The scenography to shelter the exhibition Move! incorporates the notion of time in a proposal f… Read More
SET DESIGN MOVE!
March 2013 SÃO PAULO – BRAZIL
The scenography to shelter the exhibition Move! incorporates the notion of time in a proposal for interaction between visitors, artists and space. The works / performances happen scattered by the SESC Belenzinho unit, so the scenery is challenged to create a narrative unit and strong visual identity, considering the fashion and art content beyond the local context. The building housed a weaving factory and is in a region of São Paulo that from the late nineteenth century became known for its textile industry and its workers' villages.
All solutions of scenography consider minimizing their environmental impact, prioritizing actions more sustainable, as re-use and choice of brute materials, for example in Osb plates, made from wood logs from sustainable forests, reforested 100%, as Pinus, and recycled cardboard and craft. Every architectural detail and furniture prioritizes minimal use of materials and chemical solutions and stimulate local production.The design of the exhibition sought modularity, and does not hierarchy of spaces. At the end of t he exhibition, items that not been rented will be forwarded to Re-use the SESC workshopsfor a non-governmental organization and the Coopamare - recycling cooperative.
As a whiteboard, to be completed by artists and audiences during its 10 days, the rooms have all your furniture and white coats and both serve to house the performances of artists as an studio. These spaces can transform and adapt over time as the needs of its use.
The scenography was inspired by the motion settings creating a scenario of escapism and sensory stimulation, by overlapping transparent fabrics (voal). The location of these fabrics was made through a computer program parametric that simulated a wind inside the space The heights of these fabrics were defined from another digital simulation, a flood of water. The colors chosen emphasizes the identity of exposure, white, gray, and two shades of magenta.
The lighting of the space is divided into functionally and emotionally. Prioritized more economic systems that produce less heat than the minimal use of materials.
The Project of scenography seeks to organize works in a poetic narrative that surprises and stimulates the visitor, making it a common place and invites you to the concepts of immersion works / performances.
1 Act of moving or be moving. 2 Change of place or position; displacement. 3 Way as someone moves the body. 4 Action, excitement, variety. 5 Change in living and thinking of people. 6 Impulse of passion which rises in the soul.
Set Design: Estudio Guto Requena
Architects/collaborators: : Simone Casado e Lucas Miilher (Estudio Guto Requena)
Development of Parametric Design: Henrique Stabile
Organization: sesc - serviço social do comércio (são paulo state regional administration)
Chairman of the regional council: Abram Szajman
Regional manager: Danilo Santos de Miranda
Technical - social superintendent: Joel Naimayers Padula
Visual communication superintendent: Ivan Giannini
Administration: Luiz Deoclécio Massaro Galina
Technical Advice and Planning Sergio José Battistelli
Cultural operation Rosana Paulo da Cunha Adjunt Flávia Carvalho Assistants Juliana Braga, Nilva Luz Project and development Marta Colabone Adjunct Andrá Nogueira Graphic project: Hélcio Magalhães Adjunct Karina Musumeci Assistants Rogério Ianelli Diffusion and Promotion Marcos Ribeiro de Carvalho Adjunct Fernando Fialho Assistant Aline Ribenboim Audio + Image Edition: Silvana Morales Nunes
Audio + image edition: Silvana Morales Nunes Adjunct Ana Paula Malteze Sesc Belenzinho Marina Avilez Adjunct Patricia Piquera
Curatorship Cecilia Dean e David Colman Director Antonio Haslauer
Sesc Team Salete dos Anjos, Andressa de Gois e Silva, Edmilson Ferreira Lima, Josué Cardoso, Mario Luiz Alves de Matos, Roselaine Tavares da Silva, Cátia Leandro da Silva, Mauro Lucas Production coordination COM TATO Cultural Agency Claudia Taddei, Veridiana Aleixo, Debora Pill, Adriano Pequeno, Nataly Aquino e Elvis Santana Fashion Production Fernanda Sansone, Alessandra Isola e Luciana Ferraz Set Design and Art Direction Estudio Guto Requena Coordination of project Simone Casado e Lucas Miilher (Estudio Guto Requena) Development of parametric design Henrique Stabile Graphic Design Peres design Educational graphic project Acontemporânea Marcela Tiboni Cenotecnia Entre Produções Press Advisory Adelante Comunicação Cultural e Monica Mendes Communications Video documentary Na Laje.
henrique rubin, juliana braga, kelly adriano, nilva luz e sergio pinto
project and development: marta colabone /deputy: andréa nogueira
graphic art: hélcio magalhães/deputy: karina musumeci
sesc santana: lilia marcia barra /deputy: simoneengbruch avancini silva
exhibition coordination: suzana garcia, fernando marineli and vera marisa de souza rodrigues
installation coordinator: carmela rocha
visual identity + graphic project: estudia design
educational graphic project: tg3comunicação
audio + image edition: darlan ferreira
text + research: assis ângelo
specialized installation consultant: clara perino
photography: andré labate rosso
image: memória brasil institute – assis ângelo collection
contemporary musical research: débora pill
juridical advisory: jorge melo
installation: fábrica de milagres
sound installation: maxiaudio
ART AND FASHION: A FREE EXCHANGE
By Danilo Santos de Miranda - Sesc São Paulo Regional Director
We never tire of affirming that the essence of art is freedom, and that our minds are liberated through contact with art. Independent and omnipresent art has a key role in defining our culture and in heightening our senses.
Art heralds changes and new perspectives often invisible to the naked eye, as habits, or mannerisms that we are unable to notice until they are clearly pointed out to us. Because of its capacity to evolve in unexpected ways, or energize dormant territories, art can have an interesting dialogue with fashion.
Despite preconceptions that sometimes relegate fashion to frivolous territory, clothing is an aesthetic component on which ideas can repose or from which ideas can be launched; it is where our history and notions of the times are reflected, where our relationship with our own body and with our environment are voiced.
Fashion is a tacit way of defining affinities and rejections in a system of collective understanding that goes beyond rational criteria. It manifests itself through messages and connects people, time, and space through a strong yet unspoken cognitive system. While fashion has universality at its core, this logic is often denied by the mechanisms of fashion consumption.
So art lends freedom while fashion offers form to MOVE! an art and performance exhibition . This interactive show coming to us from Moma PS1 was re-edited here at Sesc Belenzinho for its Brazilian edition. It is an opportunity to juxtapose two distinct areas of expression and to promote new discoveries and new sources of knowledge, which are central to Sesc’s permanent quest for education.
Text by David Colman and Cecilia Dean - Curators
Despite the almost limitless perimeters of the contemporary cultural landscape now claimed under the firmly planted flag of art – dance, food, design, theater – there is still plenty of room for expansion, if not revision. Namely, that is, because as curators who also act and engage with and in different media as writers, editors, artists and so on,
we feel that even the nominalist formality of art-as-art can be as unweildy and obscurant as it can be liberating.
There are those who would like the glamour-weaving machine of fashion to be the next realm annexed by the name and practice of art. It makes sense, superficially. Both are filled with cheerful creative people who love to create and collaborate. But as people intimately familiar with both realms, with their processes, their calendars, their fluctuations, their priorities, we know better than most how fundamentally discontinuous the ecosystems of these two creative paradigms are.
So when we were asked by Klaus Biesenbach to conceptualize and curate MOVE! for MoMA PS1 in New York City, we knew that we could not (and would not) try to meld or merge the two realms. But we could put them together and help them do many other things: collide, flirt, dance, fight, debate, love, mate or just bounce chaotically off one another. This was what made MOVE! such an crazy experiment – and such a terrific success. The rules of cultural engagement were suspended. Art was no longer the art that instructs, fashion was no longer the fashion we fear.
Both were stripped bare and made to exchange the cultural costumes they wear and the fashionable ideas they bear. Art flew with new levity, fashion stood with new gravity. They were not themselves, but neither was the other either – not while MOVE! lasted.
Coming to life with fresh new Brazilian ideas and wonderful new Brazilian collaborators in Sao Paulo, MOVE! is blessedly no longer in the realm of the experimental. We know it can fly. Luckily, we found the ideal place for MOVE! to fly at Sesc, with its remarkably history of and solid commitment to genre-shattering cultural discovery, transformation, enlightenment, growth and joy. Read Less