Artistic proposition by O grupo inteiro, based on curatorship, exhibition design and graphic design
Fields of Invisibility is an exhibition that proposes a reflection on global technological infrastructure and the invisibility of its operation modes (technical, social, environmental and political). It aims at questioning certain abstractions (such as the metaphor of ‘‘cloud’’) and consequently to reveal current modes of controlling, perceiving, processing and circulating information and how it unfolds in contemporary ways of life. It situates different perspectives from the Brazilian context – mainly Fortaleza, São Paulo and the Amazon Rainforest –, articulating with the African West coast, Europe and North America, pointing out to intricate global issues, comprising 22 invited participants.
Participants: Ada Lovelace, Alan Turing, Aretha Sadick, Bruno Mendonça, Carolina Caycedo, Cristine Takuá, Déborah Danowski, Denise Agassi, Emma Charles, Felix Pimenta, Jon Rafman, Julio Plaza, Kabila Aruanda, Louis Henderson, Rita Wu, Ruy Cézar Campos, Tabita Rezaire e Territorial Agency. Lectures: Keller Easterling, Deborah Danowski e Tabita Rezaire. More at: camposdeinvisibilidade.org
Fields of Prepositions – Sesc Ipiranga, conceived BY O grupo inteiro, is a reflection ON forms of communal living – both as coming together and clashing – considered FROM the perspective of Sesc Ipiranga’s communal areas. The project multiplies different fields OF relations BETWEEN things, people, places and narratives. It connects events BETWEEN current local dimensions of the Ipiranga neighbourhood, the monument at the site of Brazil’s proclamation of Independence, in 1822, and across-the-board policies in Brazil over the last few years. Fields of Prepositions takes place over time and space through installations, performances, meetings, diagrams, publications and an online platform. Artist-academics FROM Central Saint Martins University of the Arts, London, as well as other guest artists, will take part in the project, in tune with the modus operandi Sesc has been developing for over 30 years: its histories, its outlook on the plural, its ability to reinvent itself and fit so completely, and yet so distinctly, into the city.
“Points of contact”, recovers O grupo inteiro’s research on the “invisibility fields” of technology and the impact on Praia do Futuro, a famous coastline in Fortaleza, Ceará. Set out in the 1970s as a public space of urbanistic exploration, the beach’s first impeller was an elitist progress that ended up triggering real estate speculation in the region. With the arrival of businesses to serve the demand of bathers, an important popularization of the area took place, currently turned into a site of acute social inequality, and recently also a data hub connecting Brazil to the world. In 2018, the South Atlantic Cable System was installed at Praia do Futuro, an underseas cable of more than six thousand kilometers destined to transmit information, linked to the city of Sangano, Angola.
“Points of contact” reflects on what exists behind the celebration of technological prosperity, unveiling the so-called abolition of frontiers by the internet, both physical and imaginary, despite the reiteration and intensification of social tensions by the digital world. Propposing itself to the widespread understanding of internet as an immaterial “cloud” of information, at once democratic and decentralized, it evokes such ecology of backsides over which the digital world is built, thus corroborating and updating colonialist practices. Presented in www.aarea.co, during february 2019, the work composes a cartography of contemporary life by videos, texts, and a real-time data confluence, mapping the disposition of telecommunication cables, monitoring through satellites the actions and moves related with the flow of airplanes, atmospherical conditions, and real time actions, placing narratives that reveals movements otherwise inapprehensible to the gaze due to its excessive, programmatically dispersive character, which also enable to render invisible the structures of reproduction of power.
Metacozinha results of ideas and desires that have emergedcollectively – a space for rest, a place of gathering and meeting,a support of objects, a display for magazines, a flexiblestructure, an object that reveals itself and hides itself.Art, architecture and design played the role ofchoreographers in this action, in charge of translatingpossibilities into a concrete proposal: a furniture designed forthe kitchen, but that could be taken to other spaces of Casado Povo, a piece of furniture that serves for practical uses, butan also turn into a backdrop; after all, a structure designed torelate to people that uses the space, a structure with whichbodies can interact in different ways:Sit, crouch, touch, support, lie down … and feel differentmaterials and textures: wood, steel, marble, cotton.
Developed within the scope of Escola da Cidade’s Technical Council and conceived by an interdisciplinary team of professionals
The Contracondutas project seeks—with various political-pedagogical actions—to respond to part of the questions brought into the open by formal inspection and situations registered on the spot related to slavery at a large construction site in Guarulhos—Terminal 3 of the International Airport.That being so, the Ministério Público do Trabalho [Public Ministry of Labor] of Guarulhos, allocated part of the monies of the Term of Adjustment of Conduct (TAC), imposed on a large construction company, to the Escola da Cidade Association, for the elaboration of a project that would problematize and impact the public debate on major infrastructure projects, migration and slave-like work in contemporaneity. The project operates as a device that intersects several of Escola da Cidade’s didactic-pedagogical activities—such as the Culture and Contemporary Reality Seminar, the program of Practical Training in Scientific and Experimental Research, the regular Means of Expression discipline that deals with the relations between Art and Architecture, and the Vertical Studio—, while also incorporating and stimulating academic, journalistic and artistic inquiries, launching public debate on the theme, as well as its repercussions on the city, social relations, territorial occupation, migratory flows, public policies and cultural productions. Among such actions, interventions of public interest were envisaged as an effective way to involve other agents in the debates and proposals for action.
Mano Fato Mano establishes a space of reflex and reflection, enabled and activated by drawings and actions that inform the daily lives in cities and, specifically, in São Paulo. These are drawings that activate and record powerful actions. Drawings that reveal, create displacements, and bring the power of the action of realization to the graphical universe. They operate as tools of empowerment, manipulation, accessibility, conflict, manifestation, expression, communication.