disposição

Aparelhagem (The Rig)

When considering a communal area for a diversified audience within the Ipiranga district, one can hardly ignore the neighbourhood, given the historical relevance of the site. On the other hand, while visiting the Ipiranga monument, it is surprising to see the different ways in which skaterboarders, young people, senior citizens and passers-by use and appropriate the space. As a result, the question arises: what could be developed based on these relationships between bodies, spaces, objects, sounds, policies, histories and narratives. Aparelhagem (The Rig) is a proposition, a setting, a construction, an installation mobilized by these questions. It is informed by a juxtaposition of different infrastructural forms: plenary, monument, furniture, exhibition, playground, square, reading room or lounge. It also plays host to many talks, including audience conversations, performances and voices – with com Aretha Sadick, Daniella Mattos, Enrico Rocha, Kabila Aruanda, Laymert Garcia dos Santos, Solange Lima – that listen to one another throughout the structure.

Semantic Slippage

John Graz’ sculpture, Diana, used to belong to the house that formerly occupied the site where SESC Ipiranga was built. The piece, which belongs to SESC’s Collection of Brazilian Art, is currently being restored and will be placed in SESC’s backyard. During Fields of Prepositions, Diana will temporarily reside in the communal area, on a plinth built with the colours found in internet searches using the keyword Ipiranga. The operation recognises the semantic slips that occur when narratives are being built and competing for imaginations and stories, both public and private.

Parkour for Seniors

Through a partnership with the performer pieces of furniture have been designed for an area of the Professora Maria do Carmo César Belviláqua Communal Living Centre for Seniors where Parkour workshops led by Bittencourt and Danielli Mendes will be held for senior citizens. Both the furniture and the workshops seek to acti- vate the presence and body per- ception of senior citizens, taking their specific characteristics into account. The furniture will also be available for different public uses.

Small Wall

The Project’s first preposition-act, undertaken at the beginning of its creative process and the experience at SESC Ipiranga, between June and August, was a bench/small wall [preposition AGAINST] in the communal area. How do visitors react to a bench/small wall that cuts across the space? What can a collective bench promote? This activation sought to interrogate the dynamics that takes place in the space and point to unpredicted uses and other meeting possibilities, triggering changes in the piece, the place and the ways of being there.

Independence
or death - The people, Bruno Moreschi

With the painters: Marco Andrade Jr., Reginaldo Frazão, José Almeida, Helena Trindade, Carla Soares, Moises do Santo, Silvio Jr., Carlos Silverio, Antonio Carlos de Castro, Vanderley Augusto Marinho.

Artist Bruno Moreschi problematizes the closing of Edifício-Monumento (headquarters of the University of São Paulo’s Paulista Museum) during its renovation, especially the temporary unavailability of one of the Museum’s collection pieces, the iconic Independence or Death painting, by Pedro Américo. Fragments of the original painting, painted in 2014 by painters from República square and Trianon MASP, will be exhibited at SESC Ipiranga. In the backyard, the painters Carlos Silverio, Marco Andrade Jr., Moises do Santo, Silvio Jr., Antonio de Castro, Vanderley Marinho will create a large mural that will fragment and revise the way people are represented in Pedro Américo’s painting. These experiences will take place at SESC in partnership with the University of São Paulo’s Paulista Museum.

Audiences between Monuments

Invitation to imagine and build relationships through the neighbourhood and by bringing together and associating, often unlikely, people, things and objects. These are sentences that combine prepositions and nouns gathered during visits to Ipiranga, which also strike a chord in SESC’s backyard, through a sound that is triggered by the presence of people at the site.