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Neymar's market value in free fall. Brazil's Arthur injured in Honduras-thumping warm-up. C-Date Join to the sexy contacts online community , live your adventure. Vintage Football Store Official retro t-shirts English football clubs , be inspired by the most important moments of the premier. This wall was unblocking, proactive and empowering the conversation and meeting, resulting in a collection of images and ideas from words like Dictatorship, Freedom, Museum, Time and Quality. For this purpose, it assembled a team of mediators who explored circuits in Salvador as territories of meeting, dissemination and dialogue about the 3rd Bahia Biennial, its curatorial proposal and program.

The Guerrilla Action was a direct way to inform and engage more people with the Biennale, but it was also a way for the mediators to come into real contact with the public and expand the space for dialogue of the mediation beyond the exhibition space. The dynamic of entering rooms, speaking in front of new people and answering questions was the first exposure for many of mediators - a first taste of what would, from then on, be a relationship of ever-growing and direct contact with the public.

The course was held in streets that are very noisy during the day, with crowds coming and going, full of peddlers wanting to attract the attention of the passersby. The strat-. Other performances were held in small groups on the crossings when the traffic lights went red. Many preferred to work on individual or small group discussions, inviting the public to participate in the Biennale. This way, the audience addressed by the mediators was the public who came to watch the bands.

Initially worried about having to compete for the public attention with guitar chords, mediators - when talking to people individually - found an audience that was interested and willing to dialogue. How was your experience at the residency at Sacatar Institute? Lisette Lagnado - It went beyond what I expected, and it was also far from those expectations. There are two opposite directions I need to mention. I could not do the reading program I imagined I would and I could not write the texts that I thought would be needed to get out of here with a reflection on this process.

And also far, because I know that for a residency to actually happen, it has to be done at length. And two weeks seem like two months, but are just two weeks. For my part there lacked availability in my agenda; making it impossible that I could stay longer and, from Sacatar, make other expeditions. There was an amazing thing that was the days spent on the island thinking about what the island has to offer and the encounters with the artists there.

So in that sense, it went beyond. I thought I would be alone and it would be an environment for thinking, philosophizing; but it was a sharing environment. That was unexpected. From your experience, can you explain in what way the curatorship carries out critique on a process like the Biennale? Lisette - There is much talk of the exhaustion of the biennial model. Since the s, this exhibition format exploded in several cities.

Cities that already had an institutional structure; a cultural circuit organized around museums, cultural centers and galleries, but also deserted cities in terms of apparatus and cultural facilities. It is a counter-biennale because it is a biennale which thinks every day. It is a biennial of much more action than project. I can see a project, I can see a program. This reinvention every day because of the adversity of the site is what makes this a more critical biennial. And in that sense, I can almost say that it is a counter-biennale because the biennial is a.

And I think the upside here is that I do not see a rigid institution, I do not see a rigid model. I see one thing, always in motion. And I think the critical nature should be exactly this ability to rethink the whole time. After a while it subsided slightly, when Belo Horizonte entered in the map. I believe that the turning point is located when the Belo Horizonte Salon was turned into the residency grant of the Pampulha.

It was a project designed by Adriano Pedrosa and effectively made Belo Horizonte a living place again. Belo Horizonte has always been an important place, but artists used to leave Belo Horizonte for other cities. This exodus is the problem with which we must deal. As was the exodus of artists during the dictatorship, looking for a place with more freedom. Thereafter, Recife became another very interesting place. Also because of artists who circulated in the Southeast and now transit to Recife.

I think we are now living a more interesting time in that these categories or geographical classifications have lost their meaning. What does she do? There is an entire occupation to be made. And not necessarily from just one local viewpoint. I think it would be very interesting to get people to connect. What dialogue could we think of between the three capitals of Brazil: Bahia, Rio de Janeiro and Brasilia? They are three historically distinct capitals with very. Is everything Northeast? Lisette - Everything is Northeast if we understand that the northeast is a place that is not in the center.

I use this question as a starting point, actually. It comes to my attention that the title of the Biennale was indeed a question with a question mark. Because behind me, in this dish here, we see como viver junto how to live together , also formed with a question mark. We understood that if you are asking questions, maybe people could provide answers and these answers would function as a sort of primer, self-help. All this comes from the book of Roland Barthes, and Roland Barthes did not use a question mark, but why? Because he is not giving answers. He is describing little fantasies, small utopias.

So, Como viver junto is nonetheless something you might find at a given time. It may correspond to the definition of heterotopia of Michel Foucault, but I absolutely did not want como viver junto to be understood as a program. Then yes, we had a number of characteristics we tried to absorb into the exhibition. But is it all Northeast? After that I think would be interesting to design a program. Lisette Lagnado is a critic, curator and researcher. Lisette participated in the residency program during the 3rd Bahia Biennial. It was a claim and a ghost that haunted the unconsciousness of the artists, especially the young ones.

The speeches were many, it lacked analysts. Over the last forty years, we have not advanced in thought, or even built a more effective cultural policy, despite the investment in mobilizing communities and art workers around the theme, in this country. The report of who lived and who has followed the events of the Bahia Biennials, even distant in time, puts in focus a different context to the moment we are living, forgotten at the back of the memory, important for resuming an experience with historical references.

The art scenes in and 68 were of a Bahia interested in the decentralization of Brazilian art. In the second half of the sixties, there was a desire to follow the diversities of the Brazilian avant-garde in Bahia. There was an avant-garde procedure, not a thought, which was more of an inconformity with the situation in Bahia in relation to the concerns of the s: counterculture, Tropicalia, experimentalism and breaks with the traditional support mechanisms.

A willingness to interchange with the vanguard resulted in the Biennials of Bahia, which counted with the participation of the most important manifestations of the era: Concretism, Neoconcretism, Tropicalia etc, making Salvador the center of visual arts in Brazil. They provoked the local cultural scene, contrary to an. As the political regime of the late was little in favor of cultural freedom, the 2nd Biennial was closed. That was the end of an initiative which left Brazilian art in a state of mourning.

The 2nd Biennial was closed soon after opening, due to the critical political moment that the country was passing. The expected cultural shift with industrialization was nothing but a dream.

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Journal of days / 3ª Bienal da Bahia by dinha ferrero - Issuu

The cultural and political reality today is another, but it is necessary to know the past to take a step forward. An art exhibition of national repercussion is the object of anxiety of all local artists and something promised by the State that deserves its purest attention. Especially in times of biennials, curatorships and residencies, the expectation is different from the s. The discussions promoted by the Director of the Museum were timely, putting the relevant issues on the table, exceeding the possibilities of the simple staging of exhibitions, such as: their own actions, not only of MAM, but also of other art museums; the training of artists, and art now.

Between the bureaucracy of editals, the incentive laws and the superiority of the market, the museums are walking a tightrope, without resources to accomplish their projects and to maintain a program free from from external pressures on the cultural commitments of the institution. If the MAM should, or not, promote a national art show, does not matter. First it is necessary to have a broader curatorial project, able to overcome the bureaucracy and external pressures; in other words, a supporting device to ensure that the exhibition is not a large, isolated party, which ends up with a hangover the next day.

While many exhi-. After culture was dominated by barbarism, in a society that favors the production of cultural goods, the thought was defeated by the entertainment industry and power of the market. Who ends up deciding what art is, is the market; with advertising appeal, it imposes value and legitimacy. Art fairs mobilize investors; exceed expectations in terms of art biennials, which have been transformed into supermarket of the suburbs, with cheaper products for the consumer middle class.

People no longer believe in language, but in the exchange value. Thought is the spilled liquid that glows on the surface of the work, with a limited shelf life. If the object of art is a false diamond, it does not matter; it satisfies the so-called creative economy. The audience with an education not committed to art history looks for a safe investment. A biennial of art, like a car fair, if not a bank of reliable information, brings to the market innovations to stimulate or attract the attention of consumers.

But with minimal intelligence, it can help to inform and transform the art medium. Although the state, on behalf of a cultural democracy, prefers to invest in training proponents, courses of how to fill out forms and the design of projects, rather than critic artist information, public education, training of human resources and qualification of cultural spaces. The pre-biennale discussion organized by MAM-BA was worth it - the reconstruction of history is favorable to thought, and culture profits from it. Not everything is absurd and bizarre. The 3rd Biennial is no longer a dream. Further down the line, after inaugurated, it deserves a critical analysis.

It is intended that this action is part of the program of the 3rd Bahia Biennial, in the period between July 17th and September 7th, The texts will be applied with paint, in reference to the popular typology of Bahian lyricists. The 3rd Bahia Biennial is responsible for the entire production, as well as the painting of the poems and phrases.

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Other stations 2. An endangered animal, I want to practice poetry - The least guilty of all occupations. Enter the sea let the sea noise involve you even erase the human blah-blah-blah. There are also the boys of Outros Diversos, Casa de Batatinha and other artists that make this meeting possible. Performance shows itself markedly in my relationship with art. Everything mixes in need, ritual, superstition, faith and desire for communication and poetry. It is based on them that I think about performance and understand my process. They are my inspiration so I can move between art and life, developing my work.

During these days, I went around with Gabriel Guerra to record this action in places in Salvador. The neighborhoods, streets and street nicknames were chosen along with the public in the first month. The Church is next to my house, so I kept my usual routine, like in my relationship with the butterflies. I could not predict it before starting the occupation, but they came and many were born within the Church, like what happens in my house. What was presented is something that is still in process and its essence is my relationship with the city, the history and people of that place.

It all starts in Aflitos. I speak of the relations with neighbors, friends, artists, the square, the city, and of course the Caboclo, the Caboclo and all the energy that comes from the strangled and intense nature of that point in the city center. I also speak of the independence of Bahia, Brazil, the conflicts of Brazilian miscegenation, of all Saints bay and Dois de Julho. I live on the Hill of Aflitos, next to the church.

What happens there is a strong connection with the Caboclo of Aflitos. The Church is the main point of energy. Along with it I present my life and my working process to the public during the occupation. I am part of the parish community and this work involves the complicity of Father Aderbal and all the people who are part of the Church.

The Caboclo has connected with me since when I moved there. There are several stories and many I learned there, with each carrying a reference, a memory, a gift The artist who deals with space operates with assemblages and the production of effects. Restless and ready to move in any direction, enabled by the intensities that are beyond our control, always indicating or suggesting a broader, complex and uneven multi-territorial reality.

It is this perspective that makes an alternative interpretation of the San Francisco river possible, of its design and typology; what gives the place its specificity is the fact that the spaces can be translated from the understandings that contribute to its orbit, the negotiations themselves are not inert: they are processes. Perhaps one should also say that about the river, that it is also a process. Today we experiment a multi-optional space in the composition of our identity and territoriality. The attempted diversions, flow control and the flow of information, of people and things, the building of new walls, ducts, barriers, territorial restraints and so on, show the face of a power and its dam effect.

It is exactly this point that provokes one of the greatest paradoxes in the understanding of space these days. On one hand we see the fluidity of a flexible and moving space, on the other we have the continuous production of these borders, boundaries and strategies of enclosure and control in, and between, the spaces and territories. What comes next are movements of counter-positioning faced to the instrumentalization and manipulation of the spaces, flows and subjects by the state or other control systems.

And when the mechanisms of closure and containment no longer respond, the occurrence of flow and seepage processes is inevitable, as well as the tactics to outline in contrast the borders and limits. Strategies for diversion appear in search of an exit away from the edges, the surveillance of the walls and control.

Illegal immigrants, drug trafficking, smuggling, espionage, piracy, tax evasion and so on are emblems of these strategies of evasion where you are always in the middle or on the verge of positioning between one territory and another. A strategy where reaction prevails in the works and where tactics of mobility, mapping experiences and displacements are a counter-point to the well-thought static occupations, such as buildings and long-term monuments.

You did something similar to this work in , in Minas Gerais, but what is it like doing it here in Salvador? Nuno Ramos - I did it in Minas like a film. The thread was a film that we were making. Here it is a bit different: there is always some bigger tension with the audience, and this is a work that somehow escapes the public.

It wants to illuminate, like a flashlight, a strange light, desolate places, abandoned, lost. Places that tomorrow, when we remove these circles, will not have anything to do with what we are seeing now. Now this life, if we inhabit it with what we already know, such as theater groups, groups of this and that, institutions, I think it would kill the idea. So we think that the work needs to escape somewhat from the public, and is to that extent that it will succeed. Which is not to say that there can be no audience, or that whoever is close would not be welcome, but would have to be this weird move; kind of case-by-case.

But when you call an audience, which was the case today, what is your idea- to make people think about the space? Nuno — Yeah, I think that is in the actual context of the Biennale. A Biennale that always occupies the same places in the same urban area, it stretches its reach with these works. Now by doing this, it also loses some access to the public, it is a work with its back to the public. Of course it will be released to the public as a film, or other formats, such as this interview, for example. There is another issue that is the. Have you had the experience with this work with the public, of people coming and something unexpected happening?

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Nuno — I have. For example, yesterday we were here at a junction with three roads, and the generator broke and burned. I had never seen a generator explode, it was pretty crazy; Bang! It caught fire and was burning for hours, it was strong stuff. In other occasions a guy on a unicycle, or another reciting a poem have turned up, without us expecting a thing. Another time, two actors came, and I kind of directed them. Does it have any relation to the Assis Valente song with the same title? Nuno - The title was very important to me. It is funny how there are works that come from the title, and I think that it was a bit of it in this case.

I love the song, but terreiro is anywhere; it is a nowhere and it is anywhere. But here in Bahia, a Terreiro is a sacred place. Something out of some kind of mystical order It had been many years since I came here in Salvador. Last year when I came I was very impressed with the violence on display, both.

I think I could do it here because it has an urban thought of displacement, and of making people understand that this is not so different from the cities in which we live, this place where we are now. This here has to do with the level of urban desolation in Brazil; it is not such a crazy thing.

So, your idea was to call attention to these abandoned spaces, which are here inside, but at the same time outside. What we understand as ours, as urban, as control, is very restricted. There is so much of space like this that a lot people do not know about, but additionally this here is out there too. We pretend not to see it. This on one side - the chaos that speculation creates — and on the other is that the desolation creates chaos, nobody knows what to do, so we look at the past, we have very strict institutions that let things lay waste; and then we look to the future and see those buildings and, at present, you are there on that crap, trying to balance.

A crossroads to where three open paths in the woods converge — or radiate from, in the forest reserve of the Parque do Vale Encantado, between Avenida Paralela and the Estrada Velha do Aeroporto. A landscape of apocalyptic contours, formed by huge volumes of concrete pieces, between two beautiful beaches in the suburbs of Salvador.

A strip of dark and deserted beach on the edge of Itaparica Island, next to the ruins of the chapel of St. Three circles of light formed by nine poles and powered by a generator. Three lanterns on the emptiness; illuminating, for one night at a time, remote and distant points. Dimly lit places where the presence of people around is so dismal that its appearance is a surprise.

This is not about giving visibility to invisible places, but looking at the emptiness waiting for something, or nothing, to happen. The first proposal was the Kinetic Spiral, a monumental structure designed for the Lacerda Elevator, a symbol of the city and the first. The second project was the installation Three ladders composed of three parts that would be placed on the roof of the Central Library of the State of Bahia in the neighborhood of Barris; made out of wood, the three objects are configured as three windmills of interference and reproposition of the main facade of the great.

The proposal was born out of the research in design and music that Pedro has been doing for some time about the aesthetics of Pagode, a type of music derived from the samba which originates in Rio de Janeiro in the s, and which today constitutes a popular strand of great complexity in most big Brazilian cities. Pedro invited Pagode artists such as Mr. Bobby, Alex Gama and others for interviews, conversations and discussions.

The artist has constructed a database on the manifestations around the Pagode, both its musical specificities from instruments and rhythms to the shows as well as the stylistic-visual from the clothes to the choreography, and the graphic design of the music videos. During the months of July and August, the project occupied the House of Music as a workplace for the artist, open to the public, aiming to construct an iconographic collection of Pagode as a cultural phenomenon and, more broadly, to recognize a feature of political proposition based on fun and enjoyment.

The artist has a responsibility and complicity when he or she take their work to the street. It is not just to put it into place, without going through a process of reflection and adaptation to the public space. We live in a world dominated by image, and art should be a picture that diverts the eye away to the thought and the poetic. The sculpture was designed to be installed in a square where the passerby could interact. With the primary colors, blue, red and yellow, the plans fit into one another occupying a place in space.

The whims of nature were not neglected: light and shadow participate in the composition of the work, and collaborate in its playful dimension. Art does have its memory. The sculpture, installed, dialogues with the surrounding buildings and the green landscape. Between sculpture and architecture, a shelter for the eye and body. No inside or outside. Depending on where you look, you can be inside or outside.

An uninhabitable shelter, architecture of chance, light and playful. The plans intertwine and mutually support each other, creating a situation of equilibrium. Colorful, fun, they do not deny reciprocity with constructive tradition, minimalism and conceptual art. Public Sculpture Almandrade is one of the great Brazilian names of the visual poem, and one of the leading exponents of Concretism, Minimalism and conceptual art in the Northeast.

His artistic research transits through painting, drawing, printmaking, objects and installations. In the context of the Biennale, his proposal is to materialize one of the three-dimensional exercises designed for urban sculptures in tiny models, but never realized in the full-scale desire of the artist.

After choosing one of the smaller models and the details of the project to be implemented, the work was made in corten steel treated for protection against natural corrosion, with a special support structure of concrete with steel buckles, finished with automotive paint in the primary colors. The act of making possible in itself a social pedestal. These visibilities are articulated by the use of three infrastructures: a pyramid, a warp and a stage. Over time, their collective use energizes, nourishes and reinvents the realization of a green roof that was officially designed by, and for, the theater.

The project is currently suspended due to the lack of resources. The three infrastructures are: Pyramid. A temporary structure installed using scaffolding on the surface of the terrace overlooking the foyer of the theater, creating a circuit of ramps and stairs that allow the public to see and climb onto the roof, like an open circuit. The large surface area of the roof of the theater, only noticeable from the street, to the extent that when the public approaches, it strengthens as a material, as a collective tapestry, a mental and medical field, not very different to a Terreiro.

Activation of the small green roof south of the foyer. MR - Is it posible to create a sacred space, in the sense of a territory? TM - The sacred space is a place where you nurture your spiritual health. MR - So we met people, we find ourselves, and what is the result? TM - The result is very simple. This sacred space is made to give you an orientation, a direction.

We understand that there is only one way; a single arrow. The sacred place is appropriate for this: to strengthen your arrow, learn to direct your path, learn what is a target. MR - If there is only one way, how can we understand the participation of all these others. TM - In meeting with these others, it is the encounter with many paths, one must understand that the others are there for that, so you can better understand your own way; that is, who are you.

The architect-designer intuits that just by promoting such cultural practices, while bringing together flora and architecture, medicine can happen. It is almost imperceptible from the street - it is really only visible from the skyscrapers around Campo Grande, or from outer space. Public access to the edge of the large extruded triangle provides a unique perspective that potentiates a present-future, as a mental and agricultural space, a space of contemplation and vegetation. By watching it closely, we try to weave an alternative social tapestry as a nomadic image.

This image intends to recall the time scales between the human, biological, cosmic time, reflecting the incremental deficiency of the environment for agriculture, such as the fight against the by-product of neo-colonial modernity. This non-objective image is revealed through the roof surface as a desire and aspiration to compose a political re-imagination of the public space in Salvador. I searched for other places both in Salvador and in Chapada before, but Itaparica began to make more sense within the context of the history of Bahia, including in its geological history. The idea of the Anatomical Theater comes from the human body and afterwards it is transferred to the Earth.

The research involved contact with doctors, architects, I went looking for a lot of 16TH century literature, photographs, I went to the Library of Medicine in Paris, well, basically I had to research a lot of architecture and medicine, which are two areas that do not combine very well. From there, I started to research geology. But to develop this in Itaparica was as laborious as developing the very concept. This is because digging is a lot of work. You have to understand the constitution of the land, if there is going to spill water, if it is possible to happen.

There were financial problems, problems of understanding, of architecture, in summary, of communication. So all decisions were made daily; without even knowing if the project would actually happen. That was the biggest challenge. Having the patience to make a decision every day and never know if it would work.

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Even now, with the theater ready, there is still the challenge of the presentations, the use that the theater will have. The difficulty also serves to pre-. But if you are going to use the theater, it depends on the visitors. I gave some information and instructions, but people who want to enter must be aware that they take responsibility for their own actions. The only warning I have is: this is a steep theater, it has this shape, it is made of wood and you do what you want, but you take responsibility for your own body.

So walk in, exit, see the garden, you can see the wall, you can go up and down, but there is no one controlling, the idea is precisely that; there is no control. Sometimes it is difficult to understand a theater without an audience, and with a stage so small, a theater that is not for entertainment. And precisely in Bahia, where everything has to be entertainment, celebration, and happiness. I want to amplify this concept of a theater also being scientific and that it can also be a place of dialogue, it has a science.


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Affective by the real sense of the word and small because everything that I experienced during the curating of exhibitions, primarily the exhibition The Reenactment, reactivated important experiences and memories. It is impossible to scale the value that the fruit of this work was to me. In the first instance, I adopted the posture of conducting independent interviews with various artists who participated in the Bahia biennials, and others who, while not participating in the exhibition, have experienced the stories and have been able to report some facts that were of paramount importance to the understanding and perception of gaps and of the events generated by the closing of the event on December 21, The development of the work permeated the interviews, readings and meetings which enabled a greater understanding of the scenario that existed during the editions of the Bahia biennials.

I spent the first weeks, as assistant curator, searching for an understanding of the curatorial project of the exhibition, looking for sources in books and catalogs that mentioned the closing of the event, as listed below. Research in books, theses, dissertations, magazines, newspapers and catalogues visited: 1.

History of Biennials 2. History of the Bahia Biennials 3. Social consciousness in Brazilian art Alan Kaprow, How to make a happening During the meetings, phone calls and dialogues with these significant people within the process of the 3rd Bahia Biennial, it was possible to get to know more deeply the scenario and the motivations that may have been decisive for the closing of the event at the time, as well as the poetic and conceptual relations of each of the artists interviewed or researched during the process.

The access and analysis of this researched knowledge resulted in the construction of knowledge essential to the holding of the exhibition The Reenactment. Cunha, Maria Helena Flexor, Celeste Poussant Braga and Luis Henrique Dias Tavares broadened even more the historical knowledge about the biennials, being fundamental in best assisting the curator of the exhibition, Fernando Oliva, who, with a critical and careful eye, created a more dynamic reading of the works in the exhibition.

What is XadreZen?? A system which is virtually identical to traditional chess, but which proposes to select, at random, the column where the initial movement of both players should be made. Thus, if the first-mentioned possibility occurs, White will have the choice of three possible moves in his first move: 1. Ca3, 1. A4 , whereas in the second case they would have two options Following this selection, a second draw is held: who will be the first to play, in other words, they can start the game as white or black, unlike the current official rules of chess! The reasoning behind the system of XadreZen.

Although the second draw defines who will be the first to play, we must clarify that the color of the pieces to be played is automatically defined by the double-round-robin system table. The first rule of this system aims to stimulate attention and creativity, as well as combat the monotony of options currently used at the beginning of a game of chess and the automatism of playing memorized positions, not always well studied or understood when playing.

Therefore, we expect a greater and better understanding about the openings that are unique to classic chess, encouraging players to know more deeply the implications of these subtleties in the opening moves. We hope to contribute to the development of the openings, to the strategic vision, and to chess itself. Xadrezen aims to change paradigmS The second rule of this system aims to fight a symbolic inherent prejudice to the rules of chess, that black should always play second.

Free and open to people over eighteen years old, either attending a high school or graduated, it brought together such a diverse body of knowledge, as diverse as the participants. The course trained candidates, of whom 74 became mediators working in the exhibition spaces and educational activities of the 3rd Biennial. It also created, from among its entrants, the first audience of the Biennale.

The essentially educational perspective adopted in the mediation training was consistent with - and necessary to - a Biennale whose theme involves critical reflection, and whose project involves dialogue with diverse audiences, in different contexts. We have included in this course various forms of communication and interaction between teachers and students, such as lectures, round table discussions, seminars, dialogues — both in the classroom and online - statements, spaces for discussion and the application of knowledge, individual and collective activities, [and] workshops I would like to conclude this brief intervention with the words of Paulo Freire, who guides our conduct.

I hope these words will be of encouragement to the work you will perform here during the coming months: Teaching which is what we will do requires methodical rigor; research; respect to the knowledge and autonomy of the students; criticality; aesthetics and ethics; risk and acceptance of the new; rejection of discrimination; critical reflection on practice; recognition of cultural identity; awareness of the unfinished; common sense; humility and tolerance; happiness and hope.

It requires a belief that change is possible. It requires curiosity and generosity; safety, professional competence and commitment. It requires the openness to dialogue and love for the students. And above all, teaching requires understanding and believing that education is a way - a beautiful way, in fact - to intervene in the world. There were theoretical classes, lectures, readings, group dynamics, research and audiovisual presentations, organized around the themes Biennials and Mediation; The History of Art; Thinking the Northeast; Accessibility; Security notions; and specific content of the 3rd Bahia Biennial.

For some participants, this was their first insertion in the context of a discussion about art, history, society and education. The environment of exchange, due to the heterogeneous, procedural, and critical nature of the course, was instrumental in the formation of the participants and the entire staff of the Educational team. It was the Biennale happening even before the opening ceremony.

The Educational Department of the Biennale worked from the understanding that mediation is always, and necessarily, in the process. Therefore, upon completion of the course and throughout the Biennale, training was continued through individual dialogues at the exhibition spaces, journal writings, and general meetings to exchange experiences. One of the meetings of the Training Course for Mediators of the 3rd Biennial was attended by guests who had been monitors at the 1st Biennial, held in One of them, the anthropologist, artist and professor Renato Da Silveira, spoke a little bit about the course which taught them about the work of a monitor and about the political and cultural landscape at the time.

We met and constantly discussed everything. After four months of training, the mediators of the 3rd Bahia Biennial were deployed to the different exhibition spaces according to their availability and affinity with the location and curatorial proposals. This articulation was essential for a favorable dynamic for their continuing work and trainings. The Educational Department of the Biennale believes that training does not end in the period of the course, following in the progress with experience, reflective action and research.

The opening, on different dates, of the various exhibitions, demanded many adjustments and compensations of scale and attention to the personal interests involved, and were decisive factors for a dynamic which was difficult to generate, but enriching for the production team and especially for mediators. Many of them, from a group of about 80, transited through different exhibition spaces, and thus could have a better understanding of the whole project and an ability to articulate what was highlighted in each exhibition. In this way, they could represent the parts and the whole with a clearer overview and motivation.

The mediators of the 3rd Bahia Biennial developed strategies to approach the specific curatorial proposals for each exhibition space and their works, searching, through dialogue and occasional provocations,. Assuming the role of a partner for each visitor, the mediators taught and learned in a continuous communication process.

Thus, the negotiation and updating of content is dynamic and constant, in and between each exhibition space. This understanding of the work of mediation establishes a fundamental rule in accommodating the public: the relationship of each mediator with each visitor, individually or in a group, depends on sensitivity and common sense, but also the creative and provocative capacity to search, for all involved, an enriching and meaningful experience.

The Imaginary Museum of the Northeast - Department of Ways of Education, setting itself as a space for the educational and not exhibitionary, and by being located at the Museum of Modern Art, a place with a huge demand from local and foreign visitors, served as a point of reference for understanding and reflecting on the Biennale as a whole, and its various exhibition proposals. It offered the public a relaxed environment that valued their individuality as guests, recognizing in the involvement of each visitor and of each participant or worker of the Biennale a sense of community and a continuous in-progress dynamic.

A collaborative wall, which still today resists a consensual name, was the protagonist of this dynamic. Influenced by the Literary spelling book by Paulo Freire, the Educational Department reserved the space for drawings and pictures made by the visitors, inviting them to draw or write about words or ideas relating to dayto-day life, the present and the Northeast. This wall was unblocking, proactive and empowering the conversation and meeting, resulting in a collection of images and ideas from words like Dictatorship, Freedom, Museum, Time and Quality.

For this purpose, it assembled a team of mediators who explored circuits in Salvador as territories of meeting, dissemination and dialogue about the 3rd Bahia Biennial, its curatorial proposal and program. The Guerrilla Action was a direct way to inform and engage more people with the Biennale, but it was also a way for the mediators to come into real contact with the public and expand the space for dialogue of the mediation beyond the exhibition space. The dynamic of entering rooms, speaking in front of new people and answering questions was the first exposure for many of mediators - a first taste of what would, from then on, be a relationship of ever-growing and direct contact with the public.

The course was held in streets that are very noisy during the day, with crowds coming and going, full of peddlers wanting to attract the attention of the passersby. The strat-. Other performances were held in small groups on the crossings when the traffic lights went red. Many preferred to work on individual or small group discussions, inviting the public to participate in the Biennale.

This way, the audience addressed by the mediators was the public who came to watch the bands. Initially worried about having to compete for the public attention with guitar chords, mediators - when talking to people individually - found an audience that was interested and willing to dialogue. How was your experience at the residency at Sacatar Institute?

Lisette Lagnado - It went beyond what I expected, and it was also far from those expectations. There are two opposite directions I need to mention. I could not do the reading program I imagined I would and I could not write the texts that I thought would be needed to get out of here with a reflection on this process. And also far, because I know that for a residency to actually happen, it has to be done at length.

Centenário em forma de filme

And two weeks seem like two months, but are just two weeks. For my part there lacked availability in my agenda; making it impossible that I could stay longer and, from Sacatar, make other expeditions. There was an amazing thing that was the days spent on the island thinking about what the island has to offer and the encounters with the artists there. So in that sense, it went beyond. I thought I would be alone and it would be an environment for thinking, philosophizing; but it was a sharing environment. That was unexpected. From your experience, can you explain in what way the curatorship carries out critique on a process like the Biennale?

Lisette - There is much talk of the exhaustion of the biennial model. Since the s, this exhibition format exploded in several cities. Cities that already had an institutional structure; a cultural circuit organized around museums, cultural centers and galleries, but also deserted cities in terms of apparatus and cultural facilities. It is a counter-biennale because it is a biennale which thinks every day. It is a biennial of much more action than project. I can see a project, I can see a program.

This reinvention every day because of the adversity of the site is what makes this a more critical biennial. And in that sense, I can almost say that it is a counter-biennale because the biennial is a. And I think the upside here is that I do not see a rigid institution, I do not see a rigid model.

I see one thing, always in motion. And I think the critical nature should be exactly this ability to rethink the whole time. After a while it subsided slightly, when Belo Horizonte entered in the map. I believe that the turning point is located when the Belo Horizonte Salon was turned into the residency grant of the Pampulha.

It was a project designed by Adriano Pedrosa and effectively made Belo Horizonte a living place again. Belo Horizonte has always been an important place, but artists used to leave Belo Horizonte for other cities. This exodus is the problem with which we must deal. As was the exodus of artists during the dictatorship, looking for a place with more freedom. Thereafter, Recife became another very interesting place.

Also because of artists who circulated in the Southeast and now transit to Recife. I think we are now living a more interesting time in that these categories or geographical classifications have lost their meaning. What does she do? There is an entire occupation to be made. And not necessarily from just one local viewpoint. I think it would be very interesting to get people to connect. What dialogue could we think of between the three capitals of Brazil: Bahia, Rio de Janeiro and Brasilia? They are three historically distinct capitals with very.

Is everything Northeast? Lisette - Everything is Northeast if we understand that the northeast is a place that is not in the center. I use this question as a starting point, actually. It comes to my attention that the title of the Biennale was indeed a question with a question mark. Because behind me, in this dish here, we see como viver junto how to live together , also formed with a question mark.

We understood that if you are asking questions, maybe people could provide answers and these answers would function as a sort of primer, self-help. All this comes from the book of Roland Barthes, and Roland Barthes did not use a question mark, but why? Because he is not giving answers. He is describing little fantasies, small utopias. So, Como viver junto is nonetheless something you might find at a given time. It may correspond to the definition of heterotopia of Michel Foucault, but I absolutely did not want como viver junto to be understood as a program.

Then yes, we had a number of characteristics we tried to absorb into the exhibition. But is it all Northeast? After that I think would be interesting to design a program. Lisette Lagnado is a critic, curator and researcher. Lisette participated in the residency program during the 3rd Bahia Biennial.

It was a claim and a ghost that haunted the unconsciousness of the artists, especially the young ones. The speeches were many, it lacked analysts. Over the last forty years, we have not advanced in thought, or even built a more effective cultural policy, despite the investment in mobilizing communities and art workers around the theme, in this country.

The report of who lived and who has followed the events of the Bahia Biennials, even distant in time, puts in focus a different context to the moment we are living, forgotten at the back of the memory, important for resuming an experience with historical references. The art scenes in and 68 were of a Bahia interested in the decentralization of Brazilian art. In the second half of the sixties, there was a desire to follow the diversities of the Brazilian avant-garde in Bahia.

There was an avant-garde procedure, not a thought, which was more of an inconformity with the situation in Bahia in relation to the concerns of the s: counterculture, Tropicalia, experimentalism and breaks with the traditional support mechanisms. A willingness to interchange with the vanguard resulted in the Biennials of Bahia, which counted with the participation of the most important manifestations of the era: Concretism, Neoconcretism, Tropicalia etc, making Salvador the center of visual arts in Brazil.

They provoked the local cultural scene, contrary to an. As the political regime of the late was little in favor of cultural freedom, the 2nd Biennial was closed. That was the end of an initiative which left Brazilian art in a state of mourning. The 2nd Biennial was closed soon after opening, due to the critical political moment that the country was passing. The expected cultural shift with industrialization was nothing but a dream. The cultural and political reality today is another, but it is necessary to know the past to take a step forward.

An art exhibition of national repercussion is the object of anxiety of all local artists and something promised by the State that deserves its purest attention. Especially in times of biennials, curatorships and residencies, the expectation is different from the s. The discussions promoted by the Director of the Museum were timely, putting the relevant issues on the table, exceeding the possibilities of the simple staging of exhibitions, such as: their own actions, not only of MAM, but also of other art museums; the training of artists, and art now.

Between the bureaucracy of editals, the incentive laws and the superiority of the market, the museums are walking a tightrope, without resources to accomplish their projects and to maintain a program free from from external pressures on the cultural commitments of the institution. If the MAM should, or not, promote a national art show, does not matter.

First it is necessary to have a broader curatorial project, able to overcome the bureaucracy and external pressures; in other words, a supporting device to ensure that the exhibition is not a large, isolated party, which ends up with a hangover the next day. While many exhi-. After culture was dominated by barbarism, in a society that favors the production of cultural goods, the thought was defeated by the entertainment industry and power of the market. Who ends up deciding what art is, is the market; with advertising appeal, it imposes value and legitimacy. Art fairs mobilize investors; exceed expectations in terms of art biennials, which have been transformed into supermarket of the suburbs, with cheaper products for the consumer middle class.

People no longer believe in language, but in the exchange value. Thought is the spilled liquid that glows on the surface of the work, with a limited shelf life. If the object of art is a false diamond, it does not matter; it satisfies the so-called creative economy. The audience with an education not committed to art history looks for a safe investment. A biennial of art, like a car fair, if not a bank of reliable information, brings to the market innovations to stimulate or attract the attention of consumers.

But with minimal intelligence, it can help to inform and transform the art medium. Although the state, on behalf of a cultural democracy, prefers to invest in training proponents, courses of how to fill out forms and the design of projects, rather than critic artist information, public education, training of human resources and qualification of cultural spaces. The pre-biennale discussion organized by MAM-BA was worth it - the reconstruction of history is favorable to thought, and culture profits from it.

Not everything is absurd and bizarre. The 3rd Biennial is no longer a dream. Further down the line, after inaugurated, it deserves a critical analysis. It is intended that this action is part of the program of the 3rd Bahia Biennial, in the period between July 17th and September 7th, The texts will be applied with paint, in reference to the popular typology of Bahian lyricists.

The 3rd Bahia Biennial is responsible for the entire production, as well as the painting of the poems and phrases. Other stations 2. An endangered animal, I want to practice poetry - The least guilty of all occupations. Enter the sea let the sea noise involve you even erase the human blah-blah-blah. There are also the boys of Outros Diversos, Casa de Batatinha and other artists that make this meeting possible. Performance shows itself markedly in my relationship with art.

Everything mixes in need, ritual, superstition, faith and desire for communication and poetry. It is based on them that I think about performance and understand my process. They are my inspiration so I can move between art and life, developing my work. During these days, I went around with Gabriel Guerra to record this action in places in Salvador. The neighborhoods, streets and street nicknames were chosen along with the public in the first month. The Church is next to my house, so I kept my usual routine, like in my relationship with the butterflies. I could not predict it before starting the occupation, but they came and many were born within the Church, like what happens in my house.

What was presented is something that is still in process and its essence is my relationship with the city, the history and people of that place. It all starts in Aflitos. I speak of the relations with neighbors, friends, artists, the square, the city, and of course the Caboclo, the Caboclo and all the energy that comes from the strangled and intense nature of that point in the city center. I also speak of the independence of Bahia, Brazil, the conflicts of Brazilian miscegenation, of all Saints bay and Dois de Julho.

I live on the Hill of Aflitos, next to the church. What happens there is a strong connection with the Caboclo of Aflitos. The Church is the main point of energy. Along with it I present my life and my working process to the public during the occupation. I am part of the parish community and this work involves the complicity of Father Aderbal and all the people who are part of the Church. The Caboclo has connected with me since when I moved there.

There are several stories and many I learned there, with each carrying a reference, a memory, a gift The artist who deals with space operates with assemblages and the production of effects. Restless and ready to move in any direction, enabled by the intensities that are beyond our control, always indicating or suggesting a broader, complex and uneven multi-territorial reality.

It is this perspective that makes an alternative interpretation of the San Francisco river possible, of its design and typology; what gives the place its specificity is the fact that the spaces can be translated from the understandings that contribute to its orbit, the negotiations themselves are not inert: they are processes. Perhaps one should also say that about the river, that it is also a process. Today we experiment a multi-optional space in the composition of our identity and territoriality.

The attempted diversions, flow control and the flow of information, of people and things, the building of new walls, ducts, barriers, territorial restraints and so on, show the face of a power and its dam effect. It is exactly this point that provokes one of the greatest paradoxes in the understanding of space these days. On one hand we see the fluidity of a flexible and moving space, on the other we have the continuous production of these borders, boundaries and strategies of enclosure and control in, and between, the spaces and territories.

What comes next are movements of counter-positioning faced to the instrumentalization and manipulation of the spaces, flows and subjects by the state or other control systems. And when the mechanisms of closure and containment no longer respond, the occurrence of flow and seepage processes is inevitable, as well as the tactics to outline in contrast the borders and limits. Strategies for diversion appear in search of an exit away from the edges, the surveillance of the walls and control.

Illegal immigrants, drug trafficking, smuggling, espionage, piracy, tax evasion and so on are emblems of these strategies of evasion where you are always in the middle or on the verge of positioning between one territory and another. A strategy where reaction prevails in the works and where tactics of mobility, mapping experiences and displacements are a counter-point to the well-thought static occupations, such as buildings and long-term monuments. You did something similar to this work in , in Minas Gerais, but what is it like doing it here in Salvador?

Nuno Ramos - I did it in Minas like a film. The thread was a film that we were making. Here it is a bit different: there is always some bigger tension with the audience, and this is a work that somehow escapes the public. It wants to illuminate, like a flashlight, a strange light, desolate places, abandoned, lost. Places that tomorrow, when we remove these circles, will not have anything to do with what we are seeing now.

Now this life, if we inhabit it with what we already know, such as theater groups, groups of this and that, institutions, I think it would kill the idea. So we think that the work needs to escape somewhat from the public, and is to that extent that it will succeed. Which is not to say that there can be no audience, or that whoever is close would not be welcome, but would have to be this weird move; kind of case-by-case.

But when you call an audience, which was the case today, what is your idea- to make people think about the space? Nuno — Yeah, I think that is in the actual context of the Biennale. A Biennale that always occupies the same places in the same urban area, it stretches its reach with these works. Now by doing this, it also loses some access to the public, it is a work with its back to the public. Of course it will be released to the public as a film, or other formats, such as this interview, for example. There is another issue that is the. Have you had the experience with this work with the public, of people coming and something unexpected happening?

Nuno — I have. For example, yesterday we were here at a junction with three roads, and the generator broke and burned. I had never seen a generator explode, it was pretty crazy; Bang! It caught fire and was burning for hours, it was strong stuff. In other occasions a guy on a unicycle, or another reciting a poem have turned up, without us expecting a thing. Another time, two actors came, and I kind of directed them. Does it have any relation to the Assis Valente song with the same title?

Nuno - The title was very important to me. It is funny how there are works that come from the title, and I think that it was a bit of it in this case. I love the song, but terreiro is anywhere; it is a nowhere and it is anywhere. But here in Bahia, a Terreiro is a sacred place. Something out of some kind of mystical order It had been many years since I came here in Salvador. Last year when I came I was very impressed with the violence on display, both. I think I could do it here because it has an urban thought of displacement, and of making people understand that this is not so different from the cities in which we live, this place where we are now.

This here has to do with the level of urban desolation in Brazil; it is not such a crazy thing. So, your idea was to call attention to these abandoned spaces, which are here inside, but at the same time outside. What we understand as ours, as urban, as control, is very restricted. There is so much of space like this that a lot people do not know about, but additionally this here is out there too. We pretend not to see it. This on one side - the chaos that speculation creates — and on the other is that the desolation creates chaos, nobody knows what to do, so we look at the past, we have very strict institutions that let things lay waste; and then we look to the future and see those buildings and, at present, you are there on that crap, trying to balance.

A crossroads to where three open paths in the woods converge — or radiate from, in the forest reserve of the Parque do Vale Encantado, between Avenida Paralela and the Estrada Velha do Aeroporto. A landscape of apocalyptic contours, formed by huge volumes of concrete pieces, between two beautiful beaches in the suburbs of Salvador. A strip of dark and deserted beach on the edge of Itaparica Island, next to the ruins of the chapel of St.

Three circles of light formed by nine poles and powered by a generator. Three lanterns on the emptiness; illuminating, for one night at a time, remote and distant points. Dimly lit places where the presence of people around is so dismal that its appearance is a surprise. This is not about giving visibility to invisible places, but looking at the emptiness waiting for something, or nothing, to happen.

The first proposal was the Kinetic Spiral, a monumental structure designed for the Lacerda Elevator, a symbol of the city and the first.


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The second project was the installation Three ladders composed of three parts that would be placed on the roof of the Central Library of the State of Bahia in the neighborhood of Barris; made out of wood, the three objects are configured as three windmills of interference and reproposition of the main facade of the great.

The proposal was born out of the research in design and music that Pedro has been doing for some time about the aesthetics of Pagode, a type of music derived from the samba which originates in Rio de Janeiro in the s, and which today constitutes a popular strand of great complexity in most big Brazilian cities.

Pedro invited Pagode artists such as Mr. Bobby, Alex Gama and others for interviews, conversations and discussions. The artist has constructed a database on the manifestations around the Pagode, both its musical specificities from instruments and rhythms to the shows as well as the stylistic-visual from the clothes to the choreography, and the graphic design of the music videos. During the months of July and August, the project occupied the House of Music as a workplace for the artist, open to the public, aiming to construct an iconographic collection of Pagode as a cultural phenomenon and, more broadly, to recognize a feature of political proposition based on fun and enjoyment.

The artist has a responsibility and complicity when he or she take their work to the street. It is not just to put it into place, without going through a process of reflection and adaptation to the public space. We live in a world dominated by image, and art should be a picture that diverts the eye away to the thought and the poetic. The sculpture was designed to be installed in a square where the passerby could interact.

With the primary colors, blue, red and yellow, the plans fit into one another occupying a place in space. The whims of nature were not neglected: light and shadow participate in the composition of the work, and collaborate in its playful dimension. Art does have its memory. The sculpture, installed, dialogues with the surrounding buildings and the green landscape. Between sculpture and architecture, a shelter for the eye and body.

No inside or outside. Depending on where you look, you can be inside or outside. An uninhabitable shelter, architecture of chance, light and playful. The plans intertwine and mutually support each other, creating a situation of equilibrium. Colorful, fun, they do not deny reciprocity with constructive tradition, minimalism and conceptual art. Public Sculpture Almandrade is one of the great Brazilian names of the visual poem, and one of the leading exponents of Concretism, Minimalism and conceptual art in the Northeast.

His artistic research transits through painting, drawing, printmaking, objects and installations. In the context of the Biennale, his proposal is to materialize one of the three-dimensional exercises designed for urban sculptures in tiny models, but never realized in the full-scale desire of the artist.

After choosing one of the smaller models and the details of the project to be implemented, the work was made in corten steel treated for protection against natural corrosion, with a special support structure of concrete with steel buckles, finished with automotive paint in the primary colors.

The act of making possible in itself a social pedestal. These visibilities are articulated by the use of three infrastructures: a pyramid, a warp and a stage. Over time, their collective use energizes, nourishes and reinvents the realization of a green roof that was officially designed by, and for, the theater. The project is currently suspended due to the lack of resources.

The three infrastructures are: Pyramid. A temporary structure installed using scaffolding on the surface of the terrace overlooking the foyer of the theater, creating a circuit of ramps and stairs that allow the public to see and climb onto the roof, like an open circuit. The large surface area of the roof of the theater, only noticeable from the street, to the extent that when the public approaches, it strengthens as a material, as a collective tapestry, a mental and medical field, not very different to a Terreiro.

Activation of the small green roof south of the foyer. MR - Is it posible to create a sacred space, in the sense of a territory? TM - The sacred space is a place where you nurture your spiritual health. MR - So we met people, we find ourselves, and what is the result? TM - The result is very simple. This sacred space is made to give you an orientation, a direction. We understand that there is only one way; a single arrow.

The sacred place is appropriate for this: to strengthen your arrow, learn to direct your path, learn what is a target. MR - If there is only one way, how can we understand the participation of all these others. TM - In meeting with these others, it is the encounter with many paths, one must understand that the others are there for that, so you can better understand your own way; that is, who are you.

The architect-designer intuits that just by promoting such cultural practices, while bringing together flora and architecture, medicine can happen. It is almost imperceptible from the street - it is really only visible from the skyscrapers around Campo Grande, or from outer space. Public access to the edge of the large extruded triangle provides a unique perspective that potentiates a present-future, as a mental and agricultural space, a space of contemplation and vegetation.

By watching it closely, we try to weave an alternative social tapestry as a nomadic image. This image intends to recall the time scales between the human, biological, cosmic time, reflecting the incremental deficiency of the environment for agriculture, such as the fight against the by-product of neo-colonial modernity.

This non-objective image is revealed through the roof surface as a desire and aspiration to compose a political re-imagination of the public space in Salvador. I searched for other places both in Salvador and in Chapada before, but Itaparica began to make more sense within the context of the history of Bahia, including in its geological history.

The idea of the Anatomical Theater comes from the human body and afterwards it is transferred to the Earth. The research involved contact with doctors, architects, I went looking for a lot of 16TH century literature, photographs, I went to the Library of Medicine in Paris, well, basically I had to research a lot of architecture and medicine, which are two areas that do not combine very well. From there, I started to research geology. But to develop this in Itaparica was as laborious as developing the very concept. This is because digging is a lot of work.

You have to understand the constitution of the land, if there is going to spill water, if it is possible to happen. There were financial problems, problems of understanding, of architecture, in summary, of communication. So all decisions were made daily; without even knowing if the project would actually happen. That was the biggest challenge. Having the patience to make a decision every day and never know if it would work.