MASP.ETC.BR is a collective project develop in partnership with the Museum of Art of São Paulo, one of the most important art collections in South America. As workshop and video projection, this intervention take place at the Paulista Avenue to question the status of the city and the museum itself, trough the concept of Aesthetic of Data Base, established by the coordinator, Giselle Beiguelman.
The masp.etc.br project was carried out from a workshop, developed in the context of the Avenida Paulista exhibition, on May 6 and 7, 2017. It resulted in a projection, on the 11th, in the free span of the Masp, understood here as a symbolic space: a field of confrontations and encounters of our recent history that goes far beyond the Museum.To do so, we start with a broad sweep of Paulista's aesthetic production, incorporating records, audio and video, of its performers, street vendors, craftsmen, demonstrators, monuments, street dwellers, surveillance cameras, etc.During the workshop, we did the capture of images and created the indexation of the images that fed the projection on day 11.
A cinema from around the world, with everyone, for everyone We propose a multi-authoral, collective and polyphonic creation. A vase-free occupation, with images projected on the ceiling, equalizing all drifting by the ground. A cinema from around the world, with everyone, for everyone. In the clash with the city and the informational territories, we ask: what narratives can be constructed from the processes of mapping oriented and hashtags filtering?
The workshop For the workshop, we held three meetings where we worked on the creation of a bank of photographic and audiovisual documents on Avenida Paulista. From the mapping of its everyday aesthetic manifestations, it was intended to discuss the contemporary production of images in digital media, taking into account the concepts of appropriation / editing, categorization / tagging / taxonomy and flow / circulation, in the current context of artistic creation.
The first day was dedicated to an exit by the avenue for the production of photographic and audiovisual records, on the second day we began the categorization and edition of the collected material and in the third meeting, which will happen on Thursday, 11/5, the results are exposed by means of a projection in the ceiling of the free span of the MASP. The image bank has started and is open for collaborations. To participate in the project, simply add #MASPETCBR to your registration on Avenida Paulista by INSTAGRAM, FACEBOOK AND TWITTER.
Check the images posted on Instagram with the hashtag #maspetcbr
The acronym MASP An acronym is an abbreviation, made by joining parts of other words, which have syllabic pronunciation. In the digital culture universe, acronyms are used to form words that do not yet exist. The acronym Masp is a World Museum of Paulista Avenue and everything that the avenue is beyond its geographical limits.
This is Masp.Etc.Br!
Museum of Artists Under Walkway Museum of Artists Without Toll Museum of Artists of São Paulo Museum of the Arts of His Beach Acropolis Museum Without People Popular Social Artistic Mapping Museum of the Agora of Seu Paulista Myriad of Anonymous and His Rush Museum of Art and its Partners Museum of the Popular Serenades Playlist Audio Museum Museum of Artists Without Public Museum of the Ares of Her Princesses A lot of Super Pop Art My Art Without a Hint Asynchronous Metamorphosis of the Paulista Synthesis Unfinished Muses without Picasso Museum of Tomorrow without Gift
A project of the Aesthetic Group of Memory in the 21st Century With: Andre Deak, Artur Cordeiro, Didiana Prata, Erica Ferrari, Giselle Beiguelman, Giovanna Casimiro, Lucas Bambozzi, Nathalia Lavigne, Rodrigo Terra, Renato Almeida Prado.
MASP.ETC.BR means for me an experimental methodology to rethink the museum and its contemporary status. Together, me and all the participants, we organised, created and reached during the workshop, following the criteria for the creation of the images, divided in specific hashtags. My role was, most of the time, in the edition and collection of the data base we were building at the INSTAGRAM, and keeping the posts fresh based in the participants production. The final video projection was crated form all the content posted and edited collectively.
What I like most about this public art project: (1) is about the museum consumed by itself and its visitors, in a never ending dynamic of self-canibalism; (2) is about the tensions between inside the museum and outside the museum, and the questioning of this misunderstood neutrality of the exhibition place; (3) is about the open source heritage (that I have being working on); (4) is about the social invisible lines, the acceptance and the construction of values from the visitor and not from the institution; (5) is about the city as interface of projection, visualisation of data and resource, simultaneously. The ambivalence os the museological institution and the memories are fundamental elements in this artwork, that has no authorship and all authorships.