Pirate TV, channel 8 in Rio de Janeiro, sporadically broadcast its own program in Rio de Janeiro and only once in São Paulo, between 1987 and 1990. Through a powerful transmitter, its broadcast even interrupted programs of major channels. The channel’s creators remained anonymous. 3 Antena won the Popular Jury Prize in the 8th Videobrasil International Festival.
The collective A Revolução Não Será Televisionada (The Revolution Will Not Be Televised) emerged in 2002 as a TV show that sought to intervene in the medium itself by combining elements of journalism and art.The group was composed of Daniel Lima (Brasil, 1973), Daniela Labra (Chile, 1974), André Montenegro (Brasil, 1971) and Fernando Coster (Brasil, 1971). The program aired on cable for three months in eight 25-minute episodes, featuring collaborations from 50 new and established artists, including André Komatsu, Regina Silveira, Ricardo Basbaum, Tiago Judas and Lia Chaia, among others. Each episode featured different visual and audio experimentations and participants’ works were later catalogued separately. The group stopped collaborating in 2005.
Transdisciplinary group of research and direct action focused on racism in the Brazilian society. Its approach gives new interpretations and contextualizes data that arrive to the population fragmentarily through news outlets, associating the artistic legacy of generations that thought out ways to interact with the urban space to the historical struggle and resistance of the African Brazilian culture. Collective members: Achiles Luciano, André Montenegro, Cássio Martins, Cibele Lucena, Daniel Lima, Daniel Oliva, Eugênio Lima, Felipe Teixeira, Felipe Brait, Fernando Alabê, Fernando Coster, Fernando Sato, João Nascimento, Julio Dojcsar, Maia Gongora, Majoí Gongora, Marina Novaes, Maurinete Lima, Pedro Guimarães, Roberta Estrela D’Alva, and Will Robson. It has taken part in the exhibitions Zona de Poesia Árida [Arid Poetry Zone], Museu de Arte do Rio (2015); Teoria del Color, Museo Universitario Arte Contemporáneo, Mexico City (2014); and Living as Form, New York (2011), among others. The collective is based in São Paulo.
Visual artist. In 1955, he moves to Rio de Janeiro. He takes up painting in 1965 and, in 1967, he takes classes at the National School of Fine Arts of the Federal University of Rio de Janeiro. In 1969, he begins to create the Situations—works of great impact, made with ephemeral and precarious materials such as garbage, toilet paper, human waste and rotting flesh (such as the Bloody Bundles), with which he performs interventions in the urban space. In the same year, he writes a manifesto in which he challenges traditional categories of art and their relationship with the market, and the social and political situation in Latin America. Barrio documents these situations through photography, artist’s notebooks and Super 8 films. His work, which also includes installations and sculptures, renounces a purely formal or contemplative aesthetic by making garbage, scrap, the perishing of the organic and the ephemerality of the gesture the material capable of revealing a radical and contestatory dimension of reality. Since the mid-1990s, various publications and exhibitions have sought to recover his work. He lives and works in Rio de Janeiro.
Artist. He holds a degree in fine arts from the Federal University of Santa Maria (2000). His works range between public action and intimacy of the processes of drawing and engraving, questioning the commonly accepted limits of reality, and critically confronting them with other possibilities of existence. His work is composed of a myriad of textual, visual and sound elements, articulated in videos, writings, drawings, objects and installations. In the 2000s, along with other artists from Rio Grande do Sul, he was part of the collective Laranjas, active in the alternative circuit that began to form around Brazilian capitals and in its connections in other countries. He exhibited at the Wexner Center for the Arts, Ohio (2014); Cité Internationale des Arts, Paris (2011); the 7th Mercosul Biennial, Porto Alegre (2009); and the New Museum, New York (2010). He lives and works in Recife.
Architect, founder and partner at architecture firm Elito Arquitetos Associados. Graduated from Mackenzie Presbyterian University in 1971. Alongside Lina Bo Bardi, he planned the restoration of Teatro Oficina (1980/1984). He designed SESC Santo Amaro (2007), the Theater of Colégio Santa Cruz (2002), among others. His recent Paraisópolis Urbanization Project (2012) won 2nd place at the 2012 Global Holcim Awards and Selo Casa Azul (Blue House Seal) from Brazil’s Federal Savings Bank – the first Habitação de Interesse Social (HIS – Social Interest Housing) project ever to be awarded the seal. He was responsible for the restoration of the Municipal Astrophysics School in 2008, alongside Joana Fernandes Elito and Cristiane Otsuka Takiy. In 1982 and 1983 he organized the Teatro Oficina video center, and there he made the videos Abra a Jaula, with Goffredo Teles Neto, and Caderneta de Campo, with Catherine Hirsch, Noilton Nunes and José Celso Martinez Correa. Lives and works in São Paulo.
Filmmaker and video artist. Son of the writer Lygia Fagundes Telles and the lawyer Godofredo Telles Jr, he was the stepson of the historian and film critic Paulo Emílio Salles Gomes. Goffredo worked as a producer with José Mojica Marins, in films like the 1969 O ritual dos sádicos (O despertar da besta). Works he directed include: Narrarte (1990), on the life and work of Lygia Fagundes, co-directed by Paloma Rocha and awarded at the Gramado Film Festival; Abre a jaula (1982), a video-argument against censorship, co-directed by Edson Elito; and Fogo fátuo (1980), which retraces Mojica’s trajectory, from his early encounter with cinema to the creation of Coffin Joe.
Founded in 1958, at Largo São Francisco Law School, the group went through different phases. Its professionalization, starting in 1961; the Golden Years through the late 1960s, when the group staged plays that revolutionized modern Brazilian dramaturgy, such as Gorky’s The petty bourgeois and Oswald de Andrade’s O rei da vela; the exile between 1974 and 1979, in Portugal, Mozambique, France and England, producing cinematographic works such as 25 and O parto. After the democratic opening, the group reconvened in São Paulo, and for ten years worked to build its new theater, an architectonic project by Lina Bo Bardi and Edson Elito, which opened in 1993, inaugurating a new phase. Classical plays, such as Shakespeare’s Hamlet and Euripides’s Bacchae, were performed in the style of Eletrocandomblé Carnival Operas—modern musicals with a large chorus and a live band. The first bylaws of Associação Teatro Oficina Uzyna Uzona, from 1984, is inspired by Chords, a play by Bertolt Brecht and Paul Hindemith originally entitled by them as The Baden-Baden lesson on consent, and by Oswald de Andrade’s Anthropophagic manifesto.
Her projects, often produced in cooperation with other artists, range from video and performance to educational curation. Process-oriented and committed, they aim to expand the so-called “arts audience,” relating to political and social contexts. Editor of Urbânia magazine, the artist exhibited at the 29th and 31st editions of the Bienal de São Paulo (2010, 2014), 10th Bienal de Arquitetura, São Paulo (2013), and Museu de Arte de São Paulo (2017). She lives and works in São Paulo.
The aesthetic appropriation of science fiction, the landscape’s state of mind, and the temporality of image are some of the themes that drive the artist’s interest. Roque works with film, video, and photography. He studied art theory and criticism at the Federal University of Rio Grande do Sul between 2003 and 2007. He has taken part in many exhibitions, namely: Amor e Ódio a Lygia Clark, Zacheta National Gallery of Art, Warsaw, Poland (2013); Medos Modernos, Instituto Tomie Ohtake, São Paulo (2014); Ancestral, CCSP, São Paulo (2016); not to mention the Mercosul Biennial (2013) and the São Paulo Biennial (2016). He lives and works in São Paulo.
Visual artist. She holds a degree in social communication from the Federal University of Minas Gerais (1996), in fine arts from the Guignard School, both in Belo Horizonte (1999), and a master’s degree in visual languages from the School of Fine Arts of the Federal University of Rio de Janeiro (2003). In her work, Dardot uses temporality, the word, and the act of writing and reading as her main references. Whether alluding to literary and philosophical works or the book as a material object, her installations, videos, actions, publications and objects explore other ways of perceiving language and its possible supports by searching the polyphony of meaning in its nascent state. She has held solo shows at institutions such as Galerie Krinzinger, Vienna, Austria (2014); Centro Cultural Banco do Brasil, Rio de Janeiro (2011); and collective shows at the Contemporary Art Center, Vilnius, Lithuania (2017); Museu de Arte Moderna de São Paulo (2005, 2007, 2013 and 2016); and the 27th and 29th editions of the São Paulo Biennial (2006 and 2010). She lives and works in São Paulo.
Visual artist graduated in visual arts from the School of Fine Arts of the Federal University of Minas Gerais. He works with different media such as photography, painting, installation, monotype, video and weaving. Active in Belo Horizonte’s independent circuit, Lamonier often departs from his own daily life in this city. Crossed by montages and appropriations, his work approaches the relationship between center and periphery, police violence and political resistance, from the perspective of the formation of subjectivities that arise in the urban and industrial space. Among his main exhibitions are the collective shows Um tanto de nós, Museu da UFPA, Belém (2015); Muestra Marrana, Hangar, Barcelona (2014); International Photography Festival, Museu Mineiro, Belo Horizonte (2013); Salle d'attente, urban intervention, Paris (2012); and the solo show Diários em combustão at Galeria Orlando Lemos, Nova Lima (2014). He lives and works in Belo Horizonte.
Visual artist with a bachelor’s degree from the School of Fine Arts of the Federal University of Minas Gerais, Belo Horizonte, and a master’s degree from the Royal College of Art, London. In her installations, videos and photographs, Rivane works with commonplace, perishable materials (such as dust, leaves and flowers), seeking to maximize the observer’s sensitivity and make his contact with the everyday world happen through shades and layers, many times giving the public the possibility of intervening in the work. Through a process she describes as “ethereal materialism,” her works explore narratives about language, nature, geography, temporality and social interactions. She has taken part in important exhibitions and institutions such as the Biennials of São Paulo (1998), Venice (2005) and Mercosur (2007); the Museum of Modern Art, New York (2015); the Solomon R. Guggenheim Museum, New York (2015); and Palais de Tokyo, Paris (2003). She lives and works in São Paulo.
Visual artist. She holds a degree in architecture from the School of Architecture of the Federal University of Minas Gerais (1986), in fine arts from the Guignard School (1987), and a doctorate degree in arts from the School of Communications and Arts of the University of São Paulo (1997). One of the first Brazilian artists to move photography from the two-dimensional field to the territory of artistic installation, Rennó addresses questions about the nature of image, its symbolic value and its depersonalization process. In her photographs, objects, videos and installations, she appropriates and gives visibility to an anonymous assemblage of photographs and negatives found in antique fairs, family albums, newspapers and archives. She has participated in the Biennials of Johannesburg (1997), São Paulo (1994 and 2010) and Istanbul (2011); and also in shows such as América Latina 1960–2013, Fondation Cartier, Paris (2014), and Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Ohio (2014). She lives and works in Rio de Janeiro.
Filmmaker, professor and researcher. Throughout her career, she has worked with television, film, video installation and video. In 1984, she created her first pieces, with video as her medium of choice, as part of the generation that benefited from the popularization of video-making equipment as the decade progressed. In 1989, during the then-called VI Festival Fotoptica Videobrasil, she won a residency prize at the Centre Internationale de Création Vidéo in Montbéliard, France, a seminal experience that steered her towards working with less linear narratives. In the Videocabines project, initiated in 1990, she afforded passersby in several cities around the world the chance to record themselves in video booths for a few seconds. Traces from these works can also be found in the TV show Brasil Legal, which aired on Rede Globo from 1995 until 1998. Sandra Kogut studied Philosophy and Communication at the Pontifical Catholic University of São Paulo (PUC-SP). She served as a professor at the École Superieure Des Arts Décoratifs (ESAD) in Strasburg, France, and in the United States’ Princeton University, Columbia University, University of California – San Diego (UCSD), and New York University (NYU). Lives and works between Rio de Janeiro, New York and Paris.
Visual artist. Ramo holds a bachelor and a master’s degree in arts from the Federal University of Minas Gerais, Belo Horizonte. The artist appropriates elements and scenes from everyday life, moving them from their original places and rearranging them in videos, photographs, collages, sculptures and installations. Incorporating notions of mysticism, mythology and magic, her works question the utilitarianism that determines the relationship between humans and objects, creating unexpected configurations and giving them new meanings. She has participated in different Biennales, such as Mercosur, Porto Alegre (2006 and 2013), Sharjah, United Arab Emirates (2013), São Paulo (2010), Venice (2009); and Panorama da Arte Brasileira, Museu de Arte Moderna de São Paulo (2011). She lives and works in São Paulo.
Traplev (Roberto Moreira Junior) is a visual artist. He holds a bachelor’s and a master’s degree in visual arts from the Arts Center of the State University of Santa Catarina, Florianópolis. He coordinates the actions of Traplev Orçamentos [Traplev Budgeting] since 2005, through which he organizes seminars, workshops, exhibitions, and curatorial and collaborative projects. Since 2002 he is the publisher in charge of the publication RECIBO [RECEIPT]. In his artistic practice, interactions with issues of economics and mathematics add to political and administrative contexts, from everyday negotiations to the public sphere. These issues are evident in devices, platforms and flows of communication and aesthetics with critical narratives of the social environment. He has exhibited at the A4 Arts Foundation, Cape Town, South Africa (2017); Parque Lage, Rio de Janeiro (2016); Coletor, São Paulo (2014); Espacio de Arte Contemporáneo, Montevideo, Uruguay (2012); and Instituto Cervantes, São Paulo (2010). He lives and works in Recife.
Created in 1984 in the Communication Program at Centro de Cultura Luiz Freire in the city of Olinda, in Pernambuco, the group formed by Eduardo Homem and Cláudio Barroso, among others, traveled around peripheral neighborhoods in Recife’s metropolitan area showing its program. Pioneering a type of alternative popular TV, TV Viva also worked with educational and institutional videos. TV Viva’s first videos portrayed the daily life of the neighborhoods where they were shown on big screens that circulated weekly between Recife and Olinda. The group was funded by a Dutch organization, Novib, and had its works acquired by Abril Vídeos and BBC London. It participated with great success of the 3rd Festival Videobrasil, in 1985, with the work Amigo urso.
Poet and multi-artist Waly Salomão entered the musical scene as a lyricist and worked as a producer and artistic director. In partnership with Jards Macalé, he wrote songs such as Vapor barato and Mal secreto, recorded by Gal Costa (1968), whom he directed in the show Fa-tal (1971). He wrote the lyrics to Mel and Talismã, by Caetano Veloso, recorded by Maria Bethânia (1979). He also composed with Lulu Santos, Roberto Frejat and Adriana Calcanhoto. With Gilberto Gil, he conceived the soundtrack for the movie Quilombo (1984), by Cacá Diegues. In 1971, he released his first poetry book, Me segura qu'eu vou dar um troço, inspired by his experience in jail. The book’s layout is signed by Hélio Oiticica, whose biography, Qual é o parangolé, Salomão would later write. He also published Gigolô de bibelôs (1983), Lábia (1998), among other texts marked by Waly’s free, restless and provocative style. He was a member of the Council of Curators of Associação Cultural Videobrasil, an institution he collaborated since 1996. He created, alongside Carlos Nader, the performance Bestiário masculino-feminino, presented in the 12th Videobrasil Festival (1998). He was the articulator of the concept “Displacements”, curatorial axis of the 14th Videobrasil Festival (2003).