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BIOGRAFIA
Keyla Sobral

Visual artist and Master in Arts from the Universidade Federal do Pará. She is currently a doctoral student in Arts at UFPA. She works with various media, including videos, drawings, and neon installations, with the word and autofiction as her aesthetic guide, using words as a poetic medium, expanding and crossing meanings. As an artist, she has participated in exhibitions and projects in Brazil and abroad, such as: Eu, mesmo sem farol, segui, Espaço Cultural Silveira Athias, Belém, 2023; Matéria Difusa, um olhar sobre a coleção MACRS, Rio Grande do Sul, 2022; Prêmio Diário Contemporâneo de Fotografia, 2021; Praia, Galeria da Gávea, Rio de Janeiro, 2019; Triangular arte deste Século, Casa da Cultura da América Latina, Universidade de Brasília, Brasília, 2019; Prêmio Diário Contemporâneo de Fotografia, Museu do Estado do Pará, 2019; Salão Arte Pará 2019, Deslendário Amazônico, Museu do Estado do Pará, 2019; Experiência Vertigem, Museu da UFPA, Belém, 2019; Outra Margem Outro Um, Casa das Artes, Belém, 2018; O Designo e a Matéria (Sesc Juazeiro do Norte, Alagoas, and Fortaleza) – 2018; Salão Arte Pará – 2017; Prêmio Diário Contemporâneo de Fotografia – 2017, 2014, and 2011; O Designo e a Matéria (Sesc Palmas and São Paulo) – 2017; No Limite/Am Limit, Museu da UFPA – 2017; Extremos, Galeria Guaçuí, Juiz de Fora – 2017; Amazonian Video Art, The Centre for Contemporary Arts, Glasgow, Scotland – 2016; Para ver se o tempo volta, Galeria Fauna, São Paulo, 2015; Alastramento, Ateliê 397, São Paulo, 2015; Meu Coração (Teu) Território, project awarded the FUNARTE Visual Arts Grant 2014 – 2015, among others.

Among Awards, Grants, and Residencies, highlights include: Research and Creation Grant from the Fundação Cultural do Pará (2018), Honorable Mention at the 35th Salão Arte Pará 2016, Funarte Visual Arts Production Stimulus Grant – 2014; Artistic Residency at the Centro Cultural São Paulo, held at the Instituto Hilda Hilst and Atelier Aberto in Campinas – SP – 2014; Research, Creation, and Experimentation Grant – Instituto de Artes do Pará – 2014; Mídias Locativas Vivo Art Mov Eco Região Amazônica Award – 2012; Acquisition Award at the Salão Pequenos Formatos Unama – PA – 2012; Acquisition Award at Salão Arte Pará – 2011; Research, Creation, and Experimentation Grant – Instituto de Artes do Pará – 2011; Art Research Grant from the Fundação Ipiranga – 2009; Artistic Residency Grant – IAP + Kunsthaus; Germany- 2006. Mapped by the RUMOS ITAÚ CULTURAL project – 2005/2006. She also works as an independent curator, currently serving as the associate curator of the Amazonian Art Collection at UFPA; associate curator of Arte Pará 2019 (Exhibition Deslendário Amazônico); Presence in Collections: Casa da Cultura da América Latina, Museu de Arte do Rio Grande do Sul, Sesc Nacional, Amazonian Art Collection, Museu Casa das Onze Janelas, and Fundo Z.

She participated in Pivô Satélite 2023.

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.

Keyla Sobral
IN CASE YOU FORGET MY NAME

The intervention of time

The word-images created by artist Keyla Sobral became present in the city of Belém, in Pará, on two streets with a heavy traffic flow. The In case you forget my name intervention on two LED outdoor signs lasted for fifteen days, activating 360 daytime and nighttime insertions.

Far from feeling bored, as the projection progressed and slowed down, the pace also varied, gradually reaching the psychological climate of the stillness and slowness of dawn. This sense of time stretched and shrank, in tune with the speed of the cars and the movements of life, all implicitly present in the symbolic light of the green phrase in contrast to the black background of the screen.

I can say that time was efficiently extended in the course of daylight and went from being a visual short-circuit to reaching a new extension through speed, polyphony reproduced in sounds and the perspective of the meridional that is time outside of time, sometimes flexed, sometimes unbridled, mixed with visibility and invisibility. However, it retained an intrinsic desire to shout, to cry out in a narrative that left the private to become public, marking its presence by saying: ‘I’m here in case you forget my name’.

Keyla raises questions about reconfigured rhythms beyond the anachronism that is apparently circumscribed there, in the support of the LED outdoor sign, and provides a revived awareness of Lacanian desires in which our desire is recognized in the desire of the other, which causes the feeling of incompleteness that contaminates the city with the perspective of modernity that does not have a contractual time.

The soundtrack Look at me by our queen of technomelody Vivi Batidão in the final video, edited from the days and nights of Keyla’s intervention, crosses over and invents new desires that can’t be avoided and writes the graph: here there are feelings of presence and absence. There are feelings of melancholy and foreboding of something that never ends. The beats of the sound mark Kairós times and the lyrics of Vivi’s song reinforce this: ‘We can’t wait any longer, time is punishing us’.

What was seen in Keyla’s intervention remains suspended and threw devices of desires and fears, feelings and senses that were activated in an instant that crossed the urban highway. 

— Vânia Leal

This project is a realization of the Secretaria Municipal de Cultura de São Paulo and Pivô Arte e Pesquisa, through the Programa Municipal de Apoio a Projetos Culturais PROMAC, established by Law n°15.948/2013.


——

 

La intervención del tiempo

Las palabras/imágenes creadas por la artista Keyla Sobral se hicieron presentes en la ciudad de Belém, en el Estado de Pará, en dos calles de gran afluencia de tráfico. La intervención En caso de que te olvides de mi nombre en dos carteles LED duró quince días, activando 360 inserciones en el día y en la noche.

Lejos de sentirse aburrido, a medida que la proyección avanzaba y se ralentizaba, el ritmo también variaba, alcanzando gradualmente el clima psicológico de la quietud y la lentitud de la madrugada. Esta sensación de tiempo se estiraba y encogía, en sintonía con la velocidad de los coches y los movimientos de la vida, todo ello implícitamente presente en la luz simbólica de la frase verde en contraste con el fondo negro de la pantalla.

Puedo decir que el tiempo se extendió eficazmente en el transcurso de la luz del día y pasó de ser un cortocircuito visual a alcanzar una nueva extensión a través de la velocidad, la polifonía reproducida en sonidos y desde la perspectiva de lo meridional que es el tiempo fuera del tiempo, a veces flexionado, a veces desenfrenado, mezclado con la visibilidad y la invisibilidad. Sin embargo, conservó un deseo intrínseco de gritar, de clamar por una narración que saliera de lo privado para hacerse pública, marcando su presencia al decir: “Estoy aquí en caso de que te olvides de mi nombre”.

Keyla plantea cuestiones sobre los ritmos reconfigurados más allá del anacronismo que aparentemente se circunscribe allí, en el soporte del cartel LED, y proporciona una conciencia reavivada de los deseos lacanianos en los que nuestro deseo se reconoce en el deseo del otro, lo que provoca una sensación de incompletud que contamina la ciudad con la perspectiva de la modernidad que no tiene un tiempo contractual.

La banda sonora Mirame bien, de nuestra reina de la tecnomelodía Vivi Batidão, que aparece en el vídeo final que se editó a partir de los días y las noches de la intervención de Keyla, atraviesa e inventa nuevos deseos ineludibles y escribe el grafismo: aquí sí que hay sentimientos de presencia y ausencia. Hay sentimientos de melancolía y presentimiento de algo que nunca termina. Los latidos del sonido marcan los tiempos de Kairós y la letra de la canción de Vivi lo refuerza: “No podemos esperar más, el tiempo nos castiga”.

Lo visto en la intervención de Keyla queda en suspenso y arroja dispositivos de deseos y miedos, sentimientos y sentidos que se activaron en un instante que atravesó la vía urbana. 

— Vânia Leal

Este proyecto es una realización de la Secretaría Municipal de Cultura de São Paulo y Pivô Arte e Pesquisa, a través del Programa Municipal de Apoyo a Proyectos Culturales PROMAC, instituido por la Ley n°15.948/2013.

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