is in movement and in pulsation that we exist. In this biopolitical context, we frequently forget noticing and understanding the importance of culture in our everyday life. It is necessary to end the fission that separated mankind, time to understand things in their entirety, realizing all its parts without losing sight of the common. To find difference producing new possibilities of life, creation and coexistence is a challenge and a choice. CULTURE IS THE RULE. ART IS THE EXCEPTION 3 Years have gone by and I still like to work with the definitions of art and culture in Je Vous Salue Sarajevo3. Not only because

Today we live today with a complete

it enunciates culture as a rule and art as

sensation of self-control, managing and

an exception, but for the complexity that

building our own image and history. We

emerges from this declaration that is far

are numb by a notion of freedom guided

from dichotomy or dialectics, but within

by consumption and false possibilities

the intrinsic relation of dependency for

of choice transvested in democracy.

the coexistence of both terms. There is a

The state does not seem to be able to

tensive field between art and culture. The

represent society and subject anymore.

creation of a place of dissent is the exact

The idea of nationality itself is in crisis

potency of this encounter. For that, it is

at the same time borders are becoming

necessary to remove the specific place of

stronger. Desire is used as a justification

art, or rather, produce new places where the

for action but the moments in which we

rule and the exception can be confused.

ask how much our desires and choices

Culture may frequently operate as

have been structured by a white, capitalist,

a standardization machine, acting by

heteronormative Western culture and, in

consensus, according to the politically

our case, post-colonial, are very rare.

correct â&#x20AC;&#x201C; leveling, equalizing and dosing

Decolonization of thought, of experience

intensities. At the same time senses and

and of desire is a daily exercise. Introducing

behaviors are incorporated, adapted and

new variations, references and contents

diffused in large scale and high speed by

into our imagination is a path to displace

culture, there are some automatisms, habits

perspectives and institute new worlds.

and structures of thought that are extremely

216

hard to change. There is a distance between

kind of institution, space or place, but a

thought as discourse and thought as action;

micropolitical position in relation to life.

and, in this operation, change becomes

We are left with the question: how

possible and happens. It is necessary to

to accomplish creation, mediation

produce new structures of thought that are

and agencying of art today in a way it

incorporated and crossed by our culture.

potentializes the production of difference

Art has the power to produce and

and dissent? Which would be the existing

intensify dissent, understanding dissent

and non-existing places for these

as this field of multiplicity, production of

agencyings to happen? How to produce

difference and potential to diverge. By

differences that cross our culture directly

distancing from the logic of finality, art may

transforming the structures of thought

create rupture, change the course of life,

and allowing new modes of existence?

producing and agencying new perspectives. As politics, art has the power to create

THE PLACE OF ART The place of dissent is a place of

fiction. Fiction does not aim at representing

encounter. A place is not necessarily only a

and presenting life or a reality, but it

delimitation of physical space. As in history

shows the direct confrontation between

as a whole, every place is invented and has

of what it is with the potency of what it

its own time. A place could never be one,

could be. For this reason art is always

no place exists alone. Every frame brings

political, regardless of each particularity of

in itself a reference of what is outside, of

its operations. The production of a place

the other, of the whole – a cosmovision.

of dissent is not an exclusivity of some

Thus, a place carries in it modes of life.

1. "If there exists a connection between art and politics, it should be cast in terms of dissensus, the very kernel of the aesthetic regime: artworks can produce effects of dissensus precisely because they neither give lessons nor have any destination." RANCIÈRE, Jacques. Dissensus. On Politics and Aesthetics (Londres: Continuum, 2010). 2. "Ele não tinha ido a nenhuma parte. Só executava a invenção de se permanecer naqueles espaços do rio, de meio a meio, sempre dentro da canoa, para dela não saltar, nunca mais. A estranheza dessa verdade deu para estarrecer de todo a gente. Aquilo que não havia, acontecia." ROSA, Guimarães. Primeiras Estórias - A terceira margem do rio (Rio de Janeiro: Nova fronteira, 2001). [He had not gone anywhere. He only executed the invention of remaining in those spaces of the river, from middle to middle, always inside the canoe not to jump from it ever again. The strangeness of this truth began to astonish us as a whole. That didn't exist, it happened.] 3. “In a sense, fear is the daughter of God, redeemed on Good Friday. She is not beautiful, mocked, cursed or disowned by all. But don’t be mistaken, she watches over all mortal agony, she intercedes for mankind; for there is a rule and an exception. Culture is the rule, and art is the exception. Everybody speaks the rule; cigarette, computer, t-shirt, television, tourism, war. Nobody speaks the exception. It isn’t spoken, it is written; Flaubert, Dostoyevsky. It is composed; Gershwin, Mozart. It is painted; Cézanne, Vermeer. It is filmed; Antonioni, Vigo. Or it is lived, then it is the art of living; Srebrenica, Mostar, Sarajevo. The rule is to want the death of the exception. So the rule for cultural Europe is to organise the death of the art of living, which still flourishes. When it's time to close the book, I'll have no regrets. I've seen so many people live so badly, and so many die so well.” – Jean-Luc Godard, “Je Vous Salue, Sarajevo” (1993). Source: <http://shortsbay.com/film/je-vous-salue-sarajevo>

217

There are specific and/or non-specific

galleries, etc), places that propitiate such

places for art. Art should have the power of

displacement and its legitimization.

invading (and creating) its own and other territories, art should not excuse itself. Be it a large institution, independent

In the name of a pretentious disqualification of the public and of a cultural habit, the use of all artifices of

space, cultural center or even a urban,

an exhibition for the benefit of clarifying,

public space, the exhibition format has

explaining, justifying and reducing the

become the place and one of the most

multiplicity of meaning and the potential of

recurrent forms of accessing art by

each work (and the articulation between the

the public. Although there is a frequent

works) in the argumentation of a curatorial

questioning of this format, the action

hypothesis is very common. I understand

and the presence of a curator, the use

the importance of existing such way of

of curatorial texts as presentation and

thinking exhibitions, or exhibition thought,

contextualization of the works and

but there are only few exhibitions choosing

articulations proposed, the credits and

to intensifying such divergence of thought,

subtitling of the works, the educational

looking for a multiplicity of readings,

and mediation programs, educational

allowing the creation of meaning that comes

actions, folder, catalogue, among other

from the experience of those who see/feel/

artifices, direct us to a shared, or common,

listen to it, not as a given knowledge, but

way of thinking exhibitions. Would it be

a knowledge built together – in this place

the only place and form of allowing this

between the work and who is witnessing it.

encounter between public and art? Why differently from cinema, theater and music, visual arts need help and mediation for its 'comprehension' and reception? Large part of agents and cultural equipments assume the role to pacify the tensions inherent to art – a perversity similar to the perception of culture previously cited – 'protecting' the public, in a certain way, from the discomfort and strangeness, decreasing their confrontation with it, providing a legitimized distancing for its condition of 'being art'. The fission itself and the existence of specific places for art to exist and happen lead us to the creation of a safe distance for the risks immanent to a work of art. Of course some works deal with this exact issue and must be in specific art spaces (museums, 218

From the moment a work is introduced into the world, independently from comprehension and context, it gains its own life. It is not mandatorily a direct communication channel, nor it should be. It does not demand some kind of 'interpretation' from us. APPROXIMATION AND REDUCTION OF DISTANCES The choice of occupying oneself with this specific phase of creation (that of the encounter between art and the public) happens, exactly, for the importance of such moment when art is made public, allowing it to be, exist and happen. These questionings do not direct us to the finality of specific places for art – we know the importance and our need for these

spaces â&#x20AC;&#x201C;, they search for a multiplicity of

encounter between public and works of

places so that art may happen, be them

art, it is interesting to think of spaces,

specific or not, as well as public, private,

thus keeping the word 'place' not only as a

large, small, rural, urban, etc. It is in a

physical space but as a subjective one that

multiplicity of places of encounter between

emerges from such encounter between

art and public that new possibilities of

artist, work, public, curator and context.

thought in art may become possible. One of the forms that showed itself interesting when allowing the encounter between art and public is the opening of the research, creation and execution processes of a work. The creation of a bond and the direct approximation between artist and public potentializes this multiplicity of meanings and allows 'knowledge' to be produced through the look and experience of each person. Seeing a work before it is ready, in process, accompanying an artist, participating of speeches, workshops, being able to see its transformations, the artist's choices, references, the way she/he talks about it, her/his perception of the world, or even participate in this process somehow, are other forms of allowing and agencying this encounter. The demystification of the work and of the artist also collaborates to the reduction of distances, and minimizes the glamorization generated by the art market. The curatorial text may and should be understood as a more creative and less explanatory place, potentializing the multiple layers of reading, even if it brings historical, philosophical and conceptual questions, but without relapsing into justifications, summaries, synopses or narrowing meanings. Much more than the model or anti-model for the construction of this

OTHER PLACES: INDEPENDENT, THE CULTURE HERO AND THE GHOST OF SUSTAINABILITY Without meaning to lose myself in the discussion of problems of the independent expression and its variations (a debate that is recurrent and present in this book in many different ways), I take advantage of this space for a small contribution on my perception of the term. Beyond its understanding as an ideal or its association to an unconditional freedom, 'independent' today is directly related to a condition of doing (its engendering) and to its mode of operating â&#x20AC;&#x201C; a practice connected to occurrence, much more than a pre-concept or initial discourse. When projects, spaces, initiatives, festivals, shows, artists or curators position themselves as independent, it does not mean assuming a position of isolation, neutrality nor political, not even an economical distancing from their context. It means that with or without financial resources (public or private), with or without institutional support, with or without authorization or legitimization of any kind, the project will happen. That is, independently from how it will happen, the initiative will continue alive (the same for a curator or independent artist, when they keep their work alive independently from their means of production). Of course that

219

in order to maintain an initiative or project,

that does not escape a verticalization and

there are several demands and risks, but

hierarchization of the cultural scene and

the absence of financial resources ends up

its agents. The concern with the modes

being the greatest obstacle. For this reason,

of doing is so present that we frequently

'independents' are frequently considered

forget to analyze what is being done. It is

small-sized or resourceless projects.

up to each one of us to live our choices, in

Whether out of convention, desire, discourse or habit, we call and recognize ourselves as independents because we are doing, we are proposing and because we want and need representativeness to create structures that resist to time â&#x20AC;&#x201C; despite the similarities and differences (that are many) between our spaces. If 'independent' is related to doing we cannot forget to place the dimension and importance of time in the analysis of this process, as well as the relevance of the different forms of doing. I believe that the multiplicity of 'how' to engender an initiative or project is the necessary basis to resist to time. The culture hero has always existed and continues to be a recurrent and present role in the independent cultural

a ethical way, but I believe that this heroic attitude in culture exists, as sacrifices are necessary and important, but it should not be the only approach if we really want to change and implement new possibilities of work in the field of art and culture. Another appearance that haunts the routine of independent spaces is the ghost of sustainability. In the past ten years, the term sustainability invaded the vocabulary not only in the field of culture, but everywhere, and several specialization, graduate and open courses on the theme now exist. As a jest, I personify sustainability as a ghost because it is always present and close, but it never actually appears to be concrete. For a period I believed that this

scene, including visual arts, theater, dance

ghost of sustainability, of and financial

and cinema. I believe, with a certain

and economical aspects that haunt

romanticism, in the possibility of changing

cultural scene were an obstacle for

the world, or rather, I believe that other

researching and creating independent

worlds are possible. With this intent, I

spaces. I thought that in an ideal model

share a position of resistance, of guerrilla

people who compose these spaces

and confrontation but without relapsing (I

should be free from their dependency to

hope) into the trap of the culture hero ego.

financial survival, keeping creation and

There is a common thought that says that in order to work with art and culture, sacrifice is demanded, as if it were the only way of working, something inherent to the condition itself of making art. There is a danger in this thought, as it may be associated to a reversed glamorization,

220

searching separated, preserved, 'free'. Today I think that the need to sustain independent spaces and having to work with aesthetic, conceptual and curatorial issues, also with the economical and financial side of any project or enterprise, may be seen as a good potential. The formation

of the public, artists and working team,

Universidade Estadual de Campinas and

managers and curators is the foundation

Pontifícia Universidade Católica Campinas)

of independent spaces. These projects

from its center, distancing the students,

produce other forms and structures of

their research, practices, initiatives and

management, allowing new professional

projects from the city as a whole. Some

relations, transdisciplinary and dynamic

initiatives such as bicycle lanes are finally

forms of education – which are conditions

being implemented yet most part of

that intervene not only with the space's

the displacements are made by car.

proposal but also with the production being created within these spaces.

With mayors being revoked or murdered, Campinas has a complicated political

CAMPINAS

history. We live a history in which long

Campinas has always been a

term public policies seem inexistent.

complicated city, its proximity to São Paulo

There is a lack of planning and structuring

brings advantages and disadvantages. At

in the cultural area, emptying or even

the same time it allows approximation and

destroying large parts of our heritage.

circulation of artists, projects, initiatives,

What we actually have – becoming

exhibitions and services provided in

bigger and bigger – are many shopping

the capital, it created a certain distance

malls. It is where we can find all the

between the city and its own production.

cinemas, exhibitions, theaters, restaurants

Instead of looking for a cultural calendar

and most of the leisure the city offers

in the city, many see São Paulo as a more

and uses. A leisure that is separated by

attractive option to go to exhibitions, plays,

a series of invisible turnstiles, walls and

spectacles of dance, restaurants and clubs.

barriers. Everyone knows that entering

There is a common idea that says: Campinas has all the problems of a

a shopping mall is not allowed to all. The policies of production and financing

large city, but none of its advantages

public projects, groups, collectives and

– a consideration that holds some

spaces in the city are reduced to FICC

truths to it. A superiority complex and

(Campinas Cultural Investment Fund)

delusions of grandeur are also recurrent.

– an open call for public funding in

A simple walk on commercial streets

constant transformation that used to be

and you will see: 'the best', 'the biggest',

called Estímulo Award. Even with (much)

'the cheapest', 'the most incredible', be

improvement it has gone through, it

it a shoe or a fried chicken wing.

still operates with terms, concepts and

Without good options for public

a somewhat limited vision of cultural

transportation, mobility in the city has also

projects, as well as meaningless demands

become a problem, being one of the reasons

and counterparts. In visual arts, an

and consequences of the distancing

example is the demand for donating

of Barão Geraldo (district of Campinas,

a work for the City Hall building. If this

'university city' that houses two universities:

work will actually last and be preserved,

221

it will probably seldom see daylight. We know open calls are a way to

budget for exhibitions, nor a permanent team or curator. Its functioning and

accomplish specific and determined

operation summarize to an annual

projects, and that they do not collaborate

occupation open call offering the space,

to the construction of long-term and

the available structure and support with

permanent initiatives, even though they

diffusion. But the project's proponent

still are a funding mechanism much used

must be responsible for providing all

by us. The logic and rules of most open

other resources, including financial.

calls collaborate with the creation of a

Museu da Imagem e do Som de

dependency relation. The possibilities to

Campinas (MIS) is an exception and it is

buy equipment, reform, or even buying or

potent. Even though there is no curatorial

reforming any other structure that exceeds

axis, MIS meets a demand due to the

the duration of the project are rare, so

lack of spaces in its central area, and is

everything must be made from scratch

organically occupied (in a freer form),

for each project. This inconstancy also

allowing people, projects and initiatives

happens when the topic is the working

to make it alive – an occupation from the

team; for the difficulty of keeping an internal

outside in. The cine-club and audiovisual

permanent team with the same resources

exhibitions of the museum, a permanent

and benefits of the market, we always have

project, continue to resist to time, with

to train new people to form the staff.

curators and invited and/or volunteer

SPACES AND CITY'S CULTURAL POLICIES To analyze spaces and cultural equipments in the city is difficult, after all the instability of these projects and initiatives or even the lack of a curatorial axis, makes it difficult for spaces to resist time, as well as for the construction of a continued program and proposal. Centro de Convivência, a public space in the city, could not even be

program creators. For a whole year I have attended sessions of esquizodrama and poetic clinic with the collective Devir, as well as other experimental initiatives that can only exist with a reduction of costs – for this reason the possibility of not having to rent a space in order to undertake a project allows initiatives such as this one to continue existing. Estação de Cultura also offers an

mentioned for being closed for structural

interesting occupation, gaining space,

reasons – although its external area is used

aggregating projects and initiatives. Even

everyday and the fair Feira Hippie happens

though it is a potent space, this format

on weekends –, or even Castro Mendes,

of a more open, organic and dynamic

the theater that is now reopened after

cultural center that makes the public and

being closed for five years for renovation.

city's cultural agents occupy and fill in its

Let's take Museu de Arte Contemporânea de Campinas (MAC) as an example. It does not have a 222

cultural calendar also presents problems. The absence of a curatorial thought has as consequence an inconstancy in its

policies regarding the program, education, maintenance, heritage, and the space as whole. These spaces are interesting, but should not be the only model of cultural management and encounter of the public with art and culture in a city. The SESC model is already known

The greatest difficulty of Campinas has always been resisting to time. It is usually necessary to start from scratch from time to time. We must build a broader plan, more structured and interconnected, decreasing our dependency on public authorities (creating and choosing new dependencies),

and our city has one of them, with its

arriving at new modes of management,

leisure and sports areas very well used,

structuring and raising funds and resources.

but the case is not the same for theaters,

Regarding contemporary art, no

auditoriums, shows and exhibitions.

matter how many artists, courses

Our SESC unit has two main problems:

and universities there are, the spaces,

diffusion and parking, as a large part of

initiatives and equipments in the city are

the city inhabitants only go places by car.

still minimum (and inconstant) and this

We have to recognize the importance and the role of the federal program Pontos de Cultura in the city, connected to the

blank directly influenced the projects and choices of AteliĂŞ Aberto, that usually operated as a city's cultural center.

traditional and popular culture or minority

CONTEXT

groups, transforming local contexts from

In times of crisis it is common to

the base. I have had the opportunity to

hear that we must cut funds, resources

work for two years as a teacher at one of

and cultural policies, since culture and

them, Ponto de Cultura Maluco Beleza,

art (as well as sport) are excesses, in

whose focus is the public health system

contraposition to health, food and education,

users, users of Centers of Psychosocial

the minimum resources for surviving in

Attention (CAPS) and the local community.

society. Our perception of education still

Some Pontos de Cultura, groups and

tends to be very limited, since it operates

spaces related to dramatic arts are also

with the vision of a given knowledge, of

abundant, specially in BarĂŁo Geraldo.

repetition, facts and formulas. However

Although there is a certain nebulous lack of action spread throughout the city, we have to recognize an improvement

we cannot separate or set culture aside in the analysis of our context. For example, corruption in Brazil and the

in some of cultural public policies in

current crisis cannot be seen only from the

the city. There are initiatives, collectives

economical sphere, it is a cultural problem,

and projects and a new beginning of a

that comes from an attitude of wanting 'to

cultural scene in Campinas, but it still

get more taking advantage of others', the

is very incipient, without structure or an

notion of self-deserving, 'the street-wiseness

articulation between them as a whole. The

politics', not paying taxes, the eternal

construction of a network between agents

student (with falsified student cards to pay

and equipments of the city is also lacking.

half the price for everything) and so on. It is 223

part of our culture to think we deserve more

but also to our relation with the garbage

and others deserve less, but we still do not

we produce, the way we use our resources,

see it as a problem, we dance to the tune.

how we move around. The discourse

These small habits and ways of dealing with routine begin operating at the micro towards the macro-political spheres. Our conformity and acceptance of the context ('this is how things are' or 'it has always been like this and it always will') many times prevent us from creating debate, from positioning ourselves politically and, consequently, from being able to change. Change may begin from inside and go inwards or begin outside and go the opposite direction, but in order to be concrete, it should cross all cultural aspects of the biopolitical life. We have to rethink expectations, demands, dependencies and at the same time the desire of autonomy in relation to the government. We cannot be absent from some discussions or wait, believing the government holds all responsibilities. We know and we are tired of hearing of all the problems, corruption or the highest tax rates charged in everything we do, buy and eat. It is not the moment to question how

and thought should exist as action. Going through a crisis is easy, every change is difficult. Crisis should and can be seen as a possibility of potency, reflection and change. It is time to abandon the nihilist and conformed discourse of our times and try to see this force field as a possibility of creating new structures. This also goes to cultural spaces and equipments of any kind. Regardless of the scarcity of funds and resources, we must be creative. The problems, the instability and the absence of resources should be the motor for changes at the basis, as well as for thinking of the next steps in the cultural scenario. We cannot turn our backs to the emptiness of institutions or large museums, responsible for maintaining our heritage. Maybe this is exactly the moment to use such existing structures to think of new models of management and curatorship, to re-signify preservation, archiving, maintenance and invention of our memory, history and heritage.

and where this cycle begins but it is time to

DARK MATTER 4

interrupt this current. In order to have the

By also operating through the immaterial,

power to make demands and claims, we

the unspeakable and with the inexistent,

should start in our micro environments, in

art and its experience usually cannot

our own surroundings, our own life. This

be dimensioned, bounded or quantified.

is not only related to economical aspects

Regardless of the difficulty to identify and

4. 'It is a part of the universe astronomers know exist but still don't know what it is. It's called matter because we are able to measure its existence through gravitational force it exerts. And it is dark because it doesn't emit any light. This second property is exactly what makes studying it very difficult. All observations of bodies in space are made from the light or other kind of electromagnetic radiation emitted or reflected by stars. As the dark matter doesn't do any of these things, it is 'invisible'. Yet, we know it is there.' Original version in Portuguese: ARAĂ&#x161;JO, Tarso. EdiĂ§ĂŁo 54 - Mundo Estranho. <mundoestranho.abril. com.br/materia/o-que-e-materia-escura> 224

map change, its origin, its time and path,

subjective, for encounters and agencyings

we know that art, exactly for its absence

to happen, may be a form of (dis)

of finality, is also an agent of engendering

organizing the field of forces, intensifying

change. Even being invisible and difficult

the engendering of dissent. There are other

to study, it is there, it exists as dark matter.

places between public and private, formal

As managers, curators and artists we

and informal, large and small sizes, the

have to work with all sides, with entirety.

existent and the inexistent, 'dependent' and

Although we work as agents, spaces,

'independent', left and right, between what is

policies, public and resources that already

given and what is goal. Sometimes the most

exist, we cannot leave the inexistent aside.

radical stand is creating and staying in such

We have always been reluctant to use

'in between' position, in this crossroad, at the

the word curatorship in the context of Ateliê

third margin of the river. Be it here, or there,

Aberto as much of our work was related

or in the middle, we desire other encounters,

to agencying of processes, encounters,

places and worlds to be possible.

ideas, places and research, experimenting, opening and creating space for what is yet to come, for what doesn't exist yet. I prefer to think that instead of the non-existence a curatorship, our work may be seen as a curatorship of the inexistent, bringing not only historical, investigative, theoretical and propositional dimensions but also affective, intuitive and mystical aspects. More than a concept or research, our work has been guided by the act of doing, allowing, potentializing and agencying encounters. This book, as well as Ateliê Aberto,

Independent spaces of art, life projects and the society of the future Maíra Endo

The growth of contemporary Brazilian art scene has become perceptible since the beginning of 2000. In this scenario, among other initiatives, independent – or autonomous, self-organized, alternative, intentional – spaces are now the big stars. According to a mapping of the mappings undertaken by the projects Art.éria (Kamilla

is another place of encounter that only

Nunes), Rede E.E.I. (Edson Silva/Casa da

exists by meeting others, the readers. With

Ribeira), Circuitos da Desdobra (Fabiana de

different reading possibilities and different

Moraes), Cadernos de Gestão (Lilian Maus/

forms of showing reflections and ideas,

Subterrânea) and Espaços Independentes

it was thought out as a place of dissent,

(Ateliê 397) the existence of about one

without an agreement or outcome; it is

hundred of these spaces operating

an open talk. Through artifices, tools and

throughout Brazil has been acknowledged.

mechanisms that were used to think and

This number, by itself, reveals the need

compose our space throughout our history

and urgency to define non-institutional

– our way of thinking, doing, conceiving and

means for the creation and distribution

producing projects – we open this dialogue.

of visual arts in a national context.

To think of places, be them physical or

Concurrently to the expansion of the

225

independent scene, in a response to the

particularly, to the terms used to define such

demand for professionalization in Brazilian

initiatives that even with all the differences

cultural sector, university degrees in Cultural

between them are usually undertaken

Management and Production started to

by artists, host the production of young

be created. Today, there are dozens of

or beginner artists (not yet completely

courses in this area in Brazil, and they

consolidated professionally) and position

can be found at the 'Mapping Platform

themselves in resistance to the art market

of Education in Cultural Organization in

and, more specifically, to the structure, form

Brazil' created by Universidade Federal da

of organization and operating systems used

Bahia (http://www.organizacaocultural.

by traditional cultural institutions. Ultimately,

ufba.br). However, these courses' approach

being independent means not being guided

to management and cultural production

by institutional rules currently in vogue.

adopt a macro perspective, considering the

Regarding the terms used to refer to

typical context of large executive production

'independent' practices, I presume that from

companies, traditional cultural facilities

their need to self-declare as spaces (not only

and cultural heritage management.

physical) in which art can manifest itself

Considering the large number of

freely –without undesirable interferences of

independent spaces spread out in Brazil

external agents, such as the market –, an

and the inapplicability of the tools offered

exaggeration that seems intentional was

by formal education, macro concepts and

made; a hyperbole. After all, relations of

strategies to them, a parallel and intense

dependency are intrinsic to human essence

debate started to take place around the

and life in community and here we are.

micro aspects of management. Even with

Understood as such, the term 'independent'

the fear of turning the processes shared

reflects autonomy and freedom in the

by many artist-managers stifled and

creative process and generation of contents,

bureaucratized, in the beginning of the

it is not directly connected to the models

2010s, many projects whose proposals

of funding or micro economic, social,

were to propel dialogue and knowledge

environmental and cultural threads in which

exchange about management appeared

the space is inserted. That is, a space may

as an alternative to the options offered by

be seen as independent when aims at

formal education. At the same time, two

establishing practices that are able to keep

open calls for public funding (Programa

the produced art free and autonomous. In

de Ação Cultural) were created by the

other words, management is interdependent

Secretary of Culture of the State of São

from root to tip, but art does not have to be.

Paulo, aimed at funding programming,

And, in my opinion, this should be our focus.

maintenance costs and research related to independent art spaces in São Paulo. The most debated issues between artistmanagers of independent spaces regard,

226

It is worth remembering that the term 'independent', already known by a wide cultural audience connected to the productions which are not part of the mainstream, is also used in other

areas such as music, theater and

inclination. The first observation is that,

cinema. And as a separate provocation,

according to Kant, autonomy is an ability

isolated from the discussion raised in

of human will, it is connected to people

this text, it is worth citing the multimedia,

and not to inanimate beings as art spaces:

or how he defines himself, the multi-

art can only be autonomous if people

layered artist, David Blamey:

want it to be. This means that a space and

'It is important that some artists and curators organize their own projects. The art world relies upon independent producers to challenge its power base just as democracy flourished with a measure of dissent. As new ideas and practices are assimilated into the mainstream the prevalent culture of agreement is protected and the power base maintained. Selfinitiated projects express an urgency to replace a lack of discourse around certain issues as well as providing a less corralled version of the process of oneâ&#x20AC;&#x2122;s own cultural operations.' In the independent scene of Berlin,

the art hosted in it will be autonomous if the people who make and produce such space are autonomous. Still according to Kant, an autonomous being should imperatively protect her/himself from external factors that exert domineering influence: there is no need (and in my opinion is not even desirable) to block the flow of exchanges and relations to the surrounding context. Keeping faithful to its moral legislation or essence is enough. Independent spaces are, therefore, inserted in a context, a system that

although there is an infinity of English terms

involves all agents with whom a relation

already in use, such as artist-run space,

of exchange or dependency is or may be

independent art space, self-managed art

established, be it a collaborator, a partner,

space, alternative art space, non-profit art

a service provider, a visitor or sponsor/

space â&#x20AC;&#x201C; an independent space is usually

patron. In general, it is part of its nature

called 'project space'. I understand that this

to search dialogue with its physical

term refers to art spaces built according

surroundings: the district, the city and its

to a project defined by the blanks seen

inhabitants â&#x20AC;&#x201C; the neighborhood, shops,

by involved artists as in need to be filled

the family, artists, curators, researchers,

in. This project is the basis on which the

critics, educators, visitors, businesses,

space develops other projects, that is, it

the service sector, institutions, companies

draws guidelines and objectives, offering

and public agencies. A large and complex

guidance to the work developed within

thread. And a group of artists who intend to

the spaces throughout the years.

organize and manage a space of production,

According to Kant, autonomy is the capability of human will to self-determine

research, distribution and education needs helps, right? Yes, of course they do!

according to a moral legislation established

Many independent spaces are short-

by itself, free from any strange or exogenous

lived: the greatest majority of them are able

factor whose influence is subjugating,

to reach 4 or 5 years of existence, some

such as a passion or incoercible affective

can get to 7, 8 or 9 but few can reach more

227

than 10. Even though financial sustainability

of culture are hardly able to keep up with

is desired by a part of those who close

the (r)evolution that happens in the routine

their independent space's doors, there are

of those who live with art on a daily basis.

others who understand independent art

When a cycle is closed, the artist-manager

spaces as naturally ephemeral, temporary

needs to be instigated by a new blank,

or transient zones, that orient their

revealing new professional, existential

existence organically and spontaneously,

and/or research ambitions that could only

feeding on the enthusiasm of the people

become concrete within an independent

involved. And we get to another point

space. And this goes on successively

of the debate: the need of these spaces

until the artist-manager begins to see

to actually establish themselves. After

its space as a life project: a place for the

all, do they appear just to provide for a

impossible, for what is new, transgressing

momentary necessity, to fill in a blank

and critical. This explains the characteristic

during a certain period of time? Or should

transmutability of independent art spaces.

they look for sustainable ways to survive? I believe definitive answers to these question do not exist. That is because these spaces are directly connected to the manager's desires and understandings, as an artist, individual and a citizen. A space is generally born from a blank noticed by a group of artists, be it in their own lives, or in cultural, social and political environments. This blank awakens desires that will be the engine of the space: it generates enthusiasm that literally keeps the space alive. And this happens collectively through the desire to exchange and work collaboratively but also because it would be very difficult, or impossible, to do it otherwise. Artistmanagers imprint their personality, research and world perspective into their space, that may be a personification of their managers or an extension of their bodies. But blanks are not permanent and, once

Whether you believe these spaces should endure over time or not in order to be able to satisfactorily be a part of the complex thread – feeding on external resources to meet the demands that cannot be undertaken by artist-managers – it is necessary, at some point, to draw a plan of action and develop management tools and strategies. And I say 'at some point' because I believe it is not worth introducing this topic as soon as the space is born, when artistmanagers' heads are working at full throttle, at their creative peak, overflowing with dreams and desires. The right time to plan should be defined by everyone involved. And then comes into the picture an essential tool that is part of every artist-manager: intuition. In an independent space, in order to produce and distribute art, money is also necessary: a little, or a lot. Of course everything can be done with a minimum

they are filled in, the closure of a process,

budget – in this case provided by artist-

the ending of a cycle, the substitution of old

managers' and invited artists' resources

desires by new ones – may invalidate the

– but, from my point of view, with time,

motivations of an artist-manager. On the

the act of investing and not being repaid

other hand, the few existing public policies 228

for your work may be a great problem.

and its environment, the big unanswered

In the beginning, when most projects

question is: how can we reach such financial

are working with low budgets and artist-

sustainability (or balance or stability)? It

managers are filled with enthusiasm, the

seems to me that everything has to do with

relationships of exchange with people

how the artist-manager administers these

involved and the bonds created nurture

material and immaterial flows, that is, how

and compensate the artist-manager.

the art space inter-depends on agents or

The feeling of belonging is also

external factors and creates its chain of

important: an artist that is studying,

relations, its sub-system. Having a good

graduating or producing her/his first

comprehension of its environment (physical,

works finds it difficult to spot a place in

social, cultural, political, economical and

the sun. When a physical space begins

environmental), seeing the possibilities of

to exist and hosts these artists and their

exchange between the network, knowing

production, opening its doors to dialogue

the communication tools to manage its

with others and there are visitors who

flow and using mechanisms to control

wish to interact, a path for another artist's

'results' is, therefore, the first step to take.

need opens up: for that of seeing her/his

Thinking and discussing all of it is not

work somehow legitimized, recognized

enough: everything must be on paper, on

as existent by others. That, plus the

spreadsheets, charts and flowcharts. And

sensation of being part of a community,

this is the fun part! There is a much more

empowers the artist. And every artist likes

tedious one related to taxes, to legal and

to have power over their production.

financial issues. Finally, it is necessary

But as the years go by, and it becomes evident that this power is frail, projects that depend uniquely from their owner's resources should be mere accessories, carried out only when the attempts of raising funds are not successful. But still there is an incontrollable desire to

to be informed about what happens around management universe and be able to understand a bit of everything. Yes, transforming an independent space in a life project is not easy! More than anything, we must really want and believe it is possible. Let's begin with models of funding, the

undertake the project anyhow. The truth is:

structure adopted by an independent space

there is no scape â&#x20AC;&#x201C; at some point it will be

in order to raise funds. We must remember

necessary to deal with living expenditures

that the independent scene in visual arts

and dreams that involve money, such as

in several European countries, as well as

traveling, studying or having children.

some cities in the United States, is some

Considering an independent space as

steps ahead than that of the Brazilian

an artist-manager's life project and starting

reality. In order to get a better overview,

from an inevitable state of interdependence

we can mention that the first independent

that implies a constant material and

spaces in Berlin appeared in 1970s, and

immaterial flux between the art space

the amount of spaces in activity in the city

229

is larger than the current amount in Brazil

conditions and demands. In the case

as a whole. Looking at Berliner spaces

of public funding through open calls, a

that have existed for more than 5 years, its

common resource for independent spaces,

management and financing models and

an agreement to their scope is necessary,

the establishment of case studies from the

as well as meeting pre-requisites and

outstanding ones may be a very useful tool

offering counterparts, usually understood

to be used in the Brazilian scenario. It is

as educational activities and measures

worth accessing http://www.projektraeume-

for democratization and accessibility. The

berlin.net/interaktivekarte/ to understand

demand for art projects' counterparts may

the development of the independent visual

seem strange as, in my opinion, activities

arts scene in Berlin in the past few decades.

of creation, distribution, critic and research

Good financing models â&#x20AC;&#x201C; that determine the degree of 'independence' of the space â&#x20AC;&#x201C; have in common a diversity of sources of funding: successful spaces do not depend much on just one of these sources, and relationships of extreme dependence are not built with a single external agent. The combination of several sources of funding to elaborate a financing model is a great contribution for the maintenance of the balance and stability of the independent space's sub-system. There is, then, a choice to be made: what to depend on? The existence of a space may financially depend on: 1.Public funding (through public policies of culture, open calls or tax incentive laws); 2. Direct corporate sponsorship; 3. Donors; 4. Crowdfunding; 5. Revenue generation (commercialization of products or service providing); 6. Artist-manager's own investment; and/or 7. Artists' and other involved participants' investments. The source of funding is any project's determinant factor, once obtaining it generally involves a delimitation of

230

are already so important (and so deprived of resources) as educational activities, and they do not need to always go together. Besides, research and exhibitions already have the power to produce and transfer knowledge within those who access them. In the case of public funding through tax incentive laws (or even direct corporate sponsorship), it is important to meet the demands of the sponsor according to the corporate's cultural marketing and advertising teams, who frequently define the project to be financed beforehand. It is important to mention that it makes no sense corporations being able and responsible to determine allocation for public investments according to their marketing and advertising interests. Although we need much evolution in terms of public policies, let's be optimists and take a good look at the programs some spaces have been offering lately. If, on the one hand, Lei Rouanet (Brazilian tax incentive law for cultural projects) has been suffering alterations and adjustments that go against artists' claims, on the other hand, we see open calls for public funding multiplying over the past few years and they tend to amplify and diversify their scope

of interest â&#x20AC;&#x201C; embracing non-commercial

a constant state of financial instability.

practices and/or those focused on

In my opinion, revenue generation is an

processes (such as performances, video-art,

important factor, an ace up the sleeve,

installations, book of artist, interventions,

that may become definitive in terms of

residencies, educational activities, and

assuring autonomy to the art produced

several formats of publications).

within an independent space. Finally, two

Within this scenario, artist-managers have been more and more insightful when raising funds in terms of adapting their needs to the requirements when writing and undertaking the project, creating flexibility in terms of schedule, presenting reports and accountability. When projects are publicly funded, be it through tax incentive laws or open calls, there is no way to avoid accountability: we must execute and spend exactly what was planned, in a pre-established period of time. Thus, when writing a project, the artist-manager must pay attention to the way how its structure will be defined. The project must be as open as possible so that it allows the flexibility needed by critics, researchers, educators, curators and artists to develop their work and, consequently, the art produced in this context to be

funding resources very largely used by artist-managers nowadays are: their own and invited artist's resources. That said, I believe no further comments are needed. When we talk about money, an important issue to consider is that a space whose management resource, and therefore its mode of operation, is well defined and planned can isolate more easily the process of creation and exchange between all participants from consequences of the management resource issues. Agents' fees (managers, curators, artists, critics, among others) and investments necessary for the accomplishment of a project are only a few examples. When there is clarity about the available resources since the beginning, the process of creation follows without interruptions and unnecessary restarts. Considering artist-managers' multiple

autonomous. Ultimately, we may say that

possibilities of approach towards the space

the artist-curator-manager's act of creating

they lead, it will be necessary to keep looking

is in fact somehow limited, but that of

for new formulas and drop old habits, if

the invited artist does not have to be.

they wish their spaces became their life

For visual arts projects, crowdfunding unfortunately has not gained much strength in Brazil. Only a few projects have been able to successfully use it. Donations are difficult to obtain and they are usually pretty much from artist-manager's personal relations. Revenue generation is not yet very explored in Brazil but there are spaces abroad that have found in it a solution to exiting

projects. In fact, I believe that formulas and habits should be continuously renewed in every situation. In my opinion, a very coherent path is understanding independent spaces as a fusion between an art project and a small business. Even if their main objective is not the generation of profit, they still have a talent to generate revenue and establish themselves as renewed cultural institutions using functional 231

financing models that help them continuing

on the project. It may not seem so, but the

to exist. Therefore, artist-managers need

construction of this basis, respecting all

a business plan that includes financial

the processes undertaken internally, has

planning, identification of strategies,

a liberating effect on space management

management tools, commercialization of

and saves both energy and resources.

products and/or provision of services. An

A space in Berlin named Agora has

example could be the commercialization

discovered a new formula! Let's treat it as

of inserted or applied art, but not only the

a mini case study (http://agoracollective.

direct commercialization of works of art.

org). They work with collaborative projects

In practice, artist-manager's desires and

and receive people based on a philosophy

the opportunities identified in their context

that reflects the values of its community

(as public policies of culture, demands of

and members: diversity, self-organization

the public, for example) must be combined

and social bonds. They define themselves

to a good planning, so independent

broadly, employ the expertise of their fifteen

spaces may function as joint bodies,

members, and highlight the importance

divided between interests and resources

of imprinting their world perspectives

that can be both public and private.

within the space. They have four main

An example of an old bad habit

lines of activity: workspaces, art, food,

is not giving the proper attention to

and Kindl, a new experimental 'project

documentation, be it related to financial

space' for collaborative learning. The work

management, to the production, to visitors

spaces take up five floors of the building

or to the contents produced and publicized.

and include a room for practical works,

Documentation is always important for

a silent room, a multifunctional room, a

all activities of the space, and it may

coffee shop and a garden. They operate

be documents, reports, spreadsheets,

at flexible hours and there is a variety

photographs and videos. Together, these

of passes that can be bought and used

documents form the spaces' technical

according to the users' needs. Agora is

archive, make a record of its detailed history

also a platform for presenting, developing

and are indispensable for artist-managers

and promoting arts, specially interested in

who want to design their own organization,

investigating social and artistic practices,

and consequently, their own mode of

experimental methods of collective work

operating in a continuous form. It allows

and interdisciplinary processes. They want

the construction of a basis over which

to be catalysts of the local multidisciplinary

everything will be built inside the space. It

work, connecting intellectual resources to

shows that there is a form of working that

the fields of art, entrepreneurship, science,

is common to all projects developed by a

philosophy, technology and food. They

space. Or yet, that there is a pre-existent

have held the festival Agora Collects, the

line of thought that at certain points divides

performance program Foreplay and the

itself and follows different paths, depending

residency program AFFECT. The collective also organizes discussions, workshops

232

and artistic interventions. As a platform,

organization tools and strategies (without

they gather initiatives engaged in exploring

including the hierarchical structure and

new approaches to food; and collaboration

the bureaucratic processes, obviously) are

notions, self-organization and sustainability

absorbed by independent spaces keeping, at

are put in practice inside the kitchen.

the same time, its primordial characteristics

Innovative chefs are selected to lead the

such as autonomy on internal processes,

restaurant using the time, space and

size, flexibility and adaptability?

infrastructure available to try their new ideas

Cultural institutions have historically held

in an actual gastronomic context. Resident

the power to legitimate what is our cultural

chefs serve creative meals to visitors for

and artistic legacy, that is, they have the

the period of three months. The collective

responsibility to look at everything, always

also organizes and conceptualizes food

at the imminent risk of leaving something

workshops, gastronomic and pop up events.

out. And they always do. If institutions

Even though it generates revenue, Agora

serves society as a whole, being its official

also depends on sponsors and partners.

art legitimizing organ, why do they become

It is in independent spaces, joint bodies

elitist and/or hostages of the excessively

whose interests and resources are both

powerful market so frequently? Why do they

public and private, that artist-managers may

have the habit of looking to the past more

research and be autonomous proponents, at

often than they look to the future? There are

the same time they make a living from them,

not many institutions opening up to new

without the need to create bridges with the

narratives, collaborations and establishing

perverse art market and its manipulating

themselves as spaces for reflection and

arms. These joint bodies, with a talent for

change. But it does not have to be like that,

lasting, renewing and renovating throughout

institutions are not immutable organisms

the years, fiercely protecting the creation

in face of new superposing realities. As a

process that defines its personal scope

reflex of public policies of culture, Brazilian

and program, but also considering public

cultural institutions today are not updated

interests; financially stable and still holders

to the revolutions in the art world and

of a faithful and engaged public â&#x20AC;&#x201C; couldn't

are not being able to handle practices

they be the cultural institutions of the future?

considered non-commercial and/or process

Couldn't they be counterpoints to the much

focused (such as performances, video-art,

criticized existing institutions? Why besides

installations, interventions, residencies,

talking about a avoiding institutionalization

educational activities, publications).

of independent spaces, don't we think of

They also cannot keep up with young or

how their scope and mode of operation

beginner artists demands for spaces of

may influence institutions? Taking a step

production, research and distribution.

further, why couldn't today's independent

Not to mention they do not problematize

spaces become the institutions of the

the effects of institutionalization and

future? Wouldn't it be possible to create a

intensified commodification of art.

new middle way where management and

It is in independent spaces that 233

everything (or almost everything) may

spaces management research, and my main

happen. If the work developed in them

goal is the establishment of a financially

is also searching for the strengthening

sustainable method. I am currently leading

and valorization of management it will

SOLar, a small project initially aims at

be possible to take another step forward:

undertaking cultural management research

today's independent spaces may become

projects that propitiate collaborative

tomorrow's cultural institutions. And from

work, the creation of networks and the

their origin, they may bring characteristics

increase of representativeness in the

that will renew not only their operating

independent art scene. Its first project,

mode but also their role in society.

SINAPSE (sinapse.art.br) was awarded

New institutions would not necessarily

with a ProAc public funding program

substitute the current ones, but would

grant and it is now being undertaken. The

act alongside to them, broadening their

second project, CÓRTEX–independent

scope and functions and also presenting

media data base for contemporary art,

new forms of structure and organization.

was awarded with public funding through

Artist-managers and their spaces already

Programa Rede Nacional da Funarte in

are important agents of reflection but

2015 and should be implemented in 2016.

they could also be agents of change. We must take on this responsibility so that it

Some links for further research:

will be possible to play a more effective role in shaping our society of the future. My cultural management research

http://www.projektraeume-berlin.net/ interaktivekarte/

began in 2007 with a Businesses

http://www.gestionautonomadearte.net

Administration graduation paper entitled

http://www.lastroarte.com

'Critical overview of the sector: the paths of cultural management in Brazil'. Between 2008 and 2009, I took an specialization

http://www.artquest.org.uk/ articles/view/artistled-spaces

course in Cultural Management and in the

http://www.artquest.org.uk/ articles/view/global-networks

following years I had the opportunity to

http://www.jaca.center/wpcontent/

be part of several independent art space management projects. Since 2004, when I

uploads/2015/06/INDIE_ GESTAO_FIN_OK.pdf

was a Visual Arts undergraduate student, I

http://subterranea.art.br/eai/

have been a member of Ateliê Aberto, the independent art space in Campinas, São Paulo, that celebrated its 18th anniversary in 2015. In 2009 I became Ateliê's associate and started to coordinate the space with Samantha Moreira, proposing and producing projects. I turned my place of work into a permanent laboratory for independent 234

http://www.arteria.art.br http://www.casadaribeira.com. br/projetos/rede-e-e-i/5/ http://issuu.com/atelie397/docs/ espacos_independentes http://atelie397.com/loja/ espacosindependentes-pdf/

http://editoracircuito.com.br/website/

culture

wp-content/uploads/2013/11/ espacosautonomos-web-11.pdf

(1) Along with proposals for economics and politics, anarchism has been

http://www.newmuseum. org/artspaces/map

historically concerned about ideological

http://atelie397.com/o-artistagestor-e-apotencia-independente/

religion, education and media have been

and cultural issues. For anarchists, if responsible for legitimizing domination,

http://www.circuitosdadesdobra.com

anarchists should propose a distinct

http://www.organizacaocultural.ufba.br

culture, that legitimizes their proposal of self-management. Thus, in addition to political and economical self-management, anarchists propose the creation of a

D > (age of majority)

self-managed culture, ethically forged in

Samantha Moreira

an ideological basis guided by values and

"OBEDECER NO ES VIVIR" Samantha Moreira, 2009 229

capable of sustaining its economical and political project. Such anarchist ethics is an universal element transversally promoted in all contexts, guided by the following values: individual and collective freedom

EVERY ARTIST IS A WILD BODY TOGETHER WE ARE FOREST, JUNGLE, RIVER, SEA

for the full development of everyone's competences, abilities and critical thought; equality in economical, political and social terms, promoted by self-management

being adrift is part of the wild body of riding the boat according to the tide of understanding tsunamis, floods, drought and the sea air, the breeze when it calms down and if it doesn't, another tsunami and again the sea, the river, jungle, forest

and including race and gender issues; solidarity and mutual support, sustaining fraternal and collaborative relationships between people instead of individualism and competition; permanent encouragement towards happiness, motivation and will. (2) Education is one of the topics that has been most developed by anarchism, with the discussion of libertarian pedagogy. For the French geographer, writer and

ANARTIST BY NATURE (on) self-managed

anarchist Ă&#x2030;lisĂŠe Reclus, 'the anarchists ideal is not suppressing school but, on the contrary, making it grow, turning society into an immense body of mutual teaching, where everybody would simultaneously be a teacher and a student'. For anarchists,

235

broadening education and expanding it to the whole of society is essential for fostering values aligned with of selfmanagement practices. Such education would be integral, because it would seek to strengthen individual development

1. ANARQUISMO. In: WIKIPÉDIA, a enciclopédia livre. Flórida: Wikimedia Foundation, 2016. My emphasis. Available at:<https://pt.wikipedia.org/w/index. php?title=Anarquismo&oldid=44359118>. Last viewed in: Jan 2nd 2016.

completely: intellectually, through scientific

"PARA QUE TANTO?"

knowledge of the distinct areas of life

Tiago Rivaldo, 2008

and constant encouragement to culture; technically, preparing for work and training for the accomplishment of manual and intellectual tasks; physically, having as a goal the promotion of health and well being. The Spanish anarchist Francisco Ferrer y Guardia emphasized that the anarchist's goal would be to educate people so they become 'capable of incessant evolution; of constantly destroying and renewing both the means and themselves; people whose only intellectual dependence would be to supreme forces, that would never be subjected to whatever may be, always willing to accept what is best, happy with the triumph of new ideas and willing to live multiple lives in one." (3) The investment in leisure is also part of this self-managed culture; in free time, the anarchists consider it fundamental to participate in activities that involve sports, arts, music, television, cinema, theater and literature, both for relaxing and cultural instruction. The ethical values of anarchism constitute the basis for this popular and self-managed production of leisure. The media advocated by the anarchists would be self-managed, promote broad participation, diversity and critical thought, informing, discussing and entertaining. (1) (2) (3) 1

236

232 MI CASA, SU CASA ][between][ [ ] private and public ] [ treating the spaces of Ateliê Aberto as 'houses' is not something that happened out of chance no matter how much spaces have modified and grown throughout these 18 years, the act of hosting, of being a host, of welcoming and of making people comfortable has always been present, not only during the assembling of exhibitions and throughout residencies, but everyday, in the way visitors are welcomed, coffee is always ready for a good conversation, library is always open for research and is easy to access, large work spaces can be used without 'pre-established places' to work, the kitchen is the place of proximity and informal conversations, the gardens (that even in the apartment Casa#2 existed as an annex from which we would leave through the window), in the coziness of some corners created by its architecture, and specially in the freedom of the artists to develop their work, participation and permanence in the desired way, besides so many other experiences that we have been through together, I believe that affection, the way of hosting, the desire to be together, sharing,

thinking, structuring and developing projects

about our projects and Ateliê Aberto's

(inside and outside Ateliê) are things that

propositions, when he looked at us and said:

establish a difference between spaces and initiatives in which we participate the choice and happiness of being there

'You take risks. You design projects and exhibitions in which artists are chosen and not works. You have the courage of not

with lightness, informality (and that doesn't

knowing exactly what is going to happen,

mean precariousness, lack of management

how exhibitions will be or the result of

or responsibility) approximate and open

that you are creating with these artists.'

space for other people to be part of it, for what may happen without planning, surprises, exchanges, collaborations, shared authorship, experiences, labs, interchange, dialogues and so many other possibilities that both coexisting and productions which are open to the public may bring. there were many, many times when

INVENTING, ESPECIALLY, WHEN EVERYTHING INDICATES ENDING until this moment Ateliê Aberto's history archive was separated into each one of the houses (even though many projects happened outside these spaces) where it was hosted, connecting our memory to what we lived,

visiting artists or visitors in general

to partners, to what we accomplished

participated directly or indirectly

in each period and to everything each

helping artists in residency

one of these places allowed us

so many other external projects changed

in one of the discussions we had at

radically after our permanence discovering

JA.CA in 2013 during the Indie.Gestão

new layers that followed different paths

residency, we had to point out what

the term and the hierarchical format of 'curatorship' have also always bothered us and still is somewhat limiting, outdated and 'disproportionate' to the way we understand and act in projects with artists, producers, other curators, institutions and partners – the desire for a new term for dialogue, proposition and collective work processes has always been there – I believe it may be one of the next steps for discussions and creation of signs we have to update along with other partners that think and work in the same way I always remember a talk with Tadeu Chiarelli in one of his visits to Ateliê

each space presented as a differential, something that could be safely maintained I remember that one of the items I mentioned was the fact that we owned Ateliê's house/headquarters (acquired by Maíra and I) and that it allowed us to be calm about the project's viability, that is, our permanence, costs and financial ups and downs, without depending on paying rent; acquiring the house for Ateliê Aberto was one of our greatest achievements – we still have to spend money with its maintenance, but not having to pay rent makes an enormous difference in this same year the lives of the

Aberto in 2000, when we were developing

three AA's coordinators began to follow

the project BR500. We were telling him

different paths and desires, even though 237

we were still very connected and many good things were still happening in this same year we were awarded with a grant to fund Ateliê Aberto's programming for 13 months, everything we ever wanted

was and still is a continuous new beginning and it is so beautiful, strong and special that the project METADATA has happened during this time of turmoil this was a year of work that presented

in a project: much work, artists, honest

us with the possibility of reflecting, of

infrastructure and payments for the team,

an extended perspective, of multiple

an organized website, the space was shining

sensations and of being connected again

and beautiful; and a publication at the end of the project... but the rhythm and the ideals

organizing and editing the book seeing and recognizing the history

had changed – issues such as 'company'

and practices of Ateliê Aberto in these

versus 'art project' stopped being interesting

18 years, together with more than

aspects of balance and critical confrontation

200 artists, an immeasurable feeling

in addition to all that (between 2013 and 2015) life brought us the most

of happiness and satisfaction for now Ateliê Aberto goes on

beautiful surprises – Olivia, Maíra's

and continues as a project and art

daughter, and Janaína, my daughter – so

initiative, as a manager, interlocutor

our perspectives, needs and daily lives

and articulator, looking for spatial

could not be the same anymore, the

and ideological mobility – between

parties that had always crowded Ateliê

continuous and new lines of activity

were not so frequent, Henrique was

since June 2015 we have been

selected for a project in São Paulo and

working in partnership and connected

divided his time between the two cities

to another physical space, in São Luís, in

structural changes transformed the

the state of Maranhão – called CHÃO, an

house that until then had been our safe

intentional space, with new propositions

harbor, constituting an important factor for

in management, dialogue and program,

a new process – the different memories in

effectively affective, potentializing members'

this book separated into the different houses

creative participation and open to processes

AA has occupied becomes a metaphor of

that constantly and temporarily modify

our current reality – without a fixed space,

Ateliê Aberto is alive and has a new life,

without our headquarter, how could we

reaching its adulthood and leaving home, in

continue to exist? would the exhaustion of

search for other territories and an utopian

the format we used to work be a desire for

energy – more mature, growing in its ideals

a new space? in Campinas? we began to

and understanding its potential a little bit

understand a possible ending of a process

more everyday, acting in expanded fields

as a window opening up for new ones

(some of them still very new and unknown)

in these 18 years some partners have

and continuing with the struggle: the

changed their minds and their paths, we

happiness and challenges of being an art

moved from house to house – everything

project and a continuous practice in Brazil

238

Ateliê Aberto, people [2], places, times, work, projects, purposes, art, life – eternal love and long life! [2] I could not but thank each one of the partners that have made the history of AA until now with the wish that we go ahead with new possibilities. I also want to thank my parents and brothers (that have always made my choice possible), my blood family and my friend family: thank you very much for the strength and all the happiness! And

present a broad vision of the 18 years of Ateliê Aberto. For that I have determined as strategic objects the survey, the collection and organization of data; the creation of a historic research through the building of a skeleton structure from the memorial created by the coordinators; the interpretation of the collected data and the organization of materials to mount the exhibition and develop the publication. The research field has shown itself to

I would like to thank Thiago for love that

be broad, with vast digital and physical

has brought us Janaína, our greatest love.

material, scattered in CDs, DVDs, videos,

"RESTA TE AR" Samantha Moreira, 2010/2016 234

photographs, publications, press material, different kinds of texts (documents, emails, curatorial texts, etc.), digital archives and a collection of art works of the artists that had participated in activities in the space.

Methodology and analysis of research in process Marina Pinheiro

My first artist/researcher reaction was to put everything in the same space, creating an initial visual challenge in order to faced it. By distributing all the material in the

"Quantifying first for qualifying later

space of the gallery and mounting a working

having a set body of rules to start from"

headquarter, I was able to notice that the

– even though this sentence may seem

most promising path to follow was to

obvious, it was presented as an initial

create a timeline that would be the basis

reference to think the methodology that

to present the final result of this research.

would guide the accomplishment of

After defining the format of this

the motive force research, the starting

presentation, it was necessary to begin

point for this publication celebrating

conversations with the coordinators

the 18 years of Ateliê Aberto.

Samantha, Maíra e Henrique, that were

18 years in two months:

then nurturing the process with ideas and

• 3 headquarters;

precious information, details and stories

• more than 700 artists and partners; • more than 220 projects; • a whole house to sort through. Where to begin? I have established as a main goal to

that I would not find anywhere else... I have created a process of digital files organization dividing the main folders into internal projects, external projects, communication, affinity and management. This division helped in the creation of a

239

main axis which guided all the interpretation

its forms of organization have

of collected data stage. Such data were

helped creating connections

then transformed into spreadsheets

with artists, projects and choices

and a report that was presented to the

made during each period.

coordinators and to Ruli Moretti during

The physical space is deeply connected

the editorial residency that took place in

to the possibilities and limits of creation

June 2015. The public from the studio

according to each phase lived by Ateliê.

were also able to see the results during the opening of the exhibition through the printed report that was exhibited in the garage. Privileging such visual aspect was a decisive factor for developing the timeline. Axis 1. House/ Body/ Space Axis 2. Management Axis 3. Technology/ Communication/ Design Axis 4. Aesthetic path/ Movements/ Affection / Contacts These were the main axis we have

Axis 2 Management Information gathering that revealed the strategies/styles of management of Ateliê Aberto since its beginning. Analyzed data: Establishment of the association terms, contract, registration of legal entity, tax and accounting organization; Provision of services; Associated professionals and partners;

thought of, aiming at building a wide

Funding and project management.

meaning and at the same time connecting

One of the objectives of this axis was to

information in an organized way, avoiding

connect/reflect upon the management

getting lost in the middle of all available data

of independent spaces in Brazil from

and, at the same time, forming a coherent

the experience of Ateliê Aberto.

group of metadata that began to emerge from choices, exclusions and connections.

Axis 3 Technology/ Communication/ Design

Axis 1

With focus on communication, this axis

House/ Body/ Space

has been useful to show transformations

Association of information and

in visual communication of Ateliê

interpretation starting from the

Aberto (logo, website, etc.) and in

headquarters of Ateliê Aberto

its relations with technology.

since its inauguration:

Publicization before and after internet.

Vila Industrial (1997-2001)

Relationship with the public before

Santos Dumont (2002-2009)

and after social networks.

Major Solon (2010-2015)

How technological development

The analysis of these spaces and

affected other aspects: service

240

provision, assembling exhibitions and even curatorial choices...

Many of these choices were strategic after the contact with information gathered and

Axis 4

conversation with associates.

Aesthetic path/ Movements/

Results of the research: Work in

Affection/ Contacts

Progress and the proposal of a game.

Choices...

The final result was present in May 2015.

After gathering the most important

Pieces of information were interpreted

projects, an analysis was made and it

and presented in textual format

is described with physical material in

(report) in the so-called 'conclusion'...

the timeline in order to help residents

However, the technical aspect

pointing out artistic styles, aesthetic

demanded by what is understood

processes, which movements where

as a research report showed

privileged and for how long.

itself particularly paradoxical.

Which branches and trends of

The accomplishment of this research

contemporary art have been

showed me that interpreting 18 years of

disseminated through and in Ateliê

history of an independent contemporary

Aberto in these 18 years...

art space may be a 'work in progress'

Which 'curatorial lines' were followed...

that can be built collectively.

Which choices were made and what was

I have found in this publication a

the relation with the context of the time...

way to preserve this construction.

These questions could be answered with the development of the previous

Game: Complete/ Recriate the mind-

axis but, most of all, with the analysis

map [please go to the page 238]

of the physical material, photographs and interviews made with Ateliê Aberto's coordinators and ex-coordinators. From all organized information, I went on to the choice of main artists, critics, curators and partners chosen to work in Ateliê Aberto's projects in these 18 years. The timeline contained the

The mind-map proposed below contains only structural lines. I invite the readers to create new connections, continuing with the words suggested in the following texts according to each axis, or to create new words, new connections.

most important projects and artists,

(The suggested words were

whose paths crossed and connected

taken from the conclusion texts

themselves to those of Ateliê's history.

showing in the report).

In the same way, partners and professionals who were part of the projects. 241