Ontem e Hoje, Museu de Arte de Joinville

Asinha, 2012. cast bronze, 15 x 7 x 2 cm

A exposição ‘Ontem Hoje’, 20 de Set a 18 de Out 2015, é um evento paralelo da Fundação Cultural de Joinville ao Encontro Econômico Brasil-Alemanha, que ocorre de 20 a 22 de setembro.

Nesta exposição serão apresentadas obras do acervo do Museu de Arte de Joinville de autoria de artistas com sobrenome de origem alemã; obras dos acervos do Arquivo Histórico de Joinville, Museu Casa Fritz Alt e Museu Arqueológico de Sambaqui de Joinville; de coleções particulares, além de reproduções de obras do Museu Imperial de Petrópolis/Rio de Janeiro e do Museu de Versalhes/França.

Como contraponto, foram convidados artistas visuais atuantes e residentes em Joinville para apresentarem obras contemporâneas produzidas nas últimas décadas, formando o dueto homônimo do tema da mostra – ‘Ontem Hoje’. A exposição é composta de 30 obras em diferentes linguagens: desenho, pintura, escultura, objeto, assemblage, fotografia, litogravura, vídeo e colagem.

É a primeira vez que mostro uma asinha no Brasil.

Campanha Satânica

Campanha Satânica / Satanic Campaign in Joinville, July 2015

Cocktail intervention at the reception for the Organismo exhibit, by Brazilian artist Vini Poffo, at Casa da Cultura in Joinville, Brazil, July 23th 2015. A plate of banana candy drops with ribbons, containing the following messages:

Vamos perdoar o Diabo / Let us forgive the Devil
O Diabo te ama mais / The Devil loves you more
Dê uma chance ao Diabo / Give the Devil a chance
Diabo doce / Sweet Devil

In September the campaign was re-presented in Florianópolis during the "Eventinho", part of the Confluências project by SESC. Even though I was not physically present, the SESC staff - Maristela Medeiros and Daniele Zacarão - helped me to put the candy and ribbons together. Big thanks!

Campanha Satânica / Satanic Campaign in Florianópolis, September 2015

In 2016 I came across the work of Gustave Doré (1832-1883), who illustrated John Milon´s "Paradise Lost", which presents a heroic Satan. This sympathetic view of the Devil inspired me to incorporate Doré´s illustrations to the Satanic Campaign. I combined three of his designs, with depictions of Satan, with the sentences from the previous campaigns:




These images were print and sent to a poster exhibit in Londrina, Brazil. They were installed at a public space of the city, along with other posters:


Other images of the site, made on a different day, show that the Satanic Campaign posters have been vandalized. Someone was clearly not willing to give the Devil a chance...


batata

Batata (potato), intervention / performance, 2014.

Potatoes, previously sprouted, planted on inconspicuous public places.

For this first series of interventions the chosen site was the Cidadela Cultural Antarctica complex, in Joinville, Brazil. The complex - an old brewery - had been promised by the city to shelter various artists' associations and collectives. But the promise was not kept. Other institutions, which have nothing to do with the arts or culture, still occupy the best buildings in the complex, while other buildings which could be put to use are currently empty and closed down, due to structural and maintenance issues.

Thus the #OCUPACIDADELA event, in which several independent artists and artists' associations occupy the entire area for around 48h to display their works. It happened for the first time in October, and then again in December of 2014. As a local artist I could not see myself not participating.

Thus I decided to plant some potatoes on the four corners of the complex. This way I claim that territory and make it productive.

After a few weeks, almost all potatoes died; the sun was probably too strong for them. Bu one survives and grows timidly, protected by the shade of a tree. I've been visiting it periodically to remove weeds, water it, etc. Hopefully, it will produce new potatoes sometime in 2015.

Sete Rádios

  
Sete Rádios (Seven Radios), sound intervention, 2014

 

Seven portable radios, tuned to different, random frequencies - some with audible transmission, some with noise - are turned on at the same time, at the public cemetery of Criciúma, in Brazil. The resulting sound mass is heard throughout the cemetery. The radios were left on site.

Presented as part of the Semana de Ocupação Urbana (Week of Urban Occupation) exhibit, curated by the Laborativo Collective.

troca de entidades

Troca de Entidades (Entity Swap), 2013-2014

A syncretism acceleration project, by the means of religious exchange.

The first exchange happened in 2013 and 2014, between Haitian Vodou and Brazilian Umbanda and Candomblé.
 

Part one: Exú Marabô in Haiti. In 2013 I acquired a statue of Umbanda spirit Exú Marabô, with the intent of taking it to Haiti and donating it to a Vodou temple. I chose Marabô for his distinctive trait of speaking French, which enables him to adapt to Haitian culture.

While in Haiti during the 2013 Ghetto Biennale I found a Vodou priest who was willing to adopt Marabô in his temple. The first image shows Marabô already installed at Papa-da Alphonze´s temple in Port-Au Prince, Haiti. Photo by Jason Metcalf.

Part two: Dambala in Brazil. In Haiti I acquired another statue, crafted by the Papa-da himself, of the Vodou Loa Dambala. In June of 2014, I returned to Brazil and met Candomblé Yalorisha (priestess) Jacila D’Oshum, who accepted Dambala as part of her Ylê  (a Candomblé temple). The second image shows Dambala at the shrine of Oxumaré, at Jacila´s temple in my hometown Joinville.

Thanks to Jason Metcalf, Papa-da Alphonze, Gerson Machado and Mão Jacila D’Oshum for your support in this project!

 Exú Marabô at Papa-da Alphonze´s temple, in Port-Au Prince, Haiti (photo by Lazaros)


Dambala at Mãe Jacila D’Oshum´s temple, shrine of Oxumaré, in Joinville, Brazil

the absence of the artist is present



In THE ABSENCE OF THE ARTIST IS PRESENT I offer the presence of my absence as performance art. By displaying the image of a place where I am not, I make my absence present at the specific place and time when the image was produced. While I can only be present at one place at a time, my absence can be simultaneously present at all other places on the planet, and possibly in outer space.

Thus this is performance art at a monumental scale. Almost the size of the world, it is the largest work of art ever created or performed. In order to document it I am collaborating with Google Maps, which has been keeping track of my absence since 2007 and making it available through the Street View tool.


A selection of ten images were displayed at the Michigan Institute of Contemporary Art (MICA) in Lansing, Michigan, from May 3 to 30, 2014. These images are but a small sample of the work, which is available in its entirety at the Google Maps website.










pérolas

A tiny grain of sand finds its way into the oyster's shell. Unable to expel the irritating invader, the weak oyster creates a jewel around the grain.

PÉROLA PASSIVO-AGRESSIVA, with Dylan Wahl.Pearl, oyster shell and fishing line. 2013
Exhibited at the MSU Gallery 101, East Lansing, from August 26th to September 13, 2013.

Hovering a few centimeters above its shell, this pearl is more or less where it is supposed to be; but not quite.


PÉROLA NO GRAMPO
, pearl and wooden clothespin.
2014.
Exhibited at the Michigan Institute of Contemporary Art from May 3 to 30, 2014.


PÉROLA NO ANZOL
, pearl, fishing hook, sinkers and fishing line.
2014.
Exhibited at the Michigan Institute of Contemporary Art from May 3 to 30, 2014.


Pérola no céu
, performance, 2014.

With Kethlen Kohl and Marcos Alexandre.


Three pearls.




The pearls are glued to "invisible" polymer thread and then tied to translucent helium balloons.




areia



Areia, Portuguese for sand, is a performance / intervention in which I installed single grains of sand within eight major US museums: the Art Institute of Chicago, the Detroit Institute of Art (DIA), the Museum of Contemporary Art Detroit (MOCAD), the Institute of Contemporary Art of Boston, the Museum of Fine Arts of Boston, the Museum of Modern Art of New York (MoMA-NY), the Solomon R. Guggenheim Museum and the Metropolitan Museum of Art of New York. The grains were not uninstalled after the action, remaining in the museums to become part of their permanent collections.

Every time the action was performed, two images were produced: one at the moment the grain of sand is placed on the floor, and one after its installation, using a portable microscope. These images were later paired and displayed at the Eli and Edythe Broad Art Museum as my MFA thesis exhibit, from April 3rd to 13th, 2014. 


Areia is a guerilla action and an intervention at the smallest possible scale. A grain of sand is a tiny intruder. It can be quite irritating if it gets under your clothes, but if it gets into a healthy oyster, it might produce a pearl. In the tightly controlled, sanitized and often mystified space of the art museum, the invasive object brings a little bit of the outside world. 

In the Poetics of Space, Gaston Bachelard devoted a chapter to miniatures and other minuscule things. He wrote:

The man with the magnifying glass takes the world as though it were quite new to him. (…) He is a fresh eye before a new object. The botanist's magnifying glass is youth recaptured. It gives him back the enlarging gaze of a child. With this glass in his hand, he returns to the garden, where children see enlarged. Thus the minuscule, a narrow gate, opens up an entire World. The details of a thing can be the sign of a new world which, like all worlds, contains the attributes of greatness. Miniature is one of the refuges of greatness.
The insignificant size of a grain of sand makes it difficult to think about its unauthorized installation as littering or vandalism. Still the grain is a tangible, three-dimensional object, whose physicality cannot be denied. By occupying the exhibition space of a prestigious institution, the installed grain claims its big name.

Since the invention of the hourglass, sand stands for time. A single grain of sand then stands for an instant, the smallest possible unit of time. The installed grain is a self-referential object, standing for the exact instant in which it was put there, and thereby transformed into a miniature, minimalist monument to the moment: mini mini mo mo.

My special thanks to Elise Benveniste, Dylan Wahl and Paul Deckard for their assistance during the performances - without you, this project would not have been possible! 








monolith


"Monolith" is a sculpture by Jefferson Kiekwagen and Ryan Groendyk. Installed on 12/12/2013 as part of the 3rd Guetto Biennale in Port-au-Prince, Haiti, with the collaboration of Chery Jerry Reginald, Hughens Féquière, Jason Metcalf, Joel Pierre and Laforèt Roselord.

Two sacks of Haitian grown rice were bought at the farmers market of Saint Mark, Haiti; with the help of local laborers and using the public transportation system, the sacks were brought to the Guetto Biennale site. The rice was transferred to approximately 150 smaller bags which were then stacked on a vertical pile at the Biennale site.

Each bag weighted approximately 1kg.

virtual transgenderism


Virtual Transgenderism is a Facebook Sex-Change Campaign launched in 2012, with the creation of a Facebook page and the circulation of a tutorial in three languages, Portuguese, Spanish and English. These tutorials are presented in the form of a campaign which instructs readers on how to change the gender of their Facebook profiles. If the reader follows the instructions and performs the change, the effects of the procedure will be felt by all of his or her contacts - but only at the level of language, on Facebook's timeline.



In December 11th 2013 the Campaign left Facebook for the first time, to take place in the real world, in Criciúma, Brazil. An updated version of the tutorial was distributed as a pamphlet by Brazilian artists Joana Elyzabéty Moreira and Maíra Silveira, as part of the Semana de Ocupação Urbana (Week of Urban Occupation) exhibit. Photos by Fernanda Piccolo.


There has been a demand for feedback from IRL transgender people about this project. There was a concern that the project may be perceived as transphobic, as it appears to trivialize the struggle of IRL transgenders who have to personally handle the social impacts of gender transition.

Artist Robert Zurenko, currently based in Detroit, agreed to share his thoughts about this issue. It turns out that he does not think the project is transphobic at all. He told us “there is a big space in the lives of transgender people where they're not sure what they wanna be (…) so they get upset when they have to pick a side. So if there are no sides to pick, it relieves a lot of tension.” This reinforces our belief that the project does not trivialize, but rather de-dramatizes the issue of gender identity.

The opposition between gender roles is so accentuated, the contrast has been made so strong, that transition cannot be without drama. Transition is perceived as an abrupt movement, from one thing to its direct opposite. But drama has a paralyzing effect. In order to de-dramatize the issue, the transition needs to be made less abrupt. Allowing oneself to put one’s gender identity in play on the virtual level of social networks, which is the realm of language, creates a space for smoother transitions.