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 Swhafaty (1977, São Paulo)

E' un’artista, critico, e ricercatore che vive e lavora in Brasile. Ha ottenuto un B.A. in arti visive dall’Università statale di Campinas, Brasile (2001), un M.A. in arti visive e studi curatorial presso la Nuova Accademia di Belle Arti – NABA (Milano, 2010) ed è stato parte del gruppo di Simon Starling alla Städelschule (Frankfurt, 2010/2011). Shwafaty ha preso parte a a collettivi e gruppi curatoriali fin dai primi anni 2000, arrivando ad una pratica di ricerca basata su spazio, narrazione ed elementi visivi, attraverso i quali connettere formalemente e concettualmente questioni sociali e politiche, e di altri campi che convergono con quello dell’arte. Tra le mostre più recenti: Phantom Matrix (Old Structures, New Glories), SITU Project / Leme gallery, São Paulo, 2016; Risk Contract, Luisa Strina Gallery, São Paulo, 2015 (solo); 19th Video Brasil Festival Sesc Pompeia, São Paulo, 2015; CFB: 25 Years Casa França-Brasil, Rio de Janeiro, 2015; Crossroads, Parque Lage, Rio de Janeiro, 2015; Foundations of the design substance: cultural metaphors to design a new future, City Museum of São Paulo – Oca, São Paulo 2014 (solo); Permanent Playfulness, Mendes Wood gallery, São Paulo, 2014, P33_Unique Forms of Continuity in Space [33rd Panorama da Arte Brasileira], MAM São Paulo, 2013; Weather Permitting, 9th Mercosul Biennial, Porto Alegre, 2013; Love and Hate to Lygia Clark, Zacheta National Gallery, Warsaw, Poland, 2013; Conversations Pieces, NBK, Berlin, 2013.

Ha pubblicato, nel 2013,The Life of the Center, un foto album di docu-fiction nel quale sono esplorati i flussi storici e urbanistici dello sviluppo di tre regioni di São Paulo. Nel 2017 parteciperà a Pacific Standard Time LA/LA (Getty Foundation), in Learning from Latin America: Art, Architecture and Visions of Modernism, a cura di Clara Kim; mentre sta preparando una mostra personale nel 2018 presso The Power Plant, Toronto (Canada).