Jude Anogwih (Nigeria)
Anogwih’s work interrogates the concept of identity, mobility and migration. They take the form of video, photography, photo painting, and producing map and has been featured at several international art exhibitions and projects. During his residency at JA.CA, he developed workshops with students from the school OiKabum, lectured at Escola Guignard and presented the exhibition Boundarylessness.
Veikkanen is an Australian artist based in Canberra. A capital city with a unique design, Canberra has inspired his work with thoughts of idealism and community living in a national city. Receiving the prestigious Canberra Contemporary Art Space Residency Award for 2009 Veikkanen has embraced the role as a multi media artist. His quirky wit and unique perspective facilitated in the reception of the Qantas Contemporary Art Award, a travelling art prize that will enrich and invigorate his art practice.
Meera Margaret Singh (Canada)
With interest in using photography and video as means of social engagement, the Canadian artist Meera Singh, JA.CA’s resident 2012, proposes to work with employees of Belo Horizonte and its surroundings to create a series of pictures and videos that examine the multifaceted relations between individuals. The artist aims to reinterpret and subvert the conventions and traditions of documentary photography by exploiting the multiple realities of each subject.
Vijai Patchineelam (Rio de Janeiro, Brazil)
Patchineelam took a master in visual arts at the Konstfack University College, in Sweden. For his residency at JA.CA, the artist proposes the search for what is specific in places that have always been collective-private within large urban centers. The combination of private and public roles is what interests him in this program. The living spaces with other artists
Alejandro Tobón Rojas and Edgar Mazo (Colombia)
The artist Alejandro Rojas and the architect Edgar Mazo are going to develop the project Creativity as a Tool in the Community. The work will enable individuals to improve manual skills so that they can get self sustainable. The residents of JA.CA in June and July 2012, both Mazo and Rojas want to provoke the development of self-management through the creation and manufacture of useful objects that can be made and sold at low cost.
Inês Linke e Louise Ganz (Belo Horizonte, Brazil)
Assuming the scarcity of local food production, the group Thislandyourland proposes to discuss the degree of autonomy of the community of Jardim Canadá regarding the economic market system. Through a survey of sources – animals and their products, vegetables, herbs, medicinal herbs and others, cultivated by the residents, the group indends to open a restaurant temporarily to process what is found and so reveal ways of spatial occupation of this neighbourhood.
During the Residency Program the artist developed the site-specific Welcome to the Red Desert: own party. The project proposes a party as a work of art in which artists and the public interact with the space of JACA and with the neighborhood. The proposal questioned the specific space of art and it’s physical, social and political surroundings where events are hold for different social classes. The party has been produced together with local residents: DJ Reynaldo Costa, Banda Anônimos and beer and barbecue sallers. The exhibition includes performance work, a sculpture in the shape of the stage which is the platform for performance, a video of the reading of tracks and signs of Jardim Canadá, a audiovisual sculpture based on the mining explosions and a publication.
Sara Lambranho was born in Santo André (SP), lives and works in Belo Horizonte. She is graduated in Fine Arts from Guignard – UEMG – Universidade Estadual de Minas Gerais and Graphic Design from Escola Panamericana de Artes/ SP. She uses drawing, video and urban intervention in her projects. She participated on the project Muros: Territórios Compartilhados in Belo Horizonte in 2001. During her residency she worked on Requiem, a series of sheet music made from different fences that separate public and private property in the city, musicians performed the drawings.
The artist Laurent Pernot stayed at JA.CA for the months of June and July 2011.
He worked on a project produced by the SAM ART PROJECT, as a laureate from the SAM Prize for Contemporary Art. The project was exhibited at the Palais de Tokyo in December.
The work of Isabela Prado addresses relations between natural territory and urban constructs; her recent work focuses specifically on hydrographic and railway maps in a project spanning diverse media which considers the social impact of urban-planning. Prado’s project at JACA is the elaboration of a series of drawings based on river and railway maps which traces the relation between rivers and streets. The focal point of the Project is the unfolding of this production in a different scale through urban interventions.
Motta’s project at JACA is the creation of a photographic register of Jardim Canada, registering various landscape and land interventions created by the artist. Interventions will take the form of carvings and excavations of matter which will leave behind geometric and regular shapes. Removed matter (dirt, sediment) will then be suspended above the ground through the use of different types of balloons. In this way the artists intends to create a visual metaphor for the transformations of earth overtime; particular thought is given to the nature of the region – exhausted by decades of mineral extraction.
“Jardim Canada is located at edge of a natural reserve, an industrial area, a grouping of upper-middle class residences and an interstate highway. In spite of its proximity to a natural reserve, Jardim Canada is a veritable desert or more specifically, an inverted oasis: empty, unasphalted roads, the absence of trees and greenery. Our Project problematizes the idea of territorial stigmatization and suggests a solution in the cultivation of a common garden developed through the use of simple techniques. We wish to foment a debate around the issue of disused communal spaces.”
Grupo Passo (Aruan M.L. e Flávia R.)
“Our project – entitled Teto – is constituted by a study of urban supports that originate kinetic movements using energy in a process that triggers new flux. Teto has as its main aim in a critical re-thinking of space, raising debates around urban and local development. The project involves direct interventions through the use of ventilators installed in various warehouses stressing the rhythm of temporary movements; the movement of the ventilators will be used to propel optical projectors of slides that will show images related to the passage and unfolding of time.”
This present project consists of the creation of a software program that opens frameworks and accesses photographs from a virtual file. The application will allow a random association of images. The main criteria that will orient the selection of images will be the definition of contours and specific proportions. The collection of images that make up the database will be gathered by the inhabitants of Jardim Canada themselves.”
O projeto “jardim roubado” trata de questões que circundam não somente o mundo da arte, mas qualquer atividade que se realiza sobre o mundo que concebemos. Este projeto se ramifica em outros projetos que podem, por sua vez, vir a ser ramificados sucessivamente. Cada fragmento deve ter a propriedade de ser visto isolado ou como parte de um todo fragmentado.
O artista elenca uma série de ações que darão início a um número indeterminado de situações, envolvendo o artista, o local e os habitantes do bairro:
- Residir na área-comunidade em questão.
- Trabalhar com o que for descoberto na área, comunidade e região.
- Trabalhar com o que aprender com os outros que habitam a região.
2. FLORES SILVESTRES EM JARDINS URBANOS
- Identificar, fotografar ,coletar imagens, colecionar lugares desmatados e/ ou que sofreram erosão (antigos bosques ou “jardins” naturais de flores silvestres).
- coletar e colecionar “jardins japoneses” – áreas onde não mais existam vegetações nativas ou artificiais.
3. ROBIN WOOD GARDEN [JARDIN DE MADEIRA ROUBADA]
Roubar flores dos jardins dos aristocratas e/ou burgueses e replantá-las em possíveis jardins nos subúrbios e periferias de grandes metrópoles.
4. A POEIRA
- Coleção de rostos cobertos pela poeira e minério de ferro.
- Poeira de ferro sobre produtos finos.
são autores, juntamente com outros artistas, do projeto Berebere, por eles definido como um laboratório ambulante, cujo nome remonta á tribos nômades do Deserto do Sahara. Neste projeto os artistas propõem novas construções cartográficas, á partir da invenção engenhosa de máquinas coletoras de dados, que andam pelas ruas das cidades captando informações que serão posteriormente processadas e traduzidas em mapas audiovisuais e experimentais. Ao mesmo passo que as máquinas permitem uma leitura do espaço diferente da que estamos habituados, sua passagem pela cidade exige a presença real de seus propositores, gerando um conceito hibrido de percepção espacial. Os resultados coletados são organizados de forma visual e sonora pelos artistas gerando imagens, mapas, gráficos e texturas de som. Ainda tratando de percepção do espaço, podemos salientar uma certa condição performática das ações, onde muitas vezes estas máquinas ambulantes provocam a curiosidade do público passante. Experimentações semelhantes já foram propostas pelos artistas em Medelín, New York, Cartagena e Basel. Além dos dois artistas que estão residindo atualmente no JACA, o projeto Berebere conta ainda com a participação de Alejandro Duque.
Berglind Jóna’s work is rooted in the investigation of social concerns and the nature of public spaces. The resulting projects are compositions which critically assimilate those studies or interactions, often bringing them back into the public sphere for show. Her work frequently takes the form of collaborations between people, artists, organizations and the artist herself. Through the methodical use and examination of preexistent physical objects and structures — such as architecture and cultural artifacts — Berglind helps the spectator comprehend the invisible infrastructures hidden within them. In a dry and sometimes comical rereading she attempts to reveal both the multiplicity and contingency of the subject and to perforce expose the fiction or construction of reality. The outcome is a body of work which is critical while eschewing a dystopian or postmodern reading of the world, simply rendering visible the abstract concerns and dynamics implicit in forms and identities normally taken for granted.
Berglind participated in Let Me Think! at the 3rd Moscow Biennale 2009. Other Recent exhibitions have included Bye Bye Iceland curated by Hannes Sigurðson at the Akureyri Art Museum (2008); the exhibition included many of the country’s well-known political artist from all generations. Her film Húseinangrun or House Isolation/Insulation was screened at the City Museum of Gothenburg in 2009. Berglind took part in Hard Revolution curated by Mika Hannula at Potzdamer Platz as a part of NORD KULTUR FORUM 2006, Miðbaugur and Kringla; Leisure, Administration and Control a one year public space study and exhibition based on a collaboration organized by Berglind and her colleague Bjarki Bragason with 15 other Nordic artists sponsored by the Nord Kulturefund, City of Reykjavik, The Kringlan Mall and The Icelandic Academy of the Arts. She was commissioned by the Gerðuberg Culture Center based in the Reykjavík suburb Breiðholt to create the community collaboration that was named Hið Breiða Holt which means The Wide Gap/ The Wide Hill.
In 2008 Berglind was awarded the Guðmunda Andrésdóttir two year scholarship by the National Gallery of Iceland.
She has given lectures at various venues, such as (Un)making of Public space at the Icelandic Visual Art Awards 2008, Subvision Kunst Festival OFF in Hamburg 2009, Vilnius Academy of Arts2008, Icelandic Academy of Arts and at the Kuno Seminar: Tools for teaching in Bergen 2008.
Zachary Fabri’s work is an exploration of the unobserved systems of oppression in place in contemporary life. Through the performative appropriation and decontextualization of common gestures and scenarios, he aims to expose the preconceptions underpinning social conventions, norms and habits. A sort of artist-tourist or outsider Fabri wanders through culture questioning idées reçues wherever he encounters them. In a practice that spans various media – including performance, video and photography – he attempts to invert and deconstruct social structures around race, religion and class. Fabri’s frequent use of his own body as a medium, in live performance and video, is meant to underscore problems of human agency and politicization of the body itself.
Fabri participated in the Sequences Real-time Festival, Reykjavik, Iceland, 2009; The Nordic Biennale: Momentum, Moss, Norway. He has also exhibited at Gallery Open, Berlin, NabLab, Chicago, and the Museum of Contemporary African Diasporan Art, New York. Recently he has created live performances at Real Art Ways, Hartford, the Jersey City Museum; as well as English Kills Gallery, Brooklyn and the Winkleman Gallery, New York.
During their residency at JA.CA, Geraldine Juarez and Magnus Eriksson will work on the Object Oriented Therapy Center. OOTC is a therapy center for schizophrenic objects. Using hacking, philosophy and anti-psychiatry the goal is to identify the real potential of these objects. Instead of repairing discarded objects in order to integrate them functionally into society, we will design a treatment to understand and realize their full potential beyond their use given by human society.
Ugolini likes to explore the territories “in between” art and design and uses all media. His work deals with the public space, in its broadest sense. It is an investigation on the topic of “Masks”. His fascination for masks lies in their meaning of “resistance” to a certain situation. On the basis of De Certau’s idea of micro-actions of everyday life as subversive practices operated by humans, we can say that the use of masks is “tactical” in character. In more general terms, a mask comes into play in the “enemy” territory, a place that doesn’t belong to who wears the mask.
Sarawut began his artistic trajectory with bright colored paintings. He was invited to do an installation after exhibiting his first photographic series, also in strong bright colors. Since then, fifteen years after, Sarawut works is with great scale instalations. During his residency at JA.CA, he is doing a totally white installation. The final experimental artwork intend to be “mix medias” between found objects, design, sculpture, all depending on his inspiration and experiences in Brazil.