The stainless steel columns with mirrors by Ana Maria Tavares question our own presence in the spaces through a powerful reference to the surveillance systems that touch our day life in the cities.

In the performance Centro de Pesquisa de Ideologia das Imagens [Center of Research into the Ideology of Images] (2015), Ianês positions himself at the gallery’s entrance, receiving the participants, with whom he holds a conversation. After this personal interview, in which the subjective views of each participant are considered, he asks them to suggest some image that symbolizes their view of history, politics, or local or global contemporary society. Together, the two searches the internet for the suggested image or something similar. The images chosen by the participants is printed and shown on the wall of the room where the action takes place. The images are then distributed and arranged by the artist in order to create, through his external view, a narrative of the history of Brazil or the world with the images chosen by the public. Ianês seeks to relate these images by proximity, connecting them. Centro de Pesquisa de ideologia das imagens proposes a situation of opening to the public, in such a way that the result of the action and its documentation is actively and extensively constructed together with the participants.

The series Corpo da Alma [Body of the Soul] (2005) is articulated around a set of images originally published in newspaper articles, of people who are holding photographs of relatives or friends who disappeared in situations of war, terrorism or urban violence. With this procedure, Rennó destabilizes one of the main characteristics of photography, which is to freeze the event, according to critic Paulo Herkenhoff, “demobilizing” the archival sleep of the photograph, making extra-imagetic facts visible.

In the series of drawings Bioma [Biome] (2016), by Henrique cesar, oil refineries acquire aspects of microbiomes.

In the series of drawings Bioma [Biome] (2016), by Henrique cesar, oil refineries acquire aspects of microbiomes.

In “:::::::::::::” Cadu works with telephonic cards for use in public telephones sold by Telefonica Brazil, company that provides telephone service for the state of São Paulo. The cards had their graphical information removed and are available for free distribution. In times of wiretaps, Cadu’s cards become a strategy for discretion and stealth.

Raspadinha [Scratch ticket] (2009 / 2016) – Marcelle bases her work on the lottery scratch ticket, which, by way of luck, transfers possession to whoever finds the prize hidden on the scratchable card. On Marcelle’s scratch card, the prize is Poder [as a noun, “power”; as a verb, “to be able to”] written twice in a homocentric way. The repetition of the word refers to its variants as a noun and a verb. On the back of the card, there is a graphic device that allows for the transfer of the prize to someone else.

In the video installation by Nicolás Robbio (2016) a small out-of-focus projection shows the debates in the Brazilian chamber of deputies during the session that preceded the voting for the opening of the impeachment process against elected President Dilma Roussef. A magnifying glass placed between the projector and the projection focuses only on the detail of the person giving sign language for the hearing impaired.

In Farsa – Delacroix (La liberté guidant le peuple) [Farce – Delacroix (Liberty Leading the People)] and Farsa – Delacroix (O MST guiando o povo) [Farce – Delacroix [The MST Leading the People)], both from 2013, Longo Bahia bases
her work on Karl Marx’s maxim that states, “History repeats itself, first as tragedy, then as farce,” to trace a parallel between the French Revolution and a hypothetical revolution guided by the MST [Movement of Landless Rural Workers]. In the first painting, the artist re-creates the painting by Delacroix, with the same proportions as the original, in green tones. In the second, she substitutes the characters of the original by members of the MST.

In Banco Brasília [Brasília Bench/Bank] (2015), Marcelo cidade proposes an iconoclastic articulation around the Brazilian modernist promise and the powers that be, through a composition that uses clean dinner plates and empty beer bottles to emulate the building of the national congress.

The vortices occur from the pressure difference between two neighboring regions, generating an outflow. Within the exhibition context, Água suja [Dirty water] makes a comment about the polarization experienced in the country, as well as the visibility that dishonest actions have currently had in Brazil.


In Farsa – Delacroix (La liberté guidant le peuple) [Farce – Delacroix (Liberty Leading the People)] and Farsa – Delacroix (O MST guiando o povo) [Farce – Delacroix (The MST Leading the People)], both from 2013, Longo Bahia bases
her work on Karl Marx’s maxim that states, “History repeats itself, first as tragedy, then as farce,” to trace a parallel between the French Revolution and a hypothetical revolution guided by the MST [Movement of Landless Rural Workers]. In the first painting, the artist re-creates the painting by Delacroix, with the same proportions as the original, in green tones. In the second, she substitutes the characters of the original by members of the MST.

O canto dos esquecidos reverbera pelo edifício da vitória [The Song of the Forgotten Reverberates through the Edifice of Victory] (2016), the inaugural speech of former Brazilian President João Goulart, is played in a loop through a series of electrical cords that climb the wall in a geometric design. After finishing its path through the cords, going through a series of guitar effect pedals, the speech is projected into the space, through an amplifier, completely distorted. A set of earphones makes it possible to individually listen to the speech before the distortion.

Carmela Gross confronts the phonetic characteristic of the first-person singular personal pronoun in Portuguese (eu), which contains a diphthong, with the possibility of transferring it to the dimension of an inclusive plural action.

In Buraco [Hole] (2009), by the group Chelpa Ferro, a set of devices constructed for the proliferation of the word microphone plus loudspeaker are arranged in a self-contained way, giving rise to a deafening sound.

[:pt]Na série Diarreia (2016), André Komatsu trabalha com páginas de revistas da década de 1970, cobrindo seus conteúdos com composições que remetem às vanguardas artísticas brasileiras, deixando entrever pequenos fragmentos de notícias acerca do governo ditatorial militar.[:en]In the series Diarreia [Diarrhea] (2016), André Komatsu works with magazine pages from the 1970s, covering their contents with compositions that refer to the Brazilian artistic avant-gardes, but allowing small fragments of news about the military dictatorship to show through.[:]

[:pt]25 gestos de cumprimentos foram desenhados por Cidade com nanquim de maneira rápida e gestual, repetindo o modo habitual de se apertar a mão de alguém. São 25 diferentes gestos sociais que expressam sentimentos positivos de amizade, afinidade ou confiança entre dois seres-humanos. Além de constituir uma saudação, um aperto de mão pode também consolidar um acordo verbal entre duas pessoas ou entidades, ou até mesmo simbolizar a concretização de um contrato formal. Em Pequenos delitos a automação do gesto de confiança pode vir acompanhada de transgressão da moral.[:en]Greetings gestures were drawn by Cidade with china ink in a quick and gestural way, repeating the usual way of shaking someone's hand. In the work there are 25 different social gestures that express positive feelings of friendship, affinity or trust between two human beings. In addition to constituting a greeting, a handshake can also consolidate a verbal agreement between two people or entities, or even symbolize the completion of a formal contract. In Pequenos delitos [Small offenses], the automation of the gesture of trust may be accompanied by a transgression of morals.
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[:pt]Obra criada originalmente para a Jornada internacional na cidade sem meu carro, que ocorreu em setembro de 2009 na cidade de Campinas, Setamanco é uma instalação composta por 60 tamancos de madeira, em forma de setas. Todos os tamancos estão disponíveis para utilização pelo público dentro do espaço expositivo. Setamanco se utiliza de instrumentos simples e familiares de localização e deslocamento para criar metáforas sobre as relações humanas.[:en]Originally created for the International Day in the City without My Car, which took place in September 2009 in the city of Campinas, Setamanco is an installation made up of 60 wooden clogs, shaped like arrows. All clogs are available for use by the public within the exhibition space. Setamanco uses simple and familiar instruments of location and displacement to create metaphors about human relationships[:]

[:pt]A proposta de Catete é produzir e comercializar, em parceria com uma confecção de pijamas, uma versão do pijama usado por Getúlio Vargas no momento do seu suicídio. Composta por calça e camisa, tal versão baseia-se no estado do pijama antes da consumação do suicídio, sem as marcas de tiro, sangue e cortes. Interessa ao artista o modo como um pijama, objeto cotidiano, íntimo, privado, tornou-se símbolo daquele momento histórico. Catete nos leva a pensar como a instituição molda, por contingência, ao longo dos anos e das diversas administrações, uma versão da história, centralizando no pijama de Getúlio Vargas a narrativa sobre os fatos ocorridos em agosto de 1954.[:en]Catete (2015) aims to produce and commercialize, in partnership with a pajama manufacturer, a version of the pajama worn by former Brazilian President Getúlio Vargas at the moment of his suicide. Consisting of pants and shirt, this version is based on the state of the pajamas before the consummation of the suicide, without the marks of the gunshot, blood and cuts. The artist is interested in the way that the pajama – an everyday, intimate, private object – became a symbol of that historic moment. Catete leads us to think about how, through contingency, over the years and throughout various governmental administrations, a version of this historical episode has been shaped, centered on Getúlio Vargas’s pajamas as an icon of the events that took place in august 1954.[:]

[:pt]Em A Queda, a matéria orgânica da vegetação é substituída pela inerte materialidade do carpete cinza sintético. No contexto desta exposição, a instalação soma um comentário taciturno e melancólico sobre a conjuntura brasileira.[:en]In A Queda [The Fall], the organic matter of the vegetation is replaced by the lifeless materiality of the synthetic gray carpet. In the context of this exhibition, the installation adds a taciturn and melancholic commentary on the Brazilian situation.

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[:pt]Proxy Reverso é um longa-metragem de ficção realizado com imagens capturadas de telas de computador pelos diretores Guilherme Peters e Roberto Winter. O filme conta a história de Davi Reis, um jovem paulistano técnico em informática que, após perder seu emprego, é levado a envolver-se no plano de seu amigo Luis Pires, um jornalista independente narcisista e obcecado pela fama. Luis quer usar as habilidades de hacker de Davi para acessar dados confidenciais que comprovem que o instituto Vox Populi fraudou o resultado de pesquisas de intenção de voto que precederam as eleições presidenciais de 2014 no Brasil. As imagens do filme foram captadas ao longo de 2014, nas datas e horários em que se passam as cenas, e podem ser acompanhadas pelo relógio da área de trabalho do computador que aparece em cena. Assim, apesar de se tratar de uma história ficcional, os personagens interagem com estímulos do mundo real que entram a partir do uso da internet, por vezes simulado e por vezes efetivo. A separação entre verdade e ficção, ou entre o real e o virtual, se torna difusa e o filme também se apresenta como uma espécie de documentário satírico. Essa estética arrojada rendeu ao longa três prêmios na VII edição do festival Semana dos Realizadores, sediado anualmente no Rio de Janeiro: Prêmio Especial do Júri, pelo Júri Oficial do festival; Prêmio EDT de Montagem de Invenção de Melhor Longa-Metragem, concedido pela Associação de Profissionais de Edição Audiovisual do Rio de Janeiro; Prêmio ABD – Audiovisual Independente de Melhor Longa-Metragem, concedido pela Associação Brasileira de Documentaristas do Rio de Janeiro. Proxy Reverso é um comentário sobre a facilidade de se criar verdades através de ferramentas amplamente acessíveis, e sobre como as instancias de comunicação e poder podem fazer uso interessado dessas verdades.[:en]Proxy Reverso [Reverse Proxy] is a feature-length film made with computer screenshots captured by directors Guilherme Peters and Roberto Winter. The film tells the fictional story of Davi Reis, a young computer technician from the city of São Paulo, who after losing his job is coaxed into taking part in the risky plan of his friend Luis Pires, a narcissistic freelance journalist obsessed with fame. Luis wants to use Davi’s hacker skills to access confidential data proving that the polling Institute Vox Populi reported fraudulent results on a survey about voting intentions in the lead-up to Brazil’s 2014 presidential election. The screenshots were captured throughout 2014, at the time and date of the scene shown, as evidenced by the clock on the task bar of the computer they were captured on. Thus, despite that it’s a fictional story, the characters interact with stimuli from the world at large that enter via internet, depicting events that are sometimes simulated, sometimes drawn from real life. The separation between truth and fiction or between the real and the virtual becomes blurred and the film is also presented as a mockumentary. This bold aesthetic approach won the film three awards at the VII edition of the Semana dos Realizadores Festival, held annually in Rio de Janeiro: the Special Jury Prize, from the festival’s official jury; the EDT Inventive Editing Prize in the feature film category from the Associação de Profissionais de Edição Audiovisual do Rio de Janeiro; and the ABD Independent Audiovisual Prize for Best Feature Film, from the Associação Brasileira de Documentaristas do Rio de Janeiro. Proxy Reverso is a commentary on the ease of creating truths through widely accessible tools and about how entities in the fields of communication and power can use those truths for furthering their own interests.[:]