{"id":5552,"date":"2019-12-16T03:39:48","date_gmt":"2019-12-16T05:39:48","guid":{"rendered":"http:\/\/ciaexcessos.com.br\/?page_id=5552"},"modified":"2021-01-03T21:50:05","modified_gmt":"2021-01-04T00:50:05","slug":"aparelho","status":"publish","type":"page","link":"https:\/\/ciaexcessos.com.br\/en\/tales-frey\/curadoria-organizacao\/aparelho\/","title":{"rendered":"Apparatus (2019)"},"content":{"rendered":"

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In the violent and authoritarian context of the Brazilian military dictatorship (1964-85), \u201capparatus\u201d was called the place where a certain group of activists of similar and anti-government ideals of the time would gather to organize meetings, devise strategies, store materials of propaganda, hiding weapons, ammunition, money, among other things. The apparatus was also the (almost) safe environment of these people, where they could take refuge in risky situations, share their afflictions, but also their desires and achievements.<\/span><\/span><\/p>\n

Such a sad period in the history of Brazil was recently awakened by atrocious of the most unworthy strain, and behold, in 2016 the Brazilian Constitution was seriously injured and a dishonest \u201ccoup d’\u00e9tat\u201d paved the way for a sociopath in 2018 \u2013 who literally exalted a torturer as a hero \u2013 that could to reach the presidency through an election proven to be based on fraud, slander and defamation through fake news and utter bad faith.<\/span><\/p>\n

The exhibition \u201cApparatus\u201d \u2013 which gives thematic continuity to the \u201cAdorno Pol\u00edtico\u201d (2018) \u2013 brings together eighteen artists with close political ideals as all oppose the current truculent Brazilian regime structured in the clearest necro politics, which combines neoliberalism and fascism, dehumanizing and exterminating lives for the sake of capital. In their approaches, these artists (also activists), in festive, emancipatory, sarcastic, playful or simply documentary creations, denounce genocide, repression, prejudice and setbacks in an environment of militancy and affection, where we can intuit the preparation for battle, but also be careful to go strong and conscious to the fight.<\/span><\/p>\n

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Tales Frey<\/span><\/p>\n

curador<\/em><\/span><\/p>\n

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ARTISTS<\/span><\/strong>
\nAlice Yura, Arissana Patax\u00f3, DUDX, Ed Marte, Grasiele Sousa a.k.a Cabel\u00f3droma, Hel\u00f4 Sanvoy, Hilda de Paulo\/Paulo Aureliano da Mata, Let\u00edcia Maia, Marcela Tiboni, Marie Carangi, Maur\u00edcio Ian\u00eas, Orlando Vieira Francisco, Panmela Castro, Paul Setubal, P\u00eadra Costa, Priscilla Davanzo, Sama and Yhuri Cruz\u00a0<\/span><\/span><\/span><\/p>\n

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ARTWORKS<\/b><\/span><\/h3>\n

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1)<\/strong>\u00a0Yhuri Cruz,\u00a0Monument to the Voice of Anastasia<\/strong>, 2009. Installation;<\/span><\/p>\n

2)<\/strong>\u00a0Marie Carangi,\u00a0Teta L\u00edrica<\/strong>, 2017. Video, 4\u201910\u2019\u2019;<\/span><\/p>\n

3)<\/strong>\u00a0Panmela Castro,\u00a0Rematch<\/strong>, 2019. Video, 3\u201943\u2019\u2019;<\/span><\/p>\n

4)<\/strong>\u00a0Paul Set\u00fabal,\u00a0Zeitgeist<\/strong>, 2015. Video, 1\u201943\u2019\u2019;<\/span><\/p>\n

5)<\/strong>\u00a0Priscilla Davanzo,\u00a0\u53e3\u4ed8\u3051<\/strong>, 2016. Video, 5\u201934\u2019\u2019;<\/span><\/p>\n

6)<\/strong>\u00a0Arissana Patax\u00f3,\u00a0Rede de Tucum<\/strong>, 2019. Video, 1\u201958\u2019\u2019;<\/span><\/p>\n

7)<\/strong>\u00a0Ed Marte,\u00a0Requiem for a Bride<\/strong>, 2017. Video, 7\u201905\u2019\u2019;<\/span><\/p>\n

8)<\/strong>\u00a0Alice Yura,\u00a016:26:34<\/strong>, 2014. Photo, 100 x 80 cm;<\/span><\/p>\n

9)<\/strong>\u00a0Marie Carangi,\u00a0Oculteta<\/strong>, 2018. Photo, 6 x 9 cm;<\/span><\/p>\n

10)<\/strong>\u00a0Grasiele Sousa a.k.a. Cabel\u00f3droma,\u00a0a situa\u00e7\u00e3o DA brasileira<\/strong>, 2016. V\u00eddeo, 9\u201903\u2019\u2019;<\/span><\/p>\n

11)<\/strong>\u00a0Hilda de Paulo\/Paulo Aureliano da Mata,\u00a0if I can’t dance too, this is not my revolution<\/strong>, 2019. Sign in MDF 15 mm with special cutout and automotive painting, 146 x 140 cm;<\/span><\/p>\n

12)<\/strong>\u00a0P\u00eadra Costa,\u00a0STA \u2013 Solange, I\u2019m open!<\/strong>, 2017. Video, 6\u201921\u2019\u2019;<\/span><\/p>\n

13)<\/strong>\u00a0DUDX,\u00a0Ronald from Chernobyl<\/strong>, 2016. Photo, 75 x 50 cm;<\/span><\/p>\n

14)<\/strong>\u00a0Maur\u00edcio Ian\u00eas,\u00a0Fall<\/strong>, 2018. Photo, 95 \u00a0x 140 cm;<\/span><\/p>\n

15)<\/strong>\u00a0Sama,\u00a0Hell<\/strong>, 2019. Object, 130 x 50 x 15 cm;<\/span><\/p>\n

16)<\/strong>\u00a0Let\u00edcia Maia,\u00a0Game Board I<\/strong>, 2019. Object, 40 x 50 cm;<\/span><\/p>\n

17)<\/strong>\u00a0Marcela Tiboni,\u00a0Books to Attack<\/strong>, 2017. Objects with variable dimensions;<\/span><\/p>\n

18)<\/strong>\u00a0Hel\u00f4 Sanvoy,\u00a0White Deviation<\/strong>, 2013. Video installation;<\/span><\/p>\n

19)<\/strong>\u00a0Orlando Vieira Francisco,Territory of Violence and Oppression (The Crux of the Question)<\/strong>, 2019. Inkjet printing on polyester, iron and varnish, 118 x 92 cm.<\/span><\/p>\n

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Exhibition guide available <\/span> here<\/a>.<\/span><\/p>\n

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Apparatus <\/strong>exhibition (2019) curated by Tales Frey. Maus H\u00e1bitos Cultural Intervention Space, Porto, Portugal. Photos by Jos\u00e9 Caldeira<\/span><\/p>\n

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Apparatus <\/strong>exhibition (2019) curated by Tales Frey. Maus H\u00e1bitos Cultural Intervention Space, Porto, Portugal. Photos by Jos\u00e9 Caldeira<\/span><\/p>\n

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Apparatus <\/strong>exhibition (2019) curated by Tales Frey. Maus H\u00e1bitos Cultural Intervention Space, Porto, Portugal. Photos by Jos\u00e9 Caldeira<\/span><\/p>\n

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Parallel Program of the Apparatus<\/em> Exhibition<\/u><\/strong><\/span><\/h3>\n

November 14, 2019 at 9:30 pm | Exhibition Room<\/span><\/u><\/span><\/span><\/p>\n

Performance Solange, I’m open<\/i>! by P\u00eadra Costa<\/span><\/u><\/b><\/span><\/span><\/h4>\n

Solange, I’m open!<\/span><\/i> or STA!<\/i> it is a Baile Funk Queer Punk show, which has existed since 2006. Mixing and incorporating underground countercultures, it uses Baile Funk (electronic music from the favelas of Rio de Janeiro) as an artistic tool of resistance and politics, promoting a dance explosion. The project talks about issues related to sexualities, genders, identities and stereotypes. P\u00eadra has already performed in Brazil, Bolivia, Denmark, Norway, Italy, Poland, Spain, Germany, Austria, Greece and France.<\/span><\/span><\/p>\n

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P\u00eadra Costa,\u00a0Solange, I’m open!<\/strong>. Performance held in Porto, Portugal. November 2019. Photos by Jos\u00e9 Caldeira<\/span><\/p>\n

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November 14, 2019 at 9:30 pm | Exhibition Room<\/span><\/span><\/u><\/span><\/p>\n

Amarga [Bitter]<\/span><\/u><\/i>, performance art by Let\u00edcia Maia<\/span><\/u><\/b><\/span><\/span><\/h4>\n

The phrase \u201cP\u00e1tria Amada, Brasil\u201d [\u201cBeloved Homeland, Brazil\u201d] is in the logo that prints the measures of the current government, it is the face that they want to give to Brazil, a mushy and dangerous patriotism, full of moral conservatism. The image of a happy, fair and sweet Brazil, which lives on carnival and football, hides the extraordinary violence, social inequality that, when the new government brand was launched, analogies on the internet quickly appeared, replacing \u201cP\u00e1tria Amada, Brasil\u201d [\u201cBeloved Homeland, Brazil\u201d] with phrase \u201cP\u00e1tria Amarga, Brasil\u201d [\u201cBitter Homeland, Brazil\u201d] or \u201cP\u00e1tria Armada, Brasil\u201d [\u201cArmed Homeland, Brazil\u201d] bringing to light the contradictions that we live in the country.<\/span><\/span><\/p>\n

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Let\u00edcia Maia, Amarga<\/b> [Bitter].<\/b> Performance art held in Porto, Portugal. November 2019. Photos by Jos\u00e9 Caldeira<\/span><\/span><\/p>\n

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