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Movimento III
Estreia da obra Movimento III_Celebration, espumas pós-tsunami na trienal Frestas de Art Contemporanea 2021.
PlusAfroT 2019
Villa Waldberta Kulturreferat München Reverbe is a visual, sound and poetical narrative which presents what is real between bodies and the spaces that surround them. Through an atemporal form questions the bodies’ polarity, queries meanings and invite to discover the invisible. Tensioned gestures, sounds, textures and dialogues derives from the relationships. The scene – made up by Mario and Malu – turns into multiple games embodied in their bodies, which also talk. What moves them? What cannot be spoken?
performance “Sudakas”
15th Lyon Biennale for Contemporary Art with the work “Sudakas”
Articulator-choreographer
Choreographer-articulator
about
MARIO LOPES
As Articulator – choreographer/ Choreographer – articulator, I have been researching and investigating “conflicts of social norms and foreign bodies”. Mobility, encounters, crossings and compositions, social norms and their repercussions on the body and movement. I am constantly searching to recognize, despite distances and differences, another way of creating, a convergence of ideas that helps to displace my own actions.
Although this coming and going does not always imply the cognitive openness necessary to the apprehension of other worlds, the power of the act is to position myself within the reach of the senses: to change the body of place is to expose myself to sensations not yet experienced. The contact with diverse realities, along with the occupation of distinct architectural spaces and the relationship with those who live here/there, constitute an opportunity for the acquisition of knowledge, for estrangement of myself and for artistic creation from renewed points of view.
Within the cultural market with its formed and pre-established spaces I have always perceived myself as a strange body. I did not study cultural management neither was trained as a choreographer. So this in-between place makes me readapting constantly and demands well-articulated movements.
The anatomical terminology of joints or articulation describes well this in-between status, a point of union assuring on the same time great mobility to all the connected body parts. Bringing people together and proposing mobility is the role I see myself doing with conscience and projections for continuity. As a choreographer I am aware of the physical principles. I suggest and activate spaces, that via a specific format organize bodies / objects / sound and light.
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MARIOLOPESMARIOLOPES
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MARIO
since 2004 – São Paulo
is a non-profit association aiming to humanize spaces in the area of health and education through the arts. I am co-founder, was president from 2004 to 2015. Since 2015 I act as vice president.
since 2009 – São Paulo
is an agency for cultural management focusing on the promotion and circulation of works and projects that seek social change. I am founder and the executive director.
From 2002 to 2008 “Artes Integradas no Ilha de Vera Cruz” a project and pedagogical method of including art education in the adults alphabetization at the School Vera Cruz, São Paulo. The project was shortlisted for the IX – Prêmio Arte na Escola Cidadã 2008.
From 2001 to 2008 “Mestre Salas” a project for hospital humanization brought art into the waiting rooms for palliative cancer treatment at the Hospital das Clinicas, São Paulo. In 2006 the project was awarded with the award for hospital humanization by the Brazilian Ministry of Culture and invited to the International Congress of Hospital Humanization at São Paulo and Venice.
2019 Grant for a Curator Residence by Kulturreferat München
2017 Grant for a Curator Residence by Kulturreferat München
2016 Grant for working period at Goethe-Institut Salvador
2016 Grant for a Curator Residence by Kulturreferat München
2015 Premio Caixa Cultural, rewarded for the choreographic works VRUM and vrumvrumzinho.
2014 Grant for a Curator Residence by Kulturreferat München
2014 Grant for the participation at MovimientoSUR by the Goethe-Institut e Siemens Foundation
2013 Grant for a Curator Residence by Kulturreferat München
2009 Grant for an artist residence at Gallery Lothringer13 Munich, Germany
2008 Prêmio Arte na Escola, shortlisted for the 5 best projects for art at school for youngsters and adults shortlisted for the 150 best projects in culture and health by the Ministry fo Culture
2006 Grant for the theatre seminar with the master Sotigui Kouyatê at SESC Consolação, São Paulo
08/2018 “Movimento I, parado é suspeito” at Akademie der Künste within 10th Berlin Biennale for Contemporary Art
11/2017 5th Internationales Choreografenatelier – Tanztendenz e.V Munich.
11/2016 2nd Festival Internacional de Arte Negra – Afrotrancendence at RedBull Station, São Paulo
12/2014 MovimientoSUR 2014 – International Interference between Dance and Architecture by Goethe-Institut Chile and Siemens Foundation at Santiago do Chile/Valparaiso
09/2012 presentation of “Vrumvrumzinho”at the Festival Internacional Paideia de Teatro para infância e juventude: Uma Janela para a Utopia, São Paulo
09/2011 commissioned work “entre” for the 11th International Dance Biennial SESC in Santos
07/2009 work residence at Gallery Lothringer13 in Munich
projects as
Articulator/ choreographer
plattform
PLUS
plattformPLUS is a program that reaches beyond the obvious expected from the encounter with the “other” and “another” culture. Divers projects, co-operations and co-productions have been developed since 2008 involving more than 90 artists mainly in Brazil and Germany in partnership with the association Lusofonia e.V.
One main activity have been artistic residencies. Since 2009 residenzPLUS has received more than 50 artists. The partnership with the Villa Waldberta and the support of the city of Munich has been key for it to happen, since 2013. In the Villa Waldberta the concept focuses on collective practices of the invited artists and encourages collaborative work and exchange with the Munich scene. Since 2016 the field of action of residenzPLUS has broaden beyond the connection Munich – São Paulo, taking into account the complexity of the artistic research of the invited artists and their meaningful connections all over the world.
Besides the residenzPLUS the plattformPLUS has realized a number of events, like literature salons, co-productions and their touring, workshops and seminar of invited artists.
MOVE:
The Villa Waldberta is unique in its architecture, history and geographic location and influences from the first encounter significantly the resident artists in their work processes. What happens to the work itself, the questions and the artistic processes, when they land in the winter in a landscape of lakes? And how does this shift transform the production itself?
MIGRATION:
Three months is a short migration period for artists, enough time yet to pass passport control, feel strange / alien and want to arrive at the same time. Since December 2014 some of the artists have traveled to Chile, Brazil and Mexico, and the seven will meet again in 2016 in Germany. When the artists arrive at Villa Walberta, they have already traveled and experienced different paths.
In Munich they want to explore the meaning of migrating, of migrating wanting, not wanting, wanting, out of obligation.
How does a body behave that moves between the borders, that immigrates and migrates? Where am I with my body, when center and periphery are predefined? How can the southern / peripheral body draw another relationship for the encounter and foster a new dialogue.
Künstlerhaus Villa Waldberta, Kulturreferat der Landeshauptstadt München, Lusofonia e.V, Tanztendenz, Schwere Reiter, Goethe-Institut e.V., SESC Sao Paulo, Färberei, Kosk, Import_Export, Friedrich-Ebert-Stiftung, Gasteig BlackBOX.
01- 03/2019
residenzPlusAfroT, curated by Diane Lima and me, invites seven black artists from Brazil and Mozambique to the Villa Waldberta, Munich
artists: Ana Paula Mathias, Diane Lima, Grace Passo, Guinho Nascimento, Iagor Peres, Lenna Bahule, Malu Avelar and Mahal Pita.04 – 05/2017
residenzPLUS_ALBUMKODEX invites eight artists from South America to Munich
artists: Arely Pérez Landeros, Dandara Modesto, Guinho Nascimento, Martin Lanz, Paulo Monarco and Rubens Oliveira.
guests: Antonio Ramos and Diane Lima.01 – 03/2016
residenzPLUS_MoviSUR invites eight artists from South America to the Villa Waldberta, Munich
artists: Barbara Foulkes, Caroline Ricca Lee, Dandara Modesto, Danilo Oliveira, Michelle Moura, Martin Lanz, Pat Black and Paulo Monarco.07/2015
residenzPLUS _TREPP/Ôctôctô invites eight artists from Brazil to Munich
artists: Coletivo DMV22 with Achiles Luciano, Marina Massoli, Victor Pardinho and Ôctôctô with Cibele Palopoli, Ednaldo Santos, Felipe Roque, Luis Santiago, Márcio Modesto, Miguel Antar, Rubens de Oliveira and Yuri Prado.01 – 03/2013
residenzPLUS – Coletivo+BR13, curated by Isabel Hölzl and me, invites eight artists from Brazil.
artists: Achiles Luciano, Bernardo Galegale, Gabriel Spinosa, Isabel Hölzl, Leo Cavalcanti, Marina Massoli and Mônica Burity. Remote artist: Gustavo Vaz10/2012
residenzPLUS + “Standpunkt” at Tanztendenz, Munich
invited artists: Gabriel Catillo, Key Sawao, Ricardo Iazzetta, Samuel Hölzl and Theo Iazzetta.01/2011
residenzPLUS, curated by Isabel Hölzl, Helena Ramos and me, in Munich
artists: Denilson Oliveira, Ligia Oliveira, Key Sawao, Regina Oliveira and Ricardo Iazzetta.2009
residenzPLUS, curated by Isabel Hölzl and me, in Munich
artists: Opovoempé with Ana Luiza Leão, Cristiane Zuan Esteves, Graziela Mantoanelli, Manuela Afonso, Paula Lopez, Solas do Vento with Bruno Rudolf and Ricardo Rodrigues, Pedro Lima Quarteto with Eduardo Marques, Gabriel Spinosa, Mano Bap and Pedro Lima.
2008
residenzPLUS, curated by Isabel Hölzl and me, in Munich
artists: Carla Lopes, Eduardo Pitta, Gabriel Spinosa, Ignácio de Loyola Brandão, Jean-Luc Jossa, Luis Hölzl, Paulinho Silva and Rita Gullo.
VIDEOS
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VeículoSUR is a platform to propel artistic network. Since 2015 it proposes itinerant international residencies to create encounter and dialog between artists of different backgrounds. It realizes a constant journey of movement and reflection, a dislocation from south to north. The platform is an invitation to approach the economic, social, political and artistic contexts of every place, acknowledging local ways of art production. Thus, different models of creation and production are set in dialog. The concept of a “northern” reference point is put into perspective, configurating new and multiple “norths”, independent of geo-political conventions.
VeículoSUR 2018 curated by Marcela Olate, Maelys Meyer, Thais Ushirobira and me, brought local and foreign artists to Montevideo/ Uruguay, Santiago/ Chile, São Paulo/ Brazil, Lyon/ France and Munich/ Germany. At each location, artists of different languages and idioms participated in a collective artistic processes. In every city the dynamics between our bodies and the environment were worked out, integrating architecture, urban planning and social norms. Despite of the large distances and differences between the locations, it focused other ways of producing and realizing ideas, rethinking our own actions and reproducing them in other places.
INAE – Instituto Nacional de Artes Escénicas – Uruguai, GEN – Centro de Arte e Ciência – Montevidéo, CCE – Centro Cultural Espanha – Santiago do Chile, Coletivo la Vitrina, Sesc – Serviço Social do Comércio – São Paulo, Emmetrop – Bourges, NTH8 Theatre – Lyon, Kulturreferat der Landeshauptstadt München, Lusofonia e.V, Tanztendenz, Schwere Reiter, Goethe-Institut e.V.
VIDEOS
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projects as
Choreographer/ articulator
MOVIMENTO III - Celebration post tsunami foams
A Cinematographic Choreography
Post-Tsunami what is left is foam. Solid, flexible, and porous foams. The foam is residue, trail, it is both a solid and flexible body that is present and disappears with time. That which was created from stirring, from a constant overwhelming movement, which takes lives, bodies, and objects.
Facing the horizon of the post we are bubbles of foam part of other agitating existences. In this flexible solidity, restarting and rebuilding maintains our foamy architectural dynamic. Our agitated existences seek celebration as collective or individual rites, always connecting us with other bodies. Celebrating is a discipline, tactic, or even training matter for these bodies. Celebration is not the cure, but the path. It is a technology that needs to be exercised, it could be a pause after fermentation and agitation, but it is always a transformation of the physical state.
Celebration is not just joy, it can also be anger, and it is always the sharing of multiple feelings.
In addition to the post-tsunami reconstruction, we need to work on the pre-tsunami. Every leftover is compressed memories. The memory alerts and signals of what is to come. What triggers the tsunami is the systemic intersection of patriarchy, capitalism, colonialism, and binarism.
Movement III is the counter-tsunami staged in celebration.
Mario Lopes projected the work “movimento III celebration post tsunami foams” first in 2019 as an installation choreography, the final part of his choreographic trilogy “movimento”. The proposal continues the movement research that focuses on the experience of the Black body, the salivation of the knots that remain in the body, and the search for healing, impossible by the fact that the general illness is systemic. The focus of “movimento III” is designed around celebration as a way of coping with reality by surviving with dignity. As in the previous works, the composition entangles the research of body states, with sound proposals, and aggregates people with their visions and artistic doings.
The fact that another pandemic virus made international mobility impossible, transformed the process. The choreography became cinematographic and was built in parallel actions on three places that intercede in the film: Bela Vista, Helsinki and São Paulo. More than geographical places, these are places of non-linear time, of the intersection of existences, memories, futures to come.
The format of the work is a film shown in an installation space and commissioned by the Sao Paulo Triennial 2021 at the invitation of curator Diane Lima.
The filming process brought together professionals based in Germany, Brazil, Finland and Mozambique. The body work was done through online connections and developed with partnerships and residencies. The trust in the making and the generous contribution of each one led to a result that fuses collectivity.
It is what Mario calls “afrotranstopic” and Maré de Matos describes: “The thing is that those who had a metabolism of frail greed, also nurtured the habit of keeping one foot on the ground and the other in the dream and with the dreams, they derailed trains, shook the lands and filled the corroded holes in the landscape.” and in the words of Kadiatou Diallo: “Transcendence is not about forgetting, banning painful pasts into oblivion, merely surviving trauma (many have tried, to find the past comes back with a vengeance)”
Mario Lopes: “This cinematic choreography emerges from a collectivated desire to realize the impossible.
I was taught that dreaming is utopian. Afrotranstopia is first of all realization.
It is a political question to realize dreams said to be distant to Black existences. The real utopia is to think of a world where existences can execute their own being.
We are children of an Afro-indigenous technology of peoples from both sides of the Atlantic. We speculate our future as Black bodies. Afrotranstopia is the intersection between technologies, existences, and Afrotranscendence.
The Western utopia, that everything is right and that there is a cure, we face with palliative treatments. After all, celebrating is not the cure, it’s anyway the path.”
Movimento III – Celebration | Post-Tsunami Foams (2021) is a transdisciplinar collective work that intersects choreography, cinematography, dance, visual arts, music, architecture, and theory. It is articulated through a choreographic feature film and an immersive installation. It investigates Afro-Transtopia, which is conceived as the intersection of technologies from the global South, existence, and Afrotrascendence.
This choreographic-cinematographic work investigates celebration in the context of conflicts and colonial violence considering: How is celebration possible without denying pain and rage? How does resistance become a celebration? How does a body that has been violently forced into a mold by hostility and marginalization celebrate? What types of movement emerge from different bodies celebrating in a space? As such, Movimento III addresses celebration through the complexity of social transformation without undermining the emerging contradictions by articulating violence, rage, pain, displacement, repetition, and deterioration of the body. These are understood as embodied technologies that generate new consciousness and memories, and as processes for critique and healing.
The work deals at large with processes of coloniality on a global scale in their intersection with ecological deterioration by proposing the recovery of other technologies that are based on principles of reciprocity, synergy, dignity, and restorative justice.
Supported by The City of Munich – Department for Arts and Culture, Promotion Centre for Audiovisual Culture – AVEK, SESC São Paulo, Kenno Filmi, PlattformPLUS France Lyon, Goethe-Institut, AUE Foundation
Video
Gallery
Director and Choreographer: Mario Lopes
Executive Producers: Mario Lopes and Danai Anagnostou
Performance: Ajak Majok, Angel, Beauty Sitoe, Benjamin Abras, Cintia Rangel Martins, Dandara Modesto, Dina Maia, Erica Malunguinho, Guinho Nascimento, Jô Pereira, Joana dos Santos, Kalil Joigny, Kelet Ali, Lenna Bahule, Leo Castilho, Madalena Inayê, Malu Avelar, Maré de Matos, Mario Lopes, Samuel Iatã, Serati, Stela Manuel, Thais Dias, Tina Ngulele, Verônica Santos and Yurungai
Choreographic Assistant and Scene Director Brazil: Malu Avelar
Directors Brasil and Directors of Photography: Maloka Filmes – Nay Mendl, Rosa Caldeira, Wellington Amorim and Shubhangi Singh
Production Designers: David Muñoz Alcantara and Gil Oliveira
Soundtrack Producers and Composers: Dandara Modesto and Jota Erre
Chorus Composer: Lenna Bahule
Sound Designer: Lou Strömberg
Editor: Mariangela Pluchino
Videoart and Motion Graphics: Ana Paula Mathias
Colorist: Dante Mutashar
Producers: Mariana Rocha, Evaro de Abreu
Associate Producer and Assistant Director: Giovanna Esposito Yussif
Assistant Director: André Vincentini
Costume Designers: Marié Grace Iradukunda, Gil Oliveira, Ojire Art
Costume Assistants: Claudia Melo, Calvin Koivisto
Hair Stylists and Make Up Artists: Andressa Vaz, Jéssica Pink, Meron Laine, Jennifer Appleton
Production Assistant Brazil: Ojire Ventura
Sign Language Interpreter: Erika Motta
Videographers: Ampola AudioVisual – Ivan Barros, Nelson Langa, Carol Lima
Sound Recording: Juliana Santana, Andressa Clain, Dércio Gomate
Music:
O Clarim and Toda Cura by Paulo Monarco
Trilha_Celebration by Mahal Pita
Texts:
Ouroboros by Maré de Matos
From the Cusp by Kadiatou Diallo
MOVIMENTO II, KODEX_KONFLIKT
premiered 2018, SESC 24 de Maio, São Paulo
Movimento II is a dance piece. It is an investigation into the impact on the body in strange contexts. Kodex_Konflikt reflects on our social codes of behavior, processes of physical adaptation and moments of confrontation with the body that is perceived as strange by language, skin color or ways of being. Those who are recognized as foreigners (by idiome, appearance and habits) seek camouflage strategies that allow them to enter and penetrate “norms”.
director: Mario Lopes
sound concept: Paulo Monarco, Dandara Modesto, Jovem Palerosi and Denilson Oliveira
creators: Malu Avelar, Verônica Santos, Guinho Nascimento, Rubens Oliveira, Dandara Modesto, Jovem Palerosi, Denilson Oliveira, Paulo Monarco, Jô Pereira and Mario Lopes.
choreographic guidance, body preparation: Rubens Oliveira e Guinho Oliveira.
light concept: Maria Druck
costume design: Du Carmo
Movimento I, PARADO É SUSPEITO
premiered 2014, Crisantempo, São Paulo
Movimento I is a study on giving sonority to the body and body to the instrument. It gives vent to what starts in the sonorities of the past and continues to scream in the present. The movements follow the compass of command, which depresses the heartbeat; the silenced words that seek to manifest; and the ability to tell and retell.
creation: Mario Lopes
concept: Denilson Oliveira, Mario Lopes
sound concept: Denilson Oliveira, Lenna Bahule, Ota Carvalho
performance: Denilson Oliveira, Lenna Bahule, Mario Lopes, Paulo Monarco
choreographic guidance, body preparation: Toshiko Oiwa
light concept: Maria Druck
research: Isabel Hölzl and Regina Garcia
video, programming: Victor Pardinho
camera, photography: Danilo Carneiro
costume design: Du Carmo
2018_ 10th Berlin Biennale for Contemporary Art
2018_ SESC 24 de Maio São Paulo
2017_ Mostra plattformPLUS HochX Theater München
2016_ Teatro do Goethe-Institut Salvador-Bahia/ICBA
2015_ SESC Bauru São Paulo
2014_ SESC Sorocaba São Paulo
2014_ premiered/estréia 2014, Crisantempo, São Paulo
TREPP
premiered 2013 SESC Santana, São Paulo
TREPP is a sinfonie of moving images and bodies following the temperature of the musical composition performed live and in open or/and public spaces. It developed out of videos of dancing bodies in the urban space, that served as a guiding line for the composer, whos live performed music defines the movement of the performers. With TREPP the coletivo DMV22 deepens it research of the urban space and shifts the focus of traffic to the movement of the city itself. Within this chart, due to demolition and constant reconstruction, to the flow of the river under the largest avenues of the city and the hollow-walled urban habitat, the daily role of the human being is to occupy and vacate.
creation: Marina Massoli, Mario Lopes
performance: Marina Massoli, Mario Lopes
grafite digital: Achiles Luciano
composition: Yuri Prado, Vitor Caffarro
Ôctôctô: Cibele Palopoli– flauta, Luis Santiago – saxofones, Felipe Roque – trompete, Edinaldo Santos – trombone, Yuri Prado – guitarra, Márcio Modesto – piano, Miguel Antar – contrabaixo elétrico, Rubens de Oliveira – bateria.
creative process (2013): Coletivo DMV22, Ôctôctô
VJ /visual programming: Victor Pardinho
camera, photography: Maelys Meyer
cut/edição: Marina Massoli
2014/ Open Air Performance Museum of Contemporary Art of São Paulo
2014/ Open Air Performance Streitfeld Projektraum Munich
2014/ Open Air Performance University of Porto, Porto
2014/ Open Air Performance SESC Sorocaba, São Paulo
2014/ Open Air Performance SESC Santos, São Paulo
2013/ November _ premiered/estreia 2013 SESC Santana, São Paulo
2013/ January _ Work in progress Villa Waldberta Munich
VRUM
premiered 2011 circuito SESC, Estado de São Paulo
VRUM is a performance on sound, color and movement in dialogue within the urban space for stages, open and public spaces. A musician, visual artist and dancer developed a multimedia piece based on the instant transformation they experience in São Paulo. The constant body appropriation of urbanity and the consequent physical re-adaptations are reflected in the immediate and spontaneous improvisation. The public is invited to dive into the sensation of the megacity, to escape from it in a suspension and, at the end of the piece, to take part in the experience. Urban aesthetics provoke a transient density of experience, a lot in just a little time. Transformation needs to be instantaneous to ensure survival.
VRUM has developed further with every presentation and has regularly invited new artists to join the performance with own proposals.
director: Mario Lopes
performance: Marina Massoli, Mario Lopes
live painting: Achiles Luciano
sound: Gabriel Spinosa
2014/ Caixa Cultural Prize, season VRUM in 4 cities:
Fortaleza, Recife, Rio de Janeiro e São Paulo.
2014/ SESC Sorocaba, São Paulo
2013/ Mostra SESC Cariri de Arte, Juazeiro do Norte, Ceará
2013/ Theater Schwere reiter München, Germany
2013/ Theater Pales Vienna, Austria
2012/ opening of the São Carlos Dance Video Festival
2012/ season SESC Pompeia in the work von Olafur Eliasson
2011/ SESC Araraquara Festival de Inverno
2011/ premiered/estréia 2011 circuito SESC of Art, Estado de São Paulo
14 performances in Águas de Lindóia, Americana, Araxas, Avaré, Brotas, Itapetinga, Lençois Paulista, Marília, Mococa, Mogi Mirin, Ourinhos, Palmital, Porto Ferreira e Vargem Grande do Sul.
Vrumvrumzinho
premiered 2012 Teatro União Cultural, São Paulo
Vrumvrumzinho is a multimedia stage performance for all audiences from 4 years on. Following the improvisation methodology and interdisciplinary approach of VRUM, the artists add a narrative line without speaking a word. The live digital painting creates images in which it is possible to travel, the sonority, might illustrate, sometimes invigorate, contrast, and always arouse curiosity. The movement builds objects, shapes and brings the space to dance. Branches begin to turn into trees dancing in the wind, overflown by birds. The little fish in the lake becomes a friend and will not return to the lake, as it grew hugely from that friendship. The scenario takes the children on a journey, they fly into a city, into its noises, its people. And in the contact with so many people, they end up returning to their roots.
director: Mario Lopes
performance: Marina Massoli e Mario Lopes
live painting: Achiles Luciano
sonoridade: Gabriel Spinosa e Denilson Oliveira
2014/ Caixa Cultural Prize for touring VRUM in Fortaleza, Recife, Rio de Janeiro, São Paulo
2014/ SESC Sorocaba, São Paulo
2013/ Mostra SESC Cariri de Arte, Juazeiro do Norte, Ceará
2013/ MIS – Museum of Image and Sound
2013/ Theater Schwere Reiter, Munich
2013/ Theater Pales, Vienna, Austria
2012/ MIS – Museum of Image and Sound, São Paulo
2012/ season SESC Pompeia within the exhibition of Olafur Eliasson
2012/ premiered/estréia Teatro União Cultural, São Paulo
Check out our work
Experiment
Experimental projects with partner artists, videos, campaigns,
meetings, records, fragments, waste, wishes and projections.
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Contact
mariolopesvs (AT) gmail.com
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