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Akira Yoshizawa, John Montrol and Eric Joisel: Origami artists that work only with the figures itself. From Japan (Yoshizawa, the first one to document in a book each step of the making, so the technique started to gain popularity abroad) and US respectively (gained popularity after the 50s, when Americans first discovered this technique during research and trips in Asia - for scientific purposes at first, but since it began as a really popular and informal activity, it was noticeable in the asiatic culture, specially in China - the country were paper was first invented - and Japan).

Jum Nakao: Brazilian artist and fashion designer that is mostly known for its paper outfit catwalk during 2004’s SPFW - “Costura do Invisível". What actually was a performance, simulated a catwalk with models wearing outfits entirely of paper, styled with laser-cut patterns, diverse grammage (gramatura) and playmobil-like plastic wigs. During the show people observe the pieces mesmerized, noticing the material. Although, at the end of the show they were all ripped apart and completely destroyed by the models who were wearing them - which caused a mixture of many feelings from the spectators, from admiration to shock and impact. Nakao won a prize as the catwalk of the decade from SPFW, by playing with concepts as perfectionism (with symmetric and precise cuts; outfits that shaped each model after several months of work) and devastation with every single outfit.

His work inspired me in terms of performance, by playing with very opposite ideas that genuinely caused reverberation and surprise in the public. I related this elements to my collection since the ketchup sachets refer to a very quick and big industry, relating it to “ready made food” (as fast-food) when such quantity is rapidly left over; that after its one-time use turns into garbage. Then, the concept of producing big amount of things is later destroyed and ephemeral.

http://www.jumnakao.com/portfolios/a-costura-do-invisivel/
link of the artist's website, works and footage of performance.

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Create dimension and not very obvious shapes, that might bring distinction from the flat paper shapes I felt stuck to when creating my outfit. I produced them by folding geometrically a triangle shape at the top of a shirt.

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Work with paper outfits "The Fragile Fantasy Dresses".
Playing with dimension and volume, most of her works from this series have big voluptuous skirts, that I used as a reference to create the idea of multiples - dialoguing with a collection’s starting point as well as my theme when working with sachets: Specially with fast food meals, you never get only one ketchup or mustard sachet - the worker always gives you a handful of them, and that’s why I remained with so many unused ones at home. Reinforcing this exaggeration and quantity, I worked with a patterned and geometrical skirt that used layers as a “fabric" with multiple but equal elements.

"Open To Suggestions" from http://www.carrieannschumacher.com/dresses.html

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As a Latin expression, it was first used by many artists - like Da Vinci (1452-1519), for instance - since ancient Greece; described as a concept by Aristoteles. The first Obscura’s were created from a box with only one hole for light entrance, creating then an image on its opposite surface (also inside this same box)

It occurs as a natural phenomenon when an image of a scene at the other side of a screen is projected through a small hole, but as a reversed/inverted image reflects on another surface opposite to the hole’s opening.
source: enciclopedia.itaucultural.org.br

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From the greek Zoe (life) and Tropos (wheel).

Machine created in the 19th century by William George Horner. It consists in a large wheel  with some open, rectangular windows that show the images inside it from a viewer’s perspective. When this wheel spins, the images disposed inside create an illusion of movement of the scenario illustrated, like images of a horse running or a man walking/dancing. It was broadly used as a children’s toy, with a ludic sight educative object (there’s one in Catavento Museum, which I visited some years ago).
https://www.youtube.com/watch?v=SBg6dAE3mI0

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A variation a the zoetrope created after it in 1877, at about 50 years later. The difference from eah is that a praxinoscope has a mirror in the middle of the wheel, so instead of seeing the "moving image" from the small windows, each section is reflected in the mirror with a simpler and easier observation from the spectator’s sight.

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A software for Canon cameras, with features as audio, exposition, overlay, movie (footage), focusing, display and prefs controls like a regular and independent device. With it it’s possible to record using RAW file, so editing the film widens up the quality and exhibition of the recording.

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Shadow Theatre is an ancient form of drama, with characters used as shadow figures puppets in a translucent screen made of thin paper or fabric, so the light passes through the shapes and creates an animation appearance and motion. It is widely strong as a cuktural aspect from Asia and Europe specially, but some data from Egypt and US can also be found over ancient and folk history.

Relations (later) to cinematography

The popular shadow theatre evolved nonlinearly into projected slides and ultimately into cinematography. The common principle in these innovations were the creative use of light, images and a projection screen. There are many parallels in the development of shadow play and modern cinema, such as their use of music, voice, attempts to introduce colors and mass popularity.

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From Ourinhos - SP. Studied in ECA USP with a bachelor in Fine Arts and masters in Visual Poetics. Since then, he did several solo and group shows in lots of museums, festivals and galleries like ******

Working with wood transformations and distortions, Oliveira often creates enormous and eye-catching pieces that merge into buildings’ walls (see "Baitogogo” and “Momento Fecundo”). Creations using tree trunks (made of actual wood pieces) that run through stairs, walls, and roof, making an atmosphere that magnifies the force and life of a natural element that is a tree or its wood like its not only a living being but also like an intended movement where the material dominates and conquers a whole room or ambient.

Dividing his works and installations in categories such as "organic structures”, “hybrids" and “ramifications”, his materials are even more amplified in terms of relating it to an alive and transformative being or presence that clearly take control of the place they are placed on.

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2013, Paris - FRA

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2013, Paris - FRA

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Luisa Duarte | From the Fence to the Reverse - The Gradations of Henrique Oliveira | 2012
"Having started to produce during the 1990s, Henrique is a singular case within the current Brazilian art milieu, in which the very young artists, whose production still barely delineates itself, already entered galleries and the whole organization that surrounds them. His approximation with the market, just as the market’s approximation to the artist, happened lately.
(...)
Henrique had already produced for almost eight years before holding his first individual exhibition in a gallery. This important time of maturation of the work of art, which happened far from the requirements and velocity of the fairs and collectors’ demands, can easily be noted by those who had the opportunity to longer meet the frame of his work. There is a gradual and conscious movement in the stages of this work, which, I believe, results from this soother mercantile insertion through which his productions passed over the years.
(...)

If the first works were flat and showed a clear transposition from the two-dimensional canvas situation to a bigger one, in the space, from 2005 and on, the process started literally to embody and flirt with sculpture and architecture. In the work Tapumes, exhibited at the Centro Universitário Maria Antonia, for the first time the artist fills out the inner part of the work. The wood gets tonus. Behind the laths is a volume through which what is rigid, firm, hard, straight, turns to have unsuspected organicity and flexibility. From then, one more stitch of the weft may be weaved: a relationship between the work and the body starts to exist. In the quoted work of art, what we see does not seem to be static, but rather a moving point. The bodies are moving, but not the paintings. Soon after the inhalation, the work is stuck there, full of air inside"

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Dan Cameron | No-Fly Zone | 2011
Commentaries from the structures and materials of his works and installations
"(...)
In early 2008, for a group exhibition at the Contemporary Arts Center (CAC) in New Orleans, in which the theme, Something from Nothing, reflected a curatorial investigation into the possibility of developing art without money changing hands, Oliveira hit on a unique solution. Scavenging second-hand stores and salvage operations for spare mattresses, he also reached out to the CAC`s built-in community to organize donations of pillows and stuffed animals. Lashing them together to create a large `cloud,` Oliveira then suspended the entire mass over the building`s atrium, producing a floating effect that enabled him to move off the wall, while also slightly outside the range of his visitor`s capacity to provide close inspection.

In the present example, Oliveira apparently blows up a free-floating loaded brushstroke so that it achieves architectural scale. Since nothing quite like this is in fact possible, our experience of the work on site comes with a built-in double-take, as our sustained examination begins to reveal the extent to which such an elaborate construction possesses a remarkable level of design and buttressing in order to exist so effortlessly. All this infrastructure, invisible as it is to the naked eye, is what allows the work, which is made up predominantly of bending board and salvaged plywood, to float before our eyes as a monumental gesture, suspending in separate skeins and rivulets what seems about to be blended into one giant smear.
(...)"

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Serif(s): small strokes/traces and extensions of a basic letter shape, occuring at the end of its rod (haste).

Sans-Serif: a family of typography lettering without serifs.

Ligature: union of letters that is written in a same glyph, such as the character “æ”.

X-Height / Corpus Size: the height of lower-case letters (minúsculas) for a typographic family. In general, the distance of the meanline from the baseline - defining then the size of the lower-case. Then, the Cap-height is the size between the baseline and cap height line to limitate caps letters/glyphs.

Bowl: the fully round, closed part of a letter. Ex: the closed parts of d, b, o, D, B, O.

Ascender: the part of a lower-case letter that goes beyond its limited space in x-height. ex) the top part of “h” or the dot of “i”.

Leading: the distance between two baselines of lines of a type (or font). Essentially, the line spacing - space between two lines in a text.

Kerning: the amount of space between two glyphs (letters, ponctuations, numbers…). To adjust a type for a better visual appearance on a text, the spaces might differ from some glyphs and not be perfectly equal between every single letter.

Picas: the typographic unit of measure, which translates to about ⅙ of an inch, or 4.23mm. One pica is further divided into 12 points, defining types such as the French Pica (12 Didot points); the American pica of 0.16604 inches (4.217 mm).

The Points are, then, a tiny unit of measure also inside typography that measures a font size, leading, kerning and other elements.

Em dash: a ponctual mark, “—”, that indicates a break in thought. Note: bigger than an hyphen (“-”).

Bibliography:

Wikipedia

typedecon.com/blogs/type-glossary/

indesignskills.com/tutorials/

https://www.canva.com/learn/

https://www.fonts.com/content/learning/

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Jessica Hische
Illustrator, typographer and graphic designer. Hische expresses a lot of her works with bright, uplift-looking types to write playful messages. Her works show very theatrical, dramatic and arabesque lettering with depth and colour. I related to her work in terms of the grandeur her styles dispose, reminding me of big outdoor letterings that not only look comercial but also pretty for the general public. Some of her artworks from bookstory references such as “Pride and Prejudice” reveal not only her style but also aspects of the narrative, with a delicate and sensible look and colour pallete (light shades of pink and lilac)  for representing a delicate, dramatic and persuasive story as well.
Works (book covers, posters,  logos, etc.):  http://jessicahische.is/working

Wim Crouwel

Dutch, born in 1928, graphic designer.

Crouwel started his career with typography with his first poster in the 50s decade, starting to organize visual information aesthetically, influenced by the Bauhaus ideas. Although the fine swiss design relations, his interest was also on the industry considering the need of machine productions - stating “we need the machine since we have no time” but “the machine cannot replace the precision of the human eye and human feeling”, since his job always considered both rational and emotional sides as essential elements of his works.

His style is modernist and functional, with sometimes neutral typefaces. As he commented, “A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.”. Since he had a generally flexible style statement (in terms of versatility of subjects he worked for), his productions became quite popular: “It was actually quite difficult to avoid Wim Crouwel’s work. In the 1960s the Netherlands was inundated with posters, catalogues, stamps designed by him, even the telephone book.” - Karel Martens, a dutch graphic and typographic designer.
source: www.iconofgraphics.com

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Artists and works

Ida Feldman
Brazilian artist and designer that writes very laidback and sincere, small quotes that are mostly humorous and truthful. She uses routine and daily life themes to produce the quotes, such as the need to wash the dishes or using the toilet.

Some of those artworks dialogue closely to the concept I prompted to produce, with the same light approach of using an uncommon and embarrassing subject that people avoid commenting about, but making it the full subject of the work - and, consequently, normal.

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Ida Feldman’s funny and informal instagram artfeed

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“Steady Mobbin” by Ice Cube

This is a gangsta-like rap with uncensored lyrics, where the subject really needs to use the loo after eating a big load of food. In some phrases, Ice Cube comments “Now I gots to take a shit!”, later on “dropped a load in the bathroom” and “coming out feeling 10 pounds lighter”.

Again, the theme is humorous but unexpectedly in what seems to be a rough and stiff context at first place, but then revealing to be the opposite of what to expect from a “ghetto rapper” or how would he sound like. Being another example of such a common and worldwide activity, I related to the song that dialogues with my “ass” representation and a non-pornographic view of it.
Youtube: https://m.youtube.com/watch?v=tMxXtOU09tM
Article: https://www.google.com.br/amp/s/www.vice.com/amp/en_us/article/evv9wm/a-brief-history-of-artists-rapping-about-poophttps://www.google.com.br/amp/s/www.vice.com/amp/en_us/article/evv9wm/a-brief-history-of-artists-rapping-about-poop

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Maróstica is a Brazilian collage artist that mixes analogical images and 'lambes' designed by him. He mixes a lot of bodies with un-natural symmetries and animal faces on humans, mixing the images with often colorful or patterned backgrounds. I was inspired by not only his collages as an outcome but also by some punctual images from his works, such as a collage using a wide open mouth as the whole face of a person. With that image, I related my serigraphy artwork and stencil, which I drew a similar mouth to connect with my fast-food themed collection project.

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Untitled collage.
from the artist's ig @mmarostica_art on instagram

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For a good research entry, always try to answer:

- What do you notice, find interesting, unusual, surprising,

inspiring?

- Why? What does it make you think about?

- What have you learnt about the artist/designer’s thinking?

What does it make you think about?

- How could you use your thinking, and what you have

learnt, for your project? (For example, what would you like

to explore and experiment with?)

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Visit at Jacqueline Martins Gallery; artist Lydia Okumura

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Visit at Jacqueline Martins Gallery; artist Lydia Okumura

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Antigo prédio depósito dos anos 40, centro/perto do Brás.

Histórico da galeria:

Diálogo entre artistas contemporâneos (hj de 30,40 anos) e históricos de 70/85anos através de pesquisas no acervo do MAC USP - 1 ano de pesquisa nos arquivos para depois ir atrás dos artistas. Todos eles já não estavam mais no mercado institucional e nunca participaram de galerias. Logo, a Galeria faria um “resgate” das produções de tais artistas em um diálogo com as outras, contemporâneas, que foram posicionadas na galeria.

Vir “sem pedigree” nem nomes fortes no mercado, motivada pela ingenuidade em seus valores e ações sem tanta preocupação, Jacqueline seguiu seu caminho como galerista apenas “fazendo”. O certo despreparo foi sendo reajustado com ela através da observação nos campos que frequentava, como na primeira feira que participou em Bogotá-COL e não sabia dos devidos procedimentos, mas observava. Assim, foi estabelecendo aos poucos relações com outros artistas, galeristas, clientes.

Observações - projetos e identidade da galeria:

“Des-apê” (à desapego)

De Ruta Mourão, vende livros raros, de artistas, coleções.

Diálogo com a inclusão de artistas mulheres na galeria

Ex: Lydia Okumura,  artista brasileira que durante os anos 70, teve uma grande inclusão institucional nacional e internacional. No entanto, seu trabalho foi em momentos criticado por “não representar visualmente a arte de uma mulher latino americana”. Sua atitude foi se posicionar justamente como já se apresentava e era, como japonesa, “baixinha”, e de baixa renda. Tratou dessa identidade como seu ato político, ainda sim sendo excluída de muitas exposições e do mercado mas revelando um crítico e comum problema no mercado artístico. Mostra que a mulher é capaz de ter uma sensibilidade racional e engenhosa, independente de sua prática e sexo, mas sim pelo intelecto, estética, matemática e cálculo.

“O trabalho dela é muito bom, mas sabe, parece um trabalho de homem” comentário de uma curadora em 2014 num projeto que Okumura tentou participar, citado em diálogo com a galerista Jacqueline Martins.

“As primeiras impressões do trabalho individual de Lydia Okumura podem ser ambíguas. Por quase 50 anos, a artista brasileira radicada em Nova York vem investigando o interstício do espaço bidimensional e tridimensional através de instalações site-specific. Utilizando principalmente tinta acrílica, cordões, chapas de ferro, carvão e lápis, Okumura constrói composições geométricas abstratas que projetam-se das paredes para o espaço tridimensional. Embora sua prática possa ser identificada dentro da tradição minimalista, a arte óptica também está em jogo. Através de intervenções simples, porém desafiadoras, Lydia Okumura questiona a percepção que temos de nossa presença física dentro do espaço expositivo.” - from http://galeriajaquelinemartins.com.br/artista/lydia-okumura

Lydia´s retrospective as a brazilian artist on: https://www.atelier.guide/home/retrospectiva-de-lydia-okumura-no-brasil

Imagem: obra "Untitled I", 1981. (também exposta na Galeria)

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Trabalho com cristais, “Om”: anos 80, de Amélia Toledo

Interesse em instalações espaciais e apreciação mais lúdica, que brinca com o espaço e de certa forma é mais simples.

Somehow, I related to this piece because it shows a visuallly beautiful aesthetic and it´s very literal and close to its meaning. I don´t usually produce works such as that and I´m probably closer to a more conceptual outlook that I tend to try to develop - but in this case, it was an example of how some artworks don´t always need to be such a "geniously architectured masterpiece" in order to be valuable for a gallery to expose (note that here, I mention ´value´ not as capital but as concept or relevance for a showroom). I related its objectiveness with my moveable type 3D work, which was one of the few pieces - if not the first one - I made that didn´t had a very deep or hidden purpose, since using a letter and relating it only to its pronounce and how it sounds as the finishing point - going straight to it. Just like Amelia Toledo chose cristals as a relation to spirituality and religiousness, which is what they already are known for.

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Colunas de textos, circulação normal no “Jornal da Tarde” por Leonora de Barros. Fala sobre, em sua maioria, produções de mulheres em diversas épocas e fases.
Arte Efêmera: dialogada e exposta no jornal, que torna-se obra de arte e pode ser vendida e exposto como tal, tendo um valor comercial e artístico que vai além de uma pintura ou instalação. Um outro exemplo é uma performance, muito mais efêmera também - tratando de um momento, único quando é performado.

Besides being pretty journalistic and documented-like in a first view, these sets of texts can show important subjects that relate socially and politically to art, such as the female figure during the time they were posted bringing the still contemporaneous discussion that gender is.

"Segundo Augusto de Campos, o que a artista propõe é uma incorporação da linguagem escrita em movimento, na “libertação da palavra para fora das páginas”. Nesse sentido, é percebida uma nova atitude com o corpo e sua imagem: se a vocalização já estava presente na primeira geração de poetas concretos, a geração de Lenora de Barros concebe suas performances sob formas visuais que retratam e problematizam o poeta." from
https://enciclopedia.itaucultural.org.br/pessoa109502/lenora-de-barros
(about her trajectory and concept)

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inside - room for painting

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entrance door opens to a large room for creations and wood storage

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small, cozy room that he created for writing, reading and resting (there was a bed on top of this area too!)

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Parte do período em que foi editora de fotografia no jornal Folha de S.Paulo e diretora de arte da revista Placar. Também foi colaboradora do Jornal da Tarde e assina a coluna Umas, sobre experiências poéticas e fotoperformáticas, de 1993 a 1995.

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Vive e trabalha no Rio de Janeiro

"Em pesquisa que abrange as relações entre sociedade, natureza e tecnologia, Regina Vater desenvolve, ao longo das últimas quatro décadas, um corpo de trabalho complexo e sofisticado que contribui de maneira expressiva para o debate sobre a emergência de uma ecologia midiática nos âmbitos da arte e da vida contemporânea. A natureza poética, ativista e ecológica de sua obra foi sempre tecida em impulsos transmidiáticos, onde a linguagem de cada trabalho se apresenta como mais um desdobramento de seus interesses." - from http://galeriajaquelinemartins.com.br/artista/regina-vater

One of her pieces, exposed at the Gallery and that most caught my attention was "Comigo Ninguém Pode" artwork. Showing big sheets full of brazilians´portraits, almost like a 3x4 ID pic, Vater shows how vast is our ocult culture and beliefs, relating these greats amount of pictures as a `wall of faith´. Behind those, there is an actual `Comigo Ninguém Pode´ plant vase, developed from previous research works where she photographed houses and stablishments that hosted these plants on front doors as a protection against enviousness or bad luck (mau-olhado). With this work, the artist doesn´t clearly dignifies the image of a popular belief, but reafirms its strenght held by a legion of people, that even though are unknown from a viewer´s perspective, show unity and protection almost like a flag for the culture of small beliefs, making such a valid narrative for latin culture and its people.

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mentioning Candomblé, Obaluaiê orixá and the vests that accomplish the music and identity of each at a Gira (a circle to make the rituals and call the entities to work with).

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Not literally it - since this one is used in a videoclip (“capim” by raissa fayet and russo passapusso) and is not a sacred vest, but captures almost the same movement from it.
video: https://youtu.be/XJOVIxXnTBo

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another reference: Helio Oiticica’s “Parangolé”

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portraits´ closeup

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After presenting my piece and showing it for assesment, my tutor Monique recomended me to search for Baldaccini´s works, a french artist that first exhibited  his assemblages at the 60s decade. Later on, his works were also presented during the 9th Bienal de São Paulo, 1967.
There, in which most of his materials consisted from old car structures compressed with industrial machines,  the french representativity for him was still new, but not unintentional. This sort of rustic and raw pieces were an ode against american Pop Art, that was in spotlight during that decade and at Bienal, trying to reformulate the sculpture´s aesthetic and language, with what seemed to be at that time very "bad materials".
Baldaccini was at the forefront of the New Realism movement with radical compressions from compacted automobiles, discarded metal or rubbish and polyurethane sculptures.

reading material resource
https://bdpi.usp.br/bitstream/handle/BDPI/51393/cesarbal.pdf?sequence=3&isAllowed=y

image below:
César, Relief tôle, 1961. Assemblage of pieces of automobile bodywork mounted on a frame.

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"Fruto das experiências de Hélio Oiticica (1937-1980) com a comunidade da Escola de Samba Estação Primeira da Mangueira, no Rio de Janeiro, o Parangolé é criado no fim da década de 1960.

Considerado por Hélio Oiticica a "totalidade-obra", é o ponto culminante de toda a experiência que realiza com a cor e o espaço. Apresenta a fusão de cores, estruturas, danças, palavras, fotografias e músicas. Estandartes, bandeiras, tendas e capas de vestir prendem-se nessas obras, elaboradas por camadas de panos coloridos, que se põem em ação na dança, fundamental para a verdadeira realização da obra: só pelo movimento é que suas estruturas se revelam.
(...) os Parangolés ampliam a participação do público na medida em que sua ação não está mais restrita ao manuseio, como nas obras anteriores. Eles pressupõem a transformação na concepção do artista, que deixa de ser o criador de objetos para a contemplação passiva e passa a ser um incentivador da criação pelo público. Ao mesmo tempo que pressupõe uma transformação no espectador, dado que a obra só acontece com sua participação. Trata-se de deslocar a arte do âmbito intelectual e racional para a esfera da criação, da participação.

Muitas vezes usados por integrantes da Mangueira - Mosquito (mascote do Parangolé), Nildo, Jerônimo, Tineca e Nininha Xoxoba entre outros -, o Parangolé expressa inconformismo - alguns levam frases como "ESTOU POSSUÍDO" ou "INCORPORO A REVOLTA" - e é um "estandarte da anti-lamúria", revelando a cumplicidade do artista com os que vivem à margem da sociedade."

from https://enciclopedia.itaucultural.org.br/termo3653/parangole

Using Parangolé initially as a functional reference (in terms of wearing and participating in an artwork), I was also very pleased by the idea behind those who could wore it and the sense of body and piece uniting as one. Being an accesible and fun piece, it removes the one-hand relation between artist and spectator to artist, as a maker, and artist as a performer, that does not need to be the same person - and further, choosen by Oiticica as brazilian citizens that don´t instantly show a social role as fine art´s intellectuals.
His idea behind it also relates a lot to the first references I got from Candomblé´s religion, since it owns a historically censurated trajetory, being firstly incorporated into our culture by african slaves brought by europpean ships for compulsory labour. Again, its close to an excert from society that was born from a certain exclusion, such as the performers that could work and play with Parangolé as a group, in order to honour their participation on society, a topic that still needs to be talked about and reinforced nowadays.

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Exposições avaliam artistas europeus num conceito descolonizador, tentando buscar aspectos não estéticos ou técnicos da obra (ex uso de pasteis na obra de Manet) e sim que contextualizem uma ideia/conceito por trás, como temas de loucura para expor Van Gogh ou indígenas para Gaughin (que passou um tempo no Haiti e na Oceania).
Tal mudança na forma de exibição também acabou por atrair cada vez mais público, iluminando muitas questões atuais como a luta racial e feminista em conversas e eventos no museu. Ainda, a abertura para a celebração da cultura nacional como ocorreu na exibição Modernista trazendo o "Abaporu" de Tarsila do Amaral, bateu o recorde de visitas no museu, que além de promover um ode ao país, também o fez com artistas mulheres.
Tempo muito distinto do que quanto seria numa galeria de arte. O manuseio, processos de comunicação e forma de adquirir um acervo através de pesquisa/seminários de 2 anos de antecedência/intercâmbios entre outros museus internacionais, que são processos muito mais longos e dilatados.
Oportunidades de contextualização de artistas de diferentes nacionalidades, como a mescla entre o pop americano (andy warhol for instance) e o brasileiro.
Maioria da arquitetura por Lina Bobardi.

Muitos estagiários na curadoria do masp!
Profissão jovem na academia, e não ha tanta oportunidade. A prática é a melhor área para aprender tal.

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Não é uma galeria e não ha comercialização de arte. É um espaço de pesquisa e imersão-experimentação que também possui residências artísticas, de convidados ou dos que passam por editais.

Terça-feira a sábado aberto ao público

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“Erik van der Weijde´s work is bringing light to non-spectacular and common images of our daily life - the house we live in, the lamp illuminating the street, our touristic habits, family portraits and many other popular subjects.

Through his accurate series of photographs, he is tracing a path between history, culture, education, cliché and everyday habits; thanks to the attention to small odd details that each of them is hiding behind he is able to trace a link between far entities.

His photographic work is accompanied by many different books and zines - self published or in collaboration with renewed editors - which in many cases point the attention to the idea of repetition and constancy of his photographic series, allowing the research to be fully presented through the publications.”

http://erikvanderweijde.com/works/index.html

Searching for some of Weijde´s works on books I found “praia”, recommended by my teacher Roger. With this same approach as the quotes above, the artist photographs scenes from brazilian beaches during his stay in 2004. The scenes appear like a documentary about details that don't call a lot of attention, like trash cans, thogs over the sand and chairs all in b&w.

One characteristic from his works that specifically called my attention is the close relationship  between the research and the publications made by him. Since the photographies are very close to reality and without much editing or planning, they seem as ´drafts´of memos of a production process, revealing a poetical informality of mundane situations and places with a personal outlook that choses minimal spots to photograph. This observations are close to my decided zine´s outlook, where I´m observing people on the streets and public transport with a very uneventful preparation (or none preparation I could say, since my primary research is to simply start walking through the streets and watching people live their lives), capturing scenes that are normal but detailed with some specific interpretations/subtitles keeping the simplicity through moments of each scenario.

http://4478zine.com/2010book_fznr1.htm - zine with everyday scenes. Photographs in black and white.

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During the Casa Plana visit, one of my favourite pieces found was the photography work by Bakker, entitled as “05007-002 05005-060”. This book contains a collection of shots all square framed in black&white that capture lots of mundane situations on what looks like a periferic community or village - such as dogs playing, guys on a soccer field, kids on a public swimming pool, cops on the streets, couples, etc; All in public spaces.

I related to this work just like Weijde´s photographs, where both are very informal and spontaneous. One difference from Bakker's work is the constant search for human figures and their actions on a daily basis and common life, revealing simple yet unique scenes from socialisation, love, games and simple time-spending situations that made me feel very nostalgic and with some sort of joyful, yet missed feeling of life's simplicities and values. I absolutely enjoyed this book because the pictures contain also very simple and minimalistic subtitles that dialogue completely with its shots, revealing even more poetry behind those moments - and, furthermore, an open space to interpret the very small captions (that are mostly one word) and imagine different stories and personalities of each unknown human that appear in a second of frame.

This artwork was a big inspiration to follow my ´routine research´ as the main topic of my fanzine, specially because of the subtitles - they balance the work perfectly and seem to be as “vague” as the everyday life but when connecting both, a visual and written poetry is created in the most simple, small and yet powerful way.

In terms of an open-minded space to think, observe and even get emotional by these humble scenarios and experiences - that in my opinion capture human life and relationships of all kind perfectly, showing neighbours, dogs, children, couples, adolescents and so -, the nostalgy was a key piece to me, on such days were we barely see or socialise or know the people that we pass through on a busy city full of technologies that make us look away from real eyes. Specially, because this scenario is even more modest and mere as it is located in a simple neighborhood that mixes old, decay buildings with modern life and how they might connect.

http://marlosbakker.com.br/projects/?lang=en
artist’s website - link to the series of photographies from the mentioned work.

“If there is a common denominator running through my work, I would describe it as ‘encounters’. By ‘encounters’ I don’t mean an encounter with the Other, but a self encounter, whether through something that affects us, that connects with us, or through pure introspection, with our most intimate being.” - marlos bakker, ‘about my work’. http://marlosbakker.com.br/projects/tag/marlos-bakker/?lang=en

picture: all the subtitles from the pictures.

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comment about his work @ artist’s website.

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From the book “Dieter Roth Diaries”, ebac´s library. This book documents very intimate and personal moments of Roth´s daily life, that although are completely quotidien and common, the scenes can provoke emotion and even weirdness by capturing moments that are quite particular - such as using the bathroom, lying on bed with his wife or working on his studio.

This very “unimportant” moments almost felt like there was a detective or spy counting Roth´s steps, but everything is made and captured by himself, placing cameras on all of his personal moments - this feeling of having a 3rd person after him is quitle subtle but poweful in terms of the literacy of each shot. They are so transparent and honest, that can even make the spectator feel like there is another person behind it that uses Roth´s life to become an artist.

Even though the images show completely normal activities, they aren´t seen from other´s eyes unless it´s a person that lives with you, or some very close relationship, and I guess that´s were the awkwardness comes from. If you look further, the pictures change from ‘boring’ to a complete mix and opposition between an unknown person versus the familiarity of actions. I did enjoyed to observe his pictures and see how different they can be felt by the espectator´s place. It was a good research to imagine even more about who are these people that I started to photograph and how they all can have a completely similar life - they all work, dress up, sleep with someone (or no one), use the bathroom and etc. The different people and their actions can all connect in those terms, and evoke the same strange feeling as Roth´s pictures. I don´t intend to capture people like that, but by making a very normal photography (on a very normal space and action), I believe that this space for imagination can be broaden up, which is what I want to allow with my drawings, pictures and subtitles.

picture from the book

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A brazilian artists that make several ficticious portraits of characters with so common and possible stories and visuals that look like they are real.

“Reprodução de um sketchbook feito em 2010, encadernado artesanalmente pelo autor, com 3 metros de comprimento e tiragem de 100 cópias numeradas. Traz uma série de personagens que surgiram ao acaso no papel. Em seguida, eles receberam nomes e alguns comentários que lhes deram personalidade.”

Comment about the book “Catálogo de Gente” from https://walterkinder.com/

Kinder create small stories (also like subtitles for his drawings) that mix fictitious characters with real stories - that are not portrayed by him as a documentary or report from others, but are so common to our identity that end up representing actual and unidentified actual living beings. I relate to the informality of his work and the small line that separates reality from a story. I don't specifically enjoy his drawing style, but the portraits are very transparent and sincere that can be related to daily life, just like the pictures I took on public transport. His work can also be identified as “nanocontos”, with really small stories that can define big and common personalities - such as old grandmas and adults that receive such descriptions “Vaidosa, Dona Sofia só saía de casa após se maquiar um pouquinho”; “Rose conhecia truques para sair bem nas fotos” -.

picture - example of a character with a small story, from Kinder´s website.

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My favourite gallery was Oiticica’s Cosmococa. It was the place where I most felt immersed and connected to an installation and feeling physically the artist’s intention, which was the key point to me.

Even tough I didn’t followed the correct order of each room (because I wanted to experience them more personally and not so crowded as everyone were entering on the same rooms at first), I really got in touch with each. The room filled with nets made me feel joyful and curious, as a fuel to explore the next rooms. I was moving with the wind on my body from the net’s movement and feeling really light, like the “start” of a happy trip.

On the last room I visited, the one with the floor covered in dense and big mattresses, I started to run towards the whole room. That experience made me leave very tired and leave feeling like I ended a trip

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Sidewalk work. 1970 - six years before the artist´s death.
"One of the most unusual sidewalks in Manhattan is on Madison Avenue between 78th and 79th Streets. The bold geometric patterns are the creation of artist Alexander Calder. Three galleries on this block represented Calder and commissioned him to create this unique sidewalk installation. His only terrazzo piece, it was unveiled in 1970." - from the blog https://www.takeawalknewyork.com/newsletter/sidewalks-of-new-york

When researching artists from the project´s brief, I surfed through Calder´s website and found this work, that got my attention the most. Initially, I was brainstorming ideas and sensations that I related to when thinking about movement, and creating something that people could participate and actually move or step onto, seems like a good start for concept-making. Before actually thinking on a sidewalk, I thought about wheels, antennas or more mechanical things - but seeing this patterned work on actual streets that people walk in was even more captivating. It inspired me to make sothing more organic - not in terms of aesthetic necessarily, but in the way it can induce the public and be presented as an outcome.
Finding the Sidewalk work was a turning point for me to look further into human feelings and what kind of work can make people feel naturally in need to move or walk, instead of making something that literally demonstrates it (since it is one of the few immoble sculptures he produced, yet evokes and naturalizes movement). With those ideas, I realized the need to "step back" from characteristics that are closer to a visually pleasing outcome rather than the primordial psychology that can be built and later result on a feeling; considering the look something not less important, but secondary in terms of the proccess-making.

Calder´s piece can be found at a street on Madison Avenue, NY. It is an actual sidewalk between New York´s streets, built considering both design and functionality. I also enjoy the democratic style behind this artwork, since it´s a public domain spot - every human citizen have (or should) the right of occupating the city - and it´s so "urbanly natural" that the public would barely realize there´s an artist behind the construction of this sidewalk. It pursuits the essential need of it considering the walks of an unaware pedestrian, and works perfectly the way it is.

link below:
sidewalk project/draft and value. https://www.sothebys.com/en/auctions/ecatalogue/2012/contemporary-art-n08829/lot.148.html

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Le Parc have a series of works where he experimented with mirror positions and distortions of shapes and patterns. By placing mirrors perpendicular to screens or distorting them, he creates an illusion of shapes that also change by the viewers´ movement and speed when observing it.
I related to this collection of works because the essential materials make an instant reaction on viewers: a mirror provokes the desire to see yourself, plus the angles show a different side, dimension and shape of a same person, transforming the first vanity desire into curiosity and discover.

"Other experiments followed, based on the displacement of the viewer who leaves the space with the surrounding pictures. The wall had reflective slates which fraction and multiple the pictures on the opposite side of the viewer positioned on the other side of the wall. On this principal I did more experiments using a screen with certain pictures which are fractioned and multiplied by reflective, flat or hammered slates." - Le Parc,  http://www.julioleparc.org/tablet/d%c3%a9placement.html

"window-like" work with lights. "Lumiéres" folder on artist´s website,
http://www.julioleparc.org/images/l2c.jpg

Image below: ]
work "Cloison à lames réfléchissantes"

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Antony Gormley - "Corpos Presentes" pdf, archieve from Banco do Brasil

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Antony Gormley - "Corpos Presentes" pdf, archieve from Banco do Brasil

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"Gormley is an artist who creates situations. (...) Tell me where I am and I will tell you who I am. Gormley creates a situation resulting in an equivalency between object, viewer and place, uniting them in a present time.
(...)
In all of his works one can find a form of physical thinking, which is sometimes explicit, sometimes implicit. The body, abstracted by being conceived as a place, reveals its poetic territory. Treating the body as a void allows us to see and feel space as the mould of what we are. Gormley´s bodies are multivalent materialisations and dematerialisations within and without the designated ehxibition space."

When reading excerts about Gormley´s works and subjects, by now I had only researched for one work specifically, besides what was written. I saw a video of "Blind Light" installation, a room filled with cloud-like smoke that makes a sensation both of emptiness and loadness because the space is so fulled with it, that the viewer cannot see anything properly from the inside. It makes a feeling that perfectly matches a void and a full capacity place at the same time.
I was really captivated by Gormley´s text, feeling like the descriptions of his pieces where so exquisite and very well discriptive in terms of feelings and relationships to assume - even though I had research only one of his works. I used that "unseen" stimulation to think about those key relations from his productions to create a scene in mhy own mind. Trying to relate this mentioned void and completude accomplished by him, I thought about making a human metamorphosis shell, or coccoon. I would intend to cover my body with a translucid, maybe metallic or sparkly substance - that I still don´t know which - in a fetal position, so it dries over me and I can leave it after, like a butterfly. I could even produce this performance-like sculpture on footage and show the proccess of leaving it, besides showing only the empty and riped coccoon.

https://www.bb.com.br/docs/pub/inst/dwn/AntonyGormley.pdf

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Mimmic of the human body, using a "language of hard and fugitive mineral processes", seeming like a rupture between physical body and identity. This piece made me thought of de-personalisation or the feeling of being just a consequence of a few life moments that depressingly seem invaluable.

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Ramdomly seraching for "human coccoon", I found a blog with such entitled post. It is a replication of a coccoon, but big as a human being, made entirely of organic materials like wood branches and other tree-materials. The artist claims to be degradable, being the matter of environment a part of the work and also relating those changes with her leaving her homecountry to United States as a need to "contemplate, self proccess or transforming".
Although this matches a lot with my initial idea, I don´t really enjoy the literalness in it. Maybe if I stick to the ripping shell idea, it won´t end up looking so obvious. Or I might need to solve that problem with another technique.

Lelia´s blog:  https://aprillelia.wordpress.com/2010/08/11/cocoon/

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During the series, the character Arya Stark ends up joining an extremely secret cult, devoting what is called a Many Face God. The faithful are allowed, after many trainings, to borrow the identity (the faces) of the ones they kill, using the skin as a mask to protect their identity and the cult’s. The Cult’s place, “House of Black and White”, was initially a spot of the Faceless Man, a group of ancient assassins that began with this sort of art where “nothing can be traced to them, because they are all no one.”

The semantic and physical space of this religion made me think furthermore about my project and its presentation. I’m dealing with identity, metamorphosis and change, having this ability to allow yourself to do so but also reconnect to your old self - not seeing it as something better or worse, but as a process that is not only psychological but biological, possibly in terms of growth. By representing the masks with actual organic and animal materials, I want to provocate the spectator in a scene where he is able to see his own self, firstly because the masks are not clearly identified and also not intend to show from who it belongs - just perceived as one, as humans. The carcass left behind is there to maximize a look into our processes to the deep (un)conscious and the use of animal products (milk and gelatin) reinforce the nature behind so.
The physical aspect of the sanctuary of faces is also quite similar to my installation disposal. I want to place several masks together, but not clearly revealing the subjects as GoT series did (image below).

"The Faceless Men worship Death, whom they believe is the only god. The cult is actually a syncretic religion; its followers believe that Death is unknowingly worshiped by devotees of all the religions in the world, simply under different names. Every religion either has a god of death (in polytheistic faiths), or has a god with dominion over death (in monotheistic faiths). The Faceless Men believe that all of these gods are simply different aspects, or "faces", through which Death has revealed Himself to humanity - hence they formally refer to their deity as "the Many-Faced God"." https://gameofthrones.fandom.com/wiki/Many-Faced_God

bibliography:
https://www.bustle.com/articles/142000-what-is-the-hall-of-faces-on-game-of-thrones-the-room-holds-great-meaning-for

https://www.projectgora.com/2018/05/game-of-thrones-westeroast-cafe-quezon-city.html

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Most animals shed their skin - humans, reptiles, mammals... The difference between the snake is the clear carcass left behind the shedding, staying quite uniform like a perfect contour of its body.
I really related this process to the concept behind my project and to highlight the change and metamorphosis of what doesn't seem to go through that at first place (their body remains in the same shape, not changing completely like a moth or a butterfly for example), just like humans.
We all suffer and experience lots of things, that get stronger in the mind-memory field rather than the physical (most of the times/cases, if they don't involve accidents or aggression). Although, there's still the aging, the years passing and time-based body changes. I wanted to unite them, mixing unknown faces to physical looks, as a mimmic to a shedding skin - except it's human.

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William Kentridge on “The Refusal of Time”, 2012.

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William Kentridge on “The Refusal of Time”, 2012.

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Kentridge quotes along the discussion of his works:
“(…) There’s a lot of futility in it, a machine with continuous actions - but you know its a useless machine, it’s just moving in and out.

The climbing over the chairs, actions that we do

Almost as saying - Is this what our life is? A series of predictable and remarkable actions that continue ‘till we are worn out?”

Moments of coherence, of understanding the world, are the most we can hope.”.
Being a South African artist, it is possible to see that K. reflects about repetitive actions and moments on loop along a "meditative time", where you stop and see continuous repetitions that are simple and predictable but serve us hints of what he might be discussing or criticizing.
Some of his looping videos from this set of works include himself, a white man wearing a chemise/formal clothing, carrying on is back a black African woman using skirts and fabrics that reflect on her culture; or this same last subject walking through chairs that are placed and directed by this white man. The looping makes me think even more about this relationship we built, in a global spectrum, of a white and well-developed supremacy. By repeating these movements, a narrative can be imagined and related to our actual circumstances and history since it's a long-term issue that still perpetuates human society, politics and territories.

To realize how the repetitive GIF effect helps to reinforce a theme such as this, helped me understand that I should not only think about the act/performance/clothing itself, but which identity am I relating to it and how it empowers with significance the loop.

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William Kentridge on 'The Refusal of Time'

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How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work.

‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work.

Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”

Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.

 William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.


This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh.

 William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

Camera: Jakob Solbakken
Edited by: Klaus Elmer
Produced by: Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

Supported by Nordea-fonden

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“The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

These questions persuaded by the artist made me relate a lot to the talk we had yesterday, 21/11, with the invited performance artist Bruno Mendonça. He spoke a lot about the futility behind making a "flagship work", where there is no further development, manifest or critique towards a piece, but only the mention and reverence to a "hot topic" nowadays that in real life involves fights that should never be romanticized, such as feminism, LGBT+, anti-racism or other movements that are today's 'fashion' for so many brands or artists that only want to follow updated subjects without actually participating or provoking any kind of reflection over it.
This example of Kentridge's work seems like the perfect encounter between a critique that still is relevant nowadays, but in a subtle way - not giving the concept on a plate that screams the literacy of it. K. explores very simple, maybe even synthetic scenarios that ask for a further moment of though and reflection to be perceived, related and understood from the viewer's eyes.

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 "Drawing for Soft Dictionary (Earning its Keep)"

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 "Drawing for Soft Dictionary (Earning its Keep)"

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W.K., 2018, Goodman Gallery.
Charcoal on found pages.

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continue from min 7:24

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Περισσότερα στο www.flix.gr

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Leonor Fini (Buenos-Aires 1907 - Paris 1996)

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Leonor Fini (Buenos-Aires 1907 - Paris 1996)

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While I was still considering to make the accessible Moon/spirituality” work, I looked through Fini’s works. By focusing on the representation of strong women on her paintings and the bucolic scenarios from the surrealism aesthetic, I had some scenario insights and inspirations to keep working on different ideas. She produced a lot of medias rather than only paintings, such as cinema, ballets and masks for costumes.

One of her first paintings that I saw was a portrait of a woman with several wine glasses around her (“La Gardienne des Sources", 1967 - image below). These elements gave me the idea of relating women abuse, objectification and sexualization through the image of alcohol, using it as a symbol referring to sensuality, obscurity and vulnerability that is socially desired or conceived as inferior treatments towards sexist identities and its differences.

The own story of Fini is already a very strong start for a reference and her identity not only as an artist but as a female also brings strong elements to study and base this project on, involving gender, possession and other struggles from sexist relationships between her identity and man-woman (as her parents).

“Her parents separated when she was just a year old, her mother escaped to Italy and brought Fini with her. In attempt to avoid her father from kidnapping Fini, her mother disguised her as a boy for several years.

Early in her teens she developed an eye disease which caused her to wear bandages on both eyes for quite some time. Needless to say during this horrible moment in her life she was able to develop an inner vision, causing her to pick up art after her bandages were removed. She translated her visions onto the canvas and instantly became intrigued by art, exploring museums whenever she had the chance, reading art historical books, and researching the Pre Raphaelites, Renaissance masters, and Romanticism. She took this new passion of hers and pursued it with perseverance.

(…) Throughout her career Fini changed styles and utilized different techniques. Her works which included sphinxes, felines, nymphs, priestesses, nudes all represent the female as goddesses and warriors at a time when women were being defined by men.”

https://baterbys.com/womens-history-month-artist-leonor-fini/

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Leonor Fini avec son décor pour Le Rêve de Leonor, Paris, 1949, photographie d'André Ostier.
This picture intrigued me a lot, considering the beautiful sleeping-faced mask and the differences of scale between Finishing and this being. This is something possible to work with scenario using the green screen and Chroma Key.
https://www.leonor-fini.com/fr/bio/photographies/

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Leonor Fini au Monastère de Nonza, Corse, 1965, photographie d'Eddy Brofferio.

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Leonor Fini au Monastère de Nonza, Corse, 1965, photographie d'Eddy Brofferio.

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"Her independent mind, incredible talent and unique personality have labelled her as one of the few internationally recognized female artists before the 1970’s." 

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"Her independent mind, incredible talent and unique personality have labelled her as one of the few internationally recognized female artists before the 1970’s." 

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L. Fini
https://baterbys.com/womens-history-month-artist-leonor-fini/

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Claxton's work first appeared to me while I was scrolling through my instagram. I was frustrated about the not very successful development of the Moon idea and its performance, but I already decided that my field would be to work with women. After I saw some of Leonor Fini on this instagram account, I scrolled through some older posts and saw "Headdress"by the Native American artist. I loved the beaded, richly cultural pieces and to know her background and the criticism behind her work was even stronger to notice.
The issues she deals with when putting a body dresses in black, entirely covered by this Native American art and accessories is actually close to the way I tried to relate the Moon and performer figure in attempt to show how futile, indecently appropriated it can be to try to pursue a belief and identity that isn’t really yours, but is “fashion” nowadays. Her further comments about Victoria Secret’s Show using such artifacts is even more contrasting, screaming for aesthetically value by adding “pretty things” in order to create a “pretty body” with objects that don’t really dialogue or enricher with any of both.

To pursue something that doesn’t belong to yourself, ignoring its actual meanings and importance to other identities is shallow - considering spirituality and culture, aspects that can be found as the North of my initial idea and her works.

Headdress, 2015:

A Victoria Secret model wears a fringed bikini and feathered headdress. (...) It's 2016, but headlines about cultural appropriation on the catwalk keep coming. A major topic of discussion and controversy, Claxton's Made to Be Ready addresses the issue — in one photo especially, called Headdress.

"You're not going to see any Indian wearing those things, but you see all those faux hippies at Coachella wearing them, right?" says Claxton.

"It's insulting. But I understand why. They're beautiful. They feel amazing on. They're comforting. They have manna. They're gorgeous. They're amazing head gear, but they mean something, especially to Plains Indian people. So coming from a culture that has been oppressed and structurally dehumanized, the things that are ours, we cherish them. Personally, I find it to be insensitive, and kind of silly, really. Maybe even stupid, because people don't know the history, still," she says.

In Headdress, Claxton uses her personal collection of jewellery and beads and strings them together to form a rainbow veil that adorns the face of the model. When she wears the same beads in her day-to-day life, albeit styled a little more conventionally, Claxton says she experiences something unusual. "It's interesting. Sometimes when you wear your beadwork, people will reach out and touch you," she says. "I've never reached out to touch someone's pearls or emeralds, but why [do] people think when we're adorned with our stuff they can reach out and touch us? It's an interesting phenomenon."

Very good article that has lots of talks and opinion from the artist and her artworks! Mini encyclopedia of her events and cultural background.
What I enjoy about this work is also the ready-made aesthetic behind it, as a small game of words playing with the title and what it suggests. The indigenous beadwork is criticized in a "ready made"theme, since it was never considered fine arts in a Occidental white supremacy, only receiving a label as "crafts".

https://www.cbc.ca/arts/dana-claxton-wants-to-change-the-way-you-think-about-indigenous-women-1.3403600

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The Mustang Suite (June 9 to July 31, 2008): vibrant portraits that merge western and indigenous aesthetics with a touch of irony. "Indigenous people have been structurally dehumanized in all facets of life in North America, whether it's through education, through the state, through the church," says Claxton. "In some ways, my work has attempted to show us as human beings."

Relating the essential and important role of horses for Lakota people that is seen as an honored friend or relative, not only as a mode of traditional transportation.

“In The Mustang Suite, she evokes imaginative impressions of horses dancing in a projected one-channel video, accompanied by a suite of five photographs on the theme of evolving Aboriginal identities using various metaphors for the horse.

he color red, important in Lakota culture, runs as a motif through images that borrow from notions of family portraiture. In Daddy’s Gotta New Ride, an Aboriginal man with a painted face stands in a business suit beside a red Mustang car. In Baby Girlz Gotta Mustang, twin girls in red dresses and mukluks trimmed with rabbit fur sit on red Mustang bicycles. ”

https://www.gallerieswest.ca/magazine/stories/dana-claxton%2C-%22the-mustang-suite%2C%22-june-9-to-july-31%2C-2008%2C-alternator-gallery-for-contemporary-art%2C-kelowna/

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A Lakota-Sioux native-american tribe located in Dakota, US.

The Sioux Nation is a large group of Native American tribes that traditionally lived in the Great Plains. There are three major divisions of Sioux: Eastern Dakota, Western Dakota, and the Lakota. Many Sioux tribes were nomadic people who moved from place to place following bison (buffalo) herds.

Sioux native artworks include lots of beaded patterns, feathers, fringes and animal skin with ethnic patterns.
*image below - traditional Sioux vest.

“Dana Claxton’s work is aesthetically innovative, brilliantly written and expertly paced. The thrust of her practice is political, spiritual and social, making it an essential contribution not only to the field of media art, but generally, to a more honest sense of history.” – Jason St. Laurent, 2002

https://ahva.ubc.ca/persons/dana-claxton/

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Tracey Emin is a contemporary artists from the YBA generation of professionals (Young British Artists), working with different fields in sculpture, painting and conceptual, feminist and autobiographic/confessional performances and installations. Born during the 60s, she started working with the Arts field during the beginning of the 80s and still.

"She is best known for her deeply personal and confessional artwork that she promotes through her celebrity and use of the popular media. Personal traumatic events such as unreported rape, public humiliation, sexism, botched abortions, alcoholism, and promiscuity have been her topics. The quality of Emin's artwork is often contested, from the critique of expressionism, to the politics of female representation. However, it is this collapse of the identity of the artist and her work that begs for rigorous thought.

(…)

Although she rejects any notions of her work being for a feminist greater good, her courage to be vulnerable and honest through her artwork collapses the edge between life and art, and has brought attention to the discrepancies between men and women's ability to critically and publicly engage with topics such as alcoholism, gender roles, and, most controversially, sex.”
- excerts from link below

Using her body as a field for performance and self portraits, she uses what considerably can be seen as “vulgar” into artworks that can get a further recognition from the spiritual and healing towards art.

WORKS

"Everyone I Have Ever Slept With” 1995

This work is a small tent containing the names of everyone Emin has shared a bed with, not necessarily with the same meaning as the popular expression “slept with” (as relating sexually) someone. This discretion between what it seems to be and what actually is feels to me as a certain innocence trying to be recovered instead of explicit eroticism that calls attention. There is a thin difference from both, but considering the artist’s background experiences, it makes me somehow pitiful from all the fingers society points at us, women. Her gender is a clear role that confronts the hustle and gossip behind her career  and fame, but the works are hinted with details that speak further than that, which provokes a big sensibility and emotion.

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"I realized I was my work, I was the essence of my work - I always say that after I'm dead my work isn't going to be half as good."

Her work is often referred to as confessional, for she uses her own personal history as the subject for her artwork. She has used her own body as medium in self-portraits and performances. Her artworks enact self-mapping and self-commemorating through the possible healing and spiritual aspect of art.

The fame Emin received was more from press gossip than from critical debate for her artwork and her persona is her own brand of unapologetic artistic commodity that violated social norms (particularly British norms). Before reality television programming became as large of a phenomenon as it is today, Emin was elevated to celebrity status through the contested reception of her public appearances. Her brash unwelcomed commentary and defiant telling of a woman's autobiography fed on the public's love of voyeurist-like television sealed Emin's prominence in the contemporary art world.

She rejected the stereotype of the polite modest Englishwoman, and publicly aired her dirty laundry through her artwork and public appearances. Emin's artwork has a performative quality, and has a function other than mere self-expression in that her persona has been created for her by the public, and she has played the "bad girl" that the public has critically embraced. The societal response is part of her artwork; she encourages critique even if it comes in the form of gossip tabloids.

Although she rejects any notions of her work being for a feminist greater good, her courage to be vulnerable and honest through her artwork collapses the edge between life and art, and has brought attention to the discrepancies between men and women's ability to critically and publicly engage with topics such as alcoholism, gender roles, and, most controversially, sex.

Tracey Emin was born in Surrey, in England. She grew up in Margate, on the coast of Kent, with her twin brother Paul. She lived with her mother in a successful seaside hotel, where she claims she was treated "like a princess." Her Turkish father lived with them for half of the week, spending the other half with his wife and other children. After a few years, Emin's father left and took his money with him, leaving Emin's mother bankrupt.

Tracey Emin's childhood, life, career, and various anecdotes

Read Tracey Emin's Biography

And, the artists and movements that built upon Tracey Emin's art

Read Tracey Emin's Artistic Legacy

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"I realized I was my work, I was the essence of my work - I always say that after I'm dead my work isn't going to be half as good." Her work is often referred to as confessional, for she uses her own personal history as the subject for her artwork.

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Artwork description & Analysis: This video features scenes from Margate, Emin's hometown, including the beach, the games arcade and the "golden mile" which is an area with casinos and bars lit with neon signs. Emin narrates a story from her early teens, explaining what her life was like in Margate and how she began having sex with older men between the ages of 13 and 15. After she turned 15, she says, she wasn't interested in sex any more, and turned to dancing instead. When she was dancing in a competition, a group of men whom she'd slept with began shouting "slag" in the middle of her routine, breaking her concentration and causing her to lose focus and in turn lose the competition. The film ends with the older Emin dancing in an unfurnished room with a smile on her face as a rejection of the group of men from her past. Through this personal experience, Emin explores the double standards men often hold for women; they're willing to sleep with them, but equally willing to call them a "slag" for doing so. Dance critic Sarah Crompton describes the film in the following way: "It simultaneously breaks my heart and makes me want to cheer every time I see it because in it Emin transmutes the details of her life into an experience that anyone who has ever been hurt - and recovered - can identify with." The piece is confessional and cathartic for the artist personally too. The images of her hometown are filmed in a different style, which evoke nostalgia and a touch of romance through faded colors and the amateurish handling of the camera. The style of the cinematography changes and lively disco music picks up where the narrative left off. The cut to Emin dancing in a room alone offers a reprieve to an otherwise unfortunate autobiographical story.

Super 8 film - Tate, London

quoted from "theartstory"link

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Tracey Emin: Why I Never Became a Dancer, 1995

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This is "Tracey Emin: Why I Never Became a Dancer, 1995" by MOCA North Miami on Vimeo, the home for high quality videos and the people who love them.

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As this link shows, there are series of relaxing spa treatments nowadays using wine and grapes as a natural antioxidant. Although these sources can be actually good for health and soothing, I linked this article’s informations as an opposition to my performance’s criticism where wine is used as a perverted symbol so as the alcoholic ‘bloody’-like beverage as abuse.

Making a bridge back to a century ago, where women that where “too angry, repulsive or unsatisfied with their home/daily life” where diagnosed with what was called “female hysteria”, described
( on https://www.huffpostbrasil.com/2013/11/21/female-hysteria_n_4298060.html?ri18n=true ) as:

“Hysteria was the first mental disorder attributed to women (and only women) -- a catch-all for symptoms including, but by no means limited to: nervousness, hallucinations, emotional outbursts and various urges of the sexual variety. (…)

Thomas Sydenham was an influential British physician who lived from the mid- to late-1600s, and clearly thought that crazy ladies were wandering around everywhere. According to Mother Jones, Sydenham once declared that female hysteria -- which he attributed to "irregular motions of the animal spirits," was the second most common malady of the time, just behind fevers. (…)

At various points in history, the massaging of a woman's pelvis (i.e., her genitals) was embraced by many a health expert as the cure for female hysteria, resulting in "hysterical paroxysm," or orgasm. Though the practice dates back to the renaissance, and even before, it became a money-maker for the medical establishment during the Victorian era. "By the early 19th century, physician-assisted paroxysm was firmly entrenched in Europe and the U.S. and proved a financial godsend for many doctors," Psychology Today explains.”

Summing up, this condition that is simply about female sexual behavior was seen as a disease, and it was also during the 19th century that vibrators where first created - but categorized as a an electromechanical medical instrument. By bringing back historical moments, we can create a path back to when women became submissive, silenced and objectified. I also relate the male abuse towards us as a point behind all of these topics, that can start with a more “digestive” subject when mentioning wine therapy (in the case of my performance’s background research) which is today seen as a universal way of relaxation. But to bring back gender-determined therapy techniques show a change of time, fortunately. Although, there is still a lot of roots behind a sexist behavior that ‘justifies’ male abuse as a form of relief to what was once “provoked against them”.

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This is not a tease: wine therapy is real and the best way to drink your cares away. More formally known as vinotherapy, grapes are nature's antioxidant. We've all heard the benefits of drinking wine (specifically red wine), but the magical power of grapes seems to offer some medicinal and cosmetic qualities, as well. Everything from grape scrubs to massages to bathing in Pinot Noir can be experienced at these five wine-derful locations.
Put down the glass guys, there's a new way to enjoy wine! Just kidding, we'd never make you do that. You can drink while having your treatment, it's all part of the experience. Our only question is, wine not?

Hotel Marqués de Riscal - Spain

This spa oozes relaxing vibes. The natural decor creates a soft ambience and a chance to really escape. Their treatments range from skin treatments to body wraps, all involving the grape. The vineyards will be in view while you indulge in Cabernet scrubs that exfoliate and nurture your skin or grape essence treatments for stimulation and rejuvenation. How about a rainforest shower or a hammam jacuzzi to end the perfect day? Followed by a glass of red, of course.

Kenwood Inn and Spa - California

It should come as no surprise that California offers wine therapy. What vino-inspired spa treatments can you get here, though? How about a detox and exfoliating Pinot Noir bath? Or perhaps a Chardonnay soak complete with crisp, citrus, and essential grape oils that relax the muscles. I'm officially thinking about pouring wine in my bathtub to experience this now since a visit to Sonoma isn't in the cards just yet...

Adler Spa Center & Beauty Hotel - Italy

Who's up for a new kind of fountain of youth? We all know that water is good for us, but how about a grape seed facial and scrub that promises anti-aging? Sign me up! Let's not forget you'll be surrounded by serene rolling hills dotted with vineyards, which I'm sure will also help take any stress off your shoulders.

Cavas Wine Lodge - Argentina

This hotel's sole commitment is to wine; the first of its kind in South America, and maybe even the world. All the food is local and organic and paired with award-winning wines while you gaze upon the lush vineyards that surround the base of the breathtaking Andes Mountains. After you've had a few glasses, the Vinotherapy Package is a must. Bonarda scrubs, Torrontes treatments to help dry the skin and become more plump, and a Malbec bath are all included.

Chateau Smith Haut Lafitte - France

Vinotherapy was born in Bordeaux, and Chateau Smith was ground zero. Besides tours of the impressive vineyards and wine tasting in one of the most superb wine regions on earth, the treatments are unprecedented. Using mineral-rich water that's extracted from the ground nearby, they create wine spas that strengthen blood vessels, reverse aging, and help with circulation.

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Wine Therapy: Yes it's Real and Obviously You Need It

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This is not a tease: wine therapy is real and the best way to drink your cares away. More formally known as vinotherapy​, grapes are nature's antioxidant. We've all heard the benefits of drinking wine (specifically red wine), but the magical power of grades seems to offer some medicinal and cosme...

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Imagery captured from natural environments only, collected from different continents.

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waterfall at Faroe Islands

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Australia's Outback desert

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Australia's Pink Lake

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Iranian mountains

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Dubai's spacial architecture

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Faroe Island's small gate and pathway

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aerial view of Middle Eastern mountains - around Iran

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Goldsmith is a poet that reads several news or unauthoral texts with a ‘poetical / aesthetic voice’, literally as an ordinary poet. He does not believe in copyright and his work behaves in such way, using technology as the main source. This video specifically starts in a public location, with a (somehow) public text, a newspaper that is grabbed from a small store and is red by K.G. in the streets. In this case, he reads about Obama’s traffic reports.

"“I am in love with creativity, I just don’t like what it has become”, says Goldsmith. This is why he is throwing plagiarism, boredom and uncreative writing back at creativity, with the hope of reviving it: “I am obliged as a poet to be as experimental as possible, because I have nothing to gain by playing it safe.” This uncreative approach to poetry has led Goldsmith as far as to the White House, where he read plagiarized traffic reports to the President of the United States, Barack Obama, who was clearly quite entertained.

" “I am in love with creativity, I just don’t like what it has become”, says Goldsmith. This is why he is throwing plagiarism, boredom and uncreative writing back at creativity, with the hope of reviving it: “I am obliged as a poet to be as experimental as possible, because I have nothing to gain by playing it safe.” This uncreative approach to poetry has led Goldsmith as far as to the White House, where he read plagiarized traffic reports to the President of the United States, Barack Obama, who was clearly quite entertained. (…) " - Louisiana Channel, “Kenneth Goldsmith Assume no Readership” (@ https://channel.louisiana.dk/video/kenneth-goldsmith-assume-no-readership )

Through my point of view Goldsmith explores what is beyond authoral, even though he is borrowing texts still remaining a poet. The performance of reading pieces from someone/somewhere else deals with his choice and comprehension of “creativity” as something that isn't valued as divine or extremely genius. I enjoy his approach that goes the other way around, corrupting this quite capitalistic concern of art or simply creativity itself as something extraordinary, while we are constantly bombarded by information of all type daily.

We got used to this technological and media-ful era and his behavior mimics this relationship between public and ‘show’, seeing show as the complete ordinary. Breaking this ground is somewhat ironic and ‘smart-mouthed’, which makes it exciting to me. Creating another pole of poetry by the way he works with information is in practice basic, but opens up further fields of thought that wouldn’t be accessed without his performance of minimally reading those news.

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Marshmallow Laser Feast – British Council. 

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Marshmallow Laser Feast – British Council. 

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" (Para o presidente da FIESP e do SESI-SP, Paulo Skaf, “só se constrói uma sociedade independente e democrática promovendo o acesso de todos ao que de fato faz a diferença: o conhecimento. Por isso, ao investir em diferentes formas de arte e cultura, o SESI-SP reforça a convicção de que o conhecimento pode vir de pequenos detalhes, em alguns ‘vestígios’, que só o olhar atento do artista é capaz de revelar”.) "

Adriana Balsanelli, 2016

http://adrianabalsanelli.com.br/marshmallow-laser-feast-british-council

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Although I'm not planning yet a concept for this task I felt very impacted by some of Marshmallow Laser Feast (MLF)’s works, specially the two interactive arts “Kinetic Light Sculpture” and “Forest”.

All of the group’s projects are very big and technological but what fascinates the most is the interaction with the public, during the production or as part of the outcome in general. In the case of the Kinetic Light, a forum was firstly develop for people all around the world to answer what would they like to become famous for. After gathering several of the most unique responses, the sculpture’s format was designed through the study of brewery destination processes - by analyzing the water movement through barrels and machines. The outcome was presented with copper circular bands engraved with each answer and disposed in a tubular, portal like area with different circle sizes also with a central light that reflected the comments on the whole ambient/room of exhibition.

Every light present in the room is emerged from the words of several people around the world, that were asked under a common request and question that probably went through everyone’s minds at least once in a while during life. By collecting all of these “desires”, each person is anonymously represented and then possibly open to a certain level of empathy and relation towards the public. A piece that gathers so many information, ends up sharing it all in a same space that gives them all a same value. Not the value of fame itself, since the question is hypothetic. But a sense of relationship is definitely created by the ones who participated and the ones who watch- common people, maybe with common desires that show answers like "wanting to be remembered for creating a certain change in the world” provoke me feelings of community as one, not because of specific answers but for being all around the world. I loved the humanity sense of this work and it’s touching in a melancholic (since people who see or answer are not famous - but that’s not the point), yet warming way.

The “Forest" work is again very interactive, with a range of tall light “sabers” that get illuminated when hit. Looking from our own human height, the act to activate the work almost seems aggressive, but when combined with simultaneous repetitions creates a very delicate, even “fairy"atmosphere when looking up towards the tall light spots. It mixes human interactions in a discordant way when thought rationally, but as a whole represents many interactions that keep the Forest alive and musical. It is very warming and magical, specially when thinking through a child’s perspective (the Vimeo video linked shows the interactions between a big group of kids wearing boxing gloves to hit the light sabers and give life to the ehxibition).

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Kinetic Light Sculpture - Commissioned by Famous Grouse

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Director: Marshmallow Laser Feast
Production Company: PRETTYBIRD
Producer: Margo Mars
Sculpture Design: Marshmallow Laser Feast & Studio Roso
Kinetic Design: Ruairi Glynn

Agency: AMV BBDO

Client: The Famous Grouse

Final sculpture DOP: Brett Turnbull
Additional footage: Sandra Ciampone
Editor: Sandra Ciampone
Music: Dave Cooke

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MLF invited me to document their latest installation presented at STRP festival in Eindhoven: a magical laser forest.
March 2013

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"Five Angels For the Millennium"
Long Beach, CA, 2001.

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"Down the Blue Mountain"  (installation, 2018)—Video projection onto miniature relief sculptures

"Down the Blue Mountain is a sequence of dream-like scenes with a bedroom, the house, the street, and at last, the town. All the scenes are intentionally blurred to leave room for imagination, so viewers can associate their own memories or dreams with the scenes and create their own narratives. The series is shot in San Francisco, where the softness and ever-changing quality of the light and fog engender a contemplative mood. Instead of people, light and space become main characters that tell the story. The title “Down the Blue Mountain” is a phrase from an ancient Chinese poet Li Bai in which he expressed his sentiments for home and romanticized the distant landscape during a long journey.

The videos are projected onto their corresponding miniature wood relief sculptures. As the light changes or fog passes in the video, the relief sculpture and video switch roles of foreground and background."
quoted from Zhou's official website:  http://yugezhou.com/installation#/down-the-blue-mountain/

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Four scenes from "Down the Blue Mountain" series

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http://yugezhou.com/
Please visit https://vimeo.com/290858069 for the installation version of Down The Blue Mountain 
(Left to right, top to bottom)
The Bedroom; 6 min, 16 sec. Infinite loop
The House; 11 min, 29 sec. Infinite loop 
The Street; 8 min, 13 sec. Infinite loop
The Town; 8 min, 6 sec. Infinite loop

Production assistant: Xinyi Zhu

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Comunidades Imaginárias

Video matter of photography from american rubber tree sites.
Although I collected the journal from this piece with several informations about the raw force to rubber extraction, it doesn’t contain the artist(s) who made this. I enjoy this piece a lot because the environment of the room was a very calm and soothing place showing only nature images from the rubber trees, in deep contrast to what this work is actually like. The big human strength and tolerance it asks for is very abusing and made me think about slavery situations on those “jobs”, for instance during a trip I made to the Amazon in 2018. The life conditions of those workers are very rustic and humble, and it made me think about labour in a different way, bringing this quiet and peaceful environment into an imagination of suffer and poverty.

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Work by Jonathas de Andrade on Istambul. Andrade took very unfancy or prepared portraits of common man on the streets of Turkey that could look like jesus. He also asked people about where he could find them and how could they look like through their perspectives. The simplicity of this theme and the approach to the common sense, the opinions and the “routine” aspect of it is what fascinates me the most.
J. de A. was on the oriental side of the globe talking about a very “ocidentalized” figure that Jesus is - and how he is represented as a white man with straight hair and blue eyes on our country (Brasil). The accessibility and controversy behind this work is almost comic, and the public participation was presented even during the ehxibition: after seeing the portrait pictures of men, people could eat a date and vote on which “jesus” they would choose with its seed.
All opinions mattered and were listened during this work, and having this connection while talking about a topic that is known worldwide creates a very interesting community-sense and debate friendly place.

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http://bienalsescvideobrasil.org.br/artista/jonathas-de-andrade

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With Indian background but born in Germany, Harun Farocki (1944-2014) explores the political science towards film with topics that reflect the control over image nowadays - from newspaper to security cameras in stores, prisons or public spaces as ‘not very transparent or clear borders/barriers’ that contain subliminal informations establishing a lot of data from our daily lives.

"As relações entre indústria cultural e violência aparecem também em Jogos sérios I-IV (2009-2010), que retrata o uso de videogames e animações computadorizadas no treinamento de soldados americanos para lutar nas guerras do Afeganistão e do Iraque. As seções de treinamento foram registradas pelo cineasta na Marine Corps Base 29 Palms, na Califórnia, em 2009. Esse trabalho também aborda a combinação entre computação gráfica e realidade virtual em programas utilizados pelas Forças Armadas americanas em sessões de terapia de veteranos de guerra com estresse pós-traumático. No trabalho, o artista analisa a violência que há por trás dessas imagens, além do processo de construção da memória da guerra.”

Quoted from link. El País, As images questionadoras de Harm Farucki, during exhibition at IMS Rio, RJ.
https://brasil.elpais.com/brasil/2019/03/12/cultura/1552400966_974298.html

"Ele sempre se interessou pelo surgimento de novas formas de trabalho, ou por questões como o desemprego ligado à industrialização. Este é um tema muito rico e importante para cada momento da história, de modo que faz muito sentido examiná-lo. (…) enquanto documentarista, muitas de suas obras documentais lidam com a questão trabalhista.”
Antje Ehmann, curator, Harun Farocki: quem é responsável? exhibition's video on IMS Paulista (linked below).

I feel intrigued by the subtle use of image Farocki uses, even though they can be very thoughtful and even historical or journalistic. I believe that by documenting issues as technological industries occupied by smaller labour (humane) force throughout decades and putting himself as an observer instead of actor (to film and select images) and later as activist (by divulging these as his artistic identity) is a clever decision. - F. doesn’t belong or wasn’t born in such social or political places, he comes from a successful family that assured good life conditions during his raise. With that, his documentary series are introspect and raw aesthetically, since he’s not in a place of speech or action where he could simply put his own assumptions on - just like my point of perspective towards such theme I am prompting to talk about. It is essential though that he puts himself in those situations - his works are not an ode or tribute to workers or social situations, like a flag-shipped work where he doesn’t come from.

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Images from street cameras and control over cities during decades.
Also from Who's in charge?exhibition.

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Harun Farocki: quem é responsável? (who's in charge?)

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Harun Farocki: quem é responsável? (who's in charge?)

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IMS SP - september 2019

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Harun Farocki: quem é responsável? | IMS Paulista