Makers’ Meal e a produção do novo common K. Morris, E. Ogilvie, K. Mellard e J. Rose ao redor da mesa antes do jantar

Contributors Revista MESA 1st issue

Anita Sobar is an artist, educator, and graduate certificate student in Art and Philosophy from PUC, Rio de Janeiro (2013). She graduated in Painting from the School of Fine Arts at the Federal University of Rio de Janeiro (UFRJ, 2008) and participated in the “in-depth” arts program at the School of Visual Arts of Parque Lage, Rio de Janeiro (2010). Since 2005 she has developed projects in the areas of art and education, working in different museums and cultural centers in Rio de Janeiro: Museum of Contemporary Art (MAC), Niterói 2005-2007, Oi Futuro Cultural Centre 2007-2011, and the Experimental Nucleus of Education and Art at the Museum of Modern Art 2010 – 2013. She currently teaches in the art and technology group at Spectaculu School, Rio de Janeiro. Her exhibits include: Echoes of Helio (Hélio Oiticica / RJ Cultural Center), Festival Wallpaper (Federal Justice Cultural Center / RJ 2010), Tijuana: Fair Art Print (Gallery Vermelho, São Paulo/2010) Urbanário (Espaço Cultural Sérgio Porto -RJ/2013) and Landscapes of Delirium, collective Urbanário for the program MAC as a Work of Art ( MAC Niterói / RJ 2013 )

Bernardo Zabalaga graduated in Social Communication in 2003 from UCB / Bolivia and Theatrical Interpretation of ESTC in 2009 in Lisbon. He holds a Masters in Advanced Theatre Practice from the Central School of Speech and Drama, University of London, 2010. He has worked in various theatrical productions, performance and live art, butoh dance and theater dance. His latest works have explored urban intervention, video art and diverse performances at Museum of Modern Art (MAM) Rio de Janeiro where he worked as an artist/educator as part of the Experimental Nucleus of Education and Art from September 2011 until May 2013. Since July 2013 he has taught art classes in Bispo Rosario museum and school. Currently he is carrying out theoretical research / practice that involves the study of various ancestral traditions and their uses and spiritual customs.

Bianca Bernardo is an artist-etc. developing hybrid practices between performance, education, curatorship and cultural administration. She received a Master of Arts from Ppgartes-UERJ (Arts program at State University of Rio de Janeiro). She is pedagogic coordinator of the Bispo Rosário Museum of Contemporary Art, Rio de Janeiro. She was part of the Experimental Nucleus for Education and Art at the Museum of Modern Art, Rio de Janeiro from 2011 – 2013. Bernardo also participated in the workshop for artists-educators organized by Casa Daros in 2009, featuring meetings with various artists, curators and art critics. She has developed collaborations with artists and alternative spaces between the cities of Rio de Janeiro, Recife, Lisboa, Rosário and Buenos Aires. Currently she participates in the group LCCC, in which she is developing research on the experience of Lygia Clark.

Claudia Zeiske is a curator who worked with many Scottish and international organisations. She was Development Manager of Duff House, the outstation of the National Galleries of Scotland and set up the acclaimed Artists at Glenfiddich programme in rural Speyside. Claudia’s interest lies in bringing local issues onto a global level. Today she is concentrating on the development of the international residency programme at Deveron Arts/the town is the venue in Huntly, Scotland where she developed a unique curatorial interest based on a balanced approach between artistic criticality and community involvement through projects with artists from across the globe. She is co-author (with N. Sacramento) of ARTocracy, Berlin, 2010.

Ernesto Neto is one of Brazil’s most well-known contemporary artists. He studied sculpture at the School of Visual Arts of the Parque Lage (EAV/Parque Lage) in the 1980s. Influenced by the Brazilian neo-concrete movement, Hélio Oiticica and Lygia Clark in particular, as well as other well-known Brazilian artists such as José Resende and Tunga, over the past few decades Neto has crafted a unique style and an internationally recognized career combining explorations of abstract and symbolic forms and materials. His large, soft biomorphic forms, nets and labyrinths often fill entire exhibition spaces in which viewers are invited to interact. In 2009 his Anthropodino filled the giant New York’s Park Avenue Armory. More recently he has been exploring suspending entire interactive installations off the ground. A partner in Rio’s Gentil Carioca gallery, Neto has exhibited extensively throughout Brazil and internationally.

Imagens do Povo is a center for the documentation, research, training, and integration of photographers into the labor market. Based in the Maré favela in Rio de Janeiro, the center is also an open space for the presentation and discussion of contemporary photographic production. Created by the Favela Observatory, it brings together photographic techniques with social issues, recording the daily life of the slums through a critical perception that takes into account respect for human rights and local culture. For more information www.imagensdopovo.org.br

Imagens do Povo photographers presented in the video interview with the director of the Favela Observatory Jailson de Souza e Silva are: AF Rodrigues; Bira Carvalho; Elisângela Leite, Fábio Caffé; Fagner France; Ingrid Cristina; JV Santos, Léo Lima; Leo Melo; Marcia Farias, Monara Barreto; Naldinho Lawrence; Nando Dias, Paulo Barros; Dormouse Diniz; Rovena Rosa; Rosilene Miliotti; Rubia Pella; Thiago Diniz; Veri – vg; Vitor Madeira. For more information www.imagensdopovo.org.br / photographers

Jailson de Souza e Silva has a degree in Geography from the Federal University of Rio de Janeiro (1984), a Masters in Education from the Pontifical Catholic University (PUC) of Rio de Janeiro (1994), and Ph.D. in Sociology of Education from PUC (1999). He finished his post doctorate at John Jay College of Criminal Justice – City University of New York. He is Associate Professor at Federal Fluminense University (UFF) and founded in 2001 the Favela Observatory of Rio de Janeiro. He was Secretary of Education of Nova Iguaçu and Executive Sub-Secretary of the State Department of Social Welfare and Human Rights of Rio de Janeiro. He has research and studies published in Urban Studies and Policies focusing on the following subjects: social policies, slums, suburbs, violence, education, and drug trafficking.

Jessica Gogan is an independent curator and educator based in the US and Brazil and director of Instituto MESA, Rio de Janeiro, a non-profit organisation working at the nexus of socially engaged art, curatorship and education. Recent projects include: Experimental Nucleus of Education & Art at the Museum of Modern Art, Rio de Janeiro, evaluation of the pedagogic project of the 8th Mercosul Biennial, Porto Alegre, Brazil and the exhibition and residency by Brazilian artist José Rufino at The Andy Warhol Museum, Pittsburgh USA, where Gogan was formerly director of education and curator of special projects. She is also currently a Ph.D. candidate in Art History at the University of Pittsburgh.

José Rufino began his artistic journey via poetry and visual poetry then transitioned to mail art, drawings and paintings in the 80s. Dichotomous dialogues between memory / forgetfulness, opulence / decadence and oppressor / oppressed shape his work. Among his most significant works are: Cartas de Areia (Sand Letters) a series of drawings on envelopes and letters on old family correspondence; Vociferatio, Lacrymatio and Respiratio, installations produced in the 1990s; Laceratio and Murmuratio presented in 3rd Mercosul Biennial and Museum Vale; Plasmatio produced with furniture and documents related to Brazilian activists that went missing during the military repression presented in various institutions (25th São Paulo Biennial, Museum of Modern Art Aloisio Magalhães, Oscar Niemeyer Museum, Museum of Contemporary Art in Niteroi, Brazil Embassy in Berlin); Divortium aquarum, (Usina Cultural Energisa Centro Cultural Banco do Brazil, Rio de Janeiro) and Ulysses, in Casa França, Brazil.

Leandro Almeida is a cultural producer graduating from Federal Fluminense University (UFF). He studied filmmaking at the School of Cinema Darcy Ribeiro, the international Academy of film and UFF and is now completing a media course and extension education. He is a videographer and editor and works as a social educator in the field, having taught training courses for young communicators in cultural centers, NGOs and public schools. He coordinates the film club Cineclube Cineolho that has been running at Museum of Contemporary Art in Niterói (MAC) since 2007. He worked in the art education department at MAC from 2002-2009 where he coordinated and produced programs, projects and events in sociocultural fields with a focus on the communities surrounding the museum and on implementing the Community Action Module at MAC in the favela community of Morro do Palácio. Between 2010 and 2013 he served as the Audiovisual Secretariat of the Ministry of Culture through the Programmer Brazil. Currently, he coordinates the Museum Forum program at MAC Niterói and is a managing partner of the video and film production company Interim Permanent Cultural Productions.

Leonardo Guelman is a university professor, writer and researcher in art and culture. He graduated with a degree in Architecture and Urbanism from the Federal Fluminense University (UFF) in 1986, received a Masters in Philosophy from the State University of Rio de Janeiro in 1997 with the dissertation: Univvverrsso Gentileza: the genesis of a modern myth and a Ph.D. in Comparative Literature from the UFF, 2011, with the thesis: Writing from the Sertão: constructed images and detours paradigmatic works from Sertão. He is an adjunct professor at UFF. Founder and coordinator of the project “Projeto Rio com Gentileza” [Rio with Kindness] that promoted two restoration projects (in 2000 and 2010) of the work of the Prophet Gentileza wall murals in Rio de Janeiro. He was coordinator of the undergraduate program in Cultural Production at UFF (1997-2000), director of the Arts Center UFF (2001-2006) and curator of Teatro Raul Cortez (2007-2008). He is currently director of the Institute for Art and Media UFF, professor in the department of art at UFF and the Graduate Program in Culture and Territorialities, with a research focus on the relationship between narrative, imagery and territory.

Luiz Guilherme Vergara is a professor in the Department of Art at the Federal Fluminense University (UFF) and teaches in the graduate programs: Studies in Contemporary Arts and Culture and Territoriality. As curator/ director of the Museum of Contemporary Art in Niteroi (MAC) 2005-2008 he was responsible for curating several exhibitions focusing on the dialogue between the architecture of Oscar Niemeyer and contemporary artistic practices, such as Poetics of the Infinite (2005) and Lygia Clark: Poetic Shelter (MAC, 2006) as well as the outreach initiative Art and Environmental Action (MAC, 1998 -) working with the favela community Morro do Palácio. In 2013, on returning to MAC, he curated exhibitions of the Brazilian artists Alexandre Dacosta, Suzana Queiroga, and Carlos Vergara as well as co-curating the exhibition Joseph Beuys: Res-Publica: Conclamation for A Global Alternative. His research interests focus on the interface between art, museums and society and he is co-editor of Revista MESA.

Nuno Sacramento was born in Maputo, Mozambique and now lives and works in Aberdeenshire where he is Director of the Scottish Sculpture Workshop in Lumsden. He is a graduate of the deAppel curatorial training programme and also completed a doctorate in Visual Arts at the School of Media Arts and Imaging, Duncan of Jordanstone College of Art and Design, Dundee. He is committed to issues of expediency of small arts organisations, land and ruralities, skills–sharing and collaboration, 21st century Arts and Crafts, and the commons. He is involved in research, project curation, writing and lecturing.

Tania Rivera is an essayist, psychoanalyst and professor in the Department of Art and Graduate Studies of Contemporary Arts at the Federal Fluminense University (UFF). She holds a Ph.D. in Psychology from the Université Catholique de Louvain, Belgium and was a Postdoctoral Fellow in Visual Languages in the School of Fine Arts at the Federal University of Rio de Janeiro. She is a CNPq (National Center for Research) scholar and author of the books Arte e Psicanálise (2002), Guimarães Rosa e Psicanálise (2005) and Cinema, Imagem e Psicanálise (2008, all published by Jorge Zahar, Editor), Hélio Oiticica e a Arquitetura do Sujeito (2012, UFF) and O Avesso do Imaginário: Arte Contemporânea e Psicanálise (2013, CosacNaify). She directed, among others, the video Ensaio sobre o Sujeito na Arte Contemporânea Brasileira (2012).

Virgínia Kastrup has a Ph.D. in Clinical Psychology from Pontifical Catholic University (PUC) São Paulo and is Associate Professor at the Graduate Program in Psychology at the Federal University of Rio de Janeiro (UFRJ). She is a member of Group for Cognition and Collective Research (NUCC) and is a National Center for Research (CNPq) scholar. Her investigations are focused on the areas of art, the production of subjectivity and visual impairment. She has published: A invenção de si e do mundo (Papyrus, 1999; Authentic, 2007) Políticas da Cognição (Kastrup, Tedesco and Steps, Sulina, 2008). She is one of the organizers of Pistas do Método da Cartografia (Steps, Kastrup and Escóssia, Sulina, 2009) and Exercícios de ver e não ver: arte e pesquisa com pessoas deficientes visuais (Moraes and Kastrup, Nau, 2010) and has written numerous texts in diverse edited collections and specialized magazines.