(this page was last updated in August 2020)
Afula, Israel, 1964.
Lives and works in Vitoria, Brazil.
Represented by Galeria Ybakatu.
PIPA 2020 nominee.
Artist. He began his activities in 19991 developing projects in different supports, such as installation, environments, multiples, photos, objects, performances and urban intervention. Peled participated in exhibitions such as Sao Paulo Biennale (1994), Projeto Parede MAM/SP (2011), Brazilian Art Panorama, MAM/SP (1999, 2005, 2010), International Architecture Biennale of São Paulo (2019) and Performance Festivals Verbo (2005, 2008, 2019). Since 2019, he coordinates the independent space “Contemporão”, that was set in the cities of Florianopolis, Vitoria and Sao Paulo (since 2018). The “Contemporão” space promotes transdisciplinary artistic projects and interfaces for performance practices, participation and performativity. In 2013, he completed his doctorate in Visual Poetics at ECA/USP researching performance and participation in Visual Arts and, since 2012, he has been acting as a professor/researcher at the Visual Arts Course of the Federal University of Espirito Santo, where he develops a research and artistic projects with three CNPQ (National Research Council) groups: Practices and Processes of Performance (3P), Dialogues between Sociology and Art (DISSOA) and Study Group in Curatorship. Yiftah has artworks in collections of FUNARTE, in Rio de Janeiro, RJ; Museu da Gravura, in Curitiba, PR; MAM SP, in Sao Paulo; and of MASC, in Florianopolis, SC.
Video produced by Do Rio Filmes, exclusively for PIPA Prize 2020:
“Turismo Definitivo – Empura, Empurra”, 2020. Duration: 0’25”
“Turismo Definitivo – Rio”, 2018. Duration: 3’30”
“Portal – Turismo Definitivo”, 2018. Duration: 2’24”
“Turismo Definitivo – Colares”, 2017. Duration: 3’36”
“Delicatessen +00”, 2016. Duration: 5’18”
“Para ela o que um homem pensa não é algo imperceptível”, 2014. Duration: 2’45”
“[Independência: Quem Troca?] – Pílula Yiftah Peled”, 2014. Duration: 0’34”
About the artworks
– “Gordura”, 2014-2020
Cube (12 x 12 x 12 cm) and adipometer. Clamped by an adipometer, the white geometric shape reveals the surplus of a body. The relation between the rational shape and the excess highlights the interface between the thought and the profit, and problematizes the rationality as an instrument to justify exploration. The accumulation of economic surpluses by processes of rationalization/colonization. In the track of the thoughts of Oiticica – “Purity is a myth” – and of Foucault – “There are no politics that are not politics of the body” – everything that surrounds us is mediated by the body, devoured by our senses, and goes through a process of anthropophagic organicity.
– “Turismo Definitivo: Empurra, Empurra”, 2019
Wood structure with wheels (230 x 220 x 30 cm) with a fragment of the black and white image of the “Monumento às Bandeiras”, in Sao Paulo, by the sculptor Brecheret. The project is part of a series of previous works that deal with the matter of public monuments and which the focus is to dislocate the monumental proportion of the sculptures to a human dimension e, in that way, destabilize it’s projection of power; a kind of decolonial manifestation in the public space. The statue in honor of the “bandeirantes” references to the colonization and it’s heroes. It is popularly known as “empurra, empurra”, nickname that mocks it’s static and heroic condition and that criticizes the lessen version of colonization. The action makes it possible to move a fragment of this representation, under a structure provocatively precarious (“gambiarra”) dislocated to other routines of the city.
“Turismo Definitivo”: the nomenclature “Turismo Definitivo” (Definitive Tourism), used in many projects, carries an ambiguity, since, in theory, the practice of tourism doesn’t envolve permanency. The term indicates the inexorable contamination that occurs during the act of visitation/participation/reading of an art project. The propositions involve an “articipation” – process of performative participation by the visitor – allowing “Dinâmicas e Trocas Entre Estados de Performance” (Dynamics and Exchanges Between Performative States), phenomenon of interest in Peled’s research. Parts of environments of this tourism agency – such as logo and displays – are presented in the projects, with proposals of involvement. The artist has been developing proposals of performance for the visitor since 2000.
– “Esfera”, 2018
Ball (40 x 40 cm) painted with a grey paint, rubber chicken feet.
The globe appears here upon a fragile structure made of rubber chicken feet, an analogy of global warming or the destruction of the planet in a state of precarious balance.
– “Os Sonhos adesivos”, 2018
Photographic stickers (8 x 8 cm) for free distribution. On the stickers, photographic images show a sky with watercolored colors and, over it, it’s written: “O sonho de quem estamos sonhando?” (Whose dream are we dreaming?), which reflects on the production of fictions, their distribution and their effect on society. The ambiguity of the sentence calls to what really matters today – “no longer the truth, but the ability to appeal to the human emotions and of aligning the affirmations to meet or even to develop collective anxieties”, as argued by the sociologist Margaret Abraham. As every multiple, it is thought to provoque an expansion to outside of the expositive space, contaminating, like a virus, the public space and coexisting with other agents of visuality.
– “Múltiplo Floresta”, 2017
Multiple (30 x 41 cm) for free distribution with an image of the forest with shredded lines that refer to broken glass. The multiple deals with the effects of mining and with Mariana’s environmental crime. The image represents the fragility of nature and the possibility of fragmentation placed on human’s hand. The human being appears as intervenor that holds the power of making fragments that are impossible of being recomposed. It was produced for the event in partnership with the research group “DISSOA”, named “Deslizes Monumentais e Sonhos Intranquilos” (Monumental Slips and Uneasy Dreams). Concept and coordination by Yiftah Peled, Design and production by Max Leandro.
– “Racionalidade Tóxica”, 2017
The piece “Racionalidade Tóxica” (Toxic Rationality) is composed by 19 transparent acrylic cubes (6x6x6cm) filled with the toxic mud collected on the river banks of Rio Doce. Under each cube, over a black acrylic square, it’s carved a number that refers to the age of each of the victims of the Rio Doce crime, denouncing the anonymity of these silenced deaths. The number refers to the paradox of the value of human life reduced to a game of rational profit. The cubes were placed over shelves. The work was elaborated concerning the environmental crime that occurred in 2015 and which affected the Rio Doce and the populations of Minas Gerais and Espirito Santo. Nineteen people lost their life on the rupture of the dam called “Barragem do Fundão”: Claudio Fiuza, 40 years old, Sileno Narkievicius de Lima, 47 years old, Thiago Damasceno Santos, 7 years old, Waldemir Aparecido Leandro, 48 years old, Emanuely Vitória, 5 years old, Marcos Xavier, 32 years old, Marcos Aurélio Pereira Moura, 34 years old, Samuel Vieira Albino, 34 years old, Mateus Márcio Fernandes, 29 years old, Edinaldo Oliveira de Assis, 40 years old, Daniel Altamiro de Carvalho, 53 years old, Maria Elisa Lucas, 60 years old, Maria das Graças Celestino, 64 years old,Claudemir Santos, 40 years old, Pedro Paulino Lopes, 56 years old, Antônio Prisco de Souza, 73 years old, Vando Maurílio dos Santos, 37 years old, Ailton Martins dos Santos, 55 years old, Edmirson José Pessoa, 48 years old.
– “Turismo Definitivo – Colares”, 2017
Space (total dimension of 4 x 3 m), with display and video. Components: 2 panels, necklace over shelves with propositions, video, logo in vinyl (50x30cm). The participants were invited to pose for a picture wearing one the necklaces available, with armored cars miniatures or cars of the Instituto Médica Legal (Legal Medical Institute). The artwork was produced after the militar police strike in the Espirito Santo state, in February, 2017. During the 23 days of the militar police paralyzation that claimed for better work conditions, the homicide rate soared to 199 people – the majority of them black -, four times the state’s average of last year’s same period. The hard images of the bodies pilled up and bagged on the hallways of the Legal Medical Department revealed the vulnerable black bodies.
– “Turismo Definitivo – Rio”, 2012/2017
Participative artwork composed by a proposition, hooks over a wall and a Christ the Redeemer plywood replica 2 meters high. The articulation on the arms and hands allows the Christ to close it’s arms and the participant to receive the hug. The piece/proposition problematizes the concept of public art transformed in a “gambiarra” of dimensions close to the human body ones. The hug is activated by the user itself that needs to use some physical strength to enter this protection niche. In this touristic visit, the humorous and existential facets are activated in relation to religion and the generation of affections.
– “Arena Vale Tudo”, 2015
Miniature of the “Arena Vale Tudo” (30 x 30 x height 12 cm). The work is composed by an acrylic object in the hexagonal shape of a no holds barred arena whose base has iron ore collected on the Tubarão harbor, Espirito Santo, from the Vale S.A company, an important spot of iron ore maritime outflow, located on a central beach of the Espirito Santo state. The artwork addresses the matter of pollution in the city of Vitoria, ES, caused by the iron ore dust discharged daily on the harbor and associates the aggressive fights fought on the no holds barred arenas to the dehumanized economic impulses. The toxic dust that covers Espirito Santo’s capital causes different types of allergies and breathing problems and reveals that the aggressive mining and neoliberalism protection policies prevail over public health public policies.
– “Múltiplo Eclipse”, 2015
Print on paper (18 x 7.5 cm) and the performance proposition: “cut and use” on the reverse side. Multiple for free distribution. On the duplicated images of a water puddle in a cave, black circles that simulate eyes/solar eclipse were applied. The relation between the eyes and the water refers to an interior cry of this body/cave. The proposition on the reverse side of the image suggests “cut and use”, and refers to the possibility of cutting on the traced lines over the black circles and using the image as a mask.
Education
2013
– Doctorate in Visual Poetics at ECA/USP researching performance and participating in Visual Arts
Solo Exhibitions
2019
– “Os Sonhos de Quem Estamos Sonhando”, Circuito galerias, Bienal de Curitiba, Galeria Ybakatu, Curitiba, PR, Brazil
2015
– “(1?2)”, Contemporão VIX, Vitoria, ES, Brazil
2011
– “Outras Formas Projeto Delicatessn_00”, Federação das Indústrias do Estado do Paraná FIESP/ Galeria Ybakatu, Curitiba, PR, Brazil
2007
– “Proteção”, Galeria de Arte Ybakatu, Curitiba, PR, Brazil
2003
– “Individual Yiftah Peled”, Galeria de Arte Ybakatu, Curitiba, PR, Brazil
2002
– “Harzit”, Espaço Cultural Pyramid, Haifa, Israel
1999
– “Individual Yiftah Peled”, Galeria de Arte Ybakatu, Curitiba, PR, Brazil
– “Instalações”, Museu de Arte de Santa Catarina/ MASC, Florianopolis, SC, Brazil
1997
– “Instalações”, Galeria Ybakatu, Curitiba , PR, Brazil
1995
– “Instalações”, Galeria Casa da Imagem, Curitiba, PR, Brazil
1994
– “Individual Yiftah Peled”, Instalação, Museu de Arte, Universidade Estadual de Londrina, Londrina, PR, Brazil
1993
– “Individual Yiftah Peled”, Museu de Arte Contemporânea, MAC, Curitiba, PR, Brazil
Group Exhibitions
2019
– Bienal de Arquitetura de São Paulo, CCSP, Sao Paulo, SP, Brazil
– “Ambiental”, MuBE, Sao Paulo, SP, Brazil
– “Aspereza”, Exposição coletiva, Galeria de Arte Ybakatu , Curitiba, PR, Brazil
2018
– “Subversiva: Residência e Exposição Coletiva”, Casa da Travessa, Perdizes, Sao Paulo, SP, Brazil
– “Só se for no fundo do MAR”, GAP UFES, Vitoria, ES, Brazil
– “Sinapses 2”, GAP UFES, Vitoria, ES, Brazil
– “Faça Você Mesmo”, Espaço Independente A Mesa, Rio de Janeiro, RJ, Brazil
– “Desterro”, MASC, Florianopolis, SC, Brazil
2017
– “Nunca foi Logo Aqui”, Yiftah Peled and Raquel Garbelotti, Galeria OA, Vitoria, ES, Brazil
– “Sinapses, O Pensamento do Artista”, Biblioteca Brasiliana, USP, Sao Paulo, SP, Brazil
– “Deslizes Monumentais e Sonhos Intranquilos”, GAP/UFES, Vitoria, ES, Brazil
– “Frágil”, Fina Pele da Civilização (international cooperation project), GAP/UFES, Vitória, ES, GAP/UFES e Alanus University of Arts and Social Science, Germany
2016
– “Aproximadamente 800cm3 de Pla”, Galeria Espaço Universitário/GAEU, UFES, Vitoria, ES, Brazil
– “Diálogos Íberos”, GAP/ UFES, Galeria de Arte e Pesquisa/UFES, Vitoria, ES, Brazil
– “Lugar Olhado”, Centro Cultural Banco do Nordeste, Fortaleza, CE, Brazil
– “O Útero do Mundo”, MAM/Sao Paulo, Sao Paulo, SP, Brazil
– “Porque Somos Eles e Elas”, Galeria Blau Projects, Sao Paulo, SP, Brazil
– “Viralattes”, GAP/UFES, Vitoria, ES, Brazil
– “Ybakatu20”, Galeria de Arte Ybakatu, Curitiba, PR, Brazil
2015
– TRIO Bienal, Memorial Getúlio Vargas, Rio de Janeiro, RJ, Brazil
2014
– “Independência: Quem Troca?”, Museu de Artes UFPR/MusA/UFPR, Curitiba, PR, Brazil
– Múltiplos e Publicações de Artistas, Contemporão VIX, Vitoria, ES, Brazil
– “Para ela o que um homem pensa não é algo imperceptível”, MusA, Curitiba, PR, Brazil
– “Interlocuções”, GAP/ UFES, Vitoria, ES, Brazil
2013
– “Confluências”, Galeria OÁ, Vitoria, ES, Brazil
– SP Arte 2013, Galeria de Arte Ybakatu, Pavilhão Cecílio Matarazzo, Sao Paulo, SP, Brazil
– “Qual É Seu Desejo?”, ContemporãoVIX, Vitoria, ES, Brazil
2011
– Projeto Parede MAM São Paulo, Museu de Arte Moderna, Sao Paulo, SP, Brazil
2010
– “Cadernos de Desenho”, Cities: Joinville, Criciuma, Florianopolis, SC and Curitiba, PR, Brazil. Places: Galeria Municipal de Arte Victor Kursancew – Fundação Cultural de Joinville; Memorial Meyer Filho, Florianopolis; Galeria de Arte da Fundação Cultural de Criciuma, SC; Museu de Arte da UFPR
– “Ecológica MAM/SP”, Museu de Arte Moderna, Sao Paulo, SP, Brazil
– Performance Plataform ”Jogos Concretos”, Funarte, Galeria de Arte DMAE, Porto Alegre, RS, Brazil
2009
– Bem Bom Espaço de Performance Contemporão, Florianopolis, SC, Brazil
– “Loja”, Estudos da Fotografia, Curitiba, PR, Brazil
– “Mostra Contin[g]ente”, Espaço Arquipélago, Florianopolis, SC, Brazil
– “O Corpo na Cidade: Performance em Curitiba de 1970 a contemporaneidade”, Curitiba, PR, Brazil
2008
– Arco Arte Contemporânea, Fundacion Arco/Galeria de Arte Ybakatu, Spain
– Projeto “Coleção”, Curitiba, PR (UFPR); Florianopolis, SC (Museu da Educação); Londrina, PR (Casa da Cultura), Brazil
– Verbo Evento de Performance, Galeria Vermelho, Sao Paulo, SP, Brazil
2007
– Mostra “Ulay Babait” (Maybe at Home), Pyramida Center for Contemporary Art, Haifa, Israel
2006
– Mostra de vídeos, Widerspiegeln, Projeto Linha Imaginária, Museu Konsumverein, Braunschweig, Germany
– Projeto “Contra Mão”, CEART/UDESC, Terminal do Centro, Florianopolis, SC
– Projeto “PF: exposição portátil”, Promoting Institution: Par(ent)esis. Places and cities: Galeria Vermelho, SP; Fundação Cultural de Criciúma, Criciuma, SC; Casa das 11 janelas, Belem, PA; Centro de Arte/UDESC, Florianopolis, SC; Pinacoteca do Instituto de Artes, Porto Alegre/RS; Galeria El Borde, Buenos Aires
– Projeto “1 Triz”, Fundação Hassis, Florianopolis, SC
– “2 Projetos”, Yiftah Peled e Marcos Gianotti, Centro Universitário Maria Antonia, USP, Sao Paulo, SP
2005
– “Entre Gravuras”, Museu de Arte de Santa Catarina, MASC, Florianopolis/ SC, Brazil
– “Desenho”, Museu de Arte da UFPR – MusA, Curitiba, PR, Brazil
– Exposição 10 anos Galeria Ybakatu, Galeria de Arte Ybakatu, Curitiba, PR, Brazil
– Mostra “Construção”, Projeto Diálogos com a Desterro, Museu Victor Meirelles, Florianopolis, SC, Brazil
– Mostra “Educação, Olha!”, Galeria Gentil Carioca, Rio de Janeiro, RJ, Brazil
– Mostra “Midiações”, Fundação Catarinense de Cultura/ MASC, Florianopolis, SC, Brazil
– Mostra Panorama de Arte Brasileira, Museu de Arte Moderna MAM/SP, Sao Paulo, SP, Brazil
– “Two artists from Brazil”, Galeria La Peña, Austin, Texas, United States
– Verbo Galeria Vermelho, Galeria Vermelho, Sao Paulo, SP, Brazil
– “Corpo”, Itaú Cultural, Sao Paulo, SP, Brazil
2004
– “Intervenções Espaço 803804”, Espaço 803804, Florianopolis, SC, Brazil
– “Nome”, Mostra Fundação Cultural de Curitiba, Fundação Cultural de Curitiba/Casa Andrade Muricy, Curitiba, PR, Brazil
2003
– “Fish Eye Project-Linha Imaginária”, Linhas Imaginárias + Corpos Informáticos, Tactile Bosch and More Front Studio, Cardiff, Wales and Great Britain
– Mostra “Território Da Fotografia”, Usina do Gasômetro, Porto Alegre, RS, Brazil
– MIP Manifestação Internacional de Performance, Belo Horizonte, BH, Brazil
– “Instalação”, Auditório CCE UFSC, Florianopolis, SC, Brazil
2002
– “20 anos; 20 artistas”, Centro Cultural Sao Paulo, Sao Paulo, SP, Brazil
2001
– Conduta de Imagem, Linha Imaginária, Museu Municipal de Arte de Curitiba, MUMA, Curitiba, PR, Brazil
– Mostra “Corpo Cruzado”, Fundação Catarinense de Cultura/ MASC, Florianopolis, SC, Brazil
– “Se pudesse ser puro”, Projeto Linhas Imaginárias, Florianopolis, SC, Brazil
2000
– Acervo Contemporâneo, Solar do Barão-Fundação Cultural de Curitiba, Curitiba, PR, Brazil
– Geração Atual, 1º Mapeamento de Artes Plásticas em Santa Catarina, Museu de Arte de Santa Catarina, MASC, Florianopolis, SC, Brazil
– Mostra “Extremos”, Centro Cultural São Francisco, Joao Pessoa, PA, Brazil
– “Ponto de Fuga/Área Livre”, Linha Imaginária, Memorial América Latina, Sao Paulo, SP, Brazil
– XII Mostra da Gravura, Fundação Cultural de Curitiba, Curitiba, PR, Brazil
1999
– “Olhos Blindados”, Galeria de Artes Ybakatu, Curitiba, PR, Brazil
– Panorama da Arte Brasileira MAM/SP, Museu de Arte Moderna de São Paulo, Sao Paulo, SP, Brazil
1998
– Salão Nacional Vitor Meirelles, MASC, Florianopolis, SC, Brazil
– 16º Salão Nacional da Funarte, Fundação Nacional de Arte / FUNARTE, Rio de Janeiro, RJ, Brazil
– “A Arte Contemporânea da Gravura”, Museu do Portão, Curitiba, PR, Brazil
1996
– “Zona Flutuante”, Fundação Cultural de Curitiba/ Museu Theodoro de Bona, Curitiba, PR, Brazil
1995
– Projeto de Intervenção, UFPR, Curitiba, PR, Brazil
1994
– 22º Bienal Internacional de São Paulo, Instalação, Fundação Bienal, Sao Paulo, SP, Brazil
– 51º Salão Paranaense, Museu de Arte Contemporânea, MAC, Curitiba, PR, Brazil
1992
– 49º Salão Paranaense, Museu de Arte Contemporânea, MAC, Curitiba, PR, Brazil
1991
– “11 artistas contemporâneos”, Casa da Imagem, Curitiba, PR, Brazil
Events
2019
– “Verbo”, Group performance event, Galeria Vermelho, Sao Paulo, SP, Brazil
2018
– “Contra X tempo”, Event: Contemporão, SP, Sao Paulo, Brazil
– “Fronteiras indigestas”, Event: Contemporão, SP, Sao Paulo, Brazil
2014
– “Turismo Definitivo; Arenas Digestivas”, MusA, Curitiba, PR, Brazil
– “Rodizio Real”, Contemporão no Memorial Marta Traba, Memorial América Latina, Sao Paulo, SP, Brazil
2011
– Performance Arte Brasil, Museu de Arte Moderna do Rio de Janeiro MAM/RJ, Rio de Janeiro, RJ, Brazil
2003
– Manifestação Internacional da Performance, Centro de Experimentação e Informação de Arte, CEIA, Belo Horizonte, MG, Brazil
1992
– Projeto de Escultura Pública (Public Sculpture Project), Curitiba, PR, Brazil
Awards
2015
– PELED, Y.; BORGES, C,E.; GONZAGA, R. M.; MARTINS, M. Preposformance, FUNARTE contemporary art 2015 prize, FUNARTE, SP. Galeria Flávio de Carvalho (event organization and exhibition curatorship).
2011
-Prêmio Rede Nacional de Artes Visuais, 8º Edição, FUNARTE, RJ, Brazil
2010
– Prêmio Energias do Brasil Panorama de Arte Brasileira, Museu de Arte Moderna MAM/SP, Sao Paulo, Brazil
1998
– Prêmio Aquisição de Obra XVI Salão Nacional de Artes Plásticas, MAM / RJ e Fundação Nacional de Arte FUNARTERJ, Rio de Janeiro, Brazil
1992
– Prêmio MAC, 51º Salão Paranaense, Museu de Arte Contemporânea do Paraná, MAC, Curitiba, PR, Brazil
“Racionalidade Tóxica”, 2020. Duration: 1’58”
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