Mostra Rumos

The Mostra Rumos presents works by 15 of the 101 creators awarded with by the program Rumos Itaú Cultural 2013 – 2014. With more than 15 thousand applications, a multidisciplinary selection committee composed of 19 relevant names in the Brazilian cultural scene was responsible for the selection of the winning projects. This edition inaugurated the new format of the program, that now support a much wider range of cultural manifestations, such as production in visual arts, audio visual and technological media, theatre, dance, research, seminars and debates.

Occupying two floors of the Itaú Cultural building, the Mostra Rumos presents the 15 awarded projects that required an exhibition format to display their final results, comprehending video performances, research in animation, installations, interactive works, audio visual pieces and technological creations.

Artist Berna Reale (b. 1965, Belém) presents the project “Precisa-se do Present” [In Need of the Present], a series of photographs and videos created during her travels to the countries that, with Brazil, form the BRICS: Russia, India, China and South Africa. After staying about two weeks in each destination, she gathered images and realized performances inspired by her experience and impressions. The project was curated by Júlia Lima. “Jardim de Passagem” [Passing Garden], by Teresa Siewerdt (b. 1982, Florianópolis), also presents performance records. The action was realized during the route of a bus in São Paulo: at each stop of the line, a performer carrying a potted plant would board the bus. As the vehicle went by, it gradually became a passing garden. When they reached the final destination, the plants where donated to people that were in the area.

​Cecília Cipriano (Rio de Janeiro) developed the installation  “O Corte” [The Cut], composed of a metal gate marked with the initials SMH (Municipal Secretary for Housing), a telescope, a lamp, two pieces of wall, a photograph and debris. Those are the evidences of the deconstruction of a house located at the Morro da Providência, Rio de Janeiro’s first favela, determined by the City Hall. As the demolition was inevitable, the artist opened spaces on its walls, with the help of the local community. Displacing those records from the favela to the art gallery creates a bridge, as small as it is, between different realities and points to the desire of equality.

The renowned duo Gisela Motta & Leandro Lima (b. 1976, São Paulo) produced a 65’ video installation in two synchronized channels titled “Psycho”. The work follows the structure of Hitchcock’s homonymous film from 1960 and is constructed through images and sounds acquired on several royalty free media banks. While the “movie” is presented on one screen, a second projection shows information regarding authorship and indexation of the files.

“Experimentos em Animação” [Experiments in Animation], by João Angelini (b. 1980, Planaltina), presents his research about motion images. By using pre-cinema devices and elements that allow the participation of the spectator and overtly showing such apparatuses, the works bring the visitor to a place of intimacy with the language. Despite departing from the same point – the structure of the motion image –, the pieces mobilize different presentation strategies, such as video-objects, installations, music and video projection mapping

”Voz|Voice” is a kinetic and interactive sculpture by duo Rejane Cantoni & Leonardo Crescenti (b. 1959, São Paulo; b. 1954, São Paulo). The piece, an electro-mechanic device designed to visualize dialogues between people and the movement of sound in space, explores the phenomenon of sound as matter and as a sensorial and spatial experience. Márcio Ambrosio (b. 1975, São Paulo), by his turn, presents the interactive installation “Moviola”, a device whose handles allow the public to change the work’s history line, provoke movements and aesthetical changes, revealing unexpected worlds and creatures.

The installation “Trans(obre)por”, by Marcelo Armani (b. 1978, Carlos Barbosa) is a hybrid between sound art, photography, drawing and sculpture. By overlapping and transposing elements from the city to the exhibition space, the project develops a social-geographical mapping with sound and images. <strong>Pedro França’s (b. 1984, Rio de Janeiro) work, “O Cais da Última Utopia” [The Last Utopia Pier], is composed of four backlights covered in drawings made with graphite and wax. The project deepens his research about the visual dispersion caused by the representation of dense spaces, such as forests, against the light.

Two documentary films are part of the exhibition. “Rua Fulano de Tal”, by Caroline Neumann (São Paulo), is based on visits to all the neighbours from the street Doutor Arthur Carvalho e Sá. They talk about the residents’ relationship with the space, their histories, and ideas about the name of the street, who was that person, how the name was decreed. The project also comprises a website and a traveling exhibition. The second film is “Homenagem a Matta-Clark” [Homage to Matta-Clark], by <strong>Pedro Urano</strong> (b. 1979, Rio de Janeiro) and <strong>Joana Traub Csekö</strong> (b. 1978, Denver, USA), that shows a 20m cut dividing a building in half. This homage to Gordon Matta-Clark, renowned for his architectonical interventions, accompanies the metamorphosis of an edifice.

The other projects presented in the show are an app that shares location and information about historical tiles in the city of Belém, created by Biancha Serique; the game based on kaxinawá myths “Huni Kuin: Os Caminhos da Jibóia”, by Guilherme Meneses; and an iOS app that is actually a musical instrument, “Tocada”, created by Filipe Calegário. The exhibition also comprises a project made outside the exhibition space: “Tudo Está Relacionado” [Everything Is Related], by André Penteado (b. 1970, São Paulo) was presented by the artist in a house he occupied for two months in the neighbourhood of Perdizes (São Paulo) from August 25 to September 6. The project involved studying two photographical archives – one inherited by his family and one created by himself –, first selecting three thousand photos and then, during his two months residency at the house, editing the images, that occupied the whole building.