14h—14h30
AUDITORIUM
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Opening
Introduction and presentation of the artists selected for the residence program Cidade Floresta.
14h30—16h
AUDITORIUM
KNOWLEDGE SHARING
The intelligence of plants
Open roundtable that seeks inspiration from scientific knowledge, spiritual practice, everyday life, and economic dynamics around the potential of plants to transform urban life in the present.
With Denilson Baniwa, Mãe Celina, Bella, Luís Cassiano (Teto Verde) and others.
16h—18h
AUDITORIUM
PANEL
The power to capture
Who owns the city? In theory, cities are pacified territories, organized along logics of property and rights, places of civilized co-existence. As the story goes, the force of law was instituted to put an end to the endless wars that supposedly raged through savage societies, in a violent but pacifying act. Anyone who lives in Rio de Janeiro, in Brazil and perhaps in the world of the 21st century, knows that this is not the case. The city’s territory is crossed by disputes between different powers, in addition to the sovereign: the power to capture, loot, hunt, expel and criminalize. How can the city organize and live its conflicts in a non-violent way without falling into the false promise of pacification?
With Alexandre Mendes, Iazana Guizzo e Lenin Pires.
18h—19h30
AUDITORIUM
PANEL
The forest bears witness
What histories are hidden inside the breathtaking landscapes of the Amazon and the Atlantic rainforest? What memories can be revealed by digging beneath the asphalted and landfilled soil of our cities, built on forest soil? There are memories of the forest that preceded the city and traces of pre-colonial urbanities. To establish a connection with the soil is to unite with its restorative and regenerative power, its rich web of life that makes it possible for plants and animals to exist on the surface. Soil is much more than just earth – it is food, a repository of information and a stimulus for the imagination.
With Clarissa Moreira and Anita Ekman.
SAT/03/JUN
11h—12h20
AUDITORIUM
PANEL
Reforesting democracy
The museum is traditionally a place of accumulation, housing both physical objects and the knowledge they symbolize. Its origins are rooted in the practices of modern citizenship, inviting visitors to actively participate in the processes of collecting and displaying diverse realities. However, this legacy is marked by colonial and patriarchal aspects, which have been the target of feminist and decolonial criticism for decades. How can we organize the forums necessary to “arrive on earth”, in the words of Bruno Latour, and recognize that “life is wild”, as Ailton Krenak says? How can we digest the traumas and mistakes of the past? How to reforest democracy?
With Zoy Anastassakis, Wellington Cançado, Lucas Munduruku.
14h—16h
GALLERY 4
PANEL
Metabolic Museum
Let’s go deeper into the museum, out of the auditorium and into an exhibition room. In contemporary art, there is an approach that brings together art, geography, museology and activism, inspiring us to critique public institutions such as museums, schools, parks and so on. What is the metabolism of an institution, how could it become more alive, transformative and connected with what’s inside and outside of it?
With Renata Marquez and Francy Baniwa.
16h—18h
GALLERY 8
IMERSION
Orchestrating chance
“Orchestrating chance” is a silent experience of encounter and presence proposed by Anna Costa e Silva for pairs of people who don’t know each other. The work will begin in the Tamagotchi_balé cave-exhibition and unfold through the Hélio Oiticica space, passing through the immersive environment of Cosmococa on the 1st floor until it reaches the street. Grouped in pairs, the participants will receive a notebook of the artist’s scores to experience a kind of relational “treasure hunt”, which involves listening to dreams, sensory explorations of the space and the sharing of memories and confessions, designed for each of the spaces visited. It’s a provocation that exists as a counterpoint to the techno-algorithmic dystopia presented in Tamagotchi_balé, proposing connection and openness to what escapes the screens – combustions, affections, strangeness, magic.
With Anna Costa e Silva.
MON/05/JUN
13h—16h
AUDITORIUM
WORKSHOP
Let’s become fungal! Mycelium as Methodology
“Let’s become fungal!” is more than a book. It’s a methodology and a way of thinking that can be activated in communities, networks and organizations. It offers twelve teachings from the world of fungi that we will discuss collaboratively and see how we can apply them to our lives, ways of working and ways of being. From a mycelial meditation to collective readings and biomimicry exercises, the workshops are suitable for anyone interested in discovering what we can learn from the world of fungi.
With Yasmine Ostendorf-Rodríguez.
Participants
Associate Professor at the Faculty of Law of the State University of Rio de Janeiro – UERJ. PhD in Law from the State University of Rio de Janeiro – UERJ (2012). Master in Criminology and Criminal Law from Cândido Mendes University (2007). Post-Doctorate in Philosophy from Université Paris-Ouest Nanterre la Défense (2018). He holds a degree in Law from the Faculty of Law of the State University of Rio de Janeiro (UERJ). He was Public Defender of the State of Rio de Janeiro between 2006 and 2011, having worked at the Land and Housing Center (2007-2011). Lines of research: Law and Political Philosophy; Philosophy of Law, Law, Art and Literature. He published the book Vertigens de Junho: the 2013 uprisings and the insistence of a new perception (Revan, 2018). He published, with Bruno Cava, the following books: The life of rights. Violence and Modernity in Foucault and Agamben.
Anna Costa e Silva (1988, Rio de Janeiro) “works from situations constructed between people, proposing reformulations of social and affective networks with the encounter as the main subject. With a master’s degree in visual arts from SVA, NY, she has received awards such as FOCO Bradesco ArtRio, Bolsa Funarte de Produção Artística and the American Austrian Foundation Prize for Fine Arts, competing with master’s students from all American universities. Between 2014 and 2018, she held 10 solo exhibitions, including “Assíntotas” at Caixa Cultural, “Ofereço Companhia” at Galeria Superfície, “Púrpura” a mobile experience in the city of Rio de Janeiro and “Éter” at Centro Cultural São Paulo, selected for the Mostra de Exposições. She has participated in group exhibitions such as “Unânime Noite” at the Contemporary Art Center, Vilnius, curated by Bernardo de Souza, “Art In Odd Places”, NY, curated by Nicolás Estevez Rocio Aranda-Alvarado and Jody Wainberg, “O que vem com aurora” at Casa Triângulo, SP, “Encruzilhada” at Parque Lage, curated by Bernardo Mosqueira and “Abre Alas” at A Gentil Carioca. She has been a resident artist at Phosphorus, SP, the School of Making Thinking, NY and the Salzburg Academy, Austria. Her work is in public and private collections, including MAR – Museu de Arte do Rio.
Anita Ekman is a Brazilian visual and performance artist, curator and researcher of rock art, pre-colonial art and environmental history. Her collaborative performances at archaeological sites and in museum collections analyze the Atlantic World and the role of women in the history of the Amazon and the Atlantic Forest. As a researcher and artist, she has lectured at universities such as Harvard, Indiana and Tufts and her work has been published on websites such as MoMA, Harvard’s Peabody Museum, Od Review and Select. Anita Ekman is co-curator with Sandra Benites of the exhibition Ka’a Body: Cosmovision of the Rainforest at Paradise Row (2021) in London and Radicantes in Paris (2022) and Ore ypy rã – Tempo de Origem at MAM Rio (2023). Together with Sandra Benites, she received the 2021 Visual Arts Scholarship from the French Consulate in Rio de Janeiro and the 2023 Summer Fellow from the Goethe-Institute and the Clark Art Institute (USA).
BELLA (1988) investigates energetic processes through matter, sound and light. She develops research in sound art and technology, digital art, audiovisual projects, performances, art installations, workshops, field recordings and compositions. Her practice also includes the construction of electronic instruments/objects.
Clarissa da Costa Moreira is an urban planner, associate professor at the School of Architecture and Urbanism at Universidade Federal Fluminense and coordinates the research project Cidade em aberto (Open City) on the future of metropoles and their ongoing transformations. She is the author of the text The forest is a witness: for a re-constitution of the city in Lugar Comum magazine, which inspired the title of this panel.
Born in Barcelos, in the interior of the state of Amazonas, DENILSON BANIWA is indigenous of the Baniwa people. He currently lives and works in Niterói, Rio de Janeiro. As an activist for the rights of indigenous peoples, he has been giving lectures, workshops and courses since 2015. In 2018, he held the exhibition “Terra Brasilis: o agro não é pop!” at the Art Gallery of the Universidade Federal Fluminense, also in Niterói, as part of the project “Brasil: A Margem”, promoted by the university. In the same year, he took part in the artistic residency of the fourth edition of the Corpus Urbis Festival, held in Oiapoque, Amapá. He has had exhibitions at the Getty Los Angeles, MAM Rio, CCBB, Pinacoteca de São Paulo, CCSP, Centro de Artes Hélio Oiticica, Museu Afro Brasil, MASP, MAR and the Sydney Biennale. As well as being a visual artist, Denilson is also a publicist, an articulator of digital culture and hacking, contributing to the construction of indigenous imagery in various media such as magazines, films and TV series. In 2019 he won the Pipa Award in the online category and in 2021 he was one of the winners nominated by the jury.
Francineia Bitencourt Fontes (Francy Baniwa) is an indigenous woman, anthropologist, photographer and researcher of the Baniwa people, Waliperedakeenai clan, born in the community of Assunção, on the Lower Içana River, in the Alto Rio Negro Indigenous Land, municipality of São Gabriel da Cachoeira/AM. She has been involved in the indigenous organizations and movement of the Rio Negro for a decade and works and researches in the areas of indigenous ethnology, gender, indigenous organizations, traditional knowledge, memory, narrative, photography and audiovisual. She has a degree in Sociology (2016) from the Federal University of Amazonas (UFAM). She has a master’s degree (2019) and is a PhD candidate in Social Anthropology at the National Museum of the Federal University of Rio de Janeiro (PPGAS-MN/UFRJ). She is a researcher at the Laboratory of Anthropology of Art, Ritual and Memory (LARMe) and the Center for Symmetrical Anthropology (NAnSi) at UFRJ, and at the Center for Indigenous Amazonian Studies (NEAI) at UFAM. She was the coordinator of the Rio Negro Indigenous Women’s Department of the Federation of Rio Negro Indigenous Organizations (DMIRN/FOIRN) between 2014 and 2016. She coordinated the International Technical Cooperation Project “Safeguarding Cross-Border Indigenous Languages”, produced between a UNESCO-Indian Museum partnership, entitled “Life and Art of Baniwa Women: A Look from the Inside Out” between 2019 and 2020; and which continues in 2023 to catalog and qualify the pieces of the institution’s first indigenous collection, edit a photography catalog, produce a virtual exhibition and finalize the production of 3 documentaries, on ceramics, tucum and roça. She is the director of the 2020 documentary ‘Kupixá asui peé itá – A roça e seus caminhos’. She is currently coordinating the pioneering ecological project for the production of Amaronai Itá – Kunhaitá Kitiwara cloth sanitary pads, financed by the Rio Negro Indigenous Fund (FIRN/FOIRN), for the empowerment and menstrual dignity of women in the Alto-Rio Negro indigenous territory.
Iazana Guizzo is an architect and urban planner. She has a PhD in urban planning from UFRJ and is the author of the book “Reactivating Territories: the body and affection in participatory design”. She teaches at the School of Architecture and Urbanism at the Federal University of Rio de Janeiro. She completed a sandwich doctorate at the Institut d’Urbanisme de Paris (2012 and 2013). She holds a master’s degree from the post-graduate program in Psychology at the Universidade Federal Fluminense (2008). She graduated from the technical course for contemporary dancers at Escola Angel Vianna-RJ (2009-2011). She worked as an architect and urban planner at the Nova Iguaçu-RJ City Hall (2006 to 2009). She was part of the team that drew up the master plans for Nilópolis and São João de Meriti, RJ (2006). In 2013 she founded the architecture firm A Terceira Margem.
Anthropologist, professor in the Department of Public Security at UFF and director of the Institute for Comparative Studies in Conflict Management (IAC/UFF). He develops studies on urban circuits and circularity, focusing on the imbrications of social relations involving so-called informal markets, practices related to public security and the organization of urban transport. In perspective, relations between law, economics and politics.
Artisan, educator, writer and researcher of indigenous philosophies at the Geru Maa Laboratory of Africology and Amerindian Studies, UFRJ. An activist and resident of the Aldeia Maracanã community – where the Aldeia Maracanã Indigenous University is based – he develops courses, classes, lectures and workshops with indigenous protagonism, starting from the perspective of art and ancestry, with the aim of reforesting territories of the heart.
Cultural producer and moviemaker, has been working in the environmental field for 10 years. He is versatile, creative and experienced in the areas of theater and audiovisual, as well as cultural events and education, art and socio-environmental projects.
Mãe Celina de Xangô has been the manager of the Pequena África Cultural Center for thirteen years. In 2011 and 2012, she was invited by the Archaeology Department of the Federal University of Rio de Janeiro (UFRJ), through Professor Tânia Andrade Lima, to take part in the reconnaissance of African objects found in the excavations of the Valongo Quay, located in the Port Zone of Rio de Janeiro and which has been awarded the title of World Heritage Site by UNESCO, as it is the only material vestige of the arrival of enslaved Africans in the Americas. In 2016, Mãe Celina de Xangô received the position of Egum gum within the Vodou cult in Benin and was consecrated Princess of the royal court of Kpassenon in Ouidah. Mãe Celina de Xangô was brought up by her ancestors looking for herbs to make syrups, baths and teas, and honed her knowledge in candomblé. In recent years, she started the workshop project “The Power of Herbs” to fulfill part of her mission of sharing the teachings of self-protection, prosperity and care through the wisdom of the Orixás.
is a visual artist and architect-urban planner, with a PhD in geography and a post-doctorate in anthropology. She teaches in Architecture and Design courses, the Postgraduate Program in Architecture and Urbanism and the Transversal Training in Traditional Knowledge at UFMG, where she is a member of the Cosmópolis research group (CNPq). She was curator of the Pampulha Art Museum. She researches the interfaces between art, architecture, geography and anthropology with other aesthetic epistemologies. She is the author of Portable Geographies: A Geographical Essay in Art Criticism (www.geografiaportatil.org) and has organized, among others, the books Excavating the Future, Indigenous Worlds and Inhabiting the Anthropocene (www.bdmgcultural.mg.gov.br/acervo-biblioteca). She is the editor of PISEAGRAMA, an editorial platform dedicated to thinking about other possible worlds in alliance with urban, LGBTQIA+, Afro and indigenous collectives (www.piseagrama.org).
Wellington Cançado is an architect-urbanist and professor of Architecture and Design at UFMG, where he is a member of the Cosmópolis research group (CNPq). He coordinated the program Urbe Urge: Responses to the Climate Emergency, curated the project Seres-Rios (https://seresrios.org) and the meetings Os Fins do Mundo na Feira Plana and Antropoceno at the 12th São Paulo International Architecture Biennial. He organized, among others, the books Excavating the Future, Urbe Urge, Being Rivers and Inhabiting the Anthropocene (www.bdmgcultural.mg.gov.br/acervo-biblioteca). He researches the relationship between urban metamorphoses, design impasses and the cosmopolitics of the Anthropocene. He is a member of the Ruinorama collective and editor of PISEAGRAMA, an editorial platform dedicated to thinking about other possible worlds in alliance with urban, LGBTQIA+, Afro and indigenous collectives (www.piseagrama.org).
Yasmine Ostendorf-Rodríguez, born in Amsterdam and based in Mexico City, is a curator, writer and researcher who works at the intersection of art and ecology. She is the founder of the Green Art Lab Alliance (created in 2012), a network that includes sixty art organizations in Europe, Latin America and Asia. The alliance’s mission is to promote relationships that contribute to social and environmental justice, like the interconnected nature of mycelium. Over more than a decade, she has conducted research across (East) Asia, Latin America and Europe, focusing on artists who propose alternative ways of living and working, ultimately leading to more resilient communities and systems. She has worked for organizations such as Julie’s Bicycle (UK), Asia-Europe Foundation (Singapore), Cape Farewell (UK), Labverde (Brazil) and TransArtists (Netherlands) and has written for several international magazines. She founded the Nature Research Department at the Jan van Eyck Academie (Netherlands), the Van Eyck Food Lab (2018) and the Future Materials Bank (2020), an open-source database of sustainable materials for artists. She has been curator-in-residence at several art institutions, including Kunst Haus Wien (Austria, 2017), Capacete (Brazil, 2019-2020), Valley of the Possible (Chile, 2022), Bamboo Curtain Studio (Taiwan, 2015-2016) and colectivo amasijo (Mexico, 2021). She is a self-proclaimed “mycophile”, exploring the application of a mycological lens in defining fair models of collaboration and (self-) organization. Her debut book, “Let’s Become Fungal! Mycelium Teachings and the Arts”, which shares 12 teachings from the world of fungi, came out in May 2023 and is published by Valiz.
Zoy Anastassakis (1974) holds a Bachelor’s degree in Design (School of Industrial Design, Rio de Janeiro State University, 1999, Master’s and PhD in Anthropology (Postgraduate Program in Social Anthropology, National Museum, Federal University of Rio de Janeiro, 2007 and 2011). She is adjunct professor and former director of the School of Industrial Design, Rio de Janeiro State University (Esdi/UERJ), where she coordinates the Design and Anthropology Laboratory (LaDA), a research group research group certified by the National Council for Scientific and Technological Development. She is a member of the Research Network for Design Anthropology. Since 2009, she has been teaching and researching at the Pontifical Catholic University of Rio de Janeiro, the University of Vale do Rio dos Sinos (Rio Grande Grande do Sul), and at the State University of Rio de Janeiro, where she has been an adjunct professor since 2012. Between 2014 and 2015, she coordinated a bilateral cooperation project between LaDA and the Codesign Research Center of the Royal Danish Academy of Fine Arts, Copenhagen, Denmark. In 2018, she was visiting researcher at the Department of Anthropology at the University of Aberdeen, Scotland, where she took part in the activities of the project “Knowing from the inside: Anthropology, Architecture, Arts and Design”, coordinated by British anthropologist Tim Ingold. Since April 2019, she has been a collaborating researcher at the Centro em Rede de Investigação em Antropologia (CRIA, Universidade Nova de Lisbon). She published the books “Triumphs and Impasses: Lina Bo Bardi, Aloisio Magalhães and design in Brazil” (Lamparina Editora, 2014), “Refazendo tudo: confabulações em meio aos termins na universidade” (Zazie Edições, 2020) and “Everyday Acts of Design: Learning in a Time of Emergency” (Bloomsbury, 2022) co-authored with Marcos Martins. In 2020, she founded the independent studies program in humusities.