Brasília Broadcast, 2006-15
. Wooden flagpole, sound archive, loudspeaker, mp3 player, electric power, steel wire, metal structure, bricks, stones and tools. Variable dimensions
Acculturation is (not) Integration I, 2015 Pottery vase, graphic interventions in gouache, playwood and concrete tube, aprox. 130 x 80 cm
Anhanguera/Bandeirantes, 2015. Chemo-engraving in bas relief, brass plaque and automotive paint, 64 x 57 cm
Contract of Risk, 2015. Installation views
Contract of Risk (the Worker, Politician, Intellectual and Revolutionary), 2009—2015. Rusted iron, varnish, silicone rubber, aluminum, wood.Dimensions: 119,5 x 50 x 42,5 cm.
Dirty Abstractions, I, II, III. Screen printing on textile, MDF, reliefs in reinforced concrete. 2015 Dimensions: concrete slab 62 x 62 x 6 cm; screen printing on fabric streched over mdf 56 x 38 cm.
It’s All Allegory, 2015. Chemo-engraving in bas relief, brass, automotive paint. Dimensions: 56 x 54 cm
Projection I (Plans in Progression), 2015. Pantograph, sumauma plywood, oil paint. Dimensions: 85,5 x 141 x 3 cm / 125 x 90 x 3 cm.
Projection II (Plans in Progression), 2015. Pantograph, sumauma plywood, oil paint. Dimensions: 85,5 x 141 x 3 cm / 125 x 90 x 3 cm.
Remediations, 2010 – 2014. Installation – video, TV monitor, dvd player, various furniture, construction materials, vitrine, photographs and graphical interventions on printed matter. Various materials, dimensions variable (installation aprox. 50 sqm).
Remediations, 2010 – 2014. Installation views, Paço das Artes, 2014.
Remediations, 2010 – 2014. Installation views (detaof fo vitrine), Paço das Artes, 2014.
Remediations, 2010-2014. Video still
The Life of the Centers, 2011-2013. Inkjet print on laminated photographic matte paper mounted on dibond/aluminum. Installation with 37 images, 35 x 42 cm (each), total measure: 9 meters linear.
Operational structure for a conceptual field: Centro direzzionale (diagram transformed into structure), 2013. Installation View at OCA Ibirapuera, 2014.
Foundations of the Design Substance: Cultural Metaphors to Design a New Future. Installation views, Oca Ibirapuera, 2014
From Abstract Orders to Material Progress, 2010—2013. Sculpture – Cinder blocks, fabric flag, oil paint, bitumen, copper, wood, stainless steel, cotton cord 42 x 100 x 235 cm. Brass plate engraved in bass relief with automotive painting 60 x 80 cm
The Impossible Museum Of Living Things – Department of Pan-Continental Integration (Triangular Area of Contact), 2014. Context-specific installation. Variable dimensions, diverse materials.
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Beto Shwafaty

Beto Shwafaty was born in 1977, São Paulo, Brazil.
Lives and work in São Paulo, Brazil.

I have been developing a practice which entails printed matter, video essays and sculptural objects, normally conjugated in installation settings. I employ a diverse array of materials and methodologies, such as curatorial thinking, institutional strategies, criticism, site and archival research, to develop artworks that are informed also by the notions of appropriation, dislocations and translation. My practice is influenced by a research based approach, combined also to a strong concern towards the material procedures, manifestations and functions it can assume, being so, generated within projects developed over extended periods of time. I have interests that often focus on the way historical episodes and sociocultural constructs can leave traces on contemporary visual culture, be echoed so in objects, spaces and sociocultural structures, which by consequence (re)produce publicly shared meanings and behaviours. In this sense, I have been interested in subjects linked to history, socio-politics, architecture, politics and design, assuming these as narrative fields in and from which elements and evidences are appropriated and re-elaborated to inform us on diverse aspects our present time.