Starting on October 4th, Vermelho will host the JAMAC Occupation. The collective, which celebrates 20 years of activity, will take over Vermelho’s newsstand, where they will showcase and sell pieces from two projects: Inventories and Learning Something New.
JAMAC will be in residence at the newsstand, where they will welcome the public and discuss their long-term processes.
The Jardim Miriam Art Club – JAMAC, founded by Mônica Nador in 2004, began by organizing mural painting workshops using stencils, while also promoting collective creation and reflection practices. Over two decades, JAMAC has dedicated itself to integrating art into the daily life of the community, empowering people to use stencils as a means of visual expression and, in many cases, as a source of income.
This range of experiences is now organized into Inventories, a set of transversal regroupings of these experiences, organized by themes.
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC’s stencil workshops. The work organizes the collection into thematic sets. In the JAMAC Occupation, the inventory presented will be Inventory: Home, which will be displayed in a series of boxes featuring stencils where architecture is the main theme.
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó/Instituto Nova União da Arte group. This collaboration resulted in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of craftswomen from different parts of Brazil.
Throughout the Occupation, new practices will be introduced.
Photo Vermelho
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.
The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.
The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.
The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.
The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.
Photo Vermelho
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.
The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.
The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.
The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.
The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.
Inauguration of the JAMAC Occupation at Banca Tijuana. On the opening day, the Inventários project was showcased in the gallery’s white cube.
Photo Vermelho
papel color plus e tinta para serigrafia
Photo Vermelho
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.
papel color plus e tinta para serigrafia
Photo Vermelho
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.
papel color plus e tinta para serigrafia
Photo Vermelho
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.
Inventories is an open investigation into the collection of prints produced over 20 years of JAMAC stencil workshops. The work organizes the collection into thematic groups that reflect the survival and resonance of images and debates over the years: landscapes, self-portraits, graphics, gadgets, plants, games, objects of worship, among others. In the JAMAC Occupation, the Inventory presented will be Inventory: home, which will be displayed as a set of boxes with stencils where architecture is the main theme, and a collection of collectible dish towels that refer to JAMAC’s early workshops, which were aimed at training women to produce and sell dish towels as a source of income.
Silkscreen on fabric
Photo Vermelho
In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.
In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.
Silkscreen on fabric
Photo Vermelho
In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.
In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.
Silkscreen on fabric
Photo Vermelho
In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.
In Inventário: Casa (pano de prato), architecture emerges as the central theme. The work consists of a series of collectible dish towels, harkening back to the early JAMAC workshops that focused on empowering women to produce and sell these towels as a source of income.
Photo Vermelho
JAMAC + Descartes + Colo de Vó
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.
The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.
The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.
JAMAC + Descartes + Colo de Vó
Learning Something New is a project born from the collaboration between JAMAC, the Descartes Project, and the Colo de Vó group/Instituto Nova União da Arte, resulting in a collection of porcelain pieces and a publication that brings together prints and stories shared during weekly meetings by a group of artisans from different parts of Brazil.
The meetings are part of the Descartes Project, a workshop dedicated to reusing waste from porcelain factories. In workshops held with JAMAC, the designs created are applied to cups, plates, and other household items, transforming these objects into canvases for sharing the memories and experiences of the artisans. In addition to porcelain waste, decal waste is also used in the creation of the prints.
The Descartes Project, created by artist Natasha Barricelli in partnership with the Instituto Nova União da Arte (NUA) and the Colo de Vó group, emerged in 2022 with the aim of reusing porcelain waste by promoting art workshops for vulnerable communities. In these workshops, the Colo de Vó group, made up of residents of the Jardim Pantanal community, plays a central role in creating and sharing stories through the porcelain pieces. NUA, an organization focused on community development, provides support and fosters social and economic inclusion through innovative educational practices.
06.DEC
Photo Bruno O.
Launch of the book “Frango de Capinha da Dona Lourdes”, by Julia Cavazzini Cunha, as part of the JAMAC Occupation program. The event featured a conversation between the author and artist and chef Daniela Avelar about food, memory, food systems and artistic practices.
During the meeting, the audience had the opportunity to share memories and reflections on the relationship between food and affection, while enjoying a cold soup prepared by Julia.
“Frango de Capinha da Dona Lourdes” was published by the publishing label Autoria Compartilhada, created in the JAMAC graphic studio. The label aims to develop publications that contribute to the documentation and circulation of literature and artistic production developed in the region of Cidade Ademar, Pedreira and Jabaquara and by partner initiatives of the project, integrating action and critical reflection in community and collective processes.
Launch of the book “Frango de Capinha da Dona Lourdes”, by Julia Cavazzini Cunha, as part of the JAMAC Occupation program. The event featured a conversation between the author and artist and chef Daniela Avelar about food, memory, food systems and artistic practices.
During the meeting, the audience had the opportunity to share memories and reflections on the relationship between food and affection, while enjoying a cold soup prepared by Julia.
“Frango de Capinha da Dona Lourdes” was published by the publishing label Autoria Compartilhada, created in the JAMAC graphic studio. The label aims to develop publications that contribute to the documentation and circulation of literature and artistic production developed in the region of Cidade Ademar, Pedreira and Jabaquara and by partner initiatives of the project, integrating action and critical reflection in community and collective processes.
06.DEC
Photo Bruno O.
Launch of the book “Frango de Capinha da Dona Lourdes”, by Julia Cavazzini Cunha, as part of the JAMAC Occupation program. The event featured a conversation between the author and artist and chef Daniela Avelar about food, memory, food systems and artistic practices.
During the meeting, the audience had the opportunity to share memories and reflections on the relationship between food and affection, while enjoying a cold soup prepared by Julia.
“Frango de Capinha da Dona Lourdes” was published by the publishing label Autoria Compartilhada, created in the JAMAC graphic studio. The label aims to develop publications that contribute to the documentation and circulation of literature and artistic production developed in the region of Cidade Ademar, Pedreira and Jabaquara and by partner initiatives of the project, integrating action and critical reflection in community and collective processes.
Launch of the book “Frango de Capinha da Dona Lourdes”, by Julia Cavazzini Cunha, as part of the JAMAC Occupation program. The event featured a conversation between the author and artist and chef Daniela Avelar about food, memory, food systems and artistic practices.
During the meeting, the audience had the opportunity to share memories and reflections on the relationship between food and affection, while enjoying a cold soup prepared by Julia.
“Frango de Capinha da Dona Lourdes” was published by the publishing label Autoria Compartilhada, created in the JAMAC graphic studio. The label aims to develop publications that contribute to the documentation and circulation of literature and artistic production developed in the region of Cidade Ademar, Pedreira and Jabaquara and by partner initiatives of the project, integrating action and critical reflection in community and collective processes.
Read the full text by Alexia Tala here
On October 17, from 7 PM to 10 PM, Vermelho will inaugurate Elemental Shift, Ximena Garrido-Lecca’s first solo exhibition at the gallery.
Ximena Garrido-Lecca was born in Lima in 1980 and lives and works between Mexico City and Lima.
In her practice, Garrido-Lecca employs a variety of materials and symbolic languages that focus on highlighting the tensions between ancestral knowledge and colonial structures.
Using historical references, she traces cycles of cultural, social, and economic transformation, as well as power relations around the changes in the use of natural resources. Her work addresses the relationships between nature and culture while questioning traditional knowledge hierarchies.
Her work is included in museum and institutional collections such as Tate Modern (London), MALBA (Buenos Aires), Kadist (San Francisco), Perez Art Museum (Miami), Boros Collection (Berlin), Frac de Pays de la Loire (Nantes), Coppel Collection (Mexico City), and Saatchi Collection (London).
Among her institutional solo exhibitions are the 34th São Paulo Biennial (2021); Proyecto AMIL, Lima (2019); MALBA, Buenos Aires (2017).
In Elemental Shift, Ximena Garrido-Lecca examines some of the issues and concepts that touch on different forms of nature’s adaptation, its resilience, and the complex relationship between belief systems and the exploitation of natural resources in the context of colonialism.
Her works articulate playful interactions between ancestral mythologies and scientific technologies, suggesting different paths for regeneration and symbiosis (such as mutualism, commensalism, parasitism, and competition) within history and sociopolitical dynamics.
Garrido-Lecca envisions a future where it would be possible to incorporate various forms of ancestral knowledge, learning from nature and reconfiguring relationships based on respect and coexistence.
Garrido-Lecca states: “Nature is in a process of perpetual adaptation, and we are only witnessing a small fraction of it. Within such a broad context, it becomes clear that contemporary ecological issues are not isolated concerns: whether urban or rural, artificial or natural, they are intricately interconnected. This interconnection inspires us to reconsider the complex relationships between living beings, worldviews, and knowledge systems, and how they affect nature’s adaptive flow.”
Photo Filipe Berndt
Tree branches, recycled copper, steel, radio receiver
Photo Vermelho
A group of migrating bird nests from the crested oropendola – or crested cacique – species, hangs from a dead tree branch. The nests are made of copper wires and serve as receiving antennas that capture nearby signals, creating white noise in the space. Oropendolas are native to Central and South America and are known for their long, pendulous nests made from woven plant fibers.
A team from the University of Oldenburg (Germany) found that electromagnetic noise from antennas alters the internal compass orientation of migratory birds, affecting their movement. Thus, the work plays with the idea of a parasitic symbiotic relationship between humans and birds: an antenna-nest both shelters and repels, negatively influencing the birds’ natural cycle and affecting their ability to migrate and develop freely.
A group of migrating bird nests from the crested oropendola – or crested cacique – species, hangs from a dead tree branch. The nests are made of copper wires and serve as receiving antennas that capture nearby signals, creating white noise in the space. Oropendolas are native to Central and South America and are known for their long, pendulous nests made from woven plant fibers.
A team from the University of Oldenburg (Germany) found that electromagnetic noise from antennas alters the internal compass orientation of migratory birds, affecting their movement. Thus, the work plays with the idea of a parasitic symbiotic relationship between humans and birds: an antenna-nest both shelters and repels, negatively influencing the birds’ natural cycle and affecting their ability to migrate and develop freely.
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Mud, straw, stainless steel
Photo Vermelho
Each piece in the “Disecciones” series looks like a precise, machine-cut fragment of an ancient technology. They are parts of an obsolete construction method that uses the very ground that will support the building as the material for its composition. The pieces appear to have been taken from a historical site and are displayed like artifacts in an anthropological museum.
Each piece in the “Disecciones” series looks like a precise, machine-cut fragment of an ancient technology. They are parts of an obsolete construction method that uses the very ground that will support the building as the material for its composition. The pieces appear to have been taken from a historical site and are displayed like artifacts in an anthropological museum.
Photo Filipe Berndt
Carved stones, water, cork and magnetized iron
Photo Vermelho
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Carved stones, water, cork and magnetized iron
Photo Vermelho
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Carved stones, water, cork and magnetized iron
Photo Vermelho
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Carved stones, water, cork and magnetized iron
Photo Vermelho
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Three stones carved with rounded carved receptacles emulate mirrors used for astrological observations in pre-Hispanic times. The shapes are filled with water, where floating magnetized needles rest, functioning as compasses that point to the South. It is said that pre-Columbian sages made the stars descend from the sky by reflecting them in water mirrors.
Navigation has used constellations and stars as references for centuries. The invention of the compass is a pivotal milestone in the history of navigation and exploration. Invented in China around the 2nd century BC, they consisted of a magnetized needles placed on floating trays, allowing them to rotate freely, using Earth’s magnetism. Initially, compasses pointed South, as in Chinese tradition, the North was associated with cold and death. In contrast, the South was beautiful and blessed, as warmth and life came from there. When introduced to Europe in the 13th century, the compass was adjusted to point North.
While the sky was a place of philosophical contemplation in ancient times, European mobilizations for territorial domination used this source of knowledge as tools for exercising political power and conquest. The presence of the compass in the installation, pointing South, becomes a marker for the revaluation of pre-colonial customs and knowledge, and a symbol of resilience in a world dominated by the West.
Photo Filipe Berndt
Tree trunks and steel beams
Photo Filipe Berndt
Different parts of a tree trunk are suspended and supported by steel beams, resembling structures used to display archaeological architectural ruins, signaling a future where sacred trees are exhibited as extinct artifacts.
In many ancient cultures, trees represent the connection between the earthly realm, the underworld, and the heavens. Positioned at the center of the universe, they served as a channel of communication between gods and humans. Their trunks represented the earthly realm, and their branches, stretching toward the heavens, symbolized the afterlife. In Mayan mythology, certain species of trees symbolize the interconnection of the universe and the spiritual world, where nature and the divine are deeply intertwined. It was believed that the gods created the world around trees, which were considered the cosmic axis around which the universe revolved.
Different parts of a tree trunk are suspended and supported by steel beams, resembling structures used to display archaeological architectural ruins, signaling a future where sacred trees are exhibited as extinct artifacts.
In many ancient cultures, trees represent the connection between the earthly realm, the underworld, and the heavens. Positioned at the center of the universe, they served as a channel of communication between gods and humans. Their trunks represented the earthly realm, and their branches, stretching toward the heavens, symbolized the afterlife. In Mayan mythology, certain species of trees symbolize the interconnection of the universe and the spiritual world, where nature and the divine are deeply intertwined. It was believed that the gods created the world around trees, which were considered the cosmic axis around which the universe revolved.
Photo Filipe Berndt
Stainless steel rope
Photo Vermelho
The work questions extractivism in opposition to the production of traditional handmade pieces. The work comments on the increasing demand for metals such as steel, valued by industry at the expense of environmental and cultural preservation.
The work questions extractivism in opposition to the production of traditional handmade pieces. The work comments on the increasing demand for metals such as steel, valued by industry at the expense of environmental and cultural preservation.
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Excavator bucket and quartz sphere
Photo Vermelho
The work confronts two objects: a digger bucket used in excavations and a quartz sphere. While the digger devours the earth, the quartz sphere becomes a talisman that restores balance to the exploited land.
Quartz has been used in Peru for ceremonial and ritual purposes since pre-Columbian times. The crystals were highly valued for their clarity and brilliance. Various pre-Hispanic cultures believed in their mystical properties, associating them with concepts of purity, light, and divine power. Additionally, quartz crystals were sometimes included in burial sites or temple structures, reinforcing their significance in spiritual and ceremonial contexts.
Today, in different cultures, quartz is still believed to have healing properties in various spiritual practices, absorbing, regulating, and amplifying energy.
The work confronts two objects: a digger bucket used in excavations and a quartz sphere. While the digger devours the earth, the quartz sphere becomes a talisman that restores balance to the exploited land.
Quartz has been used in Peru for ceremonial and ritual purposes since pre-Columbian times. The crystals were highly valued for their clarity and brilliance. Various pre-Hispanic cultures believed in their mystical properties, associating them with concepts of purity, light, and divine power. Additionally, quartz crystals were sometimes included in burial sites or temple structures, reinforcing their significance in spiritual and ceremonial contexts.
Today, in different cultures, quartz is still believed to have healing properties in various spiritual practices, absorbing, regulating, and amplifying energy.
Excavator bucket and quartz sphere
Photo Vermelho
The work confronts two objects: a digger bucket used in excavations and a quartz sphere. While the digger devours the earth, the quartz sphere becomes a talisman that restores balance to the exploited land.
Quartz has been used in Peru for ceremonial and ritual purposes since pre-Columbian times. The crystals were highly valued for their clarity and brilliance. Various pre-Hispanic cultures believed in their mystical properties, associating them with concepts of purity, light, and divine power. Additionally, quartz crystals were sometimes included in burial sites or temple structures, reinforcing their significance in spiritual and ceremonial contexts.
Today, in different cultures, quartz is still believed to have healing properties in various spiritual practices, absorbing, regulating, and amplifying energy.
The work confronts two objects: a digger bucket used in excavations and a quartz sphere. While the digger devours the earth, the quartz sphere becomes a talisman that restores balance to the exploited land.
Quartz has been used in Peru for ceremonial and ritual purposes since pre-Columbian times. The crystals were highly valued for their clarity and brilliance. Various pre-Hispanic cultures believed in their mystical properties, associating them with concepts of purity, light, and divine power. Additionally, quartz crystals were sometimes included in burial sites or temple structures, reinforcing their significance in spiritual and ceremonial contexts.
Today, in different cultures, quartz is still believed to have healing properties in various spiritual practices, absorbing, regulating, and amplifying energy.
Photo Filipe Berndt
Photo Filipe Berndt
Mud, straw, stainless steel
Photo Vermelho
Each piece in the “Disecciones” series looks like a precise, machine-cut fragment of an ancient technology. They are parts of an obsolete construction method that uses the very ground that will support the building as the material for its composition. The pieces appear to have been taken from a historical site and are displayed like artifacts in an anthropological museum.
Each piece in the “Disecciones” series looks like a precise, machine-cut fragment of an ancient technology. They are parts of an obsolete construction method that uses the very ground that will support the building as the material for its composition. The pieces appear to have been taken from a historical site and are displayed like artifacts in an anthropological museum.
Photo Filipe Berndt