Research
Having the archival material available as a starting point, the cmb grant program provides support to research proposals on narrative and conceptual articulations, marked by theoretical, political, formal and poetic effervescence. Started in the second half of 2020, the program lasts an average six months and it is focused on researchers and artists of various fields and media, not being restricted to the visual arts.
3rd Cycle - 2023
André Pitol
This exhibition project has as its central focus the artist Edival Ramosa (1940-2015), especially the period in which he lived in Milan, between 1964 and 1973, where he began his artistic production. Ramosa’s italian immersion took place at a time of full artistic neo-avant-garde, notably constructive, kinetic and op. It is notable how his geometric thinking reverberates in totemic and circular works, as well as evidence of the proximity he had with other artists, poetics and galleries dedicated to the experimental. “Tótem 64/73” is underway in the cmb scholarship program based on the works, catalogs and other references present in the collection.
This exhibition project has as its central focus the artist Edival Ramosa (1940-2015), especially the period in which he lived in Milan, between 1964 and 1973, where he began his artistic production. Ramosa’s italian immersion took place at a time of full artistic neo-avant-garde, notably constructive, kinetic and op. It is notable how his geometric thinking reverberates in totemic and circular works, as well as evidence of the proximity he had with other artists, poetics and galleries dedicated to the experimental. “Tótem 64/73” is underway in the cmb scholarship program based on the works, catalogs and other references present in the collection.
Marcelo Zoppi
Magazine Madrugada is a sound magazine.
Marcelo Zoppi
Magazine Madrugada is a sound magazine.
Aline Bonamin
In an attempt to look for what is choreographic in dance documents, I looked at drawings by North American choreographer Trisha Brown. In her first drawings in 1973, Trisha Brown had the desire to create a vocabulary for her dance, as a possibility of documenting her choreographies. Incorporate these vocabularies through the tactile engagement of the body and what emerges from the encounter between a dancer and a choreographer through graphic documents to move other possible choreographies.
In an attempt to look for what is choreographic in dance documents, I looked at drawings by North American choreographer Trisha Brown. In her first drawings in 1973, Trisha Brown had the desire to create a vocabulary for her dance, as a possibility of documenting her choreographies. Incorporate these vocabularies through the tactile engagement of the body and what emerges from the encounter between a dancer and a choreographer through graphic documents to move other possible choreographies.
Wallace V. Masuko
– _ - the comet accompanies artists on journeys outside their usual places. Mauricio Carmona Rivera (Medellín) and Ana María Montenegro (Bogotá) were invited to spend a few months in São Paulo, Aline Bonamin and Marcelo Zoppi were called to investigate the cmb archives.
– _ - the comet accompanies artists on journeys outside their usual places. Mauricio Carmona Rivera (Medellín) and Ana María Montenegro (Bogotá) were invited to spend a few months in São Paulo, Aline Bonamin and Marcelo Zoppi were called to investigate the cmb archives.
Mauricio Carmona Rivera
Inquiries around urban interference that artists such as Carmela Gross have carried out in the city of São Paulo, as well as the work of Lina Bo Bardi, on the ground as an architect and editor of Habitat magazine, are the possibility of approaching the collection without ever side the idea that if the same trips, drifts and strays in the city, which allow me to establish dialogues between the different spheres, as a mechanism for immersion in the archive and the construction of bridges and frictions between contexts and memories.
Mauricio Carmona Rivera
Inquiries around urban interference that artists such as Carmela Gross have carried out in the city of São Paulo, as well as the work of Lina Bo Bardi, on the ground as an architect and editor of Habitat magazine, are the possibility of approaching the collection without ever side the idea that if the same trips, drifts and strays in the city, which allow me to establish dialogues between the different spheres, as a mechanism for immersion in the archive and the construction of bridges and frictions between contexts and memories.
2nd Cycle - 2022
Tiago Gualberto
A Head of the Brazilian People. Based on this title, the production of a video installation is linked to the free distribution of 5,000 sticker albums in the space of Sesc Pompéia, a project by architect Lina Bo Bardi in São Paulo, on the occasion of the exhibition “A Parabola do Progresso”. The primordial collection of postage stamps and stamps belonging to cmb served as a source for conceptual outlines around themes such as collecting, alternative circulation of images and curation. The varied set of images used in the project, most of which are in the public domain, are offered to promote dialogue about the connections between colonialism and climate change.1st Cycle
Bruno Baptistelli
Bruno Baptistelli
From Afro-diasporic and decolonial authors, artist Bruno Baptistelli proposes an analytical and propositive reading of the artistic practice of stanley brouwn.
A black conceptual artist, stanley brouwn was born in 1935 in Paramaribo and moved to Amsterdam in 1957. Most of his works discussed distance, measure, and displacement.
As a foreign artist in the Netherlands, Baptistelli relates brouwn’s work to the concepts of Otherness, by Jacques Lacan, and Opacity, by Édouard Glisssant.
A black conceptual artist, stanley brouwn was born in 1935 in Paramaribo and moved to Amsterdam in 1957. Most of his works discussed distance, measure, and displacement.
As a foreign artist in the Netherlands, Baptistelli relates brouwn’s work to the concepts of Otherness, by Jacques Lacan, and Opacity, by Édouard Glisssant.
Pontogor
O king of time and substance and cipher of the century! In Babylonia didst thou attempt to make me lose my way in a labyrinth of brass with many stairways, doors, and walls; now the Powerful One has seen fit to allow me to show thee mine, which has no stairways to climb, nor walls to impede thy passage.
Tom Nóbrega
In searching for signs, individuals see directions. Each knee involved in humidity preserves layers of nomad survival, and the crisped knee serves as support. Each folded knee sees what has passed. We time traveled through a few lines, marks with no fluid pattern, no snake, no calligraphy. And we kept losing things as we converse. And we keep losing things as we listen. And we lose things as we try to be alive. And we did little more than keep losing things.