Vitor Cesar
Individual Exhibitions +

2018
Alguém que organiza o espaço ao seu redor. Sem Título Galeria, Fortaleza, Brasil.

2015
Descrito como real. Centro Cultural São Paulo, São Paulo, Brasil.
Caminhar pela cidade em um estado caótico, Iść przez miasto w stanie zamętu. A—I—R Laboratory e Programa Videobrasil em Contexto. Ujazdowski Centre for Contemporary Art, Varsóvia, Polônia.

2013
Anfibologia, reciprocidad. Museu Experimental El Eco, Cidade do México, México.

2009
Sobrepostas, permeáveis e intercambiáveis. Centro Cultural BNB, Fortaleza, Brasil.

2004
Vocabulário para repensar a cidade. Centro Cultural São Paulo, São Paulo, Brasil.

Collective Exhibitions +
2020
São Paulo Invisível. Museu da Cidade, São Paulo, Brazil.
Não vamos para marte. Galeria Jaqueline Martins, São Paulo, Brazil.
M.A.P.A. Projeto para ocupação de outdoors, Belém, Brazil.

2019
MSTC – Chicago Architecture Biennial. O grupo Inteiro in collaboration with Escola da Cidade. Chicago, United States.
Feche os olhos e veja. Galeria Almeida & Dale, São Paulo, Brazil.
Projeto Parede. Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
Prêmio CNI SESI SENAI Marcantônio Vilaça. MAB FAAP, São Paulo, Brazil.
À Nordeste. Sesc 24 de Maio, São Paulo, Brazil.
Arte-veículo. Sesc Santos, Santos, Brazil.
Livro Basemóvel Risco. Museu de Arte de Ribeirão Preto, Ribeirão Preto, Brazil.

2018
Correspondance. O grupo Inteiro. Far Festival, por meio do programa Coincidiencia. Pro Helvetia, Nyon, Switzerland.
Arte-veículo. Sesc Pompeia. São Paulo, Brazil.
Arte-veículo. Sesc Pompeia, São Paulo, Brazil.
Mostra 3m. O grupo Inteiro. Largo da Batata, São Paulo, Brazil.
Estados de Emergência. Paço das Artes, na Oficina Cultural Oswald de Andrade, São Paulo, Brazil.
A marquise o MAM e nós no meio. MAM-SP, São Paulo, Brazil. Curated by: Ana Maria Maia.
Verzuimd Braziel – Brasil Desamparado. CNI SESI SENAI Marcantonio Vilaça Award. Museu de Arte Contemporânea de Goiânia, Goiânia, Brazil.

2017
11º Bienal de Arquitetura. Basemóvel no projeto contracondutas. Casa do Povo, São Paulo, Brazil.
Como se pronuncia design em português: Brasil Hoje. Museu do Design e da Moda, Lisbon, Portugal.
Osso Exposição — apelo pelo amplo direito de defesa de Rafael Braga. Instituto Tomie Ohtake, São Paulo, Brazil.
Contracondutas. Escola da Cidade-Unifesp, Guarulhos, Brazil.

2016
Distantes mundos / Próximos lugares. Museu de Arte Contemporânea do Ceará, Fortaleza, Brazil.
Cartas ao prefeito. Storefront for art and architecture. Pivô, São Paulo, Brazil.
Sempre algo entre nós. Parte do projeto Estou cá. Sesc Belenzinho, São Paulo, Brazil.
Metacozinha. In collaboration with Carol Tonetti. Casa do Povo, São Paulo, Brazil.

2015
Prêmio CNI SESI SENAI Marcantônio Vilaça. MAC-USP, São Paulo, Brazil.
Isto não é um Museu. Artefatos móveis. Centro Cultural São Paulo, São Paulo, Brazil.
Poipoidrome. Frestas Trienal de Artes. Sesc Sorocaba, São Paulo, Brazil.

2014
Mano Fato Mano. Centro Cultural São Paulo, São Paulo, Brazil.
Cidade gráfica. Itaú Cultural, São Paulo, Brazil.
A parte que não te pertence. Kunsthaus, Wiesbaden, Germany.
Há escolas que são gaiolas e há escolas que são asas. Museu de arte do Rio, Rio de Janeiro, Brazil.
Anotações Singularidades. ItauCultural, São Paulo, Brazil.
Em direto. SESC Sorocaba, São Paulo, Brazil.
Boletim. SESC São Carlos, São Paulo, Brazil.

2013
Escavar o futuro. Palácio das Artes, Belo Horizonte, Brazil.
33º Panorama da Arte Brasileira. P33 Formas únicas da continuidade no espaço. Museu de Arte Moderna, São Paulo, Brazil.
Natural — Natural: Paisagem e artifício. Museu de Arte Contemporânea do Ceará, Fortaleza; e Centro Cultural Banco do Nordeste, Juazeiro do Norte, Brazil.
Tropicália Negra. Museu Experimental el Eco, Mexico City, Mexico.
Campo Neutral. Museu da Gravura, Curitiba, Brazil.
Metrô de Superfície II. Centro Cultural São Paulo, São Paulo, Brazil.
Ambiguações. Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil.
Boletim. Galeria Millan, São Paulo, Brazil.

2012
Da próxima vez eu fazia tudo diferente. Pivô, São Paulo, Brazil.
Anfibologia. Mostra de Design, Belo Horizonte, Brazil.
Outras coisas visíveis sobre papel. Galeria Leme, São Paulo, Brazil.
Desobjetos: a memória das coisas. Mostra Sesc de Artes, São Paulo, Brazil.
Superperformance. Ateliê 397, São Paulo, Brazil.

2011
Os dez primeiros anos. Instituto Tomie Othake, São Paulo, Brazil.
Basemóvel levo mesa b. Núcleo Experimental Educação e Arte MAM Rio de Janeiro, Rio de Janeiro, Brazil.
Em Direto. Oficina Cultural Oswald de Andrade, São Paulo, Brazil.
8º Bienal do Mercosul. Porto Alegre, Brazil.
Caos e Efeito. Instituto Itaú Cultural, São Paulo, Brazil.
Esto no es un museo. Artefactos móviles al acecho, Can Xalat, Barcelona, Spain.
A 4 graus do Equador. Ateliê 397, São Paulo, Brazil.
Conversas. Museu da Gravura. Solar do Barão, Curitiba, Brazil.

2010
É crédito ou débito? Mostra SESC de Artes, São Paulo, Brazil.
À sombra do futuro. Instituto Cervantes. Instituto Cervantes de São Paulo, São Paulo, Brazil.
Dois Pontos. Museu Murillo La Greca, Recife, Brazil.
Residência Projeto Tatuí. Conexão Artes Visuais, Olinda, Brazil.

2009
Trilhas do Desejo [Rumos Itaú Cultural]. Paço Imperial, Rio de Janeiro, Brazil.
Um lugar a partir daqui [Rumos Itaú Cultural]. Ecco, Brasília, Brazil.
Mirantes [Rumos Itaú Cultural]. Galeria de Arte Juvenal Antunes, Rio Branco, Brazil.
Trilhas do Desejo [Rumos Itaú Cultural]. Instituto Itaú Cultural, São Paulo, Brazil.
Da rua: que pintura é essa?. Funarte, São Paulo, Brazil.
Cartas/Trajetos. Usina Cultural Energiza, João Pessoa, Brazil.

2008
Arte e Esfera Pública. Centro Cultural São Paulo, São Paulo, Brazil.
Campo Coletivo Centro Universitário Maria Antonia. Centro Universitário Maria Antonia, São Paulo, Brazil.

2007
Sidewalk Cinema. Vienna, Austria.
In Between Zone Workshop Impex: Contemporary Art Provider. Budapest, Hungary.

2006
Vizinhos – Networked Art in Brazil. MuseumsQuartier, Vienna, Austria.
Designum Desdobramentos. Museu de Arte Contemporânea do Ceará, Fortaleza, Brazil.
Verbo. Galeria Vermelho, São Paulo, Brazil.
Centrocidades. Centro Cultural Banco do Nordeste, Fortaleza, Brazil.
Not Sheep: New urban enclosures and commons. Artspeak, Vancouver, Canada.
Ritualizing. Witte de Witt Center, Rotterdam, Netherlands. Video screening and organization: Lisl Ponger.

2005
Algumas observações sobre a cidade .Centro Cultural BNB, Fortaleza, Brazil.
BASE móvel. Programa BNB de Cultura, Fortaleza, Brazil.
(NE) Fronteiras, fluxos e personas. Centro Cultural Banco do Nordeste, Fortaleza, Brazil.

2004
III mostra do programa de exposições. Centro Cultural São Paulo, São Paulo, Brazil.
Modos de Fazer. Prêmio incentivo as artes SECULT CE, Fortaleza, Brazil.
Reverberações. Fórum Mundial da Cultura, São Paulo, Brazil.
Vocabulário para repensar a cidade. Biblioteca Pública Menezes Pimentel, Fortaleza, Brazil.
Coletiva do programa de exposições. Centro Cultural São Paulo, São Paulo, Brazil.

2003
Super. Fundação Joaquim Nabuco. Galeria Baobál, Recife, Brazil.
Brazillian Screening. Next 5 minutes, Amsterdam, Netherlands.
Assentamento. SPA Semana de Artes Visuais do Recife, Recife, Brazil.
Experimental. Museu de Arte Contemporânea do Ceará, Fortaleza, Brazil.
Salão sobral de artes plásticas. Casa de Cultura de Sobral, Ceará, Brazil.
Manifestos. Mostra SESC de Artes e Latinidades, São Paulo, Brazil.
Zona Franca. Mostra SESC de Artes e Latinidades, São Paulo, Brazil.

2002
Bienal Ceará América — De ponta cabeça. Bienal Ceará América, Fortaleza, Brazil.
Ainda Gravura. Museu de Arte Contemporânea do Ceará, Fortaleza, Brazil.
SPA — Semana de Artes Visuais do Recife, Recife, Brazil.
Projeto parede. Alpendre, Fortaleza, Brazil.

2001
3. Centro de artes visuais Raimundo Cela, Fortaleza, Brazil.

Vitor Cesar studied Architecture and Urbanism at Universidade Federal do Ceará and participated in the study group of Alpendre, in Fortaleza. Master in Visual Poetics at the School of Communication and Arts at USP, his practice is based on a research on the way in which discourses are manifested in public space, spatially and visually. The works take place in different media such as installations, graphic materials and insertions in public spaces.

The artist has participated in projects and exhibitions in different spaces and institutions, which include the CNI SESI SENAI Marcantônio Vilaça Award (São Paulo, 2019); Contracondutas (São Paulo, 2017); Anfibologia, tradução, Galpão VB (São Paulo, 2016); Anfibologia, Reciprocidad, El Eco Experimental Museum (Mexico City, 2013). He participated in the 33rd Panorama of Brazilian Art, at the Museu de Arte Moderna (São Paulo, 2013) and in the 8th Mercosul Biennial (Porto Alegre, 2011). He has resided at the A-I-R Laboratory, Center for Contemporary Art Ujazdowski Castle (Warsaw, 2015); No Capacete – 29th São Paulo Biennial (Rio de Janeiro, 2010) and MuseumsQuartier (Vienna, 2006).

Vitor is part of grupo inteiro, with which he collaborated on the Correspondance project, in partnership with the Coincidências América Latina program, Fundação Pro-Helvetia and Farº Festival (Switzerland, 2018); Playgrounds, at MASP (2016), and carried out the project “Campos de preposições” at Sesc Ipiranga (2016). He also works on graphic projects with artists and cultural institutions in the development of visual and spatial languages ​​for exhibitions, books and printed material. Projects include the 34th São Paulo Biennial, the 20th Festival Videobrasil, Frestas Trienal de Artes and the Contracondutas project. He is currently a professor in the area of ​​drawing at Escola da Cidade and directs a study group at Escola Entrópica, at Instituto Tomie Ohtake.

Artwork

Poesia Concreta da Cultura Brasileira, 2019

Its central axis is a proposal for temporary intervention on the facade of the Ministry of Culture building in Brasília, which consists on the application of a graphic panel, composed with the colors of the logos from the companies that most encouraged projects registered in the Lei Rouanet in all the years of its existence; in addition to a sequence of concrete poems built with the activities of the same companies.

Poesia Concreta da Cultura Brasileira, 2019

Its central axis is a proposal for temporary intervention on the facade of the Ministry of Culture building in Brasília, which consists on the application of a graphic panel, composed with the colors of the logos from the companies that most encouraged projects registered in the Lei Rouanet in all the years of its existence; in addition to a sequence of concrete poems built with the activities of the same companies.

Poesia Concreta da Cultura Brasileira, 2019

Its central axis is a proposal for temporary intervention on the facade of the Ministry of Culture building in Brasília, which consists on the application of a graphic panel, composed with the colors of the logos from the companies that most encouraged projects registered in the Lei Rouanet in all the years of its existence; in addition to a sequence of concrete poems built with the activities of the same companies.

100%, 2018

Concrete cylinders with recording of statistical data from newspapers and books

On each cylinder is recorded a sentence taken from newspapers or books. These sentences contain percentages and refer to statistical data. The height of each cylinder corresponds to the percentage of the recorded sentence: 13% = 13cm tall; 54% = 54cm tall. The cylinder diameter is 35cm. Recording the text in bas-relief is 5mm deep.

Mounted at the “Arte-veículo” exhibition, curated by Ana Maria Maia, at Sesc Pompeia.

100%, 2018

Concrete cylinders with recording of statistical data from newspapers and books

On each cylinder is recorded a sentence taken from newspapers or books. These sentences contain percentages and refer to statistical data. The height of each cylinder corresponds to the percentage of the recorded sentence: 13% = 13cm tall; 54% = 54cm tall. The cylinder diameter is 35cm. Recording the text in bas-relief is 5mm deep.

Mounted at the “Arte-veículo” exhibition, curated by Ana Maria Maia, at Sesc Pompeia.

Anfibologia, tradução, 2016

Vinyl clipping sticker
Variable dimensions

Texts based on reports of the urban space of Warsaw, developed in collaboration with the translator Michal Lipzic. Each sentence has an ambiguous syntactic construction.

Project carried out at Galpão VB for the “VideoBrasil em Contexto” program.

Anfibologia, tradução, 2016

Vinyl clipping sticker
Variable dimensions

Texts based on reports of the urban space of Warsaw, developed in collaboration with the translator Michal Lipzic. Each sentence has an ambiguous syntactic construction.

Project carried out at Galpão VB for the “VideoBrasil em Contexto” program.

Anfibologia, tradução, 2016

Vinyl clipping sticker
Variable dimensions

Texts based on reports of the urban space of Warsaw, developed in collaboration with the translator Michal Lipzic. Each sentence has an ambiguous syntactic construction.

Project carried out at Galpão VB for the “VideoBrasil em Contexto” program.

Descrito como real, 2015

Video, wood, adhesive vinyl, LED sign, musical presentation

Public resources finance digital landscapes that are massively distributed in different channels, public and private. In the city’s territories and in the media, imagination is disputed. Advertising, independent music, the contemporary art circuit, action dispersed in virtual networks, simultaneously produce and circulate images that place us in front of different futures. Under what conditions is imagination disputed?

This video is part of the project “Descrito como real”, proposed by Vitor Cesar and Enrico Rocha. The edition reproduces small excerpts from existing videos, listed below, produced by public agencies and which publicize major intervention projects in the urban structure of the city of Fortaleza (CE). The original videos are an invitation to imagine the future of the city, but their images also call us to an urgent and necessary debate: who imagines the city? The subject unfolds into many issues, some of them controversial. The conversation is open and proposed as a critical reflection.

Descrito como real, 2015

Video, wood, adhesive vinyl, LED sign, musical presentation

Public resources finance digital landscapes that are massively distributed in different channels, public and private. In the city’s territories and in the media, imagination is disputed. Advertising, independent music, the contemporary art circuit, action dispersed in virtual networks, simultaneously produce and circulate images that place us in front of different futures. Under what conditions is imagination disputed?

This video is part of the project “Descrito como real”, proposed by Vitor Cesar and Enrico Rocha. The edition reproduces small excerpts from existing videos, listed below, produced by public agencies and which publicize major intervention projects in the urban structure of the city of Fortaleza (CE). The original videos are an invitation to imagine the future of the city, but their images also call us to an urgent and necessary debate: who imagines the city? The subject unfolds into many issues, some of them controversial. The conversation is open and proposed as a critical reflection.

Anfibologia, tradução, 2015

12 posters placed in advertising spaces, written in Polish
1.2m × 1.8m each

Texts based on accounts of the urban space of Warsaw, developed in collaboration with the translator Michal Lipzic. Each sentence has an ambiguous syntactic construction. Project carried out during the residency of the “VideoBrasil em Contexto” program, presented as part of the activities in the public space of the Ujazdowski Castle Center for Contemporary Art.

Anfibologia, tradução, 2015

12 posters placed in advertising spaces, written in Polish
1.2m × 1.8m each

Texts based on accounts of the urban space of Warsaw, developed in collaboration with the translator Michal Lipzic. Each sentence has an ambiguous syntactic construction. Project carried out during the residency of the “VideoBrasil em Contexto” program, presented as part of the activities in the public space of the Ujazdowski Castle Center for Contemporary Art.

Anfibologia, tradução, 2015

12 posters placed in advertising spaces, written in Polish
1.2m × 1.8m each

Texts based on accounts of the urban space of Warsaw, developed in collaboration with the translator Michal Lipzic. Each sentence has an ambiguous syntactic construction. Project carried out during the residency of the “VideoBrasil em Contexto” program, presented as part of the activities in the public space of the Ujazdowski Castle Center for Contemporary Art.

Romance policial, 2013

Prints, offset, screen printing, ink, photographic enlargements and wood
Variable dimensions

Fiction project in which the designer is hired to give graphic visibility to the operations of the Federal Police, named after advertising names. Each montage is understood as an exhibition of graphic arts and for that purpose a specific exhibition is carried out.

View of the instalation at Galeria Millan, exhibition “Boletim”, 2013.

Romance policial, 2013

Prints, offset, screen printing, ink, photographic enlargements and wood
Variable dimensions

Fiction project in which the designer is hired to give graphic visibility to the operations of the Federal Police, named after advertising names. Each montage is understood as an exhibition of graphic arts and for that purpose a specific exhibition is carried out.

View of the instalation at Galeria Millan, exhibition “Boletim”, 2013.

Romance policial, 2013

Prints, offset, screen printing, ink, photographic enlargements and wood
Variable dimensions

Fiction project in which the designer is hired to give graphic visibility to the operations of the Federal Police, named after advertising names. Each montage is understood as an exhibition of graphic arts and for that purpose a specific exhibition is carried out.

View of the Metrô de Superfície II, Centro Cultural São Paulo, 2013.

Romance policial, 2013

Prints, offset, screen printing, ink, photographic enlargements and wood
Variable dimensions

Fiction project in which the designer is hired to give graphic visibility to the operations of the Federal Police, named after advertising names. Each montage is understood as an exhibition of graphic arts and for that purpose a specific exhibition is carried out.

View of the Metrô de Superfície II, Centro Cultural São Paulo, 2013.

Relevo e aderência, 2013

Sand, cement and bricks
Approx. 12m wide
Splattered wall and relief/support

Work carried out with the foreman Manuel da Silva at MAM-SP. “Exposição P33: Formas únicas da continuidade no espaço – Panorama da arte brasileira”, MAM-SP.

Relevo e aderência, 2013

Sand, cement and bricks
Approx. 12m wide
Splattered wall and relief/support

Work carried out with the foreman Manuel da Silva at MAM-SP. “Exposição P33: Formas únicas da continuidade no espaço – Panorama da arte brasileira”, MAM-SP.

Relevo e aderência, 2013

Sand, cement and bricks
Approx. 12m wide
Splattered wall and relief/support

Work carried out with the foreman Manuel da Silva at MAM-SP. “Exposição P33: Formas únicas da continuidade no espaço – Panorama da arte brasileira”, MAM-SP.

Anfibologia, Reciprocidad, 2013

Metal letterpress
Characters 10cm tall
Entire sentence with approx. 6cm wide

Text on the facade of Museo Experimental El Eco: “The effects of this artist’s work are his responsibility”. Typography similar to those found in the surroundings and used in the 50s and 60s.

Anfibologia, Reciprocidad, 2013

Metal letterpress
Characters 10cm tall
Entire sentence with approx. 6cm wide

Text on the facade of Museo Experimental El Eco: “The effects of this artist’s work are his responsibility”. Typography similar to those found in the surroundings and used in the 50s and 60s.

Anfibologia, Reciprocidad, 2013

Metal letterpress
Characters 10cm tall
Entire sentence with approx. 6cm wide

Text on the facade of Museo Experimental El Eco: “The effects of this artist’s work are his responsibility”. Typography similar to those found in the surroundings and used in the 50s and 60s.

Interfones, 2011

System of three intercoms installed in the street along a staircase, where passersby can use two or three devices simultaneously. The installation locations did not allow to see the other intercom.

Metal, acrylic, electronic circuits, audio, electrical circuit
Variable dimensions

Work commissioned on the steps of Rua João Manoel, in the center of Porto Alegre, for the “Cidade não vista” project, 8th Mercosul Biennial.

Interfones, 2011

System of three intercoms installed in the street along a staircase, where passersby can use two or three devices simultaneously. The installation locations did not allow to see the other intercom.

Metal, acrylic, electronic circuits, audio, electrical circuit
Variable dimensions

Work commissioned on the steps of Rua João Manoel, in the center of Porto Alegre, for the “Cidade não vista” project, 8th Mercosul Biennial.

Interfones, 2011

System of three intercoms installed in the street along a staircase, where passersby can use two or three devices simultaneously. The installation locations did not allow to see the other intercom.

Metal, acrylic, electronic circuits, audio, electrical circuit
Variable dimensions

Work commissioned on the steps of Rua João Manoel, in the center of Porto Alegre, for the “Cidade não vista” project, 8th Mercosul Biennial.

Herança e partilha, 2011

Radios positioned at different points in the exhibition space, which automatically switch on at 7 pm and frequencies that transmit Voz do Brasil, and switch off at 8 pm.

MDF and white adhesive vinyl panel
Variable dimensions

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

Image of the exhibition Em Direto, Oficina Cultural Oswald de Andrade, São Paulo, 2011.

Herança e partilha, 2010

Radios positioned at different points in the exhibition space, which automatically switch on at 7 pm and frequencies that transmit Voz do Brasil, and switch off at 8 pm.

MDF and white adhesive vinyl panel
Variable dimensions

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

Image of the exhibition Em Direto, Oficina Cultural Oswald de Andrade, São Paulo, 2011.

Herança e partilha, 2010

Radios positioned at different points in the exhibition space, which automatically switch on at 7 pm and frequencies that transmit Voz do Brasil, and switch off at 8 pm.

MDF and white adhesive vinyl panel
Variable dimensions

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

Image of the exhibition Em Direto, Oficina Cultural Oswald de Andrade, São Paulo, 2011.

A Voz do Brasil, 2010

Projector, wood, adhesive vinyl, speakers, microphone, prints.

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

A Voz do Brasil, 2010

Projector, wood, adhesive vinyl, speakers, microphone, prints.

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

A Voz do Brasil, 2010

Projector, wood, adhesive vinyl, speakers, microphone, prints.

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

Image from the exhibition “Anotações Singularidades”. Itaú Cultural, São Paulo, 2014.

A Voz do Brasil, 2010

Projector, wood, adhesive vinyl, speakers, microphone, prints.

Research on the radio program “A voz do Brasil”, created by Getúlio Vargas, with different developments: video with images of modern architecture, texts by presidents and ministers broadcast in the program; audio from “O Guarani”, by Carlos Gomes; microphone open to the public; projection screen similar to billboard and stage; panel supported on the wall; printed with information about the radio program and broadcast texts.

Image from the exhibition “Anotações Singularidades”. Itaú Cultural, São Paulo, 2014.

Artista é público, 2009

Metal letterpress
Approx. 2m wide

Images from the exhibition “Cavalo de Tróia. Caos e efeito”, Instituto Itaú Cultural, 2011.

Work presented in the exhibitions: “Osso: Exposição-apelo ao amplo direito de defesa de Rafael Braga”, Instituto Tomie Ohtake, São Paulo; “Poipoidrome – Frestas Trienal de Artes”, Sesc Sorocaba, Sorocaba; “Desobjetos: a memória das coisas, Mostra Sesc de Artes”, Sesc Ipiranga, São Paulo; “Caos e efeito”, Instituto Itaú Cultural, São Paulo; “Sobrepostas, permeáveis e intercambiáveis”, Centro Cultural Banco do Nordeste, Fortaleza.

Artista é público, 2009

Metal letterpress
Approx. 2m wide

Images from the exhibition “Cavalo de Tróia. Caos e efeito”, Instituto Itaú Cultural, 2011.

Work presented in the exhibitions: “Osso: Exposição-apelo ao amplo direito de defesa de Rafael Braga”, Instituto Tomie Ohtake, São Paulo; “Poipoidrome – Frestas Trienal de Artes”, Sesc Sorocaba, Sorocaba; “Desobjetos: a memória das coisas, Mostra Sesc de Artes”, Sesc Ipiranga, São Paulo; “Caos e efeito”, Instituto Itaú Cultural, São Paulo; “Sobrepostas, permeáveis e intercambiáveis”, Centro Cultural Banco do Nordeste, Fortaleza.