Português
Edition #7 – trama cega
Like in a game of cat’s cradle — inspired by Donna Haraway in Staying with the Trouble — each work in this program acts as a knot in a dynamic network of relationships, where connecting, failing, and recognizing patterns are equally significant gestures. Cat’s cradle is a collaborative game in which participants create shifting figures by passing loops of string between their fingers — alone or together — producing intricate forms that depend on tension, rhythm, and responsiveness. This metaphor expands across both forms and geographies, as the program unfolds online — through Pivô Satellite and KADIST TV — and on-site, in an exhibition at Pivô, in São Paulo. In the context of this edition, cat’s cradle also reflects the desire to creatively engage with the project’s material foundation: the exchange between the collections of two institutions central to the creation and circulation of contemporary art in the Global South.
Through different registers and formal strategies, the works that make up this network articulate themes such as: the reclamation of territories plundered by colonial forces; kinship and aquatic ecologies; fraternal bonds as forms of social inquiry; musicality and haptic experiences through the multisensorial potential of cinema.
Produced in Brazil, Uruguay, Argentina, Iran, Palestine, and China, the works reflect a diversity of formal strategies and geopolitical contexts. Rather than fostering universalism, the program embraces specificity as a critical force in motion, weaving affinities and dissonances into a non-hierarchical arrangement.
Curating is approached not as interpretation or classification, but as a relational and speculative methodology — an act of creating lived realities that engage both thought and sensation. Drawing on fiction and risk, it privileges invention over fixed meaning.
Echoing Eduardo Viveiros de Castro: rather than explaining other people’s worlds, this program seeks to multiply worlds — “populating it with all those expressed that do not exist outside their expressions.” The gesture lies in preserving virtualities as such, allowing the works, as experiences, to unfold in other directions.
Pedro Azevedo, in collaboration with Allegra Cordero di Montezemolo
Pedro Azevedo is a researcher, critic, and programmer working across cinema and visual arts. He is currently pursuing a PhD in Arts at UFC and holds an MA in Art Studies from the University of Porto. He served as curator of Cinema do Dragão (2013–2022) and as Collection and Research Manager at the Museu da Imagem e do Som do Ceará (2022–2023).
He teaches at several institutions and directs colo.zone, a platform for critical exchange that brings together essays, courses, and projects by Brazilian and international creators. Since 2024, he has been Director of Programming at Janela Internacional de Cinema do Recife, collaborates with Pivô on audiovisual projects, and writes about film festivals for the newspaper O Povo.
He is a member of Abraccine, where he served on the board (2019–2022) and coordinated Sessão Abraccine, co-authoring the documentary, short film, and fantastic cinema volumes of the collection 100 filmes essenciais.
He has curated exhibitions such as À Nordeste – Cinema de Reinvenção (Sesc 24 de Maio), Passeio Noturno (MIS Fortaleza), and the programs Arquivo em Fluxo (featuring Kamal Aljafari and Jomard Muniz de Britto) at BNB Cultural. He was also part of the selection committee for the Festival de Brasília do Cinema Brasileiro.