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Actions in the house
In the 1990s, Brígida Baltar turned the studio at her home in the Botafogo district of Rio de Janeiro into an experimental laboratory. She dug holes and opened windows. She occupied unusual spaces, melding body and house. She gathered drips of water and tears, stripped walls bare, gathered together waste, collected pieces of the place. She photographed herself bathing, cutting her hair, and in other private activities. She wrote phrases on walls and ripped drawings. She planted herbs in bricks for cooking and receiving friends. An evident experiment in combining art and existence.-
Untitled
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Untitled
Photography
40 x 30 cm
Photograph
Thais Zylberberg
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I am Tree/I am Tree, Part II
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I am Tree/I am Tree, Part II
Printed photograph or slide
27 x 18 cm [each] or projection
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Silhouettes
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Silhouettes
Drawing of the artist’s body made with materials from the house: wood, stone, brick dust, flakes of paint, clay, dust, and pieces of mortar
Varied dimensions
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Shelter
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Shelter
Printed photograph or slide
60 x 40 cm [each] ou projection
Recording
João Galhardo
Shelter
Printed photograph or slide
60 x 40 cm [each] ou projection
Shelter
Printed photograph or slide
60 x 40 cm [each] ou projection
Shelter
Printed photograph or slide
60 x 40 cm [each] ou projection
Shelter
Printed photograph or slide
60 x 40 cm [each] ou projection
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Tower
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Tower
Printed photograph or slide
28 x 19 cm [each] or projection
Recording
João Galhardo
Tower
Printed photograph or slide
28 x 19 cm [each] or projection
Tower
Printed photograph or slide
28 x 19 cm [each] or projection
Tower
Printed photograph or slide
28 x 19 cm [each] or projection
Tower
Printed photograph or slide
28 x 19 cm [each] or projection
Tower
Printed photograph or slide
28 x 19 cm [each] or projection
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Opening the Windo
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Opening the Windo
Slide
Projection
Recording
Ana Herter
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The Kitchen Garden
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The Kitchen Garden
Bricks removed from the walls of the artist’s house are planted with herbs
Varied dimensions
The Kitchen Garden
Bricks removed from the walls of the artist’s house are planted with herbs
Varied dimensions
The Kitchen Garden
Bricks removed from the walls of the artist’s house are planted with herbs
Varied dimensions
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Mother
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Mother
Glass jar and keepsakes of the artist’s mother
51,5 x ø 24 cm
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Untitled
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Untitled
Photographs sewn onto a leather coat and wooden hanger
79 x 48 x 4 cm
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Self-Portrait with Hair of Women from the Family
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Self-Portrait with Hair of Women from the Family
Photography
Recording
Rui Cortez
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Collecting Tears
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Collecting Tears
Glass and tears
Collecting Tears
Glass and tears
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Collecting Leaks
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Collecting Leaks
Glass, water from leaks, flak of paint, and wooden shelving
33,5 x 35 x 5 cm
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Self-Portrait
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Self-Portrait
Photography
24 x 16 cm
Recording
Marcia Thompson
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Untitled
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Untitled
Glass and ripped drawings
51,5 x ø 24 cm [each]
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Untitled
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Untitled
Photography
12,7 x 9 cm [each]
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Bath and Rain
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Bath and Rain
Porcelain and pottery jars and wooden shelving
27 x 22 x 9 cm
Photograph
Wilton Montenegro
Actions in nature
The works in the house, of selecting and collecting memories and identities, reach out to the open air, incorporating the architecture of nature. A closet is filled with earth, trees are planted over buried personal objects, cotton wool is spread like skin over branches. Ephemeral substances, like dew and mist, are collected on excursions to the mountains. The urban landscape emerges in the reading of a book in a treetop on an afternoon by a busy road. The acts are photographed and filmed.-
New Flower
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New Flower
Action and photograph
Recording
João Galhardo
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Mist Collecting
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A coleta da neblina
Photography
40 x 60 cm
Recording
Juliana Rocha
A coleta da neblina
Photography
40 x 60 cm
Recording
Juliana Rocha
A coleta do orvalho
Photography
40 x 60 cm
Recording
Juliana Rocha
A coleta da maresia
Photography
40 x 60 cm
Recording
Juliana Rocha
Coletor de orvalho
Photography
40 x 60 cm
neblina orvalho maresia coletas
Photography
40 x 60 cm
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On a Tree in an Afternoon
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On a Tree in an Afternoon
Photography
25 x 37 cm
Recording
Juliana Rocha
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Untitled
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Untitled
Photography
35,5 x 24 cm [each]
Recording
Efrain Almeida
Untitled
Photography
35,5 x 24 cm [each]
Recording
Efrain Almeida
Untitled
Photography
35,5 x 24 cm [each]
Recording
Efrain Almeida
Untitled
Photography
35,5 x 24 cm [each]
Recording
Efrain Almeida
Sem título
Photography
35,5 x 24 cm [each]
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You were There
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You were There
Photography
40 x 60 cm
MAM-RIO Collectors Project | 100 editions
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Punctuation
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Punctuation
Slide record about cotton intervention in nature
Punctuation
Slide record about cotton intervention in nature
Punctuation
Slide record about cotton intervention in nature
Punctuation
Slide record about cotton intervention in nature
Punctuation
Slide record about cotton intervention in nature
Punctuation
Slide record about cotton intervention in nature
A artista na ação
Slide record about cotton intervention in nature
A artista na ação
Slide record about cotton intervention in nature
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Skin
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Skin
Slide record on intervention with raw cotton in nature
Skin
Slide record on intervention with raw cotton in nature
Skin
Slide record on intervention with raw cotton in nature
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Female
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Female
Cupboard and earth
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To Bury is to Plant
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To Bury is to Plant
Action and slide
Slide
Recording
João Galhardo
To Bury is to Plant
Action and slide
Slide
To Bury is to Plant
Action and slide
Slide
To Bury is to Plant
Action and slide
Slide
First glass and ceramic sculptures
Taking inspiration from her initial experiments, Brígida Baltar dives deeper in her manipulation of materials. Combinations of writing, intervention, and collecting are transposed to ceramic – more malleable – and glass, blown into organic sculptures in brickworks and laboratories. At this time Baltar also makes containers for capturing and storing atmospheric moisture.-
Between Heaven and Earth
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Between Heaven and Earth
Painted ceramic
31 x 9 x 12 cm
Photograph
Vicente de Mello
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Being Honey
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Being Honey
Glass and honey
53 x 14 x 9 cm
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Moist, or Beings who No-one Sees
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Moist, or Beings who No-one Sees
Blown glass
Varied dimensions
Photograph
Wilton Montenegro
Moist, or Beings who No-one Sees
Blown glass
Varied dimensions
Moist, or Beings who No-one Sees
Blown glass
Varied dimensions
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Skin
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Skin
Painted ceramic
87 x 38 cm
Skin
Painted ceramic
87 x 38 cm
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Hot and Moist
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Hot and Moist
Painted ceramic
Varied dimensions
Drawings and sculptures based on brick from her house
When Baltar moves from her house in Botafogo, she takes with her some brick dust in barrels, and throughout the 2000s she uses it to make new works. She shapes books and mountains and draws forests and plants on paper and walls. Brocade or lace-like patterns are revealed in dust on the floor and in the corners of rooms or in the her lattice sculptures, affirming her interest in informal geometry.-
Livro-mamá
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Livro-mamá
Brick dust and resin
25 x 17 x 1 cm [each]
Livro-corpo
Brick dust and resin
25 x 17 x 1 cm [each]
Livro-raiz
Brick dust and resin
25 x 17 x 1 cm [each]
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Self
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Self
Brick dust, cement, and glass
39 x 24 x 19 cm
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Red Tower
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Red Tower
Photography
70 x 50 cm
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Untitled
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Untitled
Molded brick dust and resin
19,5 x 25 x 2 cm
Photograph
Douglas Atfield
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Body-House [Breasts]
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Body-House [Breasts]
Sculpted brick
Varied dimensions
Photograph
Erika Mayumi
Body-House [Breasts]
Sculpted brick
Varied dimensions
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House
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House
Brick dust, glass, and wooden shelving
50 x 30 x 7 cm
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Ground
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Ground
Molded brick dust and white glue
80 x 100 cm
Photograph
Erika Mayumi
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Brocade Room
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Brocade Room
Drawing in brick dust based on paper stencil
Varied dimensions
Photograph
Edmar Melo
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Dust and Landscape
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Pó e paisagem (detalhe)
Brick dust and mineral glue on wood structure
Varied dimensions
Photograph
El Musgo Mujica
Pó e paisagem
Brick dust and mineral glue on wood structure
Varied dimensions
Dust and Landscape
Brick dust and mineral glue on wood structure
Varied dimensions
Dust and Landscape
Brick dust and mineral glue on wood structure
Varied dimensions
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Pauta pó
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Pauta pó
Brick dust on notebook
25 x 36 cm
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Red Forest
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Red Forest
Drawing in brick dust and white glue on paper
75 x 55 cm
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Brocade Corner
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Brocade Corner
Drawing in brick dust based on paper stencil
Varied dimensions
Photograph
Vicente de Mello
Brocade Corner
Drawing in brick dust based on paper stencil
Varied dimensions
Brocade Corner
Drawing in brick dust based on paper stencil
Varied dimensions
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Mini-wall
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Mini-wall
Molded brick dust and white glue
23 x 34 cm
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Mini-parquet
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Mini-parquet
Molded brick dust and white glue
23 x 34 cm
Photograph
Claudia Tavares
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Red Castle
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Red Castle
Photography
50 x 70 cm
Photograph
Thais Zylberberg
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Utopias and Daydreams
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Utopias and Daydreams
Brick dust, resin and wooden shelving
25 x 17 x 1 cm [each]
Photograph
Douglas Atfield
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One Brick One House
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One Brick One House
21 sculpted bricks
Varied dimensions
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Venus
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Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
Venus
Sculpted bricks
Series initially called Structure
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Latticework Lace
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Latticework Lace
Molded brick dust and white glue
35 x 35 cm
Photograph
Claudia Tavares
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Body-House [Brain]
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Body-House [Brain]
Sculpted brick
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Self
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Self
Clay, cement, and glass
25 x 28 x 18 cm
Between reality and fable
Veiled landscapes, metamorphosed bodies, fantastical meanings. Beaches and lakes emerge, home to hybrid creatures – crabs, carp, bee-women, and other beings that come to inhabit Baltar’s work. A more profound fabular narrative is woven.-
Untitled
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Untitled
Watercolor on paper
43 x 35 cm
Untitled
Watercolor on paper
43 x 35 cm
Untitled
Watercolor on paper
43 x 35 cm
Untitled
Watercolor on paper
43 x 35 cm
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Maria Farinha Ghost Crab
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Maria Farinha Ghost Crab
Photography
40 x 45 cm
Photograph
Helmut Batista
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Bee House
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Bee House
Photography
60 x 40 cm [each] ou projection
Recording
Thais Zylberberg
Bee House
Photography
60 x 40 cm [each] ou projection
Flying
In the late 2000s, Baltar seeks out partnerships to develop new projects. She harnesses elements of music and theatre to form her new works on flying, falling, shadows, winged sculptures, vertigo, flying machines. This is also when she begins her sculptures made of metal, like bronze.-
Winged Sculpture I
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Escultura alada I (detalhe)
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Photograph
Wilton Montenegro
Escultura alada I
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Escultura alada II
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Escultura alada II (detalhe)
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Escultura alada IV
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Escultura alada IV (detalhe)
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Escultura alada III
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
Photograph
Érika Mayumi
Escultura alada III (detalhe)
Alabaster candlestick, glass, feathers, brocade mat, and wood
130 x 27,5 x 23,5 cm
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Invisible Choir from the film Flying
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Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
Invisible Choir from the film Flying
16 drawings in graphite over a print on cotton paper
30 x 24 cm
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Untitled
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Untitled
Bronze and steel cable
Varied dimensions
Assembled at Nara Roesler Gallery, São Paulo, Brazil
Photograph
Everton Ballardin
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The Fall
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The Fall
Crystal, bronze, incandescent light bulbs, and steel cable
approx. ø 140 cm
Photograph
Everton Ballardin
Outra queda
Crystal, bronze, incandescent light bulbs, and steel cable
approx. ø 140 cm
Photograph
Marcos Pavão
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Theater
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Theater
Balsawood and glass
165 x 40 x 50 cm
Photograph
Wilton Montenegro
Theater
Balsawood and glass
165 x 40 x 50 cm
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Shadow Theater [landing, flying, climbing, and falling]
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Shadow Theater [landing, flying, climbing, and falling]
Photography
26,3 x 39,3 cm
Recording
Wilton Montenegro
Teatro de sombras | Detalhe
Photography
26,3 x 39,3 cm
Teatro de sombras | Detalhe
Photography
26,3 x 39,3 cm
Teatro de sombras | Detalhe
Photography
26,3 x 39,3 cm
Teatro de sombras | Detalhe
Photography
26,3 x 39,3 cm
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Vertigo of the Peacock or Flying Machine
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Vertigo of the Peacock or Flying Machine
Wood, bronze, and motor
165 x ø 50 cm
Photograph
Wilton Montenegro
Vertigo of the Peacock or Flying Machine
Wood, bronze, and motor
165 x ø 50 cm
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Self-Portrait with Harp Wings over Osiris, inventor of the flute
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Self-Portrait with Harp Wings over Osiris, inventor of the flute
Photography
24 x 19 cm
Recording
Wilton Montenegro
Body, skin, siblings
In the mid-2010s the body, always present in Baltar’s work, gains a different treatment in response to her lived experiences. The resulting works include a set of embroidery pieces of bruises, blemishes, stray hairs, and sores. In this context, the chimerism of plants germinated in bronze sculptures and embroidery pieces of composite species pick up on the hybridity apparent in previous works. Although they refer to the body, the works reveal delicate textile abstractions and are sewn in very fine lines.-
Plant Skin
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Plant Skin
Embroidered cotton
23,5 x 25,5 cm
Plant Skin
Embroidered cotton
23,5 x 25,5 cm
Plant Skin
Embroidered cotton
23,5 x 25,5 cm
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My Skin Your Skin
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My Skin Your Skin
Embroidered linen
40 x 34 cm
Photograph
Claudia Tavares
My Skin Your Skin
Embroidered linen
40 x 34 cm
My Skin Your Skin
Embroidered linen
40 x 34 cm
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Self-portrait with Hair
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Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Photograph
Wilton Montenegro
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
Self-portrait with Hair
Embroidered handkerchief
38 x 37 cm
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Hand Ablaze
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Hand Ablaze
Oil on bronze
9 x 9 x 29 cm
Photograph
Wilton Montenegro
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Siblings [banana-tree hearts]
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Siblings [banana-tree hearts]
Bronze
34 x 35 x 5 cm
Photograph
Wilton Montenegro
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Tongue Plant
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Tongue Plant
Porcelain and bronze
60 x 41 cm
Photograph
Pat Kilgore
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Tongue Plant
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Tongue Plant
Embroidered cotton fabric
37 x 37 cm
Photograph
Wilton Montenegro
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Ulcers
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Ulcers
Embroidered cotton
37 x 37 cm
MAM-SP Collectors Project | 100 editions
Photograph
Wilton Montenegro
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Bruises and Petachiae
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Bruises and Petachiae
Embroidered linen
73,5 x 77,5 cm
Photograph
Wilton Montenegro
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Petachiae
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Petachiae
Embroidered cotton
76 x 45 cm
Photograph
Wilton Montenegro
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Bruises
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Bruises
Embroidered cotton
75 x 46 cm
Photograph
Wilton Montenegro
Bruises
Embroidered cotton
75 x 46 cm
Os hematomas da planta
Embroidered cotton
75 x 46 cm
Photograph
Érika Mayumi
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The Bruise
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The Bruise
Oil on porcelain
35 x 23,5 x 1 cm
Photograph
Pat Kilgore
O hematoma II
Oil on porcelain
35 x 23,5 x 1 cm
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The Chimera of Plants [snake plant and tarovine]
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The Chimera of Plants [snake plant and tarovine]
Embroidered cotton
35,5 x 29,5 cm
Photograph
Wilton Montenegro
A quimera das plantas [Costela-de-Adão e folha da Begônia]
Embroidered cotton
35,5 x 29,5 cm
The flesh of the sea
A sense of great depth inspired by the imaginary beings that inhabit it. Organic ceramic pieces take shape, bordering on fiction, daydream, abstraction, and fantasy. Sea and flesh, strange bloody colors – humanized works that cry out, have urges, feel sad, and bathe in the sun. They bring to mind childhood beaches where she would dejectedly collect broken seashells, because she longed so strongly for ones that were whole. It is through fragments that Baltar discovers the potency of the incomplete.-
Flotsam of Disappointment
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Flotsam of Disappointment
Glazed ceramic
Varied dimensions
Photograph
Everton Ballardin
Cacos da decepção, detalhe
Glazed ceramic
Varied dimensions
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Plunge
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Plunge
Bronze and silver plating
51 x 38 x 36 cm
Photograph
Everton Ballardin
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Flesh of the Sea I
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Flesh of the Sea I
Glazed ceramic
34 x 25 x 28 cm
Photograph
Everton Ballardin
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Flesh of the Sea II
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Flesh of the Sea II
Unglazed and glazed ceramic
46 x 30 x 30 cm
Photograph
Everton Ballardin
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Flesh of the Sea III
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Flesh of the Sea III
Unglazed and glazed ceramic
44 x 22 x 24 cm
Photograph
Everton Ballardin
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Flesh of the Sea IV
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Flesh of the Sea IV
Glazed ceramic
9,5 x 14 x 40 cm
Photograph
Everton Ballardin
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Flesh of the Sea V
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Flesh of the Sea V
Glazed ceramic
24 x 14 x 20 cm
Photograph
Everton Ballardin
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Flesh of the Sea VI
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Flesh of the Sea VI
Unglazed and glazed ceramic
12 x 23 x 28 cm, 51 x 28 x 28 cm e 14 x 22 x 26 cm
Photograph
Even Ballardin
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Grotto Shell I
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Grotto Shell I
Glazed ceramic
15 x 39 x 57 cm
Photograph
Everton Ballardin
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Grotto Shell II
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Grotto Shell II
Glazed ceramic
15 x 59 x 57 cm
Photograph
Everton Ballardin
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The Waters that Assail me
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The Waters that Assail me
Unglazed and glazed ceramic
57 x 95 x 76 cm
Photograph
Everton Ballardin
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Vagina Shells [display case]
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Vagina Shells [display case]
Glazed ceramic
42,5 x 49, 5 x 7, 5 cm
Photograph
Everton Ballardin
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Organs of the Sea [display case]
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Organs of the Sea [display case]
Glazed ceramic
43,5 x 59 x 7,5 cm
Photograph
Everton Ballardin
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Flesh of the Sea [display case]
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Flesh of the Sea [display case]
Glazed ceramic
34 x 41 x 7,5 cm
Photograph
Everton Ballardin
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Under the Sun
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Under the Sun
Glazed ceramic
27 x 18 x 20 cm
Photograph
Everton Ballardin
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I Come from the Sea
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I Come from the Sea
Bronze, silver plating, and wooden showcase
35 x 20 x 20 cm
Photograph
Everton Ballardin
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Licks of the Sea
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Licks of the Sea
Glazed ceramic
19 x 33 x 74 cm
Photograph
Claudia Tavares
Licks of the Sea
Glazed ceramic
19 x 33 x 74 cm
Licks of the Sea
Glazed ceramic
19 x 33 x 74 cm
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Vagina Shell
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Vagina Shell
Glazed ceramic
26,5 x 12 x 9 cm
Photograph
Everton Ballardin
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Sisters
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Sisters
Glazed ceramic
47,5 x 21 x 21 and 49,5 x 22 x 21 cm
Photograph
Claudia Tavares
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Ghost Shell
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Ghost Shell
Glazed ceramic and porcelain knob
20 x 22 x 30 cm
Photograph
Claudia Tavares
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Sad Shell
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Sad Shell
Glazed porcelain
25 x 20 x 23 cm
Photograph
Claudia Tavares
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Shouting Shell
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Shouting Shell
Glazed ceramic
22 x 25 x 30 cm
Photograph
Itze Escalona
films
“I wasn’t thinking of making films. All I really wanted to do was make holes in the wall, plant in bricks, bury stuff, harvest different substances…. but the acts and places were so particular that I needed a camera to record them.”-
They Come Out of Stories...
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They Come Out of Stories...
3’58” | cor | sem áudio
About
CloseTree-woman, golden-lion-tamarin-girl, horse- horseman, king of the forest are fairytale beings that emerge from made-up stories.
Recording
Wilton Montenegro
Acting
Bernardo Zabalaga, Domingos de Alcântara, Ellen Miranda, Glaucy Fragoso e Marcus Wagner
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Omen or the Air of Cards II
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Omen or the Air of Cards II
3’38” | cor | áudio
About
CloseThe opera singer’s voice in an opera with no performance.
Camera
Roberto Amade
Finishing
Afinal Filmes
Production
Mônica Behague e Cristiane Guimarães
Costume
Rui Cortez
Music
Air des cartes: Carreau, pique...la mort!, de Carmen de Bizet
Musical Direction
Tim Rescala
Voice
Carla Odorizzi
Audio recording
Studio Drum
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Brick Organ/An Indoor Heaven/Being Gecko, Being Moth
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Brick Organ/An Indoor Heaven/Being Gecko, Being Moth
3’13” | cor | sem áudio
About
CloseHands, elbows, and ears fill gaps in the brick wall, suggesting that body is structure. The same gaps serve as steps that allow the artist to reach the light coming in through the glass tile. In the last sequence, Baltar lands on the wall and rests there like a gecko or a moth.
Camera
Raquel Rosalen
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
- Cosmos House
- The Deep Blue and the Music Matias Composed with Camille
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Collectings
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Collectings
15’17” | cor | áudio
About
CloseSet of films depicting the collecting of moisture from the air at beaches, in forests, and on mountains at first light.
Participation
Marta Jourdan e Patrícia Chueke
Camera
Arakem, Marta Jourdan, Roberto Amade, Tiago Baltar Simões e Thais Zylberberg (neblina); Juliana Rocha (orvalho); e Marta Jourdan, Patrícia Chueke e Paulo Mendel (maresia)
Editing
Paulo Mendel
Finishing
Sol Galvão
Assistant
Juliana Rocha
- The Crow’s Cry
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No Darkness
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No Darkness
10’11” | cor | áudio
About
CloseThis movie shows the nightfall in Tokio on the banks of Sumida River. A text is superimposed over the image, creating reflections on the excessive brightness of contemporary life, which coincides with increasing levels of insomnia in big cities.
Camera
Brígida Baltar
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
Text
Brígida Baltar
Music
Rodrigo Lima
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Maria Farinha Ghost Crab III
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Maria Farinha Ghost Crab III
1’49” | cor | sem áudio
About
CloseTwo crab-women rest and make reflections on the bank of a river of reddish brackish water.
Camera
Seppo Renvall
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
Making Of
Stills
Helmut Batista e Fernanda Kadlec
Make Up
Uirandê Holanda
Acting
Daniela Amorim e Fernanda Bastos
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Maria Farinha Ghost Crab III
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Maria Farinha Ghost Crab III
5’15” | cor | sem áudio
About
CloseFemale figures run around and dig in the sand of the beach, hybridizing with the ghost-crab, making rapid, repetitive movements as they listen to the sounds of nature.
Camera
Seppo Renvall
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
Making Of
Stills
Helmut Batista e Fernanda Kadlec
Make Up
Uirandê Holanda
Acting
Daniela Amorim e Fernanda Bastos
- Some Questions
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Collecting Mist
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Collecting Mist
7’11” | cor | sem áudio
About
CloseThe artist collects mist in small glass bottles, experiencing sensory moments of ephemeral manifestations of nature.
Camera
Arakem, Marta Jourdan e Roberto Amade
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
Assistant
Juliana Rocha e Thais Zylberberg
- Giorgio’s Haven
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The Geometry of Roses
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The Geometry of Roses
3’53” | cor | sem áudio
About
CloseThe movie takes advantage of a technical breakdown during the digitalization of footage of a rose garden, which redesigns nature. The petals, leaves, grass, and soil are reframed in pixels
and lines.
Camera
Desconhecida
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
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The Diving of
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The Diving of
3’01” | cor | sem áudio
About
CloseThis movie is a chronological and affective memory that documents the dives of artists who participated in a residency in Salvador, Brazil. The film shows images of the sea of Bahia being invaded by a chromatic flood of blue.
Participation
Ana Baravelli, Franz Ackermann, Marepe, Michel Majerus, Roberto Bethônico e Stephen Jung
Collaboration
Efrain Almeida
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
- Slow Frames of May
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Simone’s Question
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Simone’s Question
1’44” | cor | sem áudio
About
CloseIn Cuauhtémoc Square, in Flamengo Park, Brígida Baldar reads Justine, by Marquis de Sade, and evokes Simone de Beauvoir’s question in her critical essay from 1955, “Must We Burn Sade?”. Baltar’s inquiring reaction is accompanied by
a great invasion of red on the screen, insensifying the ardor of the question.
Camera
Marta Jourdan
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
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Omen or the Air of Cards
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Omen or the Air of Cards
HDV
3’33” | cor | áudio
About
CloseAn operatic performance of pain and death, in which the life of an opera singer and the memories of the mansion in which she lived are evoked and reworked as fiction.
Camera
Guilherme Rodrigues
Finishing
Sol Galvão
Production
Mônica Behague e Cristiane Guimarães
Costume
Rui Cortez
Music
Air des cartes: Carreau, pique...la mort!, de Carmen de Bizet
Musical Direction
Tim Rescala
Voice
Carla Odorizzi
Instrument
Maria Teresa Madeira
Audio recording
Studio Drum
Technical support
Ari Magalhães, Eduardo Campos, Luís Antônio do Nascimento e Wallace Silvério dos Santos
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What it Takes to Fly
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What it Takes to Fly
HDV
7’34” | cor | áudio
About
CloseFootage of the mechanical contraption produced by Cláudio Baltar to reach up into space.
Camera
Guilherme Rodrigues
Editing
Fernanda Tornaghi
Production
Mônica Behague
Assistant
Andrea Behague, Giancarlo di Tomazzo e Leo Ayres
Cenotechnics
Alvaro de Souza
Make Up
Luciana Camba
Music
Tim Rescala
Vocal preparation
Felipe Habib
Voice
Eunice Garani, Flavia Almeida, Laura Salles, Manuela Vieira, Vera Prodan, Aline Rea, Julia Anjos, Lara Chaves, Bruno dos Anjos, Fabiano Muniz, José Emanuel, Leonardo Siqueira, Eduardo Gutterers, Felipe Habib, Fernando Loureiro e Patrick Oliveira
Regency
Valéria Matos
Audio recording
Drum Studio
Technical support
Alexandre Hang, Sassá
Support
Maria Cortez
- Shadow Play
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The Rebel Bird’s Song
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The Rebel Bird’s Song
HDV
| cor | áudio
About
CloseFantastical beings that seem to roam along roads and through forests circle around an opera singer as she moves around.
Camera
Guilherme Rodrigues e Roberto Kaulino
Production
Monica Behague e Cristiane Guimarães
Cenotechnics
Américo Cardoso da Silva Neto
Costume
Brígida Baltar e Rui Cortez
Ornament
Rui Cortez e Leandro Guinard
Acting
Bernardo Zabalaga, Domingos de Alcântara, Ellen Miranda, Glaucy Fragoso e Marcus Wagner
Music
Habanera, de Carmen de Bizet
Musical Direction
Tim Rescala
Voice
Carla Odorizzi
Instrument
David Chew
- What it Takes to Fly
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The 16 Bricks I Molded
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The 16 Bricks I Molded
1’ 04” | cor | sem áudio
About
CloseFilm of the making of 16 bricks using clay from the sertão and water from a reservoir mixed with dust from the artist’s house, in an intermingling of earths. The rustic wooden instrument is used by brickmakers to shape their bricks, which are sometimes baked in the sun.
- Is There a Place in a Landscape?
- Wind
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When I was Carp and Almost Turned into Dragon
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When I was Carp and Almost Turned into Dragon
| cor | sem áudio
About
CloseThis is a film that finds its action in the text, which establishes the body as metamorphosis. It is inspired by the Japanese myth in which carps turn into dragons when they reach the head
of the river.
Camera
Brígida Baltar
Text
Brígida Baltar
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Maria Farinha Ghost Crab
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Maria Farinha Ghost Crab
4’18” | cor | áudio
About
CloseThe actress metamorphoses into a maria-farinha, also known as the ghost-crab because of its translucent color and its stealthy behavior.
Camera
Seppo Renvall
Editing
Fernanda Bastos, edt.
Finishing
TV Zero
Assistant
Daniela Amorim
Development
Link Digital
Telecine
Link Digital
Remastering
Afinal Filmes
Making Of
Stills
Helmut Batista e Fernanda Kadlec
Make Up
Uirandê Holanda
Acting
Lorena da Silva
Music
Felipe Canedo
Technical support
Cosme Borges
- Secrets
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Honeycomb Body
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Honeycomb Body
5’51” | P&B | áudio
About
CloseIn the animation based on drawings from the Bee House series, the skin of female figures is covered with honeycombs as they rest in the hive, giving off honeycombs like thoughts. The original soundtrack evokes the sounds of the shared space and labor inside the hive.
Editing
Felipe Canedo
Animation
Felipe Canedo
Music
Felipe Canedo
- Bee House
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On a Tree, in an Afternoon
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On a Tree, in an Afternoon
51” e 1’12” | cor | sem áudio | 2 screens
About
CloseThe reading of a book on top of a pink ipe tree in Flamengo Park causes daydreams to mingle with the colors of the blossom in the midst of the urban flow.
Camera
Marta Jourdan
Editing
Fernanda Bastos, edt.
Finishing
Afinal Filmes
Assistant
Juliana Rocha
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At Night at the Airport
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At Night at the Airport
4’29” | cor | áudio
A movie by Brígida Baltar e Giorgio Ronna
About
CloseIt is a hot night in Rio. Friends drive around for forty minutes looking for a beautiful tree. When they find it, they fall deeply in love with each other. It is nighttime at the airport.
Participation
Andrea Maciel e Daniela Amorim
Camera
Giorgio Ronna
Editing
Giorgio Ronna
- Collecting Mist
- Opening the Window
- Tower
- Shelter
- Unnoticed
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To Bury is to Plant
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To Bury is to Plant
| P&B | sem áudio | 4 screens
Cloathes: 1”56”
Books: 40”
Photographs: 3’20”
Letters: 2’36”About
CloseIn the yard of a house in the countryside of Rio de Janeiro state, clothes, photographs, letters, and books are buried and trees are planted over them, ritualizing the transformation of existence.
Participation
Tiago Baltar Simões
Camera
João Galhardo
- A Blow
- There