Prepositions, Compositions and Propositions

In addition to celebrating the centennial, the Ipiranga Monument, inaugurated on September 7, 1922, in São Paulo, expresses in its controversial architecture the collective imaginings ON the independence of Brazil – including characters, episodes, a reference to the Independence or Death painting by Pedro Américo, as well as many other later additions, including the mortal remains of Dom Pedro I. In the everyday events in the metropolis of São Paulo, millions of people move between varying codes and different borders, with connections and blocks that inform your/our ways of living. Paulistanos now seem to be letting go of imperialistic narratives and appropriating this Monument on the banks of the Ipiranga river every day: not UNDER imposed conditions, but WITH unexpected uses and COUNTER-uses and the coming together OF young people, senior citizens, skateboarders, bikers, families, sounds, smells, animals, plants, dirt, architecture, artifacts, etc.

Fields of Prepositions is an invitation to coming together. The project takes place openly, warmly and provocatively in the communal areas of SESC Ipiranga. BETWEEN nearby and faraway neighbourhoods, WITH the Parque da Independência and the Museu Paulista, Heliópolis, old palaces, the remnants of the blue-collar workers’ neighbourhood, modern apartment buildings, other parts of São Paulo, Brasília and London. If in a verbal language prepositions express relations (and describe the modes of being and how time flows), Fields of Prepositions aims to imagine and experience spaces, narratives at play, bodies, voices and rhythms in this multiplicity – BETWEEN/WITH/BEFORE/FROM… different audiences, forces, artists, educators, powers, institutions, and so on.

O grupo inteiro has set up experiences in SESC Ipiranga and surrounding areas knowing and acknowledging the competition for the narratives involved in the vicinity and in current times, establishing a dialogue with many voices and bodies. PROPOSITIONS by artists and writers will be activated and paced in the Project’s space-time. COMPOSITIONS unfold into research and critical, educational and artistic interchanges. And PREPOSITIONS, more infrastructural, available for expected and unexpected uses, open up to appropriations and resignifications. What imaginings, public spheres, speeches and effects are being constructed, taken apart and/or let go of every day?

Many of the ideas that have survived throughout the investigation carried out by this expanded group, have emerged from conversation noises, scraps of notes, different interpretations of something said, or drawn – and formed a kind of semantic slip. Therefore, by revealing them here, we are betting on Fields of Prepositions by SESC Ipiranga as a diagram, or a collage, that is able to create other meanings WITH the many of those who, like us, are also wiling to come together. We celebrate the building of relationships with common interests and different worlds – the energy of connections, atomic, affectionate and random that are willing to transform – like SESC São Paulo Ipiranga, Central Saint Martins and collaborating artists and writers, who live together and magnify experiences with the audiences and the unexpected.

O grupo inteiro

Sociability as a game

We live in a kind of social game where interactions with others are mediated by language. On this verbal game board, words act as the key elements of interpersonal relationships. Much as in sentences, the roles of these terms go far beyond the isolated identification of this or that element. By creating connections between them, these terms enable the bonding and reading of dynamics through which individuals and groups attract, observe, intrigue, join and avoid each other. Verbs represent these actions, and designate that which takes place during the game’s experiences. This challenging field is spanned by actions that take place in the intersections between subjects, places and contingencies; the correlations between them only made possible by prepositions, such as: between, with, under, by, against, before, etc. They are the ones responsible for connecting the words in an utterance, while at the same time translating the different conducts of “players”. For instance, he walks with her; we work for them; they go against me.

It would be fitting to add certain provocations to this sociability exercise.

Based on this perception, SESC, Central Saint Martins - University of the Arts London and O Grupo Inteiro have joined forces to realise the Fields of Prepositions project, an initiative that marks the beginning of a partnership with the English institution. Here, the everyday game is enhanced by the inclusion of procedures that originate from visual arts, design, architecture and technology. Each in their own way, these procedures materialize in relational objects, which inspire interactions by audiences in different communal areas at SESC Ipiranga.

The concept aims to create a new layer in a game that is usually based on the characteristics of the space where it takes place, as well as on the initiatives of those who occupy it. By conducting this experiment, SESC undertakes two endeavours at the same time. On one hand, it invites attendees to take on new communal living challenges. On the other, it sets out to learn with what may arise from situations that cannot be predicted.

SESC São Paulo

Central Saint Martins

At Central Saint Martins we ask our students to ‘be brave and do what you love’. It’s crucial that we, as an arts school, listen to our own advice.

Our DNA is inherited from two nineteenth century art and design schools, and from their Arts & Crafts beginnings, both educational institutions developed radical art practice in the 20th century. From the legacies of these two schools and their merger in 1989 to create Central Saint Martins, we have a history of artists and designers who have challenged and shaped the world around us.

It is this continuing spirit – one of innovation and experimentation – with which we have been forging connections in Brazil. This exchange of both ideas and education has been nurtured through conversations across not only across national borders but also disciplines and organisations.

The power of an exchange is not sharing similarities but difference, hence our delight to work with SESC as a partner with such an expansive remit and experience of alternative (and innovative) models of engagement. Our Brazilian projects draw on the breadth of disciplines within the College, from architecture to performance, curation to participatory practice.

This collaboration with the collective O Grupo Inteiro around an artistic project for communal living at SESC Ipiranga aligns perfectly with our concerns. Firstly, the opportunity to directly tackle the hugely significant issue of "convivencia" and "communal living" that resonates equally powerfully in Sao Paulo and London. Secondly, the opportunity to work with O Grupo Intiero whose previous work we have found so intellectually exciting and especially the extent of their openness to new thinking, methods and reflection for "poetic communication" achieved through encounters that are truly cross-disciplinary, across the visual arts, design and technology. Thirdly, the opportunity to work on at SESC Ipiranga, a site with such a rich cultural, industrial and historic heritage.

Central Saint Martins shares with SESC and O Grupo Inteiro a commitment to "design for social change". While the traditional understanding of art school may be a space for individual empowerment – thinking and making as expression – art has a responsibility to engage with the social and political contexts in which it is made. Creativity has no utility if restricted to the studio or the academy; it is in the public sphere where it finds its power.

In years past we may have been anxious about cultures becoming homogenous through globalisation, but today in the UK, narratives of nationhood and difference have been placed in difficult, sharp focus. It is our role, as a world-leading arts school, to show that languages and experiences of culture go beyond borders. Like SESC, Central Saint Martins exists beyond its physical walls, the hinterlands of the city or the edges of a country. Through connections across the globe, both formal and informal, we all become culturally richer.

Brazilian culture continues to demonstrate that art and design are tools for education and transformation. The role of culture is to strengthen every corner of community. Most importantly, art – and arts education – is not a commodity and our students are not consumers. They are tomorrow’s cultural activists hungry today for challenge and opportunity, a process catalysed through exchange like these.

A student once described Central Saint Martins as an empty climbing frame. It is the structure upon which our community of students and staff learn, and like all platforms, it is nothing without those that enliven it. The “art school as frame” is not passive but instead a platform that must continue to take risks. In short, we too must be brave and do what we love.


O Grupo Inteiro

O Grupo Inteiro’s members are Carol Tonetti, Cláudio Bueno, Ligia Nobre and Vitor Cesar. It comprises different backgrounds and practices that converge, create links and expand. O Grupo Inteiro conducts research and acts as agent on spatial, graphic and technological projects of different scales, activating multiple forms of communal living. Its portfolio includes work in different exhibitions and institutions, such asPlaygrounds (MASP and SESC Interlagos, 2016); Red Bull Station; Casa do Povo; Manejo, spatialization for Restauro, an artwork by artist Jorge Menna Barreto, at the 32nd São Paulo Biennial; Tomie Ohtake Institute, among others.

Carol Tonetti

Carol Tonetti holds a degree in architecture and a master’s degree in Projects, Spaces and Culture from FAU-USP (2013), where she is also currently pursuing her PhD. She has been teaching at Escola da Cidade since 2004, and in 2013 became the coordinator of a set of subjects that focus on means of expression and design. She sets up different partnerships and action strategies for projects of varying scales and timings, bringing art and architecture, theory and practice together. Her work includes both artistic and architectural productions, such as Metacozinha – Metakitchen (Casa do Povo, 2015), Base Móvel – Mobile Unit (conceived for the Tomie Ohtake Institute, 2015); architectural projects for temporary exhibitions and spaces, such as the Descrito como Real – Described as Real (CCSP, 2015) and MANO FATO MANO (CCSP, 2014) exhibitions; the coordination of the expography (exhibit design) team at the 10th São Paulo Architecture Biennial (2013); the preliminary study for SESC’s Centro de Desenvolvimento de Educação Infantil (Centre for the Development of Children’s Education) and a participation in the “Traces of Centuries & Future Steps” exhibition, which took place at the same time as the Venice Architecture Biennial, in 2012.


Claudio Bueno

Visual artist and professor, Claudio Bueno holds a PhD in Visual Arts from ECA-USP and his thesis was entitled “Fields of Invisibility”. His work is based on the body’s experience and how it traverses spaces, relations and technologies. He has taken part in national and international exhibitions and residencies, such as Videobrasil in context (Delfina Foundation/London and Casa Tomada/São Paulo, 2012); Where the streets have no name (Hessel Museum of Art/CCS Bard, New York, 2014); Grau Zero – Grade Zero (Paço das Artes, São Paulo), to name a few. He has made public presentations at galleries and cultural venues including the Whitechapel Gallery (London), Humboldt-Universität (Berlin) and many Brazilian universities. He has been the recipient of the following awards: Honourable Mention – Prix Ars Electronica (Linz); Rumos Arte Cibernética (São Paulo) and Transitio_MX (Mexico City). He is currently working on the Intervalo-Escola (School-Interval) project with Tainá Azeredo, researching and experimenting with different means of art learning.


Ligia Nobre

Researcher and curator, she operates in the intersections between art, design and architecture. She holds an MA degree in Histories and Theories from the Architectural Association School of Architecture (London), and is pursuing a PhD in Aesthetics and History of Art at USP. Ligia Nobre currently teaches at Escola da Cidade. She was the curator of the following projects: MANO FATO MANO (CCSP); the 10th São Paulo Architecture Biennial; Urban Parangolé with the Urban Think Tank for Audi Urban Future Award 2012, to name a few. She was the co-director of the exo experimental org. platforms that promoted urban-aesthetic research and artistic residencies at the Copan building ( /SP) and São Paulo Lab/Studio-X GSAPP Columbia University (NY). She was a researcher and teaching assistant to Professors Jacques Herzog and Pierre de Meuron at the ETH Studio Basel (Basel). She is the co-editor of Monolito #17 magazine and editorial coordinator of the Trabalhando no Copan (Working at Copan) project by Peter Friedl. She has published essays in Urbania, TANK, ArtReview, Recibo, Contorno, etc.


Vitor Cesar

Artist with a degree in Architecture and Urbanism from the Federal University of Fortaleza and a Master’s degree in Visual Arts from ECA/USP , his research focused on notions of public space in artistic practices. He was a member of the Alpendre (Porch) – a multidisciplinary space – study group and is a member of the Transição Listrada (Striped Transition) group. He co-organised the Art and the public sphere project through the Conexão Artes Visuais (Visual Arts Connection) bidding process – Ministry of Culture/Funarte (2008). Since 2005, he has been working on the Basemóvel (mobile unit) project. Some of his exhibitions are: Anfibologia, tradução (Amphibology, translation), Galpão VB (VB Warehouse), São Paulo, 2016; Anfibologia, reciprocidad, (Amphibology, reciprocity), El Eco experimental Museum, Mexico City, 2013. He participated in the 33rd Panorama da Arte Brasileira (Brazilian Art Overview), Museum of Modern Art, São Paulo, 2013; the 8th Mercosur Biennial, Porto Alegre, 2011. He was a resident in the following programs: Videobrasil in context, Ujazdowski Castle, Warsaw, 2015. Capacete (Helmet), Rio de Janeiro, 2010; and MuseumsQuartier, Wien, 2006. He developed the graphic concept for the 10th SITAC (Mexico City). He currently teaches at the Escola Entrópica (Entropic School), Tomie Ohtake Institute.



Lecturer in Fine Art at Central Saint Martins College. He is also a founder and former member of MayDay Rooms, an educational charity based in London and set up in 2011 as a safe haven for historical material linked to social movements and experimental culture. Up until 2015, he was part of core staff collective responsible for programming and the overall shaping of the organisation with a focus on events and the activation of archival material. He has also co-organised and participated in a range of educational and artist-run initiatives from Posterstudio (1996-97), the Copenhagen Free University (2001-07), Department of Walls and Space (2007-10) and was instrumental in the recovery of a significant archive linked to experimental education at Central Saint Martins with the 10th Floor (2009-2011). As a writer and independent researcher on art, politics and economics he has published in a number of journals including Art Monthly, Mute Magazine, Variant, Texte zur Kunst and Metropolis M.


Artist and senior lecturer, 3D Pathway Leader on the BA Fine Art Course at CSM. Exhibiting work nationally and internationally since 1993, research on how value is attributed to artistic practices of the copy and copying informs her work. Simultaneously interrogating the mimetic processes and technologies employed in material, analogue and digital production. Speculating on how subtle shifts of empathic perception may occur through reproduction, she has been commissioned to make both temporary and permanently sited art projects with curators working in the public realm: Locus + and Commissions East; inter-disciplinary research centres, Tyndall Centre and the architectural practices, FAT and MUF. Recent exhibitions include: Atelier Amden (Amden, Switzerland); the Museum für Gegenwartskunst (Siegen, Germany) and a forth coming exhibition in 2017 at the Joan Miró Foundation (Barcelona, Spain). She is represented in both the Tate Britain and British Arts Council collections.


Aretha Sadick
A persona, currently known as a drag queen, created by artist/educator Robson Rozza, who holds a degree in drama and fashion design. Makes use of academic research to conceive his artistic research.


Visual artist and researcher. Bruno Moreschi holds a Master’s degree in Visual Arts from Campinas State University (UNICAMP), where he is also pursuing a PhD. His research explores the arts system, creating experiences that problematize authorship, historical fact and institutions. His art projects have been exhibited in institutions such as: Centro de Arte 2 de Mayo (Madrid, Spain), Kuva Art Academy (Helsinki, Finland), Tomie Ohtake (São Paulo), Funarte São Paulo, Paço das Artes (São Paulo), Joanina Library (Coimbra, Portugal), Frestas Triennial (SESC Sorocaba), Paraná Contemporary Art Museum (Curitiba), Ribeirão Preto Art Museum, Goiânia Art Museum, among others. His work is represented in the MAC USP, MAC Paraná and Figueiredo Ferraz Institute collections. website: brunomoreschi


Born in Ceará, she holds a degree in dance from the Amsterdamse Hogeschool voor de Kunsten (Amsterdam School of Modern Dance (Holland). She has studied with David Zambrano and worked with cool choreographers, such as Jan Fabre, Cristian Duarte, Constanza Macras, Thelma Bonavitta, Jorge Garcia, Andréa Bardawil, among others. Based in São Paulo, she establishes creative partnerships and strategies aimed at continuing her work. She has been a resident in the LOTE project since its first edition. On a warm evening in 2010, she created The Clarice Lima & gente fina, elegante e sincera (Clarice Lima & the cool, crisp and candid crew), a non-dance company with an alternating cast of professional artists. Since her son was born, she can barely watch her dance colleagues. website:claricelima


Artist, educator and independent curator. She has been producing visual artwork since the early 2000s focusing on performance, photography, video art and artist writing practices. She has been doing work for cultural institutions, galleries, artist-managed venues and universities both in Brazil and other countries, such as Costa Rica, Chile, Slovenia, France, and the United States, among others. She is currently doing postdoctoral research on the relationships between the writings and images produced by women at PPGAV-EBA/UFRJ.
website: danielamattos


Holds a teaching degree in dance from the Performing Arts Department at the Campinas State University. She was a performer and creator at the Mariana Muniz Theatre and Dance Company from 2007 to 2014.


Ballet-dancer, performer, professor and Parkour practitioner for 11 years. He is a co-founder of Le Parkour Brasil, a pioneering group responsible for disseminating Parkour in Brazil. He has been researching the intersection between dance, parkour and architecture since 2008.


Artist and researcher, for the past 18 years he has let sites determine what he will build and, more recently, what he will eat. He is a professor at UERJ’s Art Institute and holds a PhD in Visual Poetics and Art from USP. He recently concluded his postdoctoral research on potential relations between agroecology and site-specific art practices at UDESC. He is currently doing extension research on Contextual Awareness: between the artistic and the environmental. website:

UNAS - União de Núcleos, Associações dos Moradores de Heliópolis e Região (The Centres and Associations Guild for Residents of Heliópolis and Surrounding Areas)

Non-profit organisation established as a Federal Public Service agency in the mid-80s, it emerged from the Heliópolis Community residents’ struggle for the right to housing and land ownership.

Zebra5 Collective

Comprised of six artist-educators who believe in games as valuable elements of aesthetic learning. In addition to other initiatives, the group works directly with the public, proposing playful activities, workshops and experiences with art and games. website: zebra5

Willian Zarella

Artist, set designer and creative diretor at Elastica SP, a company specialising in exhibition projects, production, construction and set up.


São Paulo State Regional Administration

Abram Szajman
Danilo Santos de Miranda

social technician Joel Naimayer Padula social communication Ivan Giannini administration Luiz Deoclécio Massaro Galina planning technical assistant Sergio José Battistelli

arts and technology Juliana Braga de Mattos deputy manager Nilva Luz assistant Sandra Leibovici studies and development Marta Colabone deputy manager Iã Paulo Ribeiro international affairs Áurea Leszczynski Vieira Goncalves advisor Heloisa Pisani graphic design Hélcio Magalhães deputy manager Karina C. L. Musumeci public relations Milton Soares de Souza deputy manager Carlos Rodolfo T. Cabral sesc ipiranga Mônica Carnieto deputy manager Antonio C. Martinelli Junior programming Ana Luísa Sirota (coordination) and Flavia Leme de Almeida administration Walter Gomes Silva communication Demétrio de Almeida Leite infrastructure José Renato Alegreti Dias services William Moraes


Deborah Cook international academic Anthony Davies lecturer, ba fine art Dr Jo Wheeler director of international development Dr. Elizabeth Wright 3d pathway leader, ba fine art

graduates Katie Tindle ba fine art Adeeb Ashfaq ba fine art

with thanks to professor jeremy till – head of central saint martins and pro-vice chancellor research, university of the arts London and dr melanie dodd – programme director, spatial practices, central saint martins, university of the arts london.

conceived by O grupo inteiro – Carol Tonetti, Claudio Bueno, Ligia Nobre, Vitor Cesar executive production William Zarella set design Elástica Espacial educational initiatives Coletivo Zebra5 research and photography assistant Julia Valiengo VISUAL IDENTITY, graphics and texts O grupo inteiro text editing Ananda Carvalho translation Patrícia Peres Pick

conceived, developed, edited and graphic design by O grupo inteiro content O grupo inteiro and Central Saint Martins programme Bruno Favaretto researchers Gabriella Gonçalles, Marian Rosa van Bodegraven (sp), Adeeb Ashfaq, Katie Tindle (lon) text editing Ananda Carvalho translation Patrícia Peres Pick photos, texts and quotes as per cited source





Fields of Prepositions
Sesc Ipiranga

from september 15th
to december 4th, 2016

Sesc Ipiranga
R. Bom Pastor, 822 | Map
CEP 04203-000. São Paulo SP
Phone +55 11 3340 2000

from September 15th to December 4th, 2016
Tuesday to Friday, from 7:30 am to 9 pm | Saturdays, 10 am to 9 pm | Sundays and Holidays, from 10 am to 6 pm


© 2016, O grupo inteiro | University of the Arts London | Sesc SP. All Rights Reserved.