Born in Curitiba, Bachelor in Painting from the School of Music and Fine Arts of Paraná (2012) and Post-Graduation in Visual Poetics – EMBAP/Unespar (2014). In 2022 he participates in Kaaysa Residência in Boiçucanga / SP with Agnaldo Farias. In 2020 he is part of the painting follow-up group with Regina Parra and Rodolpho (2020) Parigi. In 2019, Workshop in performance with American artist Marlyn Arsen. In 2018, he performs accompaniment with Paulo Pasta at Instituto Tomie Otake. In 2017, he participated in the SESI Visual Arts Center under the guidance of Ricardo Basbaum. In 2016 she is selected for the Artist Residency program of the Fundação Bienal de Arte de Vila Nova de Cerveira in Portugal and in 2017 she participates in the XIX International Biennial in Portugal. In 2014, he participated in the 6 ENCUENTRO DE ACCIÓN EN VIVO Y DIFERIDO international performance meeting in Colombia and held a residency ACCIONARAR – Anolaima. The latest solo shows: Incidentally, at Galeria Soma in Curitiba in 2018 and in 2019 VIVO COM VIVO in Salvador at Galeria Canizares. Article published in International Interdisciplinary Journal of Visual Arts: ART&SENSORIUM with the article “In a report of the body”.
Image Still from performance Placenta 2022
I am interested in minimal / cyclic-objectual / open source / site responsive performance, tensioning fixed points and gaps for experimentation.
Establishing a vocabulary of domestic technologies as I install / (re)use / uninstall them with non-hermeneutic actions that I’ll give shape as they appear in performance.
With sharp focus, I let them take over time and space, tuning into a meditative and silent wave with slow actions and delicate gestures.
Step by step, with no storytelling one action leads to another in response to a relationship with the world based on presence (and absence) and not on meaning.
Eduardo Amato is a performance artist based in Curitiba BRASIL. Their practice is based on precepts arising from the relationship with artists from different places and understandings.
They have performed widely including at 39a e 42a p.ARTE (Curitiba, 2018 / 2019), Festival de Performance ZAZ at Bamat Meizag (Tel Aviv, 2017), Temporada de Performance – Festival de Teatro (Curitiba, 2019), Festival Temporal (Assunção, 2019), Festival Lacração (Vitória, 2019), Festival de Performances da Galeria Transparente (Rio de Janeiro, 2019) and Festival Corpos Críticos 02 (Rio de Janeiro, 2019); the 25o anniversary of Bienal Internacional de Curitiba (2018), Semana de Performances – Bienal Internacional de Curitiba (2017/ 2019) and BIFPA – Ulster University (Belfast, 2021 e 2022). They have completed several residencies, including Bauhaus-Universität (Weimar, 2010), Hochschule Wismar (Wismar, 2013), Pivô (São Paulo, 2020) and Live Art Ireland – Ealaín Bheo Centre for Art Research and Development at Milford House (Borrisokane, 2022).
Frequently engaged with open source performances, open sessions, gatherings, group performances, etc where they performed with Bbeyond at Performance Monthly / Belfast UK, PAErsche / Köln DE and SITE / Folkestone UK in 2022.
Caelan has been involved in art and architecture for three decades. Educated at the
American University in Paris, the Architectural Association London and the Southern
California Institute of Architecture Los Angeles, she’s worked in a range of disciplines for
architects Frank Gehry, Nasrine Seraji and Don Bates as well as American artists Bill
Viola, Jeff Koons, Mary Miss and Peter Erskine.
On moving to Ireland in 1999, she gained eco-architecture experience with Solearth
Ecological Architecture (Dublin) and since 2004 runs her practice incorporating
ecological principles into residential and public commissions throughout Ireland.
Alongside her architectural work, she has made art projects and curated & designed
installations for many decades (see www.caelanbristow.com). In the late 1990s, she
exhibited “Dead Horse” in Los Angles and New York. In Ireland, she exhibited “Clop”
(2006) at the Birr Arts Festival and “Dong” (2006) at the Electric Picnic. She curated the
Birr Arts Festival from 2004-2006, designed & managed the 160th anniversary Student Art
& Design show at Ulster University Belfast in 2009, project-managed the Irish Showcase
at Dutch Design Week 2015 and developed community art projects with Open House
Limerick Education (2012-2017), “Re-possession” for Eva Biennal Limerick (2012), and
“Slowweave” with Slow Architecture (2010-2011). Current art/design facilitation projects
include working with the community of Kilcormac, Co. Offaly on a Creative Ireland
Climate Action Project, “ReImagine Workers Villages” and developing a walking trail of
environmental projects from the past 4 decades of Limerick’s Eva Art Biennal.
Since 2017, she’s been renovating a 200 year old 3-storey stone house in Cloughjordan,
Co. Tipperary. She’s a member of the RIAI Sustainability Task Force and of Irish
Architects Declare, as well as Treasurer of Live Art Ireland.
How does one orient towards a place, how does one locate themselves somewhere? How to make physical strategies to do so, how to develop tools for situating yourself somewhere? How to help your body arrive to a site, to the land, to all it has held, holds, will hold? How to include what you are, what you’ve been and what you’ve held, how to mix, how to converse. How to create an occasion, the way, the how, the style, for being together? How to be friends with an unassuming green field by the road in Tipperary? How to understand its constitution, its specificity, its habits, its personality? How to arrive here, how to arrive here, how to help my body understand, I am here.
1. A Large Wooden Hexagon Structure, Something To Push Up Against. Something to lean against, something with mass to make me feel my scale, in this site, something that can move with me. A solid structure to be in relationship with, to, towards. Make a tool to practice convening, my Structure’s structure convening with another Structure’s structure. The force, the exertion, the push back, the bounce, the weight, the roll. Acclimating to a field by exertion of an object across it. How to arrive by laboring, the laboring through a material as a means of arriving somewhere.
2. A Suit On Which to Map-Make. A set of shirt and pants, made of industrial wool felt, found in the pile in the backfront of Milford House. Grey wool felt, acting as a piece of paper, a drawing instrument that is worn. A piece of chalk with which to draw in one hand, draw on the suit that sits atop your body. Practicing mapping, from multiple prompts and points of view. Draw (to map) the architecture in front of you – on the back side of your suit. Draw (to map) the lines in space people make as they move – in the armpit of your suit. Draw (to map) the negative space between bodies – on the collar of your suit. Most importantly – Map Affect. Map all the moments in that green field where you affected or were effected. Map the experience of mutual affectation. Map where these moments happened, translate them onto your suit, map their tone, map the act of affecting as if it were shapes, geometry, curves, spatial punctuations. Map the composition of affect.
3. Daily Practices In/With the Green Field. Using the act of measuring and mapping in new ways. Repurposing the act of measuring as a tool through which to meet this field. This field, who is steadily becoming an acquaintance, I measure this field. Its 3.5 acres of volume, I measure this field with the length of my body. The length of my body as a ruler, a unit, a surmised unit of measurement. I measure this field with the length of my body which is to say I measure it imprecisely, subjectively. I measure the volume of this field in footsteps too, which is also to say I measure it imprecisely, subjectively. What is the use of measuring imprecisely, what ‘result’ it yields. Maybe I measure it this way so that it has space to measure me. Put me in perspective, relief my body with its presence, my lack of accuracy holding open space for it.
3a. I draw diagrams daily for a while. Diagrams of walking backwards in the field, diagrams of sprinting eight times around the field, diagrams of the names of the trees lining its perimeter, diagrams of pacing back and forth for exactly one hour. Diagrams of the weekend I was away from the field, the distance between me in Belfast and the field in Tipperary, diagramming my longing for the field. Detailed and rigorous practices in the field giving way to loose and subjective diagrams. Another ode to affect, repurposing the form to subjectively index.
How does one orient towards a place, how does one locate themselves somewhere? How to make physical strategies to do so, how to develop tools for situating yourself somewhere? How to help your body arrive to a site, to the land, to all it has held, holds, will hold ? How to include what you are, what you’ve been and what you’ve held, how to mix , how to converse . How to create an occasion , the way, the how , the style, for being together? How to be friends with an unassuming green field by the road in Tipperary? How to understand its constitution, its specificity, its habits, its personality? How to arrive here, how to arrive here, how to help my body understand, I am here.
All photos by Dash Che
Leo Bardo is a multidisciplinary artist who lives and works in Curitiba since 2014, where he began his career acting in performances and plays of the Selvática Ações Artísticas group. He graduated with a bachelor’s degree in Scenic Arts from UNESPAR/FAP in 2017 and, in this period, he was already creating and experimenting from other supports, merging video, performances and installations. In 2019 he starts working in the ateliers of PF performance art space and from then on includes drawing and painting in his practice, having space to also exercise independent curatorship through the project “Peso Expandido – Táticas Móveis em Arte Contemporânea”. Transiting through all these supports, his work is achieved through a libertarian and experimental poetics, very much crossed by the historical and cultural context in which he lives and influenced by themes such as philosophy, literature, psychoanalysis and gender.
I am a multidisciplinary artist born in Brazil. I started my career in theater in 2007 and since 2014 I have been working independently expressing myself through languages such as performance, painting, writing and video. I graduated with a bachelor’s degree in Performing Arts from Paraná State University and have an incomplete graduate degree in Contemporary History and International Relations.
Transiting through all these supports, my work is carried out through a libertarian and experimental poetics, very much crossed by the historical and cultural context in which I live and influenced by themes such as gender philosophy, literature and psychoanalysis.
Photo credit: Jonas Sanson