Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

Created in 2004, the video Throw was originally commissioned for the collection of Kiasma, Museum of Contemporary Art in Helsinki. Dias & Riedweg invited passersby to directly throw a diversity of objects into the camera. People’s gestures gain greater power with the effect of slow motion and the inclusion of images of political events that happened in Finland during the 20th century.

This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.

This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.

This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.

This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.

In Evidência (Evidence), a three-meter-long thermometer that, in its range between minus 40 degrees Celsius and 40 degrees above zero, viewers also see the years from 1944 through 2024, attesting how temperature may subjectively arise throughout the decades.

In Sob pressão (Under Pressure), thirty barometers, lined up on the wall, scientifically show the atmospheric pression of the exhibition space but viewers may notice a discrete graphic intervention with the name of Rio’s communities, such as Maré, Mangueira, Rocinha, Alemão, Fogueteiro, Cidade de Deus, among others.

“Chapa Quente” (Hot Coals) is a series of nine back-light photographs that mix archive pictures of Brazilian 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.

“Chapa Quente” (Hot Coals) is a series of nine back-light photographs that mix archive pictures of Brazilian 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.

Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.

“As fontes Fraktur são o expoente mais importante do grupo das chamadas letras góticas. Nos Países Baixos, Reino Unido, e principalmente na Alemanha, essa família tipográfica teve até a metade do século 20 uma expressão dominante. Nos dias de hoje ela continua a ser empregada amplamente em tatuagens, nomes de jornal, logomarcas de bebidas, bandas e por grupos góticos .A fonte fraktur aparece em varias das obras de Ponto Final em contextos distintos, como os ligados à construção da identidade nacional de um povo, grupo ou gueto, ou como forma de exclusão e de racismo. Sobre a fachada da galeria, a fonte Tennenbaum, que pertence à família fraktur, foi usada para reescrever a frase “Ordem e Progresso”da bandeira brasileira.”  “Fraktur fonts are the most important exponent of the group of so-called Gothic letters. In the Netherlands, United Kingdom, and mainly in Germany, this typeface family had until the middle of the 20th century a dominant expression. Nowadays, it continues to be widely used in tattoos, newspaper names, drink logos, bands and by gothic groups. The font fraktur appears in several of Ponto Final's works in different contexts, such as those linked to the construction of national identity of a people, group or ghetto, or as a form of exclusion and racism. On the gallery's façade, the Tennenbaum font, which belongs to the fraktur family, was used to rewrite the phrase “Ordem e Progresso” on the Brazilian flag.”