CURATORIAL PROPOSAL FOR THE XII EDITION OF THE INTERNATIONAL ARCHITECTURE BIENNALE 2018-2019
RADIOGRAPHIES OF THE PRODUCTION OF SPACE CURATORS GABRIEL KOGAN PRISCYLA GOMES
ASSOCIATED CURATORS JOANNA HELM (BRAZIL/CHILE/PORTUGAL) RODRIGO VILLELA (BRAZIL)
GRAPHIC DESIGN COORDINATOR FELIPE KAIZER
EDUCATIONAL CURATORS FELIPE TENÃ“RIO STELA BARBIERI (CONSULTANT)
COMPACT VERSION PUBLICATION
SUMMARY OF THE CURATORIAL PROPOSAL
RADIOGRAPHIES OF THE PRODUCTION OF SPACE This curatorial project aims to investigate the processes of the production of space, bringing histories, conflicts, elements, relations and agents that are overshadowed in architecture and city form and images. We wish to take radiographies of the space, revealing in detail the different dimensions of the production/construction processes, showing backstage of architecture and urban planning. Thus, we will approach social and labour relations present in the most diverse moments, scales and dimensions of the production of spaces. We organized the activities (including debates, workshops, and exhibitions) in three branches, each focusing on radiographies of one production stage: 1- DESIGN: Professional and institutional relations in the design process; detailed analyses of project phases and the various agents involved. 2- CONSTRUCTION: Construction sites and production chains; dissecting construction works in its countless components; a kind of â€œexploded viewâ€? of a building and its processes. 3- POST-OCCUPATION: Uses and production of spaces; the history according to the permanent social production on the day-to-day. The proposal questions traditional forms of architectural representation, searching, in the interaction with other realms (visual arts, design, audiovisual), different narratives about the space.
FULL CURATORIAL PROPOSAL
XII Bienal Internacional de Arquitetura de São Paulo – Curatorial Proposal
RADIOGRAPHIES OF THE PRODUCTION OF SPACE This curatorial project aims to investigate the processes of the production of space, presenting, in the Bienal, histories, conflicts, elements, relations and agents that are overshadowed in architecture and city form and images. We wish to take radiographies of the space, revealing in detail the different dimensions of the production/construction processes – or, in other words, revealing the backstage of architecture and urban planning. With the purpose of responding to the challenge set in the call (“This call will seek proposals that challenge or question the status quo of Architecture and Urbanism”), we will approach social and labour relations present in the most diverse moments, scales and dimensions of the processes involved in the production of spaces. Guided by the intrinsic relation between form and content, we will analyze the issue of architectural form in order to unveil the know-how, the practice, and their asymmetries. We organized the activities in three branches, each focusing on one production stage: 1- DESIGN: Radiographies of professional and institutional relations in the design process among architects, public organizations, engineers, and clients; 2- CONSTRUCTION: Radiographies of the construction sites, and production and technology chains associated with construction, from the industry to the artisanal practice 3- POST-OCCUPATION: Radiographies of the uses and production of spaces throughout history by the residents, citizens and users of the space. Each branch will be composed by debates, workshops, and exhibitions on a central subject (a case-study researched in depth by the curatorial investigation), additional objects/designs/narratives, and works selected through an international open call. This public open call for the activities will not focus on choosing architectural and urban designs, but in selecting how the designs and stories will be displayed. Thus, the idea of favoring the selection of the representation and visualization devices for exhibiting the processes of producing space plays a double role: on one hand, it addresses how ideas/designs/issues are shown in the exhibition space; on the other, it expands the participation in the open calls to artists, photographers, filmmakers, writers, historians, and others, stimulating an interdisciplinary approach, based on the collaboration between architects and these professionals. The additional objects/designs/narratives – which transcend the central case studies within each branch –, coming either from curatorial researches or from open calls, will emphasize the understanding of the issues in new geographical scales, national and international (focusing on the southern hemisphere). The curatorial proposal explores engaging and immersive exhibition features that help to translate and expand the debate to a broader, non-specialized public. The exhibition will bring audiovisual productions, interactive devices, artworks, urban installations and graphic objects. The goal is to transcend the traditional display format for architecture, usually based on printed panels and scale models, and to create new relations with spectators. Following in footsteps of international shows such as the Venice Biennale of 2014 and 2016, and the Lisbon Triennial of 2016, we want to combine critical discourse with the exhibition of projects and designs that are presented through expanded representations of space, with multimedia contents, including art and cinema. Actions that go beyond the exhibition space – such as lectures, debates and workshops – will help emphasize the unfolding of the issues into a concrete realm, latent in our daily lives. These activities will increase the public reach of the project, bringing it into smaller scale discussions about the effects and consequences of the production of space in contemporary times. These talks will be essentially based on practical knowledge and experience. All the activities and chosen works will be placed within a reflection on the “production of space” – an expression borrowed from geography and the works of Henri Lefebvre – which allows us to bring architecture and urban planning closer together, taking into account the city and the building within the notions of social spaces, in a dialectic relation between their material and their non-physical dimensions. By demystifying the processes that inform and produce architecture, revealing its minor and greater narratives – all the noise, the imprecision, the indecision and the conflict –, which are often hidden in the physical objects and in their images, we intend [a] to bring the general public closer to the architect and the urban planner, without romanticizing them, and broadening the debate on the collective importance of the profession; [b] to turn the exhibition into a learning space for students, immersing them in key time-spaces of the professional practice (architecture studios, construction sites, buildings, cities); and [c] to use the event as a place for exchanges, openness, and discussion between architects and urban planners, local and from abroad. The curatorial research, the documentation of the research process and its products will be published in a digital catalog (and printed, if possible).
1st BRANCH – DESIGN Radiographies of the activities of design and project. Backstage histories of architectural conception in architecture studios and their mediations with professionals and institutions.
We wish to reveal the complexities of the architectural design: its comings and goings; doubts, relations between its agents; legal and social issues. We suggest the history of the conception and design for the SESC 24 de Maio, by Paulo Mendes da Rocha & MMBB, as the central point of this curatorship branch. We will try to understand the various design approaches that informed the completion of this building over the 15 years that preceded its inauguration (2002-2017). We will emphasize the general changes made during this time and detail their motivations, as in a biography of the building and its design. The exhibition will reveal the several agents involved in the design phases (highlighting professionals beyond the architectural authorship), and then unveil how this network of professionals ended up shaping the building. Furthermore, we will focus on the discussion of the legislation – which was altered throughout the project – and the client’s demands, so that we can then understand the choices that guided architectural decisions 1. This includes interviews; documentaries; original detailed designs; dismissed original designs; law analysis; scale models; prototypes; and a complete timeline that organizes the facts and drawings, helping us understand the gradual evolution, development and transformation of the project. All this material will be presented in an engaging and accessible language, in order to represent the complexity of producing that design and the various relations it created. Additional objects (coming from specific curatorial works or open calls) will focus on debating the design conception processes, opening a window to project spaces in Brazil and abroad (especially in the southern hemisphere and in Latin America). We want to bring new stories that engage and reveal the production processes during the conception of the space. The following questions are the guideline for this branch: how does the process of designing a building accurately work? What are the economic and social influences and how do they take place? Who are the agents involved in the design stage and what are their roles? How do legal issues impact the design? What are the many versions of a design? Which are the exchanges between the place for designing and the construction site?
2nd BRANCH – CONSTRUCTION Radiographies of the construction site and other production and technological chains associated with construction. Dissecting construction work in its countless components and procedures; a kind of “exploded view” of the building that includes revealing its processes.
We want to reveal the elevated number of designs, labor procedures and people involved in the construction of a building2 and not only exposing the materialization process, but also giving voice to agents who are frequently anonymous and made invisible. This branch is divided in two. First, there will be a taxonomic cataloging of objects and procedures that are part of a construction work, discussing their common ground and their origin. The building will be displayed blow up, detailed in its minor components and stages, which will be revealed and analyzed separately. We are also interested in the relation between industrial and artisanal processes in civil construction. This half of the exhibit will document construction sites, and the components or the prototypes will be brought into the exhibition space; there will also be a multimedia analysis of the site’s production, including legal processes (such as patent applications) and economic aspects (costs). The second half will investigate knowledge and work practices and will demonstrate architecture’s collective dimension, giving voice to professionals who are directly linked to the construction site, such as foremen and masons. We will try to critically comprehend the social and working relations in a construction site and the hierarchical relations established with architecture and engineering. This sub-branch will be structured around filmed interviews and audiovisual documentation of the process. Lectures, debates and guided tours will not only analyze the issue theoretically, but will also broaden the discourse based on experience and practice. The other objects in the exhibition will bring forth the poetic aspect of this issue, as well as deepen the debate by bringing new stories of construction sites around the world. The following questions are the guideline for this branch: What are the production processes in a construction site? What are the objects that compose a building? What are the economic relations in these processes? Who are the agents behind construction? What is their perspective on the construction process? The choice of this building is suggested because of the relevance in the metropolitan context, in the emerging urban policies for the historical downtown and in the architectural Brazilian métier. 2 We will choose the project(s) for this branch in the future, according to further curatorial research. We suggest, among other, to look for cooperative/communitarian initiatives in construction. 1
3 BRANCH – POST-OCCUPATION AND USES Radiographies of the uses, occupation, transformation and re-signification of spaces. The history of a construction and the appropriations of postoccupation in the perspective of permanent and daily social production of spaces by users/residents who occupy and transform a place.
We want to investigate and visualize how people who use a space throughout history can transform it, and what is the political unfolding for architecture and the city. We will center this branch on the case study of the Edifício Wilton Paes de Almeida3, designed by Roger Zmekhol in 1961, at Largo do Paissandu, in São Paulo. The building – then transformed into a political struggle space and living place for homeless families – collapsed after a fire on May 1st, 2018. The precarious living and conservation conditions of the squatted building were decisive in that tragic outcome, and the episode has been widely explored by the media. We will contextualize it within public housing policies and building squatting. We want to track the genealogy of the building’s uses and its political application, in order to understand when and how the place was transformed – from the design to the collapse. We will bring the surviving residents’ testimonies and life experiences: an attempt to humanize the story. We want to articulate the social movements and psychological support institutions that are active on this case. Furthermore, we will present the debate on the issue of empty spaces and their appropriation in several buildings (and not only in São Paulo, but in Brazil and abroad). The starting point will be the space’s transformations in the past. We will then create a reflection on future uses, in order to understand how post-occupation is present or absent in the contemporary architectural mindset (that is, how the design and construction practices impact the space; how the space’s users indicate and teach new pathways for architecture and urban planning). The displayed content will be based on the compilation of a vast material in several media (historical documents, designs, newspaper articles, testimonies, images). Through additional works we wish to understand the mechanisms of visualizing and understanding the uses of space, as well as critically looking at the problem of empty buildings and housing issues in large cities. For that we will seek architects, urban planners, sociologists, social movement members and other who are reflecting upon these problems and their possible solutions. The following questions are the guideline for this branch: What are the contemporary ways of appropriating spaces? How do the re-signification and belonging processes take place for the population? How is the post-use incorporated in the architectural design? What are the new ways of seeing and representing the uses of a space? What is the political importance of squatted buildings and social movements in the city? What are the potentials and limitations social movements’ actions when facing vacancies?
DEBATES AND LECTURES: PRODUCTION OF SPACE AND (IN)VISIBILITIES In an effort to stimulate discussions around this curatorial project, we want to propose e cycle of talks and debates with producers and agents (with professionals from other fields as well) who aren’t usually evidenced in the finished construction. The conception of these debates is based on the principle that discussing the status quo in architecture means also questioning the recurring invisibility promoted by creative and production processes. In the light of recent issues surrounding representation of class, gender, and race, this curatorial project will organize a series of talks that will problematize conflicts within architecture and urban planning/design, and their place in economic and social domains. Thus, the curatorial discourse will be anchored in quotidian events, in a scale of the discussions and analysis that closer to us. “Invisibility” processes imply an action by an external agent who conditions others to a state in which their characteristics aren’t recognized, turning the aspects of authorship and representation invisible. The social relations that constitute the production of spaces still reproduce the marks of inequality; their impact is translated everyday in these invisibility mechanisms. The debates and talks in this cycle aim at illuminating these conflicts and their agents. The talk A – THE LIMITATIONS OF ARCHITECTURE is structured by group of lectures (with the possibility to bring international guests, if there is available budget or partnerships). The talk B, PRODUCTION OF SPACE AND REPRESENTATION, includes two workshops and two debates.
This building is suggested because of the social relevance of its history in the last decades, the urgent discussion about uses/appropriation/occupation/squatting/resignification of the space regarding social housing problem in Brazil, the vast documentation about the place – from the midia and academy – and, mainly, because of the importance about urban issues brought by it.
EDUCATIONAL PROGRAM Assessing the recent architecture exhibitions, and their reach and ability to communicate with different audiences, the curators believe that is essential to organize an Educational Program associated with the exhibition in order to make the exhibition content available for non-specialized spectators. We want to discuss forms of representation in architecture and its agents, as well as reflect upon ways we can adapt discourses and explanations to larger publics. We wish to create initiatives to promote free educational experiences to audiences whose social rights – such as education, housing, urban mobility, among others – are scarce and absent in their daily lives. In contemporary times, to reflect upon the production of urban, constructed space, in addition to the different agents involved in it, demands also giving voice to this public, whose representation in the Arts, Architecture and Culture systems is still very marginal. In a report produced in 2018 as part of the “Ciclo de Encontros sobre Acessibilidade em Espaços de Educação e Cultura”4 (Encounters on Accessibility in Educational and Cultural Spaces), the decisive parameters in pluralizing and broadening the access to exhibitions stem from the “challenge of broaching the impacts of urban mobility, housing, and education on the access to the [cultural institutions] programs”5. The difficulty of visiting exhibitions isn’t only related to access and material issues, but it also resides on the formation of these publics; visiting these exhibitions is restricted to a part of the population with college education. With this in mind, the curators have invited professionals from the Art and Education fild to collectively outline an activity and mediation program as a way to democratize access to the content. This team defined proposals that aim at problematizing the participants’ different experiences in the production of these spaces. The program focuses on two areas that try to give a voice to foremen, social movements leaders, technical consultants, and architects. These agents will be responsible for conducting the audience, and mediating the relevant subjects, in the following actions: 1 – Mediation Propositions: After creating self-supporting educational devices, we aim at designing plural guided visits in which the agents involved in the production of space will have a voice. Masons, foremen, architects, engineers, and others, will conduct spectators throughout the exhibition space, using their accounts and experiences to reflect on the contents and design presented at BIA. These devices encompass, among other materials, audio-guides, audio-descriptions, videos and scale models. 2 - Workshops: The workshops will be open to the general public, and be conducted by professionals (such as masons, foremen, architects), specialists (in public administration, urban development) and leaders from third sector and social movements. Focusing on different experiences in the process of producing space, the workshops involve visiting different places in the city; reflecting upon construction means, sustainable economy, experiences in construction sites; and also bringing the day-to-day reality of the squats/occupations closer to the public, whether in abandoned buildings, or in environmentally risky areas, problematizing the daily lives and uses of these spaces. Moreover, the creation of the Educational Program to democratize the access to people with disabilities, hiring sign language interpreters and audio-description experts in the educational visits and talks. We are aware of the budgetary restriction of this call, and that is why the curatorial and educational teams have outlined a separate budget for these initiatives. These items are merely suggested in an estimate and not added in the final sum. We will seek partners and sponsors to finance the proposals if the jury selects this project.
Elaborated by the Instituto Tomie Ohtake’s Culture and Participation Center. SOARES, Luis, PAIVA, Maiara e SANTOS, Victor in “Cultura, Cidade e Acesso” p. 13
PHASE 1 . PRE- PRODUCTION 1.0 ADMINISTRATIVE WORKS 1.1 TEAM 1.1.1 CURATORSHIP 1.1.2 RESEARCH
start-up end of the research works
graphic design activities start-up
1.1.4 DESIGN AND PUBLICATION
PHASE 2 . PRODUCTION 2.1 EXHIBITION PRODUCTION open call
2.2 OPEN CALL AND COMMISSIONED PROJECTS
selection & results
event opening event opening
graphic design activities works
exhibition design project
2,3,1 EXHIBITION DESIGN AND SIGNS
2.3.2 CATALOGUE â€“ GRAPHIC PROJECT
2.4 DEBATES AND CONVERSATIONS 2.4.1 DEBATES PRODUCTION 2.4.2 WORKSHOPS PRODUCTION
invitation for debates/lectures
invitation for workshops
2.5 EDUCATIONAL ACTION CENTRE 2.5.2 DEVICES FOR EDUCATIONAL MEDIATION
activation of the devices
construction/development selection & training
2.5.3 ACCESSABILITY 2.5.4 CONVERSATIONS 2.6 PRESS AND COMMUNICATION
guided visits conversations/visits
invitation for conversations ads
PHASE 3 POST- PRODUCTION 3.0 OPENING 3.0 CLOSING
TEAM ORGANIZATIONAL STRUCTURE GRAPHIC DESIGN COORDINATOR
GABRIEL KOGAN PRISCYLA GOMES
ASSOCIATED CURATORS JOANNA HELM RODRIGO VILLELA
CONSULTANT CURATOR EDUCATIONAL STELA BARBIERI
EDUCATIONAL ACTION CENTRE CURATOR
RESEARCHER 1 RESEARCHER 2 RESEARCHER 3
GRAPHIC DESIGNER 1
EXHIBITION DESIGN PROJECT
CHIEF PRODUCER 1
WOODWORK & CONSTRUCTION
EXHIBITION DESIGN PRODUCER
ASSISTANT PRODUCER 1
ASSISTANT GRAPHIC DESIGNER ASSISTANT GRAPHIC DESIGNER
EDUCATIONAL SUPERVISOR SUPERVISOR 1 SUPERVISOR 2
EDUCATIONAL PRODUCER PRODUTOR 1
EVENT PRODUCER 1
TEAM MEMBERS CURRICULUM
GABRIEL KOGAN ARCHITECT AND EDITOR
ADDRESS Alameda Tietê, 488 ap 2 São Paulo - SP license number CAU: 151557-8
CONTACT phone: +55 11 99280 2273 email: firstname.lastname@example.org
Architect and editor, graduated from the School of Architecture and Urbanism (University of São Paulo FAU-USP, licensedlevel architect, 2010), lecturer and teaching assistant (design studio, architecture) at Politecnico Milano from 2015 to 2018 and adjunt professor (history and architecture theory) at Escola da Cidade. He worked at StudioMK27 (2007-2015) and collaborated with the daily newspaper Folha de S.Paulo (2013-2016). His Master thesis (developed at UNESCO-IHE, Netherlands, 2013) is an urban historical narrative about the floods in São Paulo. Professional experience includes the conception project for the Museum of Mines and Metal by Paulo Mendes da Rocha (2006). As architecture critic, published in international magazines as the japanese A+U and GA House. Between 2013 and 2018, Gabriel directed seven short films, screened worldwide including ‘Time Space Existence’ exhibition during the 2014 Venice Architecture Biennale (with Pedro Kok). He is the editor of Revista Centro (http://revistacentro.org) (since 2015) and part of the Associação Paulista de Críticos de Arte (APCA) and member of the jury of its annual award (since 2016). ACADEMIC FORMATION
2011-2013 master . water management unesco – ihe (institute for water education) delft, the netherlands master in science thesis: the socio-environmental history of the floods in são paulo 1887-1930 supervisor: pieter van der zaag mentor: michelle kooy fau-usp (diploma official validation in brasil)
2015-2018 politecnico di milano (mantova, itália) . invited lecturer laboratorio di progettazione 1 (design studio of prof. filippo bricolo), from september 2015 to june 2018; lecturer and teaching assistant
2003-2010 5-year barch . architecture and urban planning university of são paulo [faculdade de arquitetura e urbanismo da universidade de são paulo], são paulo, brazil graduation (licensed-level architect) thesis: arquitetura do território (architecture of territory) 2009 supervisor: alexandre delijaicov
desde 2015 revista centro . editor online multidisciplinary magazine about architecture, art, urban studies and social science. http://revistacentro.org
2009-2015 studio mk27 . architect coordinator part of all design phases, including conceptual drawings and construction drawings. managed the competition section of the studio.
since 2011 metrópole fluvial . architect & researcher research group at the university of são paulo, in charge for the conceptual study of the são paulo metropolitan watering.
since 2018 escola da cidade. adjunto professor theory and architecture history. elective subject about international contemporary architecture and critique. since february 2018.
2013-2015 folha de s.paulo . collaborator author of articles about architecture and urban issues in journals as ilustríssima, ilustrada, cotidiano e sãopaulo magazine (folha magazine).
2007-2009 studio mk27 . architecture internship 2005-2006 paulo mendes da rocha . architecture internshi conceptual drawing development of the museu de minas e metal in the architect studio from november 2005 to february 2006. 2005-2006 arte-cidade . collaborator conception and research for the arte/cidade (by nelson brissac), MG/ES edition.
COURSES (PROFESSOR, LECTURER OR ORGANIZER)
2015-2018 politecnico di milano (mantova, itália) . invited lecturer laboratorio di progettazione 1 (design studio of prof. filippo bricolo), from september 2015 to june 2018; lecturer and teaching assistant
2016 politecnico di milano mantova, italy, 26.jan.2016.
since 2018 escola da cidade. adjunto professor theory and architecture history. elective subject about international contemporary architecture and critique. since february 2018. 2017-2018 mube free courses about modern and contemporary architecture presented at the museum auditorium and classrooms 2016 iab-sp (instituto dos arquitetos do brasil, são paulo) . lecturer/professor course “a arquitetura de rem koolhaas”, 6hs, novemeber 2016 sesc (unidade consolação) . professor course “a arquitetura de oscar niemeyer e lina bo bardi”, 10hs. october-november 2016 masp . professor course “histórias da arquitetura: modernismo em são paulo”, 16hs. march-may 2015 milano international architectural design workshop (miaw) . lecturer . design workshop at politecnico di milano (polimi), italy, together with filippo bricolo & marcio kogan. 2015 filming architecture workshop . organizer & lecturer mackenzie university (são paulo, brazil) . school of architecture. for the viver metrópole week (with pedro kok), 2014 and lisboa, 2016. 2014 internacional workshop: building in wood . organizer & lecturer escola da cidade . workshop (with sami rintala, dagur eggertsson & fabricio ferreira
2015 ied brazil istituto europeo di design rio de janeiro, brazil, 20.aug.2015. 2014 piran days of architecture 2014 piran, slovenia, 22.nov.2014. 2014 cornell university department of architecture fall 2014 lecture series.10.sep.2014. 2013 uftpr universidade federal tecnica do paraná. curitiba, brazil. 25.nov.2013
2016 docomomo sul paper presentation “três contradições sobre a prática de preservação: as intervenções no edifício da FAU-USP entre 2007 e 2015.” porto alegre. brazil
PROJECTS . ARCHITECTURE
2015 8º prêmio o melhor da arqutietura best beach house casa txai - studio mk27 (co-author) best of #studentsprojects domus magazine workshop coordinator filming architecture workshop
2014 guggenheim helsinki competition . studio mk27 . marcio kogan co-author. project developed in partneship with arup, london.
2014 mchap oustanding projects / usa . studio r - studio mk27 (co-author)
2013 rotunda warsaw competition . studio mk27 . marcio kogan co-author pavilhão brazil em expo 2015 milão co-author . competition . studio mk27 . marcio kogan.
2013 pavilhão brasileiro para a expo2015, milão 3rd place . apex brasil. studio mk27, exhibition concept and architecture design (co-author) spark awards by autodesk gold award / usa studio mk27 . studio r (co-author) iconic awards germany. studio mk27 - studio r (co-author) leaf awards shortlist / uk . studiomk27 - studio r (coautor)
BUILT PROJECTS . ARCHITECTURE 2017 z deli sanduíches centro together with guilherme pianca 2014 casa txai co-author. itacaré, brazil . studio mk27. marcio kogan. 2012 studio r co-author. são paulo, brazil . studio mk27. marcio kogan. 2011 studio sc collaborator conceptual drawing . são paulo, brazil . studio mk27 . marcio kogan 2010 loja uma jardins author. são paulo, brazil. 2009 loja uma leblon author. rio de janeiro, brazil. 2006 museu das minas e do metal collaborator/internship. belo horizonte, brazil . paulo mendes da rocha.
2011 lote 27 co-author. studio mk27. marcio kogan. praça zózimo de amaral co-author . studio mk27 . marcio kogan. instituto moreira salles co-author . concurso. studio mk27 . marcio kogan studiosc collaborator . studio mk27 . marcio kogan, suzana glogowski. renova sp concurso co-author . studio mk27 . marcio kogan. 2010 casa laranjeiras co-author . studio mk27 . marcio kogan. maribor museum co-author . competition . studio mk27 . marcio kogan. casa gama issa boa vista co-autor . studio mk27 . marcio kogan. cinema . SHORT FILMS 2018 that sound of the sea with clara figueiredo . filmed at jungle house, studio mk27. cinematography: kauê zilli. editor: lea van steen. starring: jean claude bernardet. 2016 museu dos coches with pedro kok . filmed at coches museum, paulo mendes da rocha, lisbon. product of the filming architecture workshop 2016. 2014 glass house with pedro kok . filmed at glass house, lina bo bardi, sp. product of the filming architecture workshop 2014. book box with pedro kok .filmed at cultura bookshop, studio mk27 this was not my dream with pedro kok . filmed at redux house, studio mk27 2013 textures and ants with pedro kok . filmed at studio sc, studio mk27
MAIN PUBLISHED ARTICLES 2016 juntos ou divididos? revista plot. número 32. p. 10-11. brasil em veneza 2016: juntos ou divididos? 06 jun 2016. archdaily brasil. acessado 9 nov 2016. <http://www. archdaily.com.br/br/788822/brasil-em-veneza-2016juntos-ou-divididos> processo inesgotável. APCA 2016 arquitetura. editora monolito. p. 35. 2015 oma on preservation. oma – recent works, issue 540, a+u, tokyo, japan. o legado de frei otto, o alemão que nunca recebeu seu pritzker. folha de s.paulo, ilustríssima. são paulo, brasil. http://www1.folha.uol.com.br/ ilustrissima/2015/07/1659932-o-legado-de-frei-otto-oalemao-que-nunca-recebeu-seu-pritzker.shtml para koolhaas, últimas obras de niemeyer eram “grosseiras”. folha de s.paulo, ilustríssima. são paulo, brasil. http://www1.folha.uol.com.br/ ilustrissima/2015/01/1568791-para-koolhaas-ultimasobras-de-niemeyer-eram-grosseiras.shtml crise hídrica: origens históricas, responsabilidades e soluções. interesse nacional. ano 8 número 29, abril & junho. são paulo, brazil. o mestre da madeira. revista bamboo, julho. editora turquesa. são paulo, brazil. arquitetos premiados fazem nova casa de doméstica na zona leste de sp. folha de s.paulo, cotidiano. são paulo, brasil. http://www1.folha.uol.com.br/ cotidiano/2015/09/1683748-arquitetos-premiadosfazem-nova-casa-de-domestica-na-zona-leste-de-sp. shtml colapso do abastecimento de água não é culpa da natureza. uol notícias, opinião. são paulo, brasil. http:// noticias.uol.com.br/opiniao/coluna/2015/02/01/colapsodo-abastecimento-de-agua-nao-e-culpa-da-natureza.htm ‘transformar pobreza em poesia é um desastre’, diz novo curador da bienal de arquitetura de veneza. folha de s.paulo, ilustrada. são paulo, brasil. http://www1.folha. uol.com.br/ilustrada/2015/08/1663597-transformarpobreza-em-poesia-e-um-desastre-diz-novo-curador-dabienal-de-arquitetura-de-veneza.shtml
bienal de veneza revê legado da arquitetura moderna. folha de s.paulo, ilustríssima. são paulo, brasil. http:// www1.folha.uol.com.br/ilustrissima/2014/08/1504354bienal-de-veneza-reve-legado-da-arquitetura-moderna. shtml 2014 universidade de cornell: rigor e técnica na melhor escola de graduação em arquitetura dos estados unidos. revista au, editora pini. são paulo, brazil. http://au.pini.com.br/ arquitetura-urbanismo/247/universidade-de-cornellrigor-e-tecnica-na-melhor-escola-de-327517-1.aspx entre a seca e as inundações, tendências e debates. são paulo, brazil. http://www1.folha.uol.com.br/ opiniao/2014/02/1410255-gabriel-kogan-entre-a-seca-eas-inundacoes.shtml a dona do espaço. folha de s.paulo, ilustríssima. são paulo, brazil. http://www1.folha.uol.com.br/fsp/ ilustrissima/163194-a-dona-do-espaco.shtml escola paulista surgiu há 60 anos na europa. folha de s.paulo, revista sãopaulo. são paulo, brasil. as experimentações construtivas no rural studio, no interior do alabama. revista au, editora pini. são paulo, brasil. http://au.pini.com.br/arquitetura-urbanismo/241/ material-escolar-as-experimentacoes-construtivas-norural-studio-no-interior-310690-1.aspx universidade técnica de delft: a experiência dos brasileiros na holanda. revista au, editora pini. são paulo, brazil. http://au.pini.com.br/arquitetura-urbanismo/237/ universidade-tecnica-de-delft-a-experiencia-dosbrasileiros-na-holanda-302148-1.aspx 2013 viagem à roda de uma casa. folha de s. paulo. são paulo, brazil. http://www1.folha.uol.com.br/ ilustrissima/2013/12/1378432-viagem-a-roda-de-umacasa.shtml leia entrevista com arquitetos nórdicos de renome que fazem chalés de até 18 m². folha de s. paulo. são paulo, brazil. https://www1.folha.uol.com.br/ serafina/2013/12/1374565-leia-entrevista-comarquitetos-nordicos-de-renome-que-fazem-chales-deate-18-m.shtml memórias do subsolo. folha de s. paulo, revista sãopaulo. são paulo, brazil. http://www1.folha.uol.com.br/ saopaulo/2013/10/1362000-conheca-as-mudancas-desp-contadas-por-meio-da-evolucao-dos-bueiros.shtml
PRISCYLA GOMES CURATOR, ARCHITECT AND URBANIST ADDRESS Av. Braz Leme, 2237 ap. 152 São Paulo - SP
CONTACT phone: +55 11 971747 7766 email: email@example.com
Art and Architecture curator, researcher and a Graduate in Architecture from the School of Architecture and Urbanism at the University of São Paulo (Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo), where she also completed a Master in Art History and Theory. Since graduating, Priscyla has been involved in the relation between Architecture and the other Arts, from participating In groups such as Educational Action In the XXVI Art Biennial of São Paulo to the editorial production of catalogs. Currently, she is a curator associated with the Institute Tomie Ohtake and is a member of the Research and Curator Center. She is responsible for the research and activities related to the fields of Architecture, Design and her relationship with the Visual Arts. She participates in the coordination of Architecture and Design Awards of the Institution as well elaborating the conversations and debates about these fields. Furthermore, her scope Includes a joint study on the History of Brazilian Art, curatorship of exhibits, accompanying sets, elaboration of seminars and round-tables, as well as giving assistance to international research and curators.
curaTORSHIP AND EXHIBITIONS
2016 Master in Art History and Theory School of Architecture and Urbanism University of São Paulo
2018 Demonstration for the Absurd Instituto Tomie Ohtake, São Paulo
Entitled Derivações da deriva (Derivation of Derive) a study which approaches artists tha take roads and derivatives as a process to construct their productions and urban life. The production by Belgian artist Francis Alys is one of the principal foci of the analysis. Oriented by Prof. Dr. Agnaldo Farias, the study was indicated for publication. 2009 Graduation: Architecture and Urbanism School of Architecture and Urbanism University of São Paulo
EXPERIENCE 2010 - today Tomie Ohtake Institute Associate curator 2003 Bienal de São Paulo Foundation Educational sector supervisor
2017 Luciano Figueiredo It’s like Dancing About Architecture Current Art Festival 2017 Instituto Tomie Ohtake, São Paulo 2016 Eduardo Berliner: Mute Body Casa Triângulo, São Paulo The shape of Ideas Instituto Tomie Ohtake, São Paulo 2015 Us between the extremes [assistant curator, curator: Paulo Miyada] Instituto Tomie Ohtake, São Paulo See from the Middle [assistant curator, curator: Nelson Brissac] Instituto Tomie Ohtake, São Paulo And if the dusty lenses break? Instituto Tomie Ohtake, São Paulo
2014 Things without names 3M Expo of Digital Art – Songs of Love Instituto Tomie Ohtake, São Paulo
2016- today Graduated in Psychoanalysis Centro de Estudos Psicanalíticos
2013 Modern Fears Instituto Tomie Ohtake, São Paulo
2008 Digital Cinema Course Academia Internacional de Cinema
2012 Brasilian Architecture: Living in the forest [assistant curator, curator: Abilio Guerra] Instituto Tomie Ohtake, São Paulo
CRITICAL ACCOMPANIMENT AND JURIES
PUBLICATIONS AND CATALOGS
2018 V Architecture Award from the Tomie Ohtake Institute - AkzoNobel member of the jury selection of projects, exhibition curator
2018 Partial Hallucinations: school exhibit with modern Masterpieces of Brasil and the Pompidou Center Centre Pompidou and Instituto Tomie Ohtake texts for the exhibition catalog
I Design Award from the Tomie Ohtake Institute member of the jury selection of projects, exhibition curator and curatorship for the SYMPOSIUM CONTEMPORARY DESIGN
When are we? Instituto Tomie Ohtake, São Paulo texts for the exhibition catalog
2017 31º Design Award from the Brazilian House Museum member of the jury selection of projects VI Architecture Award from the Tomie Ohtake Institute - AkzoNobel member of the jury selection of projects, exhibition curator 2016 III Architecture Award from the Tomie Ohtake Institute AkzoNobelmember of the jury selection of projects, exhibition curator 2015 II Architecture Award from the Tomie Ohtake Institute - AkzoNobel member of the jury selection of projects, exhibition curator Fountain House: artistic residence program Casa Fonte, São Paulo residence program coordinator, member of the jury selecting artists, with Olivia Ardui, Nino Cais and Marcelo Amorim Fountain House: residence of Martin Lanezan Casa Fonte, São Paulo critical accompaniment of artist and curator of the exhibit 2014 Cactus House: artistic residence Casa Cactus, São Paulo accompaniment of artists Until that moment: Cutlural Condominium artistic residence Condomínio Cultural, São Paulo accompaniment of artists, exhibition curator
2017 Tomie Ohtake: Correographic Diminutives for space expressions Espaço Cultural Porto Seguro, São Paulo text for the exhibition catalog 2016 Made in Italy: Building Italian Style Instituto Tomie Ohtake, São Paulo texts for the exhibition catalog Us between the extremes: art and science Instituto Tomie Ohtake, São Paulo texts for the exhibition catalog Gaudí: Barcelona 1900 Instituto Tomie Ohtake, São Paulo texts for the exhibition catalog 2015 João Miró – the force of material Instituto Tomie Ohtake, São Paulo texts for the exhibition catalog 2012 Jasper Johns – Pares Trios Álbuns Instituto Tomie Ohtake, São Paulo editorial organization, graphic production of the catalogue 2011 Louise Bourgeois: The return of the prohibited desire Instituto Tomie Ohtake, São Paulo editorial organization, graphic production of the catalogue 2010 Bienal de Arquitetura de Veneza - Pavilhão Brasileiro Fundação Bienal de São Paulo research assistant, editorial organization, graphic production of the catalogue
SEMINARS AND ROUND TABLES
2018 Contemporary Design Symposium Instituto Tomie Ohtake Symposium’s curatorship e participation in the opening table
2018 AN IMERSION INTO ART HISTORY , 1950-1980 Instituto Tomie Ohtake
Tomie Ohtake: Diminutive Correographs for space expressions Espaço Cultural Porto Seguro 2017 Conversations: Contemporary photography Instituto Tomie Ohtake participation in the roundtable with Mauro Restiffe, Caio Reisewitz and Livia Aquino Art/City Seminar: Metalic Line Instituto Tomie Ohtake Seminar’s curatorship and participation in the opening table 2016 Narratives about a Practice Symposium - with Eduardo Souto de Moura Symposium’s curatorship and participation in the roundtable “Arquitetura contemporânea brasileira: diagnósticos e desafios” Instituto Tomie Ohtake Gaudí: Barcelona, 1900 Instituto Tomie Ohtake participation in the opening table with Regina Meyer 2015 See from the Middle - stories of percourse Instituto Tomie Ohtake participation in the roundtable with Arnaldo Pappalardo, Mauro Restiffe and Pio Figueiroa Country and the City : confluences and antagonisms participation in the roundtable with Nelson Brissac and Wagner Gomes
2016 CINEMA & ARCHITECTURE: ARCHITECTURE SPACE AND CITY IN MOVIES Centro de pesquisas urbanas
PARALLEL PROJECTS 2015-2018 Filming architecture | www.filmingarchitecture.com An academic workshop about narrative representations of architecture done together with architecture schools. As the final exam, the students produce a short feature shot in a paradigmatic site of local modernism. Coordination together with architects Gabriel Kogan and Peter Kok.
LANGUAGES English and Italian advanced level Spanish and French intermediate level
JOANNA ALICE HELM ARCHITECT AND URBANIST ADDRESS Largo de Valverde, 238 Porto – Portugal
CONTACT Phone: +351 969658789 Email: firstname.lastname@example.org Skype: joanna.helm
Architect and urban planner, master in Housing management and development at Córdoba National University in Argentina. She works as editor, curator and event producer of architecture. For six years, she was the chief editor and content director of the ArchDaily Brasil, where she curated publication and projects published in Portuguese language. She was also general producer at the XX Chile Architecture and Urban Planning Biennale (2017) and member of the jury in several competition in Brazil and Portugal. Recently, she is doing the production and internationalization of activities and selections of the Casa da Arquitectura, Porto, Portugal, and is editor for urban subjects of projects at InterAmerican Development Bank, in Chile.
Master in Management and Habitational Developement 2006 – 2010 Universidad Nacional de Córdoba - Argentina
Production Coordenator and internalization of activities and foreign files House of Architecture - 2018 Porto – Portugal
Graduate in Architecture and Urbanism 2000 – 2006 Belas Artes de São Paulo – SP/ Brazil Universidade Luterana do Brasil - RS/Brazil Free assignments on Architecture and Urbanism 1997 – 1999 Université Paris-Sorbonne - France
Contents Editor of Website Interamerican Bank of Development BID (Ciudades do Banco Interamericano de Desenvolvimento – BID) 2018 Santiago – Chile
workshops and Courses
General Producer of the XX Biennial of Architecture and Urbanism of Chile 2017 Valparaíso - Chile
2017 - Present Diploma in Cultural Management USACH – Chile
Chief Editor of ArchDaily Brasil 2011/2017 Santiago - Chile
2016 Course in Quantitative and Qualitative Techniques in Digital Investigation PUC - Chile
General Producer of the Award Best Site in Architecture Platform of the Year Editions: 2014, 2015 and 2016 Santiago - Chile
2015 Workshop in Data Analysis: SEO and Dashboard Design Google Chile 2014 Workshop Fundamentals in Digital Marketing Digital, Social Media e E-Commerce Google Chile
Team Member for the Coordination of Risk Analyses and Earthquake Reconstuction 27F 2010 Chile Interim Ass. Prof. in the Post Graduation Course of Public Policy 2008 – 2010 Universidad Nacional de Córdoba - Argentina
Extra Professional Activities Member of the Committee to Indicate Projects of the 5th Architecture Award of the Tomie Ohtake Institute AkzoNobel 2018 - Present São Paulo – Brazil Member of Jury for 3rd Award Cura – Urban Rivers 2017 São Paulo – Brazil Lecturer at the Seminar “Other Roads” 2017 UAL – Lisbon - Portugal Member of Jury Forward Ideas Competition 24H - 19th edition - Ct´s - master plan 2017 Lisbon - Portugal Member of Jury 3rd Award Cura – Urban Rivers 2017 São Paulo – Brazil Member of Jury of Award from Architecture and Construction Magazine 2015 São Paulo – Brazil Foreign Relations Director of the National Federation of Students of Architecture and Urbanism of Brasil 1998 - 2003 Brazil
publicaTIONS Oporto. The first exhibition at the Casa da Arquitectura is about power 2017 Domus Magazine Italy Various articles on Digital Platforms ArchDaily in English and Portuguese and Plataforma Arquitectura and Plataforma Urbana in Spanish 2011-2017 Santiago, Chile
LANGUAGES Spanish - Fluent EF – Barcelona, Espanha – 1997 French - Fluent Alliance francaise e Université Paris -Sorbonne – 1997 - 1999 German – Fluent Goethe Institut - Porto Alegre – 1990 - 1996 English – Intermediate British Council – Porto Alegre, BR – 1999 e Santiago, Chile – 2016
CULTURAL MANAGER, CURATOR AND EDITOR ADDRESS Av. Angélica, 551/8 São Paulo – SP
CONTACT phone: +55 11 99418 1662 e-mail: email@example.com
Cultural manager, curator and publisher, gratuated in Literature at the University of São Paulo (USP) and specialized in edition at Complutense University in Madri. He works as cultural manager and curator for exhibitions. Since 2016, he is the artistic director at Porto Seguro Cultural Center, in São Paulo, where he is responsible for the selection of new exhibition and activities. At the Porto Seguro Cultural Center, he was in charge for seven exhibits, being the curator in 2 of them: Tempo presente (documented by a sequence of video containing interviews with the artists (http://www.espacoculturalportoseguro.com.br/exposicoes/realizadas/tempo-presente.html ), and Bob Wolfenson: retratos (opening scheduled for August 2018). The exhibtions that he was artistic director include also Ser urbano, by Carlos Garaicoa, e Instrumentos, by Ismaïl Bahri, this one organized in collaboration with the Jeu de Paume, Paris. He was part of the research and conception team of the exhibiton Alimentário: arte, construção e patrimônio alimentar brasileiro (Rio de Janeiro: Museu de Arte Moderna, 2014; São Paulo: OCA, 2015; Milão: Expouniversal, 2015). He was also the co-curator of the exhibtion CRU – comida, transformação e arte (Brasília: CCBB, 2016). Since 2015, he is the director of the Centro Pesquisas Urbanas, with Gabriel Kogan, platform for critic and reflection about the city and art (www.revistacentro.org ), where he organizes courses and edit the online magazine.
curaTORSHIP AND EXHIBITIONS
2006 Specialization: Formation of Latin-american editors Complutense Unversity in Madri (coordinated by Fundação Carolina and the Latin-american society for friends of books and publishing, SIALE; scholarship of Fundación Carolina).
2018 Bob Wolfenson: retratos (August to December) Espaço Cultural Porto Seguro Cultural Center, São Paulo
2003 Graduatio: Literature, Portuguese Faculdade de Filosofia, Letras e Ciências Humanas University of São Paulo
2016 CRU: comida, transformação e arte (co-curated with Marcello Dantas) Banco do Brasil Cultural Center, Brasília
2017 Tempo presente (with Amanda Dafoe) Porto Seguro Cultural Center, São Paulo
Individual Exhibits of artists in galleries, with: Sidney Amaral (Galeria Central, 2015); Rosângela Dorázio (Galeria Rabieh, 2015); Sergio Lucena (MB/BH, 2016 – conception, catalog e video direction);
publications and catalogues
2016 - present Espaço Cultural Porto Seguro Art and executive director
2018 Instrumentos, de Ismaïl Bahri, exhibition done in partnership with Jeu de Paume, Paris Porto Seguro Cultural Center, São Paulo
2009-2012 O Estado de S. Paulo Coordinator of publications and cultural events 2005-2009 Publifolha – publishing house Editorial Coordinator
Ser urbano, de Carlos Garaicoa Porto Seguro Cultural Center, São Paulo Tempo presente Porto Seguro Cultural Center, São Paulo 2015 Alimentário: arte e construção do patrimônio alimentar brasileiro Base 7
2012 Moreira Salles Institute Editor of the Cadernos de Literatura collection Brasileira, volume Carlos Drummond de Andrade, with Samuel Titan Jr. and Antonio De Franceschi.
2012 São Paulo Dance Company Em cena: ensaios sobre a SPCD, with Inês Bogéa (from conception to printing); Books of Matriz/Sesc: 2013. Edition of the book Crianças e jovens no século 21 – leituras e leitores (LM, 2013);
https://vimeo.com/189893555 - senha: LUCENA (vídeo para a exposição de Sergio Lucena - concepção e direção geral)
2014 Mobgrafia/Samsung Olhar do torcedor
since 2011 Revista Emília – leitura e livros para crianças e jovens Collective project, with Dolores Prades, Mayumi Okuyama e Aluizio Leite. Text and image edition [www.revistaemilia. com.br]
ROUND TABLES 2017 How to setup an exhibtion Porto Seguro Cultural Center ‘Tempo presente’: curatorial project Porto Seguro Cultural Center
OTHER PROJECTS Consulate General of Portugal in São Paulo Experimenta Portugal Programme of de performances e literature (2015); Base 7 (2013-15) Alimentário: arte e construção do patrimônio alimentar brasileiro Exhibition conception with Felipe Ribenboim e Ricardo Ribenboim; reseach and catalog edition
https://www.youtube.com/watch?v=xRLqcUWZKzQ (CRU_CCBB Brasília)
LANGUAGES English and Spanish - Fluent
FELIPE KAIZER DESIGNER GRÁFICO E EDITOR
GRAPHIC DESIGNER AND EDITOR ENDEREÇO. ADDRESS. Av. Santo Amaro, 791 São Paulo - SP
CONTATO. CONTACT. telefone | phone: +55 11 98496 6224 email: firstname.lastname@example.org
Designer gráfico graduado pela Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio, 2002-2006) e pós-graduado pelo Centro Universitário Maria Antonia (CEUMA/USP, 2011-2013). Atualmente é doutorando de história e teoria do design na Escola Superior de Desenho Industrial (ESDI/UERJ). Entre 2005 e 2009 trabalhou em escritórios de design do Rio de Janeiro, entre eles Tecnopop, Tabaruba e Jair de Souza. Entre 2009 e 2017 participou da criação do departamento de design e comunicação da Fundação Bienal de São Paulo sob a direção de André Stolarski e integrou a equipe de comunicação do Instituto Moreira Salles em São Paulo. Tem trabalhos premiados e expostos pela ADG Brasil e pela IDSA/IDEA, que incluem a identidade visual da Fundação Bienal de São Paulo e a identidade visual, as publicações e a sinalização da 30ª Bienal em 2012.
Graphic designer graduated from Pontifícia Universidade Católica do Rio de Janeiro (PUC-Rio, 2002-2006) e post-graduated from Centro Universitário Maria Antonia in São Paulo (CEUMA/USP, 2011-2013). Currently pursues a doctorate at Escola Superior de Desenho Industrial (ESDI/UERJ). Between 2005 and 2009 worked in design studios in Rio, namely Tecnopop, Tabaruba and Jair de Souza. Between 2009 and 2017 participated in the creation of the Design and Communication department of Fundação Bienal de São Paulo under the direction of André Stolarski and was a member of the Communication team of Instituto Moreira Salles in São Paulo. Some of his works were awarded and exhibited by ADG Brasil and IDSA/IDEA, including the visual identity of Fundação Bienal de São Paulo and the visual identity, publications and signage for the 30th Bienal in 2002.
Design: Identidade visual. Visual identity
Design, Teoria e Crítica Doutorado. Doctorate. PPD-Esdi, Uerj. 2016.
20º Festival de Arte Contemporânea Sesc_Videobrasil Exposição. Exhibition. 2017
Design e Humanidade Pós-graduação. Post-graduation. Centro Universitário Maria Antonia (Universidade de São Paulo). 2011-2013.
Orquestra Vermelha. Show. Music show. 2015. 31ª Bienal de São Paulo Exposição. Exhibition. 2014.
Design (Comunicação Visual) Graduação. Graduation. Pontifícia Universidade Católica do Rio de Janeiro. 2002–2006.
30 × Bienal Exposição. Exhibition. São Paulo. 2013.
EXPERIÊNCIA PROFISSIONAL. Professional Experience
30ª Bienal de São Paulo Exposição. Exhibition. 2012.
Instituto Moreira Salles Designer. 2017. Fundação Bienal de São Paulo Designer. 2009-2015. Jair de Souza Design Designer. Rio de Janeiro. 2009. Tabaruba Design Freelance designer. Rio de Janeiro. 2008. Pontifícia Universidade Católica do Rio de Janeiro Freelance designer. 2007-2008. Senac Rio de Janeiro Freelance designer. 2007-2008. Tecnopop Estagiário de design. Design intern. Rio de Janeiro. 2005-2006.
Sala de leitura Exposição. Exhibition. São Paulo. 2013.
Em Direto Exposição. Exhibition. São Paulo. 2011. Em Nome dos Artistas Exposição. Exhibition. São Paulo. 2011 29ª Bienal de São Paulo Exposição. Exhibition. 2010.
Design: Sinalização e Comunicação visual. Signage and Visual communication.
Manoel Veiga Dardo, 2017.
31ª Bienal de São Paulo. Pavilhão Ciccillo Matarazzo. Ciccillo Matarazzo Pavilion. 2014.
Minha terra prometida: o triunfo e a tragédia de Israel – Ari Shavit. Capa. Cover. Três Estrelas, 2016.
30 × Bienal. Pavilhão Ciccillo Matarazzo. Ciccillo Matarazzo Pavilion. São Paulo. 2013.
As piadas de Žižek – Slavoj Žižek. Capa. Cover. Três Estrelas, 2015. 31ª Bienal de São Paulo Material educativo. Educational material. Fundação Bienal de São Paulo, 2014. Dentro/Fora. 55ª Biennale di Venezia. Pavilhão brasileiro. Brazilian Pavilion. Catálogo. Catalogue. Fundação Bienal de São Paulo, 2013. A esquerda que não teme dizer seu nome – Vladimir Safatle. Capa. Cover Três Estrelas, 2012. Imprensa Gay no Brasil – Flávia Péret. Capa. Cover. Publifolha, 2012.
Sala de leitura. Oficina Cultural Oswald de Andrade. São Paulo. 2013. 30ª Bienal de São Paulo. Pavilhão Ciccillo Matarazzo. Ciccillo Matarazzo Pavilion. 2012. Em Direto. Oficina Cultural Oswald de Andrade. São Paulo. 2011. Em Nome dos Artistas. Pavilhão Ciccillo Matarazzo. Ciccillo Matarazzo Pavilion. São Paulo. 2011. Artur Barrio. 54ª Biennale di Venezia. Pavilhão brasileiro. Brazilian Pavilion. 2011. 29ª Bienal de São Paulo. Pavilhão Ciccillo Matarazzo. Ciccillo Matarazzo Pavilion. 2010.
30ª Bienal de São Paulo. Catálogo. Catalogue. Material educativo. Educational material. Fundação Bienal de São Paulo, 2012.
30ª Bienal de São Paulo. Identidade visual. Visual identity. Ouro. Gold. “Estratégia de Design”. IDSA/IDEA/Brasil. 2013.
Coleção Bienal. Collection. Fundação Bienal de São Paulo & Hedra, 2012.
30ª Bienal de São Paulo. Identidade visual, Publicações e Sinalização. Visual identity, Publications and Signage. Prata. Silver. “Packaging and Graphics”. IDSA/IDEA. 2013.
Em nome dos artistas. Catálogo. Catalogue. Material educativo. Educational material. Fundação Bienal de São Paulo, 2011.
Artur Barrio. 54ª Biennale di Venezia. Fundação Bienal de São Paulo, 2011. 29ª Bienal de São Paulo. Documentação. Documentation. Catálogo. Catalogue. Material educativo. Educational material. Fundação Bienal de São Paulo, 2010.
Português. Portuguese. Língua nativa. Native language. Inglês. English. Boa compreensão, boa escrita, fala razoável. Good comprehension, good writing, moderate speaking. Alemão. German. Básico. Basic. Goethe-Zertifikat A2.
STELA BARBIERI ARTISTA VISUAL E EDUCADORA VISUAL ARTIST AND EDUCATOR
ENDEREÇO. ADDRESS. R. Bento Viêira de Barros, 181 São Paulo - SP
CONTATO. CONTACT. telefone | phone: +55 11 3975 6008 email: email@example.com
Artista e educadora que atua em muitos campos: nas artes visuais, na literatura infantil, na educação formal e não formal. Como propositora de experiências e processos de interação entre arte e educação, inventa espaços que convidam à coparticipação. Dirige o Bináh Espaço de Artes, lugar com experiências transdisciplinares, grupos de estudos e ateliês. Em suas ações, os limites entre a imagem, a escrita, as histórias, a musica, a arte e a educação são investigados. Seu universo é híbrido de códigos verbais, visuais, táteis, olfativos e auditivos, onde a invenção e a cognição estão sempre presentes. Para isso, Stela – em sua produção artística e em sua atuação em processos de aprendizagens – construiu conexões entre arte e educação em diálogo com a literatura, musica, geografia e arquitetura. Há, em seu trabalho como artista, um convite ao visitante para colaborar na invenção das obras. Por outro lado (e complementarmente), Stela atua para que, no campo da educação, a arte seja um elemento problematizador. Gerar estranhamentos é uma decisão de seu caminho tanto para a arte quanto para a educação, percorrido em diferentes contextos – de exposições e museus a escolas e praças. Entendendo a arte como um lugar capaz de gerar novos afetos com o mundo e entre as pessoas, o trabalho de Stela busca mesmo a diversidade – de interesses, discursos, interferências, culturas e linguagens. Stela é também autora de livros infantis, trabalho que se desdobra também na arte de contar histórias. Com essa abordagem, foi curadora do educativo da Bienal de SP por seis anos (três bienais, e duas mostras especiais), diretora da Ação Educativa do Instituto Tomie Ohtake (2002-14), foi conselheira da Fundação Calouste Gulbekian, em Portugal, e criadora de currículos e assessora de artes de escolas de referência em São Paulo e outras cidades no Brasil.
Artist, curator and consultant in education, arts and literature. Stela Barbieri is the director of Binah Arts Space - a studio, with experimental labs, lectures and courses. She is also a counsellor of the Calouste Gulbenkian Foundation since 2012. Stela Barbieri was the curator of the Educational Project of the Sao Paulo Biennial Art Exhibition. She began this work at the 29th Biennial Exhibition in 2010 and developed the educational project for the 30th Biennial Exhibition. In 2011, she implemented the ongoing education project of the Biennial Foundation and worked as the educational curator of the exhibition entitled “On behalf of artists.” She was the Educational Action director of the Tomie Ohtake Institute, where she coordinates the public relations services, the “Espaço do olhar” course center and the course center for teachers, children and adolescents. She coordinates the support to exhibitions and the publication of material in the educational project. Stela has worked as an educator for over twenty-five years in Vera Cruz Experimental School, where she currently holds the position of arts advisor for early childhood education and elementary education (first cycle). She is also an author of children’s books and a storyteller..
EXPERIÊNCIA PROFISSIONAL. Professional Experience 2018 BINAH ESPAÇO DE ARTES BINAH ARTS SPACE Coordenação de Projetos Projects Coordination 1988-atual/present ESCOLA VERA CRUZ VERA CRUZ SCHOOL Assessora de Artes Arts Advisor 2012-2016 FUNDAÇÃO CALOUSTE GULBERKIAN CALOUSTE GULBERKIAN FOUNDATION Conselheira Counsellor
2009-2014 FUNDAÇÃO BIENAL DE SÃO PAULO BIENAL DE SÃO PAULO FOUNDATION Curadora educacional Educational Curator 2002-2014 INSTITUTO TOMIE OHTAKE Diretora da Ação Educativa Director of Educational Action
FELIPE TENÓRIO ARTISTA VISUAL E EDUCADOR VISUAL ARTIST AND EDUCATOR
ENDEREÇO. ADDRESS. Rua Nea 884, Vila Ré São Paulo - SP
CONTATO. CONTACT. telefone | phone: +55 11 96696 0578 email: firstname.lastname@example.org
Artista visual e educador formado em Artes Visuais pela Faculdades Metropolitanas Unidas (FMU). Foi professor na rede pública estadual, educador em ONGs e Casas de Cultura. Atuou como educador entre 2010 e 2011 e como assistente de coordenação no projeto Bienal com as Comunidades (2013-2015), todos pela Fundação Bienal de São Paulo. Integrou a equipe do Núcleo de Cultura e Participação do Instituto Tomie Ohtake de 2011 a 2016, onde desempenhou funções como educador e assistente de coordenação de projetos socioculturais. Mais recentemente, entre 2016 e 2018, coordenou a Equipe de Ação e Pesquisa Educativa na mesma instituição. A partir de 2017 está à frente da coordenação da Equipe Educativa do Prêmio CNI SESI SENAI Marcantonio Vilaça para as Artes Plásticas assim como, em 2018, da Coordenação de Projetos do Instituto Arte na Escola, incluindo o Prêmio Arte na Escola Cidadã, voltado para professores e educadores de artes atuantes no ensino básico. Visual artist and educator, graduated in Visual Arts at Faculdade Metropolitanas Unidas (FMU). He taught in public schools, worked in NGOs and cultural centers (Casas de Cultura). At the Bienal de São Paulo Foundation, he worked as educator (2010-2011) and coordinator of the project “Biennale with communities” (2013-2015). He was part of the team working at the Cultural and Participation Centre of the Tomie Ohtake Institute (2011-2016), where he acted as educator and coordinator assistant for sociocultural projects. Recently, between 2016 and 2017, he coordinated the Educational Research and Action team in this same institution. Since 2017, he is leading the coordination of the educational team behind the CNI SESI SENAI Marcantonio Vilaça Award in Visual Arts, and also managing projects in the Arte na Escola Institute (since 2018), including the Arte na Escola Cidadã Award, which targets professors and art educators in the collage.
FORMAÇÃO ACADÊMICA academic formation
EXPERIÊNCIA PROFISSIONAL. Professional Experience
2010 GRADUAÇÃO EM ARTES VISUAIS GRADUATION IN ARTS Faculdades Metropolitanas Unidas (FMU)
2018 INSTITUTO ARTE NA ESCOLA INSTITUTE OF ART IN SCHOOL Coordenação de Projetos Projects Coordination 2017 PRÊMIO CNI SESI SENAI MARCANTONIO VILAÇA ART AWARD - CNI SESI SENAI MARCANTONIO VILAÇA Coordenador da Equipe Educativa Coordinator of the Educational Team INSTITUTO TOMIE OHTAKE Núcleo de Cultura e Participação Culture and Participation Center 2016-2018 Coordenador da Equipe de Ação e Pesquisa Educativa Coordinator of the Educational Team 2011-2016 Assistente de coordenação de Projetos Socioculturais Coordination assistant 2010-2011 FUNDAÇÃO BIENAL DE SÃO PAULO BIENAL DE SÃO PAULO FOUNDATION Assistente de coordenação Coordination assistant
DISCLOSURE AND COMMUNICATION PLAN
DISCLOSURE AND COMMUNICATION PLAN PERIOD from August to December 2019 TOTAL BUDGET R$ 21.500 (campaigns etc) + R$12.000 (public relation) + R$3.000 (online content producer and social media manager) = R$35.500 BRIEFING Through the optimization of the available budget, we aim to reach specialized public (connected to fields such as architecture, engineering and art) and broad public (which do not have direct links with cultural area). This proposal dialogues with the curatorial fundaments, especially the educational events and debates. Usually, in order to reach massive audiences, it is necessary to promote disclosure and marketing in broad media (like television, bus stops, metro and online media), however, this strategy is not feasible under the present budget. Thus, we chose a combination of medias and procedures including: online campaigns (for specific public: architects, artists, urban planner – all easily defined as target audiences by social media tools and ad words in Google); radio ads (in order to enlarge awareness to general public); distribution of leaflets in key places (for general public, pedestrians/users of certain public spaces). Furthermore, we plan to get spontaneous media through the publication of journalistic articles (written by editors and journalists) or critics (written by architect and curators) in daily newspapers and specialized magazines/web sites. The curators will establish a chronogram for new articles, to be published mainly in media partners. The communication team will also have a Public Relation for the interface with the press and an online content producer and social media manager. If the Bienal manages to increase the total budget in the future, we plan to invite international media (key journalists/critics and vehicles).
TARGETS (PUBLIC) 1- Architects and urban planner, professor and students in the field 2- Different professionals with multiple interests in culture (art, cinema, etc). 3- Different professionals related to urban issues and construction works.
OBJECTIVE On one hand, to enhance the interest and participation in the specialized field; on the other hand, to insert new publics, in order to improve the institutional presence of the Bienal Internacional de Arquitetura de São Paulo.
STRATEGY • • •
• • • •
Online campaigns including content specially produced by the curators in order to reach architects and other people with interests in the field Lectures and conversations with researchers and architects in schools of architecture and studios; Partnerships with specialized media in Brazil and abroad (exchanging new content such as articles and interviews with editorial space and posts in socials media); we suggest partnerships with media companies that have broad online reach and geographical capillarity as Archdaily, and others as Arqbacana, Arcoweb, Piniweb. Media campaign in radios for broad public interested in urban isseus and general subjects linkd to citu and art. Distribution of leaflets in public transport entrances (targeting non-specialized audiences), as metro stations; Distribution of leaflets in key buildings, like cultural centers and schools of architecture; Monthly production and publication of articles/interviews in order enhance the spontaneous media