Português
Pivô Salvador opens its doors on Saturday, January 31, for a special program marking the beginning of its 2026 activities.
From 12pm to 7pm, Pivô hosts the Open Studio of artists Alberta Whittle and Lícida Vidal, with a conversation at 5pm mediated by researcher and IHAC professor Karla Brunet, who has been accompanying Alberta and Lícida during their residency, running until February 4.
The activity invites the public to engage with the research and creative processes developed during the residency, in dialogue with issues related to oceanography, the climate crisis, Indigenous cosmopolitics, and the colonial legacies that shape coastal landscapes.
The residency is part of an international project carried out by Pivô (Brazil) and Invisible Dust (United Kingdom), in partnership with TBA21–Academy, with support from the Guimarães Rosa Institute and the British Council, within the framework of the UK–Brazil Year of Culture 2025–26. Inspired by the work of Rachel Carson, the project brings together ocean science, contemporary art, and practices of territorial listening, connecting Salvador to an international network of institutions, researchers, artists, and communities.
At 2pm, the panel “Networks of Artistic Collaboration between the North and Northeast” brings together Bitu Cassundé, Carolina de Sá, Lilian Fraiji, Lívia Condurú, Moacir dos Anjos, and Rian Fontenele for a discussion on practices of cooperation, circulation, and regional strengthening. Moderation will be by José Eduardo Ferreira Santos.
Bringing together cultural agents, curators, and managers from different locations in Brazil’s North and Northeast, the panel is grounded in the understanding that networks are built not only through programmatic affinities, but through political decisions to share resources, practice territorial listening, and create sustainable conditions for continuity and exchange.
The conversation examines how institutions, independent platforms, museums, and residency programs can structure cooperative methodologies capable of confronting historical dynamics of inequality and concentration, proposing other cartographies of circulation and learning. Rather than a model centered on the idea of a “center,” the meeting bets on horizontal articulations grounded in experimentation, an ecology of knowledges, and new ways of being an institution.
Interweaving the activities, the kitchen activation will be led by D’Venetta, featuring traditional maniçoba.
We look forward to seeing you!
📍Public Program
Open Studio with Alberta Whittle and Lícida Vidal
Conversation moderated by Karla Brunet
Panel “Networks of Artistic Collaboration between the North and Northeast” with Bitu Cassundé, Carolina de Sá, Lilian Fraiji, Lívia Condurú, Moacir dos Anjos, and Rian Fontenele
January 31
Saturday
12pm–7pm
Kitchen activation by D’Venetta
Free admission
Karla Brunet is an artist and researcher. She holds a PhD in Audiovisual Communication from Universitat Pompeu Fabra, Barcelona, supported by a CAPES fellowship, and a master’s degree in Visual Arts from the Academy of Art University in San Francisco, also with a CAPES fellowship.
She has participated in photography and art exhibitions in Brazil, Europe, the Middle East, and North and South America. From 2009 to 2011, she coordinated Labdebug.net, a media lab focused on women and free technologies. In 2012, she curated FACMIL/LabMAM, a media art laboratory at the Museum of Modern Art of Bahia. In 2014 and 2015, she conducted postdoctoral research at the Berlin University of the Arts. In 2020 and 2021, she was a visiting researcher at LaboLuz at the Universitat Politècnica de València, Spain, and at Medialab at the Federal University of Goiás, with support from a CAPES Print fellowship.
She is currently a professor at the Institute of Humanities, Arts and Sciences, ProfArtes, and the Graduate Program in Visual Arts at the Federal University of Bahia, where she coordinates Ecoarte, an interdisciplinary group dedicated to art, technology, and environmental issues.
Her artistic practice encompasses photography, video art, data visualization, sensory environments, hybrid art, audiovisual performance, web art, artistic mapping, science communication, and games, with a focus on experiences in nature.
Carolina de Sá is a cultural manager from Bahia, Brazil. She holds a degree in Social Communication, a postgraduate qualification in Image: Processes, Management, and Culture, and a specialization in Cultural Management from Centro de Pesquisa e Formação. Between 2003 and 2006, she lived in London, where she studied image and visual arts at Central Saint Martins and Lambeth College.
In Brazil, she worked as curatorial assistant and production coordinator at the Museum of Modern Art of Bahia (MAM BA) from 2006 to 2012, and as a producer at Associação Cultural Videobrasil in São Paulo between 2012 and 2018. Since 2019, she has been a member and co-founder of the cultural producers’ collective Nós da Produção.
That same year, she began her work at Pivô, where she currently serves as Executive Director.
Bitu Cassundé is a curator, researcher, and educator. He is the Head of Heritage and Memory at Centro Cultural do Cariri, in Crato, Ceará. He served as curator at the Museum of Contemporary Art of Ceará from 2013 to 2020 and coordinated the Visual Arts Laboratory at Porto Iracema das Artes between 2013 and 2018. He was part of the curatorial team of the project À Nordeste (SESC 24 de Maio, São Paulo, 2019), served on the selection committee of the Itaú Cultural Rumos Visual Arts Program (2008–2010), and directed the Murillo La Greca Museum in Recife from 2009 to 2011.
In 2015, he participated in the 5th edition of the CNI SESI SENAI Marcantonio Vilaça Award, the curatorial team of the 19th Videobrasil Festival, and Arte Pará. Together with Clarissa Diniz, he developed the contemporary art collection of Centro Cultural Banco do Nordeste as part of the project Metrô de Superfície. His main curatorial projects include Leonilson – Under the Weight of My Loves (Itaú Cultural, São Paulo, 2011; Fundação Iberê Camargo, Porto Alegre, 2012), Metrô de Superfície (Paço das Artes, São Paulo, 2012), and Metrô de Superfície II (Centro Cultural São Paulo, 2013), among others in major Brazilian institutions.
More recently, he curated Antonio Bandeira: To Love Is Learned by Loving (Pinacoteca do State of Ceará, 2022), the second edition of the Ling Presents project (Instituto Ling, Porto Alegre, 2023), solo exhibitions by Efrain Almeida at Centro Cultural do Cariri (2023), and in 2024, Bloco do Prazer (Museum of Art of Rio) and O Jardim – Efrain Almeida (Oscar Niemeyer Museum, Curitiba). In 2025, he opened Luiz Braga – Imaginary Archipelago (IMS São Paulo) and Telma Saraiva and the Fascination of the World (MAR, Rio de Janeiro).
His recent research focuses on exchanges between Brazil’s North and Northeast regions, emphasizing economic cycles, migratory flows, and the intersections between life, desire, and art, as well as themes related to subjectivity, confession, intimacy, and biography. He is currently pursuing a PhD in Arts at the Federal University of Pará (UFPA), in Belém. He lives and works in Crato, Ceará.
Lívia Condurú is the founder and president of the Bienal das Amazônias. She holds a master’s degree in Arts from the Federal University of Pará and has worked for over two decades as a cultural producer in Northern Brazil, developing projects that connect contemporary art, territory, and public policy. As head of the Bienal das Amazônias, she leads an institution dedicated to expanding access to culture and strengthening Amazonian forms of knowledge, through initiatives that include the Biennial editions, the Bienal das Amazônias Sobre as Águas, a cultural center in Belém do Pará, and a national and international touring program.
Moacir dos Anjos is the general coordinator of the Museum of the Man of the Northeast at the Joaquim Nabuco Foundation, in Recife. He was the curator of the 29th São Paulo Biennial (2010). His recent curatorial projects include Negros na Piscina (Pinacoteca do Ceará, 2022, in collaboration with Fabiana Moraes), Mutirão. MCP | Popular Culture Movement 1960–1964 (Joaquim Nabuco Foundation, 2024), and Arte Subdesenvolvida (CCBB São Paulo, Belo Horizonte, Rio de Janeiro, and Brasília, 2024–2025). He is the author of Local/Global: Art in Transit (Zahar, 2005), ArteBra Crítica (Automática/Martins Fontes, 2010), Contraditório (Cobogó, 2017), and Ataque à Indiferença (Cobogó, 2025).
Rian Fontenele is a visual artist and the general and artistic director of the Pinacoteca do Ceará. Trained as an architect, he has been dedicated to the visual arts for over two decades, with works included in public and private collections. His practice encompasses painting, drawing, printmaking, and poetry, with language as a central axis of inquiry and artistic construction. He has led the Pinacoteca do Ceará since its conception, overseeing its structuring, renovation, and the development of its artistic and institutional project.
Alberta Whittle (Bridgetown, Barbados) is an artist who lives and works in Glasgow. She studied Fine Art at Edinburgh College of Art and completed her master’s degree at the Glasgow School of Art in 2011. In 2024, she received her PhD from the University of Edinburgh and is currently a Research Associate at the University of Johannesburg, South Africa.
Her exhibition history includes solo presentations at Nicola Vassell, New York (2025); Mount Stuart, Isle of Bute (2024); Institute of Contemporary Art, Philadelphia (2024, with Dominique White); Institute of Contemporary Art, Los Angeles (2023); Scottish National Gallery of Modern Art, Edinburgh (2023); Holburne Museum, Bath (2023); Scotland + Venice, 59th Venice Biennale (2022); University of Johannesburg Gallery (2021); Jupiter Artland, Edinburgh (2021); Glasgow International (2021); Grand Union, Birmingham (2020); and Dundee Contemporary Arts (2019).
Selected group exhibitions include Soulscapes (Dulwich Picture Gallery, London, 2024); Black Atlantic: Power, People, Resistance (The Fitzwilliam Museum, Cambridge, 2023); Soft and weak like water (14th Gwangju Biennale, 2023); British Art Show 9 (2021–2022); Moving Bodies, Moving Images (Whitechapel Gallery, London, 2022); Black Melancholia (CCS Bard Hessel Museum of Art, 2022); Sex Ecologies (Kunsthall Trondheim, 2021); and Life between islands: Caribbean British Art 1950s – Now (Tate Britain, London, 2021).
Whittle has received the Paul Hamlyn Foundation Award (2022), Turner Bursary (2020), Frieze Artist Award (2020), Henry Moore Foundation Artist Award (2020), and Margaret Tait Award (2018–2019).
Her work is held in institutional collections including the Advanced Research Centre at the University of Glasgow, Arts Council Collection, Art Gallery of Ontario, The Contemporary Art Research Collection at Edinburgh College of Art, Glasgow Museums Collection, Government Art Collection, The McManus (Dundee), National Galleries of Scotland, and the University of St Andrews.
Licida Vidal is a visual artist who lives and works in Ubatuba, São Paulo. She studied Social Sciences at the University of São Paulo (USP). Through performative actions, photography, video, and installations, her research engages with questions of gender and nature within the context of climate emergencies. This circle of subalternized forms of knowledge, intimate experiences, and academic research is translated in her work into a search for strategies to restore autonomy to bodies and territories. Clay and water are her main materials, carrying a strong symbolic charge within this debate on interdependence, scale, territories, diversity, and coexistence amid the collapse of the fossil fuel era.
She is a member of the Vozes Agudas Collective, in collaboration with Ateliê397. In 2020, she undertook a residency at Usina de Arte (PE). In 2021, she participated in the exhibition Dizer Não, organized by Ateliê397; in 2022, in the exhibition Estamos Aqui at Sesc Pinheiros. In 2023, she completed a residency at Usina Luis Maluf and participated in the exhibition Zonas de Sombras at the Pinacoteca de São Bernardo do Campo. In 2024, she took part in the Respiro Rural Residency and presented her solo exhibition Oceano Febril at Galeria Luis Maluf, as well as participating in the 14th 3M Art Exhibition – Biomorfos, at Parque da Luz.