Check out more video interviews by artists nominated for the tenth edition of the PIPA Prize, produced by Do Rio Filmes and published this week. In the videos you’ll learn more about the works, careers and inspirations of Ana Prata, Carla Borba, Letícia Lopes, Jaime Lauriano, Juliana Notari, Louise Botkay, Luiza Crosman,Maria Noujaim, Paulo Nimer Pjota
Click on the artists’ names to see their updated pages
Ana Prata has a degree in Fine Arts from the University of São Paulo, and from the beginning of her career has been developing her research in painting. She understands painting as a medium to experiment and as a language. Through different scales, themes and materials, her work represents a large formal variation. The artist participated in the 33rd Bienal de São Paulo – Affective Affinities, at Bienal Pavilion, São Paulo, Brazil (2018); and held solo exhibitions at Galeria Isla Flotante, Buenos Aires (2019), Galeria Millan, São Paulo, Brazil (2014 and 2017); Pippy Houldsworth Gallery, London, UK (2016); La Maudite, Paris, France, and Kubikgallery, Porto, Portugal (2015); Tomie Ohtake Institute, São Paulo, Brazil (2012); and Centro Cultural São Paulo, Brazil (2009), among others.
Carla Borba (Porto Alegre, Brazil – 1978) is an artist, researcher and educator. She explores the body as a device to comprehend the construction of contemporary narratives around gender issues. Her work goes through the relations between performance, imagery, game tactics and collaborative processes. Borba earned a Bachelors of Arts in Sculpture and holds a Master of Arts degree from UFRGS. She’s a PhD student in Arts at UFRGS. Borba took part in collective exhibitions and performance events in Brazil and other countries.
Letícia Lopes holds a Bacharelor’s Degree in Visual Artes by the Art Institute of UFRGS (2015). She’s participated in many group exhibitions such as: “Caixa Preta” (Fundação Iberê Camargo – 2018), “O lugar enquanto espaço”, curated by Francisco Dalcol (Galeria Baró – 2018), “Na beirada da Superfície” (Boiler Galeria – 2018), “A Novíssima Geração – 2017” (Museu do Trabalho/RS), “Arte Contemporânea do RS” (Czech Center/República Tcheca – 2017), “Scènario”, curated by Mario Gioia (Galeria Aura/SP – 2017), “Memória do que vem, futuro do que foi”, (MAVRS/Passo Fundo – 2017), “MOODBOARD” (Museu de Arte Contemporânea do RS – 2016), “The Unique Institutional Critique Pop-up Boutique” (chamada de Jonas Lund, Galeria Cavalo/RJ – 2016), “Planos Densos” (Paço Municipal, POA/RS – 2015), 20º Salão de Artes Plásticas de Praia Grande (Palácio das Artes, Praia Grande/SP, 2013).
His works synthesize the content of his researches and formalization strategies, calling us to examine the structures of power involved in the production of history. In audiovisual pieces, objects and critical texts, Lauriano shows how violent relations maintained between the institutions of power and State control – such as the police, prisons, embassies, borders – and subjects shape the subjective processes of society. Thus, his production seeks to bring to the surface historical traumas relegated to the past, to confined files, proposing in alternative to collectively revise and rework history.
Juliana Notari graduated in Visual Arts from UFPE (2003), holds a Master’s degree in Contemporary Art Processes, and is currently pursuing her Ph.D. in Visual Arts. Artist and researcher in the field of Art, her work deals with diverse media (installation, performance, photography, drawing, objects, and videos) in a multidisciplinary approach. Her visual research has created a body of work that faces their singularities, transiting between the biographical, the confessionary, the cathartic and relational practices. With a varying emphasis and ways of working, traumas, desires, fantasies, and fears are re-inserted in her artwork, instituting inter-subjective relations that, in turn, make up the central axis of the artist’s body of work.
Visual artist and movie-maker. Graduated in cinema in France by the École Nationale Supérieure des Métiers de l’Image et du Son, La Fémis, in 2006. She makes photos and movies using phone cameras, video cameras and super 8 films, 16 and 35 mm, the film processing handcrafted by the artist herself. Her movies, filled with silence and held at countries such as Haiti, Congo, Niger, Chad, The Netherlands, France and Brazil, address the cultural syncretism in the post-colonial context, studying unveiling the ways of the visible by the fílm mechanism.
Borrowing concepts from Contemporary Design and Media Theory, Luiza Crosman’s work is speculative in nature and investigates the possibility of a cultural fiction turn reality and the planetary scale composition of infrastructures to contemplate art’s traction within urban spaces and uncertain futures. Non-linear narratives, performative realities and complexity of information are tools to communicate processes and consider their implications. Visual and conceptual distortions challenge the viewer into becoming part of the speculative scenarios she proposes. Drawing and computer graphic gestures are part of a feedback process which delivers images not entirely woman-made nor machine made, proposing a human and technology integration.
Maria Noujaim holds a degree in Dance from the Angel Vianna School and is a PhD candidate in Social History of Culture from the Pontifical Catholic University of Rio de Janeiro – PUC-RJ. Her works rise on movements conformed between sculpture and language – in a process that relates the body with the space -, with investigations on form and poetry. She recently held the solo show “Recomeços: quatro inícios” at Jaqueline Martins Gallery and took part in collective shows in independent and institutional spaces, such as Casamata (RJ), Átomos (Rio de Janeiro), Observatório (São Paulo), Oi Futuro (Rio de Janeiro), Casa França-Brasil (Rio de Janeiro), A Gentil Carioca (Rio de Janeiro), among others.
The starting point of Paulo Nimer Pjota’s works is the nature of collectively originated phenomena. His research and practice focus on an in-depth study of a kind of popular iconography which can only develop through complex processes operated by numerous individuals. We can therefore think of his production as the representation of a plural and agitated dialogue, with ever-changing interpretations, running through multiple streams of consciousness. More than anything, he is interested in the processes and mechanisms that produce, edit and disseminate human expressions during a time that is dominated by the internet and ultra-communication.