This week we released interviews with the following artists:
Diego de Santos lives and works between Caucaia and Fortaleza, Ceará state (Northeastern Brazil), holds a degree in Fine Arts and has been presenting his works since 2005.
In this video made exclusively for PIPA, he speaks of his relationship to photography and other languages such as installation, video and objects.
Santos also answers a question by critic and curator Renata Azambuja: “Do you work alone or collectively?”, by saying that during the first nine years of his career his work was planned in a very lonely way, but for the last year he began a research process for a work where for the first time he assembled a team to help in the research, field work and execution.
The project, entitled “Lar é onde ele está” [“Home is where he is”], consists in investigating the concept of home in the everyday life of truck drivers, and started from the observation of a supermarket parking lot near his house.
Watch the video:
Paulo Nimer Pjota lives and works in São Paulo.
His pieces bring a selection of images, colors, symbols and supports that dialogue with emerging sociocultural principles, searching in narrow walls for the relationships between culture and survival, and how it applies in the aesthetic and in the life of these places.
In this exclusive video-interview, the artist replies to the question “In general, in your activity, how does a new project start?” by critic and curator Alejandra Muñoz.
Pjota says his works usually start from some conflict he interests in or has personally experienced. An example of this is the work he is currently developing, named “Art crimes, landscapes”.
The artist explains this project arose from a trip to South Africa. While visiting the country, Pjota was almost robbed in the Johannesburg neighbourhood of Hillbrow, where most inhabitants are from Nigeria. Paulo ended up persuading the robber not to steal from him by talking to him and explaining he was Brazilian. When returning to Brazil he started studying about Hillbrow and found out it was one of the most violent areas in the city. This lead to the work which discusses violence in “form of ironic narrative”.
Watch the video:
Two tables – one for office and another for works -, a few plants, a sofa and lots of recorders make up the space where Vivian Caccuri works, whose oeuvre consists of creating relationships between sound recordings, the public space, voice and imagination through performances, objects and installations.
In reply to Renata Azambuja’s question, “Do you work alone or collectively?”, Vivian explains her projects involve other people and for some performances she invites people to create presentations.
She uses for example the workshop “Bananokê”, that aimed at “showing people who are sometimes not familiar with art making, what steps to take from the insight or the idea”. The result was a banana tree that worked as a kareoke machine, with microphones coming out of the leaves like fruits.
“Now I am increasingly planning to come out, stay around here, getting involved with people”, Vivian analyses.
Watch the video:
Since PIPA’s first edition in 2010, we hire Matrioska Filmes to carry out video-interviews with the nominated artists. Coming now to its fifth edition, the Prize goes on with believing in the importance of video that are yearly produced by Matrioska, exclusively for PIPA.
For more PIPA videos, access our videos page.
As MAM-Rio curator and Prize counselor Luis Camillo Osorio points out, in the text “Hunger for files”: If the prize aims to recognize and distinguish, the building of a contemporary memory looked for an amplified analysis of the circuit.