Português
Satélite #1
Os dias antes da quebra
Como epílogo de uma história composta por muites artistas e que se estende em outros capítulos, “Os dias antes da quebra” traz para o Pivô Satélite, uma reflexão propositiva sobre como um abalo viral e atomizado na estrutura linear e produtiva do tempo ganhou forma a partir do coronavírus.
Nos guiando como um olho, a exposição sugere um movimento de retorno para o que estava sendo previsto, especulado e denunciado antes da pandemia, por um grupo de artistas racializades e dissidentes com vasta experiência em adiar a iminência das suas próprias quebras.
Questionando os contínuos e descontínuos já em disputa em uma narrativa historiográfica, o título propõe uma recusa aos discursos universalistas que negam o histórico de extrema vulnerabilidade e precariedade que já se fazia norma de forma expressiva na vida de determinados grupos sociais, ao mesmo tempo em que amplia o debate sobre como a inseparabilidade dos marcadores de raça, classe, gênero e sexualidade, que definem as hierarquias de opressão, se escancaram nessa crise sanitária, precarizando ainda mais os acessos aos artistas-trabalhadores que seguem tentando se manter como classe artística.
Desse modo, o projeto apresenta e performa um fazer-coletivo, e reúne um conjunto de ferramentas, rotas de fuga e estratégias de emancipação coletiva que nos levam a refletir sobre 1) os limites dos objetos artísticos e seus processos de encarnação e desencarnação em face à virtualidade; 2) os modos de identificar a atualização do texto moderno colonial através dos sistemas de controle, governança e vigilância em nível atômico, algorítmico e microbiológico; e 3) as contradições existentes nos marcos das poéticas e políticas de exibição considerando tanto as utopias da internet como uma crítica ao avanço do capital tecno-normativo do século XXI.
Nesta exposição como performance, com obras inéditas que encenam ora rotinas virtuais ora se apresentam como eventos, os visitantes-usuários poderão encontrar nos trabalhos des quatro artistas convidades, alta dose de humor, criticidade e ironia, além de processos abertos e experimentais que, ao solicitar a nossa interação, expandem as suas materialidades abraçando o que se produz como diferença e plasticidade no encontro com o mundo virtual.
São eles, os “Para-raios para energias confusas”, esculturas de ferro, cobre e modelagem 3D que surgiram como objetos de proteção durante um sonho da artista Rebeca Carapiá; a urgência em dialogar na linguagem comum que se manifesta através de pixels low-fi, armas máximas da geopolítica local, fundamentadas na pesquisa “Pedagogias do Meme” de biarritzzz; a busca por criar um idioma que não nasça do trauma e da violência através dos experimentos para construção do “Laboratório Internacional de Crioulo” de Diego Araúja; e do interesse pela reunião e ajuntamento de pessoas a partir dos estudos sobre os arrecifes de corais na “Produção de Coralidades” de Raylander Mártis dos Anjos.
Diane Lima is an independent curator, critic and researcher. She has an MD in Communication and Semiotics at PUC-SP, her work consists of experimenting with contemporary curatorial practices from a decolonial perspective. She is currently part of the curatorial team of the 3rd edition of Frestas – Trienal de Artes at SESC-SP and since 2018 she has been curating the Valongo Festival. Among her main projects, the idealization of the AfroTranscendence art-education program stands out; the curatorship between 2016 and 2017 of Itaú Cultural Diálogos Ausentes exhibition program and the participation in 2018 in the CCSP Art Critics Group. In 2019 she was co-curator of the PlusAfroT Residence and the group exhibition Lost Body – displacement as choreography, both projects that took place in Munich-Germany. Sworn in by several selections and award commissions, she is a professor at Itaú Cultural’s Specialization in Cultural Management and editorially co-curates two contemporary art publications, one by Act. and the other by French publisher Brook, both in press.
Satélite #1
Satélite #1
“The sayings and non-sayings of laughter” is the theme of the 1st edition of Seminários Engraçados, a work by Raylander Mártis dos Anjos that proposes a set of free conferences on laughter in the Brazilian and international context. In the work that weaves satire with the basis of her research on choralities, Mártis investigates the themes that involve laughter, play and humor on historical, aesthetic and political levels.
Pulling nervous laughs out of us, the seminar also brings play itself out into the open and leads us to think that the masks we wear make us hide our smiles. Thus, as we say our goodbyes to Satélite, the artist fables with the festivities and revelers, turning the somersault into an episteme to escape the moral imperative of destruction.
The seminar will be mediated by Raylander Mártis dos Anjos and clown Fiapo Marrom.
Ana Raylander Mártis dos Anjos is born in the world’s end, currently lives in São Paulo. In her artistic practice, she seeks to establish a dialogue between collective history and her own history, which she has called a practice in chorality, involving groups of people for collaborations and experiences of collision. With a background in clowning, a BA in Visual Arts from the Federal University of Minas Gerais (Brazil) and Art and Multimedia from Escola Superior Gallaecia (Portugal), she understands her performance as an interdisciplinary and transversal activity. She has frequently resorted to the knowledge of education, writing, performance and play as a way of composing verbal, corporal and ethical machinery to discuss her urgencies in long-term projects. She was awarded a residency at the Adelina Institute (2019) and the EDP in the Arts Residency Award, from the Tomie Ohtake Institute (2018), performed the Choros Choros project, in the CCSP Exhibition Program (2018), participated in exhibitions at Aura Gallery, Centro Cultural UFMG, XIX Bienal Internacional de Cerveira e Novas Poéticas. She held solo shows in Brazil and Spain.
Participating artist at Pivô Satellite #1.
How can a body programmed for displacement, for temporal waste, resist? How can you practice diaspora with isolation and distancing? Diego Araúja’s response is to twist language in order to create the International Creole Lab (LIC), a language not born out of trauma or the context of survival.
Testing the limits of artistic objects and their performance in the virtual environment, for Pivô Satellite, the artist proposes a game, a narrative-literary audiovisual essay-installation, which brings together the fundamental premises of LIC. As we re-stage the impossibility of physical contact in the present, Araúja suggests a creole gaze to examine the tension between tongue and language, introducing a key contribution to the study of performance and the relationship between memory and ancestry.
Diego Araúja is from Salvador-BA, Brazil, and produces art in an expanded way. His media are literary, visual, scenic and cinematographic. He acts as director, playwright, screenwriter and visual artist. Since 2013 he directs the process Estética Para um Não-Tempo (Aesthetics for a Non-Time), with the objective of establishing a qualitative time that allows the production of emancipated afro-diasporic memories; what he calls Fundamentos Futuros (Future Foundations). In this process, he experimented with the creation of oríkì’s (oral literature of Yorùbá origin), which generated the work QUASEILHAS (2018). In 2017 he founded the ÀRÀKÁ Platform with artist Laís Machado. In 2018, he designed a choreographic performance for the video installation A Marvelous Entanglement, by British artist Isaac Julien. In the same year, he did his artistic residency at Atlantic Center For The Arts (Florida-USA), where he created the video installation Oríkì das Araújas, experimenting with synthetic sound vibrations in oríkì’s. In 2020, he did his artistic residency at SAVVY Contemporary (Berlin-GER). Currently, Araúja is developing authorial cinematographic work, while organizing the foundation of the International Creole Laboratory.
Participating artist at Pivô Satellite #1.
From her research Meme Pedagogies, the new media interdisciplinary artist biarritzzz launches her first album on Pivô Satellite. I AM NOT AN AFROFUTURIST is a web-specific sound-visual album. Remixing pop culture, video art, meme politics, videogame aesthetics and poetry with the new media and ancestral technologies, the work blurs the borders between languages, investigating their intersections and cryptography as tools of control and visibility.
In a work where irony is a serious thing, by refusing the category of afrofuturistic, the Recife-based artist stages an escape strategy expanding the debates on identity policies and their capture processes in the sphere of techno- capital. I AM NOT AN AFROFUTURIST has several participations such as that of Henrique Falcão, Novíssimo Edgar, Denise Cloud, Mun Há, Anti Ribeiro and Deize Tigrona.
The artist from Salvador-Bahia Rebeca Carapiá presents the new series of works “Lightning rods for confusing energies”, an installation composed of sculptures, video and PDF file. The work relates 3D modelling, iron and copper, simulating in its performance an assembly guide that is settled on Pivô Satellite as a strategy of collective emancipation and spirituality.
Exploring the limits of the physical object, Carapiá inserts a certain dose of humor and irony to expose the contradictions between materiality, virtuality and its opacities when proposing through the work’s “Manual” and “Installation Tutorial” interaction with an audience that makes the “Lightning rod for confused energies” a performance in itself.
