Rafael Camisassa 2020
WORK SAMPLE Graphic Design www.rafael-camisassa.com Invisiblepay Invisiblepay
HRS INVISIBLEPAY brand identity / web design www.invisiblepay.co [password: invisiblepay] / 2019 INVISIBLE PAY PRODUCTS COMPLETING THE CYCLE
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SMARTHOTEL ITB 2019 marketing material / 2019 NOSSA CASA graphic identity / photography / CD packaging / marketing 1000 copies / 2018 NOSSA CASA graphic identity / photography / CD packaging / marketing / 2018 DAZ brand identity / photography / web design www.studiodaz.com / 2017—2019 DAZ brand identity / photography / web design www.studiodaz.com 2017—2019 in collaboration with Christopher Lacy
Tom Varley
Tom Varley’s recent work examines the limitations and possibilities of new communication tech- nology and how it is changing the way in which individuals, governments and corporations interpret reality. ‘I’m interested in the over-interpretation of data, in random correlations between phenomena mistaken for causal relationships, in spider-diagrams and THE LONDON OPEN 2018 is the Whitechapel conspiracy theories. ’ 20 In the first part of a yet-to-be completed film Gallery’s open submission triennial exhibition, trilogy titled The Eccentricity of an Ellipse (2016) Varley focuses on the recent Rosetta mission showcasing the most dynamic work being initiated by the European Space Agency (ESA), which in late summer 2014 ventured into the orbit of comet 67P/Churyumov–Gerasimenko. made across the capital in painting, sculpture, The Rosetta probe carried a smaller spacecraft called Philae, which was designed to be the first performance, photography, moving image man-made object to land on the surface of a comet.
20 Artist’s Statement, and other media.THE 2 March 2018
Twenty-two artists have been selected to celebrate the state of London’s contemporary LOND Emily Butler, N art. The 2018 selection panel is: Emily Butler O Mahera and Mohammad Abu Ghazaleh Curator, Cameron Foote,, AssistantAssistant Whitechapel Gallery; Cameron Foote This page and following spread: stills from Ryan Gander, The Eccentricity of an Ellipse: Part One, 2016 Curator, Whitechapel Gallery; 96 HD Video with sound, 08:39 mins 97 OPEN Amy Sherlock, , Hales Gallery; Amy Sherlock 1 artist; Paul Hedge, Hales Gallery; , collector. Frieze MagazineWHITECHAPEL; and Robert Suss, collector. GALLERY 8 Larry Achiampong Des Lawrence Rachel Ara Tom Lock Gabriella Boyd Céline Manz Hannah Brown Uriel Orlow Rachael Champion Rachel Pimm Gary Colclough Renee So George Eksts Alexis Teplin The film opens with a simple linear shape that Ayan Farah Elisabeth Tomlinson expands and contracts from a line to a circle and back. A series of black and white film clips follow: a close-up view of a washing machine, a French & Mottershead Jonathan Trayte cup of black coffee seen from above, footage of a fizzing pill being dropped into a glass of water Vikesh Govind Tom Varley reversed so that it appears to leap back into the grasp of a finger and thumb. Alongside these evocative images, a script Richard Healy Andrea Luka Zimmerman narrated by Varley reflects on the marketing strategies that the ESA employed to communicate significant moments in the Rosetta mission. Twitter accounts were set up in the names of the two spacecraft in an attempt to make them appear more human-like and relatable. The space agency even created cartoon versions of them, with Philae as ‘a loveable child-like character with an “I ♥ Earth” sticker on its backpack.’ Varley imagines the existential dilemmas these characters might face after their mission has ended, the landed Philae probe abandoned and disintegrating on the hostile surface of the icy comet. C.F.
98 99
THE LONDON OPEN 2018 Whitechapel Gallery catalogue design 128 pages 750 copies offset print silk screen cover / 2018 AFRICA REGION
Packaging evidence to drive action
Our programme has become well known in our focus countries and globally for its packaged evidence products such as infographics, scorecards, factsheets, posters and websites. Their focused messaging, rigorous evidence and attractive design have contributed to reframing maternal and newborn health into a narrative of hope and change. Used by advocates and decision-makers, often in the context of accountability mechanisms, they have enabled change agents to take action for maternal and newborn survival.
Before we launched the MamaYe campaign, early scoping showed there were two main problems with communications and advocacy around maternal and newborn health (MNH) in E4A-focus countries. Firstly, the messaging was overwhelmingly negative, focusing on high death rates and feeding a sense of hopelessness and despair. Secondly, evidence-based decision-making was rare: despite some good evidence being generated at national and sub-national levels, it was often contained in lengthy reports, lacked the analysis needed to make the information meaningful, or was not made available to all. Baseline assessments found that our focus countries scored an average of 51 out of 100 on overall use of data for decision-making and advocacy at all levels of the health system.1
Our theory of change is premised on strategic packaging and targeted use of evidence to stimulate advocacy and strengthen accountability for maternal and newborn health. The combination of strong evidence, effective advocacy and pressure from accountability mechanisms is directed at influencing resource 17 allocation to improve the quality and availability of health services for women and 18 newborns. Of critical importance, therefore, is the way in which we package, tailor and target evidence to make it meaningful and understandable to advocates and decision-makers: only then can that information be used for action.
Description of the case
From leaflets to infographics, MamaYe’s evidence products have all been creatively designed for maximum impact. Evidence is distilled to its essential message, then assembled, integrated and marshalled into arguments in support of clear advocacy goals.2 This evidence-based advocacy message is then designed into a clear, visually-appealing format.
“It’s a crowded world we live in. Decision-makers have information all over their desks… That’s why we need to send evidence products first, to provide that hook that engages decision-makers and makes them want to read more.” EVIDENCE Louise Hulton, Director of E4A The content of these evidence-based advocacy products is carefully selected to web: mamaye.org reframe MNH from a story of mortality and fatalism to one of success and survival twitter: @MamaYeAfrica IDENTITY 2 by using imagery of action. MamaYe ‘heroes’ and ‘heroines’ are identified and MamaYeAfrica facebook: STORIES celebrated in colourful posters: ordinary people who play their part in the fight MAMAYE! DESIGN to make pregnancy and childbirth safer, such as a nurse giving blood to save web: mamaye.org women with postpartum haemorrhage. Newborn survival is reframed to highlight MOTHERS BABIES ALIVE ENGAGEMENT twitter: @MamaYeAfrica OF CHANGE: babies’ future potential. The visual language of the products is based on how facebook: MamaYeAfrica African musicians, celebrities, and footballers advertise themselves, using vibrant MAMAYE! SELECTED colours and similar language.3 109 EVIDENCE FOR ACTION CASE STUDIES
1
KEY BEST PRACTICE PROGRESS REQUIRED INADEQUATE
1. TRANSPARENT ALLOCATION TO HEALTH Does the Executive’s Budget Proposal or any supporting budget WE, THE AFRICA documentation present expenditures for the budget year by functional classification and for individual programmes? Results COIA recommendation 8: Transparency Source: Open Budget Index 2012, Questions 2 and 4 HEALTH BUDGET http://survey.internationalbud 2. TRANSPARENT SPENDINGget.org/#download ON HEALTH NETWORK, What level of detail is the focus of the explanation of the THE AFRICA differences between the enacted levels and the actual Evidence products and evidence-based advocacy products quickly became outcomeour for expenditures KEY presented in the Year-End Report? 1. TRANSPARENT 2. TRANSPARENT 3. SPENDING LINKED TO 4. BUDGET INFORMATION 5. TRANSPARENT BUDGET COIA recommendation 8: Transparency CALL ON OUR ALLOCATION TO HEALTH SPENDING ON HEALTH HEALTH OUTCOMES CLEARLY COMMUNICATED TIMETABLE Source: BEST PRACTICE HEALTH BUDGET http://survey.internationalbudget.org/#download Open WE, THE AFRICA TO THE PUBLIC unique selling point, allowing our relatively small campaign to gain widespread Budget IndexPROGRESS 2012, Question REQUIRED 80 THE AFRICA 3. SPENDING IS LINKEDINADEQUATE TO HEALTH OUTCOMES HONOURABLE NETWORK CALLS Angola Are the nonfinancial data presented useful for assessing HEALTH BUDGET HEALTH BUDGET visibility. Over the period of the MamaYe campaign, improvements in the use ofhow andata expenditure program is performing? Are the performance indicators sufficiently well Benin designed, such that one can1. assessTRANSPARENT whether there ALLOCATIONhas TO HEALTH MINISTERS OF ON ALL AFRICAN been progress toward meeting Doespolicy the goals? Executive’s Budget Proposal or any supporting budget Botswana Are performance indicators used in conjunction with NETWORK, for decision-making have taken place. While baseline scores measuring the use documentation present expenditures for the budget year by NETWORK CALLS performance targets? functional classification and for individual programmes? Burkina Faso COIA recommendation 6: ReachingCOIA women recommendation and children 8: Transparency HEALTH TO GOVERNMENTS Cameroon Source: Open Budget Index 2012, QuestionsSource: Open 51, 53 Budget and 54 Index 2012, Questions 2 and 4 http://survey.internationalbudget.org/#download CALL ON OUR of data for decision-making averaged 51 in 2012-3, by 2014, scores had increased http://survey.internationalbudget.org/#download ON ALL AFRICAN TAKE ACTION! Chad 8 4. BUDGET INFORMATION CLEARLY2. TRANSPARENT SPENDING ON HEALTH TO COUNT AND DRC* COMMUNICATED TO THE PUBLIC HONOURABLE What level of detail is the focus of the explanation of the GOVERNMENTS to an average of 60 out of 100. While these scores measure the use of all MNH Equatorial Guinea Is there a Citizens Budget and i differences between the enacted levels and the actualMake health budgets disseminated to the public? outcome for expenditures presented in the Year-End Report? SHARE TO SHOW more transparent. Ghana COIA recommendation 7: National oversightCOIA recommendation 8: Transparency data, not just MamaYe’s evidence and advocacy products, practical examplesSource: f so how isSource: it Open Budget Index 2012, Question 80 MINISTERS OF TO COUNT AND Kenya http://survey.internationalbudget.org/#download Open B http://survey.internationalbudget.org/#download udget Index 2012, Question 110 Without budget YOU CARE Liberia 5. transparency, there can from our country and regional work highlight the ways in which packagingTRANSPARENT BUDGET and TIMETABLE3. SPENDING IS LINKED TO HEALTH OUTCOMES HEALTH TO SHARE TO SHOWMalawi Does the executive adhere to its timetable for theAre the nonfinancial data presented usefulbe for assessingno accountability for Count how much you preparation and release of the budget? how an expenditure program is performing? Mali COIA recommendation 7: National oversight Are the performance indicators sufficientlyhealth well commitments! spend on health as a communicating key pieces of evidence, in combination with activities supportingSource: Open Budget Index 2012, Question 58 designed, such that one can assess whether there has TAKE ACTION!government YOU CARE Mozambique http://survey.internationalbudget.org/#download been progress toward meeting policy goals? Are performance indicators used in conjunction with Namibia performance targets? Make health budgetsShare health budgetCount how much you advocacy and accountability, led to action and change. COIA recommendation 6: Reaching women and children Niger Source: Open Budget Index 2012, Questions 51, 53 and 54 more transparent. information with the spend on health as a http://survey.internationalbudget.org/#download Nigeria www.mamaye.org/en/budget-network public government [email protected] Rwanda 4. BUDGET INFORMATION CLEARLYFor more information on data sources and scoring Without budget COMMUNICATED TO THEmethod, PUBLIC go to www.mamaye.org/references transparency, thereShow can you care about Share health budget Senegal In Tanzania, the impact of evidence products was maximised through our Is there a Citizens Budget and if so how is it be no accountabilitywomen for and children’s information with the Sierra Leone disseminated to the public? health COIA recommendation 7: National oversight health commitments! public South Africa Source: Open Budget Index 2012, Question 110 formal partnership with selected journalists. As part of our Memorandum of http://survey.internationalbudget.org/#download Show you care aboutSao Tome & Principe 5. TRANSPARENT BUDGET TIMETABLE women and children’s Tanzania Understanding, our country team has provided trainings on MNH issues and use Does the executive adhere to its timetable for the Uganda preparation and release of the budget? health COIA recommendation 7: National oversight www.mamaye.org/en/budget-network Zambia Source: Open Budget Index 2012, Question 58 [email protected] of evidence in return for journalists writing quarterly articles on progress around http://survey.internationalbudget.org/#download For more information on data sources and scoring Zimbabwe method, go to www.mamaye.org/references 104 MNH. As a result of this collaboration, journalists use our regularly updated * Democratic Republic of Congo factsheets and infographics as the basis of news articles and advocacy efforts. The first Africa Health Budget Network scorecard “When we shared [the recent blood factsheet] with people they understood it. The combination of the pictorial and evidence helps to Our evidence products have significantly contributed to our partnerships and aid the understanding. It’s what people want.” influence with powerful global MNH organisations or coalitions such as the Every 1 Newborn Action Plan, The Partnership for Maternal, Newborn, and Child Health Kenneth Simbaya, President of the Union of Tanzanian Press Clubs (PMNCH), WaterAid, and Countdown to 2015. During the African consultations for the Global Strategy in May 2015, we trained youth groups and journalists to For example, journalists distributed factsheets describing Tanzania’s burden of use the packaged evidence from the MamaYe and African Health Stats websites. 21 preterm birth to Members of Parliament in Dodoma on World Prematurity Day. One of the organisers commented that: 22 This factsheet highlighted that Tanzania’s burden was the twelfth largest in the world, and once the MPs saw this, it triggered a debate on the issue.7 “You did a wonderful job of showcasing how health data can be accessed and understood and, most importantly, how the media In Sierra Leone, an independent prospective policy study specifically linked a sub- can use it to drive and frame positive and impactful coverage of the national level improvement in data collection and feedback to the introduction issues. Several of the journalists approached us later to let us know of visual formats for the data. Facility-level data was sent to District Health how informative the presentation was, and described their difficulty Management Teams (DHMTs) where it was transformed into graphs and fed back accessing data on exactly the kinds of issues that you discussed.” to facilities, allowing greater use of the data and improved accountability between different levels of the health system. Our country team data-handling training Alex Kendell, Director of Global Health Strategies. was a huge part of this change, allowing monitoring and evaluation staff from the DHMTs to transform their data into meaningful, easily understandable graphics 9. Challenges and lessons learned “Data is collected more regularly from facilities [in Sierra Leone], it is packaged in a more useable form by DHMTs and it is used more In parallel to these successes, issues with quality and accessibility of data have actively because it is in accessible formats.” been on-going, which has challenged our efforts to encourage an evidence- based decision-making culture. For example, in Ghana, problems with Health Sarah Clark, Policy Study Co-ordinator Management Information System data have raised questions about whether decision-makers are sometimes taking action based on inaccurate data.9 In At the regional level, our international team founded the Africa Health Budget Tanzania, contradictions in progress indicators in some districts highlighted the Network (AHBN), which has used our expertise in producing evidence-based need to ensure consistent training on the collection, collation and use of data advocacy products to attract attention from country-level and global partners. Its across the board.11 Lack of transparency on financial commitments to MNH was first scorecard, showing the extent of health budget transparency across African also highlighted as an obstacle to the use of scorecards for holding decision- countries, used a highly respected information source, the Open Budget Index, makers to account in Tanzania.7, 9 produced by the International Budget Partnership. While the data was not new, it was too technical for health stakeholders to access on their own or for them to A key lesson has been that stakeholders in-country need to be supported to easily understand its relevance to their area of work. AHBN’s scorecard selected produce evidence products themselves if the evidence-based culture is to be indicators relevant to sector budgeting and clearly signposted why the evidence sustained beyond the programme.7, 9 For example, DHMT staff in Sierra Leone mattered. AHBN partners reported that our evidence products “often include a were trained to turn facility statistics into graphs, and scorecards on state-level call to action and are framed in a way that is accessible”.10
MAMAYE book of creative assets / case study book www.mamaye.org 108 pages 250 copies [ each ] digital print / 2016 in collaboration with Jordan Chatwin
PICTOGRAMS brand identity www.mamaye.org Set of 70 pictograms for MamaYe / 2014 — 15 QUARTA-FEIRA 17 / 02 15:00 DOMINGO 21 / 02 19:30
MAKIBEFO ( MAKIBEFO ) RAN ( RAN ) Alexander Abela – 2001 – Madagascar, Reino Unido, França – Akira Kurosawa – 1985 – Japão – 162 min – 16 anos 73min – Livre No Japão do século XVI, Hidetora, poderoso chefe do clã dos Ichimonjis, Macbeth, o general que, após usurpar violentamente o trono do rei, decide abdicar de seu posto e dividir seus bens entre os três filhos. A se vê enredado numa trama repleta de assassinatos e traições, é, em partir daí, a cobiça e a sede pelo poder destroem a frágil harmonia fami- Makibefo, transportado da Escócia feudal para as dunas do sul de liar e uma violenta guerra é deflagrada. Como resultado, o patriarca é Madagascar. Encenada por membros de uma tribo primitiva – muitos lançado em um mundo infernal e perde a própria lucidez. Dirigida pelo dos quais, antes das filmagens, sequer possuíam consciência do que mestre Akira Kurosawa, esta versão livre de Rei Lear leva a ação da peça era uma câmera –, a austera adaptação de Alexander Abela torna cla- para o contexto do Japão Feudal, ampliando seu escopo e acrescentan- ro o caráter universal de temas shakespearianos, como a tentação do do a ela novos e perturbadores sentidos. poder e os frágeis limites da moral humana.
REINVENTANDO 84 SHAKESPEARE 85
QUINTA-FEIRASINOPSES 18 / 02 15:00 QUINTA-FEIRA 18 / 02 17:30
PATROCÍNIO REINVENTANDO SHAKESPEARE
RICARDO III: UM ENSAIO ( LOOKING FOR RICHARD) ROSENCRANTZ E GUILDENSTERN ESTÃO MORTOS Al Pacino – 1996 – EUA – 111 min – 12 anos ( ROSENCRANTZ AND GUILDENSTERN ARE DEAD) Tom Stoppard – 1990 – EUA – 117 min – 12 anos No contexto da Guerra das Rosas e das disputas de poder entre as Dinastias Lancaster e York, desenvolve-se a trama de um dos mais acla- Supostos amigos de Hamlet, Rosencrantz e Guildenstern são convoca- mados dramas históricos de Shakespeare, Ricardo III. Após a queda de dos por Cláudio, o novo rei da Dinamarca, a fim de descobrir que sorte Henrique VI e a ascensão de Eduardo IV, Ricardo, irmão do novo rei, de mal acomete o príncipe. Personagens secundários da mais celebrada executa planos sinistros a fim de tomar o poder. Em Ricardo III: Um obra de Shakespeare, ambos são elevados à categoria de protagonistas Ensaio, Al Pacino, em sua estreia como diretor, investiga os sentidos e nesta adaptação da peça desenvolvida por Tom Stoppard, dirigida pelo possibilidades da peça, intercalando, no mesmo registro, cenas de uma próprio autor. Aproximando Hamlet do Teatro do Absurdo, o filme trans- montagem teatral, momentos de bastidores, visitas a locações históri- forma o enredo da tragédia em pano de fundo para as divertidas des- cas (como a casa em que Shakespeare nasceu) e entrevistas com estu- venturas da dupla (caracterizada aqui como um par de legítimos clowns). diosos, críticos, atores e habitantes de Nova Iorque.
REINVENTANDO 88 SHAKESPEARE 89
REINVENTANDO SHAKESPEARE catalogue www.reinventandoshakespeare.wordpress.com 104 pages 1000 copies offset print / 2016 PABLO LOBATO
Ministério da Cultura e Prefeitura do Rio de Janeiro apresentam
O MAR convida para a abertura da exposição no dia 26 de abril de 2016, às 11h, com uma conversa de galeria.
Visitação Terça a domingo, das 10h às 17h
Entrada gratuita às terças-feiras PABLO LOBATO Museu de Arte do Rio – MAR Praça Mauá, 5 – Centro Curadoria Clarissa Diniz Rio de Janeiro
DA NATUREZA DAS COISAS Museu de Arte do Rio exhibition identity / 2016 DA NATUREZA DAS COISAS Museu de Arte do Rio exhibition leaflet / 2016 SINOPSES ARGENTINA REBELDE
1960 / livre
33’ / /
35mm 35mm
/ A CASA DO ANJO / LA CASA DEL ÁNGEL JOGUE UMA MOEDA / TIRE DIÉ / 78’
leopoldo torre nilsson fernando birri livre /
Ana é uma adolescente que cresceu em um ambiente repres- Todos os dias as crianças de um bairro da cidade de Santa 1957 AR sivo e hipócrita. O descobrimento do sexo e da crueza da vida Fe esperam a passagem do trem para pedir dinheiro aos significa o fim de sua inocência. Marco inicial do cinema de passageiros, gritando “Tire dié!” (“Jogue dez!”), em referên- autor argentino, La Casa del Ángel é uma crítica ao liberalismo, cia às moedas de dez centavos. O documentário de Fernando à decadência da burguesia e aos conchavos políticos. O filme Birri é um dos filmes fundadores do movimento que ficou GENTI concorreu à Palma de Ouro no Festival de Cannes de 1957. conhecido como Nuevo Cine Latinoamericano.
NA exibição exibição 20 / 08 20 / 08 19h 30 [cinema 1] 17h 10 [cinema 1]
26 / 08 25 / 08 15h 00 [cinema 1] 15h 30 [cinema 1]
24 – – 25
edgardo cozarinsky tradução victor guimarães
ARGENTINA REBELDE
Como em Na selva das cidades de Brecht, como em No Limiar da Liberdade (1970) de Losey, Invasão (Invasión, Hugo Santi- ago, 1969) expõe uma ação cujos motivos permanecem enco- bertos. Em alguns apontamentos para a reedição de suas obras de juventude, incluídos em Escritos sobre teatro, Brecht recorda sua preocupação em colocar em cena uma luta pela luta mesma, um mecanismo rigoroso e autossuficiente como o de um match de boxe; isso o fez prestar uma atenção renovada aos pormeno- res mais miúdos da ação, à substância e à cor das palavras em que se cifrava o conflito. Ao fazê-lo, comprovou a particu- lar complexidade do processo de criação literária: “forma” e “tema”, misérias do vocabulário crítico, espelhamentos de uma leitura sempre posterior, desapareceram diante de uma inte- ração incessante, produtiva, entre aspectos simultâneos de um só trabalho. patrocínio Na cena, a palavra pode adquirir inédito vigor se realçada pela omissão dos motivos lógicos de uma ação dramática, se deve servir a uma lógica das ações que escape a todo escrúpulo de verossimilhança naturalista. A informação não entregue ao distribuição gratuita. venda proibida. venda gratuita. distribuição espectador cancela a transparência da linguagem, faz dela uma RE superfície firme e luminosa que não se submete docilmente à condição de veículo. O cinema não admite semelhantes possibilidades de despojamento: na imagem, todo elemento contingente produz um efeito de conotação, tão inevitável como difícil de controlar. Em No Limiar da Liberdade, não basta BELDE silenciar sobre o crime cometido pelos fugitivos, a pena à qual escapam, o país que é o cenário de sua fuga; alguns vislum- bres do passado, a presença física dos atores, gestos e tons, ao permanecerem despojados de toda aderência informa- tiva, sugerem imediatamente diversos contextos possíveis. O paradoxo resultante (válido também para o teatro, ainda que com menor intensidade) é que esses mecanismos, reduzidos ao seu funcionamento mais sucinto, são carregados de senti-
1 Texto publicado pela primeira vez em 1969 e republicado no livro de Edgardo Cozarinsky, Borges en/y/sobre cine. Madrid, Editorial Fundamentos, 1981. Agradeço a Alejandro Cozza pelo acesso ao texto e a Edgardo Cozarinsky por nos permitir esta tradução e publicação.
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ARGENTINA REBELDE film festival catalogue 132 pages 500 copies offset print / 2015 A GUERRA GAUCHA / LA GUERRA GAUCHA SINOP lucas demare Durante a Guerra da Independência, na província de Salta, as milícias camponesas comandadas pelo general Martín Güemes ferem um tenente do exército SES realista. O homem é mantido prisioneiro na fazenda de uma patriota, enquanto recebe cuidados médicos e se aproxima da causa da revolução. Baseado em um livro de Leopoldo Lugones, o filme foi uma verda- deira superprodução, alcançando enorme sucesso de público e crítica à época de seu lançamento. ARGENTINA REBELDE 1942 / 95’ / 35mm / livre
A CASA DO ANJO / LA CASA DEL ÁNGEL leopoldo torre nilsson
# VivaMaisCultura Ana é uma adolescente que cresceu em um ambi- Acesse www.caixacultural.gov.br ente repressivo e hipócrita. O descobrimento do Baixe o aplicativo Caixa Cultural AR sexo e da crueza da vida significa o fim de sua apresenta inocência. Marco inicial do cinema de autor argen- Curta facebook.com/CaixaCulturalRioDeJaneiro tino, La Casa del Ángel é uma crítica ao liberalismo, à decadência da burguesia e aos conchavos políti- cos. O filme concorreu à Palma de Ouro no Festival Recicle, reutilize, reduza. GENTI de Cannes de 1957.
NA 1957 / 78’ / 35mm / livre
– 3 18
18h 15 OS TRAIDORES a raymundo gleyzer 1973 109’ 16 anos [sessão comentada pelo crítico
30 PRO josé carlos avellar] de agosto
GRA cinema 1 QUINTA FEIRA 20 / 08 15h 00 TEMPO DE VINGANÇA patrocínio MAÇÃO adolfo aristarain 1981 108’ 14 anos CAIXA CULTURAL RIO DE JANEIRO 17h 10 JOGUE UMA MOEDA RE 18 A 30 DE AGOSTO DE 2015 fernando birri 1960 33’ livre + 2015 OS INUNDADOS fernando birri 1962 87’ livre
BELDE 19h 30 A CASA DO ANJO TERÇA FEIRA cinema 1 leopoldo torre nilsson 1957 78’ livre 18 / 08 INVASÃO 18h30 hugo santiago 1969 125’ 14 anos cinema 1 SEXTA FEIRA [sessão de abertura] 21 / 08 16h 00 A PATAGÔNIA REBELDE héctor olivera 1974 103’ 14 anos QUARTA FEIRA cinema 1 19 / 08 A HORA DOS FORNOS – PARTE 1: 16h 15 18h 30 A GUERRA GAUCHA NEOCOLONIALISMO E VIOLÊNCIA lucas demare 1942 95’ livre fernando solanas y [sessão comentada pela octavio getino 1968 85’ 16 anos pesquisadora ana laura lusnich]
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ARGENTINA REBELDE film festival program 20 pages 1500 copies offset print / 2015 1.2 1.2 ICTP Highlights from 2013
06. August SUSY 2013 ICTP hosts the 21st annual Supersymmetry and Unification of Fundamental Interactions (SUSY) conference, one of the most important conferences in the field of high energy physics. Some 365 scientists from around the world attend the event.
07. September Connect for Success ICTP hosts its first Career Development Workshop for Women in Physics to help women in developing countries overcome gender-bias barriers in science. Forty-five participants (out of 240 applicants) attend, representing 20 countries.
September Promoting Math through the Ages ICTP supports the first Mediterranean Youth Mathematical 06 01 Championship, together with the Italian National Institute for Advanced Mathematics and the Italian Ministry of Education. Some 28 students from 7 Mediterranean countries participate in the event.
01. January 08. October Salam Lecture Series 2013 TRIL Turns Thirty ICTP’s lecture series features renowned biophysicist William Started in 1983, ICTP’s Training and Research in Italian Bialek, a physics professor at Princeton University known for his Laboratories (TRIL) programme ensures that researchers from 02 07 multidisciplinary research that spans the fields of physics and developing countries are exposed to cutting-edge science by biology. The week-long lecture series is titled “The physics of giving them the opportunity to undertake training and research life: Searching for theories”. in an Italian laboratory in different branches of the physical sciences. 02. February ICTP Opens 3D Printing Lab 09. December ICTP launches a 3D Printing Lab to promote the use of this Dirac Medallists Win the 2014 Breakthrough Prize in new, low-cost technology in science education for developing Fundamental Physics News from countries. Michael Green and John Schwarz’s work on quantum gravity 03 and the unification of forces wins the 2014 prize of the 08 03. March Fundamental Physics Prize Foundation. The prize carries a A Boost for Arab Science cash award of 3 million USD and recognizes transformative ICTP and the Kuwait Foundation for the Advancement of achievements in the field of fundamental physics, with a special Sciences (KFAS) agree to a new joint programme of support focus on recent developments. The scientists shared ICTP’s 1989 ICTP 137 for scientists from Kuwait and the Arab world to be involved in Dirac Medal. ICTP research and educational activities.
04. July A Peek at the Manhattan Project and Beyond 04 ICTP is proud to host, for the second time, Nobel laureate Roy Glauber, who gives a public presentation about the practical side of working on the Manhattan Project.
05. August Making the Grade 35 young scholars receive ICTP Postgraduate Diplomas. This year’s Diploma graduates–10 of whom are women–come from 22 countries in Africa, Asia and Latin America. 05 09 09
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Director’s Research Group
String Phenomenology and Cosmology Section Head The main motivation to study string theory is that it promises Fernando Quevedo, Director to provide a framework to unify all matter and interactions, including gravity, in a consistent theory. Despite the intrinsic difficulty of dealing with a theory that manifests itself at scales Long-term Visiting Researchers as high as the Planck mass, for more than 25 years there has Aparicio de Santiago, L. Post-doctoral Fellow been continuous progress in order to make contact between de Alwis, S. Long-term Scientist string theory and low-energy physics. This refers to extensions Valandro, R. Post-doctoral Fellow of the Standard Model of particle physics and cosmology that Van Nierop, L. Post-doctoral Fellow could lead to some observable implications.
The big challenges of finding chiral models close to the Stand- ard Model, breaking supersymmetry, and fixing dynamically the Scientific Consultants size and shape of the extra dimensions are being overcome over Bertolini, M. the years and several scenarios are emerging in which mod- Serone, M. el-independent physical implications can be extracted. Despite the large amount of potential models, the current experimental constraints, both from particle physics (gauge unification, pro- ton stability, fermion masses) and cosmology (density perturba- tions, dark matter, dark energy, baryogenesis) are strong enough to eliminate most of the models, and despite great progress, there is not at present a fully realistic model or scenario derived from string theory that satisfies all the constraints justifying strong efforts in this direction. The LHC discovery of the Higgs boson and the strong bounds on new particles is making this challenge more interesting.
Research Activities Three main research areas were explored in 2013: • The continuation of a long-term project started by the prin- SPRING / 2014 SUMMER / SPRING cipal investigator regarding local string models. The current effort is to embed these models in consistent global models 137 in compactifications of string theory, including also moduli stabilisation. Success to find the first models in explicit Calabi-Yau compactification satisfying all consistency re- quirements (tadpole cancellations, K-theory charges, etc.) and at the same time fixing all moduli leading to de Sitter space solutions was reported. • Potential from obtaining dark radiation in large volume scenarios and use of the strong bounds on dark radiation to constrain the possible hidden sectors in string compactifi- cations. • Stability and metastability of the large volume scenario on potential bubble nucleation, from de Sitter to anti de Sitter spaces and to decompactification. • Proof of the absence of continuous spin representations of the Poincaré group in perturbative string models.
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ICTP newsletter www.ictp.it 20 pages 1000 copies offset print / 2014 THE SECRET CARNIVAL of any other university course ) not only to ‘master’ their subject but to re-found and redefine it, i.e. to turn art and its institutional apparatus upside down and inside out. In the middle of the journey of our life I found myself in a dark wood, The Greek word utopia means a non-existent place, for the straight way was lost. also interpreted as a ‘good’ place, hence its modern and modernist interpretation as a place that we can Dante, The Divine Comedy (or can only) dream of. We habitually think of place in terms of a visibly delimited topography and territory – a kind of reassurance or orientation. Perhaps this is why There is a secret agreement between past underground places have a strange status in any taxonomy generations and the present one. of places. Is an underground place a place at all? Mystery Our coming was expected on earth. and trepidation might make underground places appear ‘bad’ until we discover their hidden delights – and this turns them Walter Benjamin, Theses on a Philosophy of History ( II ) ‘good’. Initially invisible, underground places require some effort to investigate, but as we do so a non-place becomes a place. Underground places easily become sites of myth, It is appropriate to hold vault ( The University of the Arts mystery and subversion, they might double, mirror or echo London, Camberwell College of Arts, Fine Art 2nd Year a more accessible, familiar and inviting place on the surface. exhibition ) within the sub-terranea of a once authoritative, Their secondary nature may also produce further ambiguities. now dis-used institution. Shoreditch Town Hall, though The dead, who have come to occupy both this world and built as a proud, presumptuously ‘permanent’ edifice, is another, come to rest as ‘lives’ finally valued beyond the today disempowered, surviving only as a hollowed-out folly utilitarian measure of the everyday, in underground graves or architectural curiosity. But hidden beneath its floors, and crypts. Hard cash may feel safe stashed in cold vault provides a vital, carnivalesque celebration of aspiring basements, even as it is allied with things of uncertain invention. The works in vault (a word which implies a leaping, worth ( lumpen walls, mysterious pipes, disused furniture transcending, overcoming act as much as a safe, hidden, and surplus supplies). Beneath the earth, seeds, latent underground place) are by the newest artists in London; with life and colour lie dark and damp, awaiting their no-longer novices, but not yet graduated, and each searching moment to erupt. ‘Underground’ is also a metaphor, conjuring for some power or strength of their own around which to subcultural activities and experimental scenes where build a life in art. All are precisely mid-way through a degree futures are forged surreptitiously by the young and course, their practice in a transitional state, and so we find brave in a relentless war of progress against established, ourselves privileged to witness an optimum moment – not conservative forces. Those forces of course resist of satisfied resolution but of industrious searching, candid transformation, their fear of transformation results in experimentation, and adventurous becoming. Visitors to demands for order, stasis and the zombie-like resurrection vault first descend, foregoing the reassuring rhythms of of exhausted and discredited modes of discipline. the sky above to enter a realm illuminated by unchanging But through bold experiment and the insistence of new artificial electric light. Once encased below ground we generations maintaining an arena of genuine, open-ended search through cavernous foundations, initially disoriented speculation, art progresses – at times infinitesimally and yet strangely reassured by a riot of fancies that sprout here almost invisibly, but inexorably nevertheless. like so many inverted flowers as we participate in the hidden celebration, the secret carnival that is vault. Unlike the At a critical time, when the past might look to some more bright clear geometry of a white cube gallery the unusual appealing than the future, vault – an apparently modest, vault atmosphere here – of constant uncertainty, constant discovery temporary event – manifests a host of possibilities and – invokes the special invitation made by art to every trainee alternatives, enabling us to believe that, despite our current 2nd Year Fine Art Show 2013 artist. Art invites trainee artists to find their way and locate social and economic crises, the future will be a place Camberwell College of Arts their strength – not only by competing for attention, grades worth living in. Both through the works of its artists and and honors, and not just by honing skills, but – perhaps more the metaphorical implications of its special location vault Special thanks to: Alex Burgess, Fani Louisa Parali, profoundly – by exploring their difference. Each trainee artist reassures us that art’s peculiar vocation can and will thrive Giacomo Raffaelli, Neil Drabble, Ronald Rosero, in vault is negotiating a personal labyrinth, in-deep enough and endure, thanks to, but also despite power structures Sofia Ginevra Giannì, The Steering Committee to be slightly lost and yet beginning to visualize a way to and institutions on which art currently appears to depend. and Paul O’Kane. resolve a language, process and style as a vehicle with which In Britain today many of the major institutions ruling our to eventually emerge into the light of a celebratory graduation. economy and society are clearly in crisis. Existing forms of Designed by Camberwell Press In any student group there are invariably those who seem power seem unacceptably unjust, dangerously unbalanced, Printed by Sharman & Company Ltd. ‘naturally gifted’, exceptionally confident, comfortable and outmoded or inappropriate. Denied any certainty or direction, Edition of 1000 copies familiar with art while others express their equally passionate sides and factions are emerging, each hoping to rescue and investment by more tentative means or by struggling and shape the future with new ideas or pieces of a broken past. ISBN: 978 1 908971 180 haggling contentiously over art’s established procedures A battle for society is beginning. At times of crisis we are all and conventions. But every contributor to vault strives inclined, either to fight, to run away, or ‘stick our heads in the camberwellvault.co.uk ( art undergraduates perhaps do this more than students sand’ – hoping the crisis will go away or that others will take
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31. Emma Burdon 32. Michael Wild 33. Amy Leung 34. Anna Hussey 35. Josh Luxton 41. Charles Snelgrove 42. Mikey Merkenschlager 43. Anastasia Scudamore 44. Alix Jayne Bowyer 45. Rebecca Sangster Click to Enlarge Untitled Untitled Lack Untitled Harry Stares Into the Sun, Substance Overlay Untitled Untitled Ink on paper Casting plaster Canvas, heat transfer Wax and oil paint Mixed media Mancos, Colorado House hold silk paint Pinhole photography Video www.emmaburdon.com [email protected] [email protected] www.amhussey.wordpress.com [email protected] Darkroom C-type print www.anastasiamscudamore. [email protected] www.rebeccasangster.com [email protected] com
31. 32. 33. 34. 41. 42. 43. 44.
Camberwell College of Arts 35. 36. 37. 45. 46. 47. 2 nd Year Fine Art Show 2013
38. 39. 40. 48. 49. 50.
36. Louise Aspegren 37. Beth Clenton 38. Sofia Medina 39. Dani Allen 40. Jack Lovell 46. Christian Brems 47. Emily Manzi 48. Paul Guiragossian 49. Nell Allen 50. Katya Derksen Bounce Bounce Baby Makin’ Whoopee One More Thing All Purpose Safe and Boring Secret Hope Diogenes (The Dog) ALL 4 U Bringing Margate to Rubber Plaster, spray paint, glitter Pigment on paper, Silk screen print Video projection Immediately Unaware Oil on canvas Mixed media Shoreditch Town Hall [email protected] [email protected] letraset transfers on panel and vinyl [email protected] Spray paint on canvas paul_guiragossian@ [email protected] Photograph www.crackanddivide. www.jacklovell.co.uk over board hotmail.com www.katyaderksen.tumblr.com tumblr.com [email protected]
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CAMBERWELL PRESS for University of The Arts London 24 pages newspaper 1000 copies offset print / 2013 NA ESQUINA L E N T OTETO 3. – 6.4.2013 KLO 19.00 CIRKO
UUDEN SIRKUKSEN KESKUS KAASUTEHTAANKATU 1 /4 , RAKENNUS 8 SUVILAHTI – HELSINKI LIPUT 15 ¤ / 12 ¤ / 10 ¤
13/10 SETE LAGOAS 14/10 PARAOPEBA 16/10 RIO ACIMA Centro Cultural Nhô-Quim Drummond Praça Coronel Caetano Mascarenhas AV. Governador Israel Pinheiro 522 [ Casarão ] [ Praça da Igreja Matriz] [ Instituto Gandarela] LISÄTIEDOT : * * * 18:30 18:30 18:30 www . cirko . fi www . cienuua . com Kuva © Mario Vale Kuva ≠ NA ESQUINA foi contemplado pelo Prêmio Funarte Artes na Rua [ Circo, Dança e Teatro ] – 2013
POSTERS Cie. Na Esquina / 2016 Cie. Nuua / 2014 OTETO / 2018 SLOW
BOUNCEPING PONG & DANCING CANAVAN’S PECKHAM POOL CLUB SAT 1 0 MAY PUWABAN MALE ALEX DE’ATH LAWRIE NANA 10 PM – 4 AM
£3 BEFORE 12AM / £1 FOR TOURNAMENT ANDRÉ BAUMÉCKER / RAFAEL CAMISASSA
POSTERS Slow Bounce / 2014 The Opposite of Waiting / 2015 Ikuemän / 2018 LOGOS WORK SAMPLE Graphic Design for more projects please click here www.rafael-camisassa.com