Municipality of Rio de Janeiro, Department of Culture, Banco do Brasil and Chemtech presents

Virei Viral Cover

Curatorship

Identities and Collectivities

EXISTENCE is the state of what exists. To exist is to be. To be is to have an existence and an identity.

Identity is the group of characteristics that distinguish a person or a thing and through which it is possible to be an individual. The self is the individuality of the human being.

Existence is itself only a dialectic. A self-referencing sequence. A metaconcept.

“Who I am”, “who we are” and “what makes me different from the herd.” Questions that go beyond time, culture, space. The only way to certify existence is to conceive “non-existence”; this makes drastically suspect our understanding of what it is “to be.”

But it is true that we are. Or at least, this is what we have to believe in. In order to be. And about this, Sartre said, “man is condemned to be free”. The weight of freedom is in being responsible for one’s Being. And it is being, that the man shapes his identity. The weight of this choice is not his burden alone. It affects all the group.

“We are all patchwork, and so shapeless and diverse in composition that each bit, each moment, plays its own game. and there is as much difference between us and ourselves as between us and others” - Michel de Montaigne, Essais, Volume 2, I (1580) 

Each SELF has an identity: formed by a constant and pulsing flux of small events, that shape personality, subjectivity, visible or hidden characteristics that, although seemingly measured, are the result of choices that affect not only the self, but everything. This is the heavy burden of freedom.

And what happens when these small events multiply and become hypertextualized? Does the identity become formed or deformed by the superabundance of simultaneous and, paradoxically, multi-dimensional and asynchronous events and episodes? This reflection, although it flirts with implausibility, is put in the dialectic of the present. And it is the object of investigation of this second edition of Virei Viral, a project dedicated to exploring issues of contemporary culture through their manifestation in artistic expression.

Once identity is a universal power, collectivity also arises as another nebulous object – not just correlated – but intrinsically connected. Identities and Collectivities.

In contemporary culture, they conflict – as seen in the thinking of zigmunt Bauman – with words like: fluidity, fragmentation, volatility – in an equation where to multiply is, paradoxically, to divide and separate. The curatorship of the second edition of Virei Viral sought to present works that reflect, question, ridicule, reverberate, controvert or simply depict points of view of artists concerned with the inexorable and timeless, but flexible and multivalent question of identity and its resulting collectivity.

As a curatorial result, the selected artists address facets of the ego in distinct ways, that generate an intense philosophical dialogue. The curatorial research was developed, therefore, in a multidisciplinary way. Revisiting classical philosophy, passing through the linguistic discussion of “real”/images/meaning, the questioning of sight and the belief of truth in images. Aristotle, hume, Sartre, Merleau-ponty and Didi-huberman, like so many other thinkers and philosophers who questioned existence, as in the melancholy of Nietzsche, searching for coherence in the psychology of Lacan and in the ultra-contemporary work of Bruno Latour and his Actor-Network Theory.

Exploring sensations through diverse artistic materials and foundations, the Exhibition Design, the Art Direction and the Curatorship seek to reveal traces of identity: its subtle and fragile side, and its pulsating, excessively antagonistic side.

We see the elegant contrast between the surrealist video of Antonia Leite and the painted photos of Mestre Júlio; the faith that we deposit in images in objection to the valorization of individual perception, questioned in the work of photographer Claudia Jaguaribe, in the imaginary Polaroid photography of Tom Lisboa, in the accurate argument of Khalil Charif in "O que vemos o que nos olha" (what we see looks back on us).

Narratives which blend stories of nostalgia, ephemerality, standardization and belonging are seen in the works of Dora Reis, Markus hofko, Yuli Anastassakis and Kyle Thompson – this last one standing out amongst all for being a painful attempt of self recognition. Recognition and belonging are also presented in Anthony Marcellini’s tale, packed with philosophical allegory.

The poetic subjectivity which we unpretentiously concede to our “gadgets’-extension-of-the-body” is in the poetic work i Phone me, i phone you by Marcus Faustini and, in counterpoint, Post secret by Frank Warren (and an anonymous group) looks through the pain of intimateness of omitted secrets and shows the collectivity of moral chastity.

The reputed and difficult-to-categorize photographer Michael Wolf questions the panoptic and the fine artist Ana Hupe manifests, in a way, hyperexposition; Bruno Veiga and Alexandre Mazza, the first ironically, the second in a reflexive way, address individuality versus standardization/ representation. This theme is also put to question by artist Stefanie Posavec who provides us potent vocabulary of different forms to give “real” life to our performances and standards of identity in social media. As if in a synthesis of the curatorial goal, through a poetic dramatization, we reveal the subtlety of designer Camila Valladares and her “identity packages”, an authentic and delicate provocation of self-interpretation.

The second edition of Virei Viral does not propose – in any way – to be conclusive. On the contrary. Whether our time leads towards the loneliness of fragmented identities or to the euphoria of the multiplicity of possibilities, whether the road is an excess of egocentrism or, on the contrary, the proliferation of facets and possibilities, the reflection is sent back to the audience: living, seduced, and abducted by this abundantly current reality-simulacrum.

ISABEL SEIXAS | Curatorial Collective M’Baraká Studio

Artists

Alexandre Mazza

Alexandre Mazza

ALEXANDRE MAZZA lives and works in Rio de Janeiro. With an education in music, it is through what he calls “multiplication of light” that Mazza makes us see far beyond what our sight recognizes. Todas em uma is born of the artist’s observation of various people crossing the street during the mass protests that occurred in Rio in 2013. There are many metaphysical issues and questions of otherness in Mazza’s work, but what attracts us is the conversation which the figures seem to represent, right between the coming and going of the identification that we are all one, and in one there exists all of us. Even if fluid and unstable, we see the insistence of standard archetypes that appear to sustain the collectivity. If for Norbert Elias there is no society without the individual, Mazza’s work shows us that neither does the individual exist alone, without society.

www.alexandremazza.com

Ana Hupe

Ana Hupe

ANA HUPE is an artist who lives in Rio de Janeiro and in Berlin. She is working on a PhD in visual arts from EBA-UFRJ. It is through photography, video, her body, and text that Ana tells her stories. Texto Vivo is an action in which the artist makes a collage on her body of everything written, including text messages, in three weeks of residence at La Ene in Buenos Aires, Argentina. Ana writes, writes and writes. As a “singular process of elaboration of the world and of being in it.” As a hyperexposition for the codification and imprisonment of meaning that disappears, the incorporation of another persona, the revelation of other hidden personas, a metaphor of the “human-post” that we turn into as we export every moment to social media. Or merely as an act of holding a pen and putting strength to the paper. In any case, Texto Vivo is a dense and poetic homage to professor and mentor Roberto Corrêa dos Santos, the author of the e-mail which motivates this process.

www.cargocollective.com/anahupe

Antonia Dias Leite

Antonia Dias Leite

ANTONIA DIAS LEITE is a Brazilian artist who works with video, photography and installations. She has worked with design and publicity in the past and since 2007, has dedicated herself exclusively to art. Within the language of the subconscious and from her interest in psychology, her work presents traces of surrealism. In Miroir Miroir, by playing with and transfiguring her own beauty, Antonia dives deeply into the definition of vanity and creates an intense psychological dialogue between facets of the ego. The work makes coexist the sad, the beautiful, the ridiculous and the spectacular and portraits the search for identity while criticizing the obsession with aesthetic perfection. The music, which is a fundamental part of the piece, shows all the paradoxical complexity of female representations of identity and reveals a collectivity which is, on one hand, balanced and coherent, but on the other, exhausted like an abandoned circus clown, who “drinks up enourmous laughter and eats cheers of ‘bravo’, but is sadder than a hat”.

www.antoniadiasleite.com

Anthony Marcellini

Anthony Marcellini

ANTHONY MARCELLINI is an artist, writer and academic. His interest is in the relationship between apparently distinct things and it is through the suspension of certain deep-rooted beliefs and metaphysical postulates that the artist takes us to the limit between the natural and constructed worlds, proposing a more horizontal space in which these two worlds can communicate. The complexity in Becoming Real goes beyond the fable of the Magpie who questions his role in the world after becoming aware of his capacity to recognize himself in the mirror. It also includes interrogations about being, its representational nuances and the most profound philosophical questions of existence as one.

www.anthonymarcellini.info

Bruno Veiga

Bruno Veiga

BRUNO VEIGA is a photographer from Rio de Janeiro. He began to photograph in the 1980’s and from the 90’s onward, dedicated himself to authoral work. As he plays with his daughter’s dolls, and inspired by the general obsession with social networks, Bruno creates Facebook Series. The plastic aesthetic of his subjects accomplishes archetypes, which reveal the structures behind the representations which are authorised and accepted in the superficiality of social media profiles. Bruno’s work dialogues directly with the way we choose to show ourselves, in the words of Russell, “needing a veil of illusion to conceal from ourselves that we did not think each other absolutely perfect”.

www.brunoveigafotografia.com.br

Camila Valladares

Camila Valladares

CAMILA VALLADARES has a degree in Design with training in Visual Communication from PUC-Rio. She is enamored with the relationship between art and design and is mainly interested in collaborative work, looking for “perspectives, readings, habits, cultures, histories, memories and recordings of what people can offer”. Plexo is a delicate collaborative work that solidifies the fluidity and impermanence of identity. From the Greek word, “Plexus” - braid, weave, involve - the little identity packets of Camila’s show how our representations are weaved into layers -- now weak, now firm -- but always in movement. The poetic in Plexo manifests on one hand, the plurality of the possibilities of choices in representations of identity, and on the other, the speed and transience of performances, meanings and re-significances.

www.cargocollective.com/camilavalladares

Claudia Jaguaribe

Claudia Jaguaribe

CLAUDIA JAGUARIBE is from Rio, but lives and works in São Paulo. Since 1988 she has participated in exhibitions in the most important museums and galleries in Brazil and abroad. She was educated in Art History, Fine Arts and Photography. Her production is characterised by intense artistic research that makes use of different media to deal with issues of contemporaneity. The series Retratos Anônimos questions the acceptance of photography as a loyal reproduction of reality by depicting faces with no person behind. This is a series of portraits whose faces belong to various people and, at the same time, to no one, and who generate a dreary co-existence in the space of otherness. If sight must be associated with some type of testimonial fact that proves the truth of what one sees, as affirmed by Merleau-Ponty, Claudia Jaguaribe’s series makes us question this faith we place in the image and the constant search for the truth in that which we see.

www.claudiajaguaribe.com.br

Dora Reis

Dora Reis

DORA REIS is a designer from Rio de Janeiro, who graduated from PUC-Rio and who experiments with photography and design projects. Through the construction of her interview subjects’ memories about photography, Memorabilia builds an enchanting narrative which generates at the same time nostalgia and belonging. The text, formed by images, memories and tenderness, is also a trace of memories and that forgotten. It is a beautiful encounter of identities and collectivities, at the limit between the singularity of the photo as an ephemeral object and the plurality of recognition that it makes us feel.

www.cargocollective.com/dorareis

Frank Warren

Frank Warren

FRANK WARREN is the founder and curator of Post Secret, a captivating online project that receives secrets from people from all over the world. Warren began the blog in November 2004 as a small businessman in Maryland, US, with the desire to elaborate a project of community art where the people are invited to send the secrets anonymously, through postcards. The content could be a regret, a fear, a betrayal, a desire, any type of intimate confession or humiliation. It does not matter, as long as it is true and has never been shared with anyone. Frank’s project generates an immeasurable quantity of pain, surprise, humor, joy and especially recognition, since it is common to identify with many of the secrets, the majority of them social taboos. The identities revealed by secrets create collectivities that comfort, but that also show another universe of more fragile representations, commonly camoflauged in our social self-portraits.

www.postsecret.com

Khalil Charif

Khalil Charif

O Que Vemos O Que Nos Olha is a work by KHALIL CHARIF, an artist from Rio de Janeiro who graduated from PUC-Rio with a degree in Art History. Inspired by the work of Georges Didi-Huberman, an important French philosopher and historian of art, Khalil questions sight, synthesizing a complex relation between the world of images and the internal world which gives access to the sense we make of these images. If the point of view creates the object, as affirmed by Saussure, Khalil’s work shows us that the object, in a certain way, also creates the point of view. There is, therefore, something which looks back at us as we contemplate the work. It is through the Joycean metaphor of the ocean that Dedalius looks at, and that returns to him the memories of his mother, that Huberman makes us see the complexity of sight. One speaks of “perceptual faith” and O que vemos O que nos olha demonstrates that the truth of what we see lies in a constant flux between faith and non-faith in the image, as proposed by Merleau-Ponty.

http://kcharif.blogspot.com.br/

Kyle Thompson

Kyle Thompson

KYLE THOMPSON was born in Chicago in 1992, began taking photographs at the age of nineteen and today has his own book. His work is mostly composed of self-portraits that explore natural environments by surrealist lens. Kyle puts himself in unlikely and deeply existential situations, in what seems like an exercise in self-awareness that allows us to imagine the unimaginable and proposes highly tempting risks through seductive images. It is an ephemeral narrative that never ends up building a complex identity process, always revealing contemporary anxieties of the self. There are many Kyles within Kyle.
 

www.kylethompsonphotography.com

Marcus Faustini

Marcus Faustini

MARCUS FAUSTINI is a writer, theater director, filmmaker, and the creator of the projects “Agência De Redes Para Juventude” (In English, The Agency; a social project that promotes creative entrepreneurship to the youth) and “Escola Livre De Cinema De Nova Iguaçu” (film school in Nova Iguaçu, Rio de Janeiro). iPhone me iPhone you is acontemporary narrative about all the personal content of two cellphones, resulting in a video installation. According to the artist, “the idea is to show that we entrust our subjectivity to these machines and we can transform all of our personal content into art.” Observing the trading of messages in “Iphone me Iphone you”, we see art which is pure subjectivity in action, coexisting in all its paradoxes, poetic and always in transformation.

https://www.facebook.com/mvfaustini

Markus Hofko

Markus Hofko

Born in Germany, the designer and artist MARKUS HOFKO lives and works in New Zealand. Specialized in the production of conceptual images (in photography and movies), his work characterized by hybrid creative production, between the standard design and the fantastical freedom of surreal images. His works cause, at first, alienation. There is always something out of place that “bothers” the viewer. Inspired by science fiction and fantastic images of other worlds, he creates half-human, half-extraterrestrial characters. Solidarity is a series of photographs developed for the Swiss magazine Abstrakt that creates a theme for the subjects and their relations from the questions that give the title images to the series: What is solidarity? Do we need to be separate to be together? Is helpfulness voluntary? What connects us? How does the internet change the community? Through the selfishness and mischaracterization of the characters of Solidarity we are led to think about the opinions, interests and reciprocal feelings that generate identities and collectivities from parameters other than the existing standard.

www.bowbowbow.co

Mestre Júlio

Mestre Júlio

“She wanted to be portrayed as a queen, with a crown, a three-lap pearl necklace, matching earrings, lighter hair and no glasses, blue eyes and wearing makeup.” A person who chooses to be portayed decides how they want to be remembered. Photopainting portraits is a way of manipulating representations and of generating new layers under the complex identity process of the portrait. Photopainting was born with pictures of large formats, arriving at homes in the nineteenth century. When it was created, the technique was the only available resource to recover memories captured in photographs destroyed by time or poor conservation. MESTRE JÚLIO SANTOS went through all the processes of photopainting, and he came to have a studio with 20 apprentices who were taught to take care of emotional memory through pictures. Today, his work is fully digital and he performs his technique with materials that have become extinct in real life, but that appear as the cursor moves.

www.mestrejuliosantos.blogspot.com.br

Michael Wolf

Michael Wolf

In the same way that MICHAEL WOLF’s photography defies any kind of categorization, the artist himself seems to be difficult to categorize. Michael Wolf was born in Germany, was raised in the United States and Canada, and then returned to Germany to study photography. Wolf’s body of work deals with a universal reality of life in big cities. Google Street View Series comes from when, by moving to Paris, the artist realizes he is imprisoned in an urban landscape that has been the same for over a hundred years and has been endlessly photographed. By using the universal interface of Google, he navigates through Paris, cutting and isolating moments that transcend the uniqueness of Parisian architecture to suggest an abstract and universal city. It is the cut and the choice of the scene which make the photo a Michael Wolf photo, rather than a picture from Google. This research generates different series: the representation of the portrait that cannot be chosen, the fury of those who feel overwhelmed by the panopticon control… What distinguishes Wolf from the others is his ability to find the symbolic value in seemingly insignificant details that often go unnoticed. Privacy, voyeurism, choice of representations, identities and communities are directly related to this project which also criticizes the powerful reach of Google to create an unauthorized photographic map of the world.

www.photomichaelwolf.com

Stefanie Posavec

Stefanie Posavec

The American designer Stefanie Posavec lives in London and works with a focus on design and the visualization of data. Stefanie goes beyond enabling new ways of viewing information; she has interest in mapping the most subjectively different languages from science to literature. “What fascinates me is being able to unlock this hidden truth that is found in even the most mundane of things” Posavec developed Relationship Dance Steps in a seven-week residency in the research laboratory at the headquarters of Facebook. The project is the conversion of one month of interaction on Facebook between four couples, into dance steps. It is through the rhythmic step by step proposed by Stefanie that we see a performance virtually orchestrated and performed by many couples in day to day social media taking shape and coming alive.

www.stefanieposavec.co.uk

Tom Lisboa

Tom Lisboa

TOM LISBOA is a native of Goiânia, but has lived in Curitiba since 1987. With a Master’s degree in Communication and Languages, he works as a visual artist, a professor of cinema and an independent photography and curator. Polaroides (in)visíveis are representations of photos in texts written by the photographer, that deconstruct the idea of photography as a visual image and divide the ownership with the audience, who are instigated to look around (or within themselves) and look for the hidden landscapes that surround them. Aside from generating endless possibilities of interpretation, the Polaroides fascinate with the subtlety with which they deal with the urban environment. According to Tom, they are “at the limit of norms”, and for this reason they seem to us important instruments of protest and care for the city. What begins as an unpretentious urban intervention is a firm criticism of the exhibition space and the trivialisation of contemporary photography, in an age in which the majority of photographers remain within the digital environment. Aside from Polaroides (In)visíveis, the project produced variations such as Polaroides Privadas (private Polaroids) -- placed in museum restrooms -- and Polaroides autorretratos (self-Portrait Polaroids), in which the audience sends selfies to the artist. The scope of this work is so large that, although being made without a camera and not possessing a physical image, Polaroides (in)visíveis won the Porto Seguro Award of Photography, the most prestigious national award in this area.

www.sintomnizado.com.br/tomlisboa.htm

Yuli Anastassakis

Yuli Anastassakis

YULI ANASTASSAKIS lives and works in Rio de Janeiro. She has a degree in Social Sciences and studied video art, design and painting at the “Escola de Artes Visuais do Parque Lage” (Parque Lage School of Visual Arts). Yuli remakes family photos or images captured by Google Street View with the sweetness of embroidery. The irony in her work makes us hear overlapping voices. On one hand, the meticulous technique of embroidery and all the tranquility it represents, and on the other, the revelation that the times we live in are fast. The enchantment is in perceiving that these identities coexist harmoniously, in flux, and give us the comfortable sensation that anything is possible, that our anguish for everything can cease for a time, or at least for some points.

www.yulianastassakis.blogspot.com.br

Credits

EXHIBITION

ORIGINAL CONCEPT: DIOGO REZENDE

CURATORIAL COLLECTIVE M’BARAKÁ STUDIO: DIOGO REZENDE / ISABEL SEIXAS / LETÍCIA STALLONE (PLUS MARIANA SOLIS AND EDRO LEOBONS)

CONTENT COORDENATION: DIOGO REZENDE / ISABEL SEIXAS / LETÍCIA STALLONE

PRODUCTION DIRECTOR: ANA LUISA FONSECA

PRODUCTION ASSISTANT: BEATRIZ NOVELLINO RAFAEL SANTOS

ARTISTS: ANTONIA DIAS LEITE / ANA HUPE / ALEXANDRE MAZZA / ANTHONY MARCELLINI / BRUNO VEIGA / CLAUDIA JAGUARIBE / CAMILA VALLADARES / COLETIVO ESTÚDIO M’BARAKÁ / DORA REIS / FRANK WARREN / KHALIL CHARIF / KYLE THOMPSON / MARKUS HOFKO / MICHAEL WOLF / MESTRE JÚLIO SANTOS / MARCOS FAUSTINI / STEFANIE POSAVEC / TOM LISBOA / YULI ANASTASSAKIS

ART DIRECTION AND EXHIBITION DESIGN: DIOGO REZENDE / COLETIVO ESTÚDIO M’BARAKÁ

GRAPHIC DESIGN: PEDRO LEOBONS / MARIANA SOLIS (ESTÚDIO M’BARAKÁ) 

TECHNICAL DRAWINGS: LILIAN SAMPAIO

LIGHT DESIGNER: ALESSANDRO BOSCHINI 

ART PRODUCER: ALEXANDRA SUPRANI

ART TRAINEE: ANTONIO SCHUBACK

WAX SCULPTURES: CESAR ALTAI

ARTWORKS’ DIGITAL PRINTS (BRUNO VEIGA, CAMILA VALLADARES, DORA REIS, FRANK WARREN, MICHAEL WOLF, MARKUS HOFKO, MESTRE JÚLIO SANTOS E TOM LISBOA): BARRACÃO DE IMAGENS

LAWYERS: ERICKA GAVINHO / ANA LUZIA CAMPOS (GAVINHO & CAMPOS ADVOGADOS ASSOCIADOS) 

ADMINISTRATIVE DIRECTOR: LARISSA VICTORIO (ESTÚDIO M’BARAKÁ)

ADMINISTRATIVE PRODUCTION: BEATRIZ ARAÚJO (ESTÚDIO M’BARAKÁ)

FINANCIAL MANAGEMENT: BALUARTE CULTURA 

PRESS: LUCIANA BENTO (PAUTA POSITIVA)

ONLINE COMMUNICATION: BIA SARTORIO

SCENOGRAPHY ASSEMBLAGE: CAMUFLAGEM

STAGEHAND: DINHO MOREIRA

PRODUCTION: ESTÚDIO M’BARAKÁ

CO-PRODUCTION: BALUARTE CULTURA 

CATALOG

EDITING AND CONTENT COORDENATION: DIOGO REZENDE / ISABEL SEIXAS / LETÍCIA STALLONE

PUBLISHING COORDENATION: SILVANA MONTEIRO DE CARVALHO / PAULA PAIXÃO / MARIA DUPRAT

PUBLISHING HOUSE: ARTE ENSAIO

GRAPHIC DESIGN PROJECT: DIOGO REZENDE / PEDRO LEOBONS (ESTÚDIO M’BARAKÁ)

PRINTING PRODUCTION: PATO VARGAS

TRANSLATIONS: CASEY STIKKER / LUIZ FELIPE STALLONE / MARIA LUIZA REZENDE / RENATO REZENDE

ENGLISH LANGUAGE REVISION: H+ CRIAÇÃO E PRODUÇÕES

PORTUGUESE LANGUAGE REVISION: DANIELLE FREDDO

PRODUCTION: ANA LUISA FONSECA 

PRODUCTION ASSISTANT: BEATRIZ NOVELLINO 

SPECIAL THANKS TO

BIANCA TALASSI / CAROENA NEVES / CHEMTECH / CONSULADO GERAL DOS EUA (RJ) / DANON LACERDA / ELIANE COSTA / FABIANA COSTA / MARCELO MENDONÇA / GABRIELA AGUSTINI / PAULA BRANDÃO / PAULA SUED / PREFEITURA DA CIDADE DO RIO DE JANEIRO | SECRETARIA MUNICIPAL DE CULTURA 

SPONSORS

CHEMTECH / PREFEITURA DA CIDADE DO RIO DE JANEIRO | SECRETARIA MUNICIPAL DE CULTURA  

Information

About

October 22 - December 22, 2014

Opening Hours: from Wednesday to Monday | from 9 A.M. to 9 P.M.

Address: Primeiro de Março Street, 66 - City Centre/Rio de Janeiro

Exhibiton at Room B and Foyer by the Ticket Office

See Google Maps

Contact

Selfie VV

RULES TO SUBMIT YOUR SELFIE TO THE INSTALLATION "(IN)VISIBLE POLAROIDS SELF-PORTRAIT", BY TOM LISBOA

1. Read carefully the text on the (In)visible Polaroid. (Scene - Imagine that your face is right-aligned on this part of the polaroid. If the photo was taken now, what would appear on the background?)

2. Take a picture that translate in image the text of the polaroid. Photos must be square, 200dpi, 10x10cm.

3. Rename the file with your name and surname and send the picture by email to selfie@vireiviral.com.br, until October, 5.

4. When you submit your image to this project, you allow the producers of Virei Viral to use and reproduct your image. Besides, you declare you are over 18.

5. Visit the exbition Virei Viral 2014 in the CCBB-RJ between October, 22 and December, 22 and see your selfie in the installation of the artist Tom Lisboa!

Share! #selfievireiviral

2013 Edition

With curators born in the 80’s, Virei Viral (Going Viral) was created by a group that has intensely lived the cultural transition that occurred through the transformation from the analog communication to the digital. We were born at the peak of mass media, of information from “one to many”, and we converted to this completely different reality of a culture of “many to many”, the facilitation of creation and the diffusion of extremely diverse content. Perhaps having lived in two completely different realities has influenced our excitement with this theme. The idea of the Virei Viral exhibition comes from a desire to reflect on our so-called cyberculture, which far from being the scene of robots and intergalactic highways as it was predicted in the 80’s, is instead nothing but our 21st century culture, marked by the presence of the digital in almost all of our actions. It is nothing more than this… and it is all of this: the revolution of lifestyle, of notions of time, space, communication and social interaction,
of the possibilities of research, work and leisure.

Presented in 2013, the first edition of Virei Viral had more than 120,000 spectators in about two months, in one of the most traditional spaces in Rio de Janeiro, the Centro Cultural Banco do Brasil (CCBB). This year, again with the sponsorship of Chemtech Engineering and also having CCBB as a partner, providing their space for the exhibition, the second edition shows the diversity of possible approaches when one understands this digital, and hypertextual world as much more than just simple technology, but as a cultural phenomenon. If in the first version we discussed the concepts and origins of the viral and the virtual, the new possibilities of  interaction, content creation and multiplication of information. In the second we have opted to focus on the behavior of the contemporary individual in relation to the fragmentation of the self and its collective posture, as widely displayed in online social networks. In its performative relations, its polysemy, its fluidity, intensity and all the contradictions that appear when the SELF/SELFIE multiplies, making contrasting concepts move together – in a dissonant melody – side by side. Identity and Fluidity; Collectivity and Volatility; Cohesion and Oscillation. Concepts which in a way repel one another, now have begun to coexist, to synchronize. If we think that Facebook has more than 1.2 billion users – and that each one “creates, recreates, molds, fragments” his/her profile and shares interests with infinite groups – we have an idea of the quantity of possible simulacra; an idea of the profusion of, paradoxically, authentic and forged profiles of multiple and fragmented identities. This fascinating theme of fluid identities and versatile collectivities, especially in Brazil, one of the countries with the most users of social media, inspired the curatorship of Virei Viral to adopt the theme “Identities and Collectivities” in this second edition. And the reverberation of digital culture in contemporary culture has already made us think of possible themes for the next editions: the relationship of space vs. time; generalized ubiquity; Actor-Network Theory; the advancing of man-machine relations; hypertextuality; the relation ofintegration vs. dispersion; these and the many other themes that impact contemporary culture are the interest of the collective curatorship of Virei Viral. For each edition, one of these themes – or others, which could still emerge – will be shown in the exhibition, always with the goal of aligning relevant content, contemporary artists and a carefully planned design to promote dialogue between content and works of art, prioritizing the sensory enjoyment of the spectator.

M'Baraká Studio Collective Curatorship:
Diogo Rezende, Isabel Seixas and Letícia Stallone

M'Baraká Studio Curatorial Assistants and Art Assistants:
Mariana Solis and Pedro Leobons
Special thanks: Paula Brandão, Fabiana Costa, Gabi Augustini and Eliana Costa
(Collaborators in the curatorship of the first edition)

DOWNLOAD FIRST EDITION'S PROGRAM

Patrocínio
  • Prefeitura
  • Chemtech
Apoio
  • Consulado Americano
Realização
  • Mbaraká
  • Baluarte
  • BB