mbaraka | TROPICÁLIA

TROPICÁLIA

Tropicália – A record in movement proposes a plunge in the past as well as a reflection on the present. Although it has always been associated with innovation, musical Tropicalism has been in existence for half a century. In order to follow this period, we have chosen the manifest record “Tropicalia or Bread and Circus” (Tropicalia ou Panis et Circensis) as our compass.

On a 600m2 space, it presented a visual and sensorial narrative following the records tracks. Based on historical research, art curatorship and the creation of unprecedented installations and text, the curatorial collective unraveled and revived, on a free interpretation, concepts and ideias from the intense artistic prodution of Gilberto Gil, Caetano Veloso, Os Mutantes, Tom Zé, Duprat, and many others of that period.

The record was thought, produced and recorded in São Paulo during the first semester of 1968. It bore the most prominent names related to the sound renewals that the “baianos, paulistas and cariocas” musicians had been promoting in the Brazilian popular music. Its twelve tracks offer a lyric and bitter overview of everyday life of that time.

The twelve songs of the record provide a setting for linking visualities, texts and discourse of that time and of other times which dialogue with their theme: the urban crowd, the new electronic consumer goods, the violent images of the civil-military dictatorship, Latin America and the popular beliefs that persist amid discourses on modernity.

As Rogério Duarte would say, Tropicália ou Panis et Circensis is a record that captures the idea of the “moment of a movement”. The record stands for the highlight of a time of changes, uprisings and defeat. Getting to know its history is just like getting to know ourselves, yesterday, today and always.

THE EXHIBITION WAS HELD AT CENTRO CULTURAL BANCO DO BRASIL - RIO DE JANEIRO FROM AUGUST TO SEPTEMBER 2017.

CURADORIA: Fred Coelho | Isabel Seixas e Diogo Rezende (estúdio M'Baraká)

REALIZAÇÃO: estúdio M'Baraká

DIREÇÃO DE ARTE: Diogo Rezende

DIREÇÃO ADMINISTRATIVA: Larissa Victorio

PESQUISA E TEXTOS: Aicha Barat, Fred Coelho, Iabel Seixas e Letícia Stallone

PRODUÇÃO EXECUTIVA: Rita Vilhena

COORDENAÇÃO DE MONTAGEM: Ana Luisa Fonseca

PRODUÇÃO DE ARTE: Caio Costa

PROJETO GRÁFICO: Vitor Lifsitch (estúdio M'Baraká)

EXPOGRAFIA: Diogo Rezende e Lilian Sampaio

PODUÇÃO MUSICAL: Pedro Mibielli

MIXAGEM: Gustavo Krebs

PROJETO DE ILUMINAÇÃO: Samuel Betts

DESIGNERS: Mariana Solis | Vitor Lifsitch

FOTO: Roberto Pontes (pontes comunicação)

ILUMINAÇÃO: BeLigth

ÁUDIO VISUAL: LInha D Montagem

MONTAGEM CENOGRAFIA: FR Cenografia

MUSEOLOGIA: Eurípedes Gomes da Cruz Junior - Rj | Karina Muniz Viana - SP

IMPRESSÕES E REPRODUÇÕES DIGITAIS: Barracão de Imagens | Ginga Design

ASSESSORIA DE IMPRESSA: Monica Ramalho (Belmira Comunicação)

FOTOS: Roberto Pontes

TRADUÇÃO: Maria Luiza Rezende

REVISÃO DE TEXTOS: BR75 texto | design | produção

ASSESSORIA JURÍDICA: Ericka Gavinho e Ana Luzia Campos [Gavinho & Campos Advogados Associados]

mbaraka@mbaraka.com.br
Rua Smith de Vasconcelos, 55 / 302
22241-160
Rio de Janeiro - RJ, Brasil

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For the last 15 years, we have been creating critical narrative exhibitions, aligning academic research with contemporary art, design, science and history. The studio is known for its popular and provocative approach to exhibition experience, putting together different languages and cultural backgrounds in order to bring a diverse audience to museums.

More than 10 exhibitions, music and circus festivals, and a Multiplatform project for historical communication (Rolé Carioca), brought many artists from around the world to different cultural venues and territories in the city of Rio.

With great media and audience feedback, studio M’Baraká curated and produced exhibitions at venues such as CCBB (Centro Cultural Banco do Brasil), Museum of Tomorrow, CRAB (Center for Design And Crafts Sebrae), Gallery of The National Bank of Social Development and Museu Nacional (Natural History Museum of Rio), Fiocruz and The Museum of Images of The Unconscious.

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P: What is the origin of the name M’Baraká (M-BA-RA-KA)?

M’Baraká é som e criação.

Na cosmologia dos Guarani Mbya, UM.BA.RA.KÁ é o som da maracá que cria o cosmos. 

O pensador indígena Kaká Werá Jecupé, que nos apresentou a palavra, explica que a relação entre M'Baraká, a sonoridade do maracá e a criação do cosmos expressa a interconexão dos seres, espiritualidade e natureza na visão dos Guarani, onde som e energia se entrelaçam para manter o equilíbrio e a harmonia do universo.

P: Do you produce projects from third parties?

No. Our studio doesn’t only assume the production of a project. Actually, we are open to production partnerships as long as interaction in the creation process is predicted and that it allows us to perform some of the activities that we love to do (and, for this reason, is what we do best): art Direction, content Research, curatorship and strategic communication planning.

P: At Virei Viral project, and in many others, you speak of Contemporary Culture. What is contemporary to you?

For us, contemporary means everything that dialogues with the time/space we live in. A historical content can, undoubtedly, receive a contemporary treatment. For this reason, we use creative interfaces; spend a lot of time in research, curatorship, art-direction and communication strategies; in order to provide a real enjoyment of what we propose in the projects. And we believe that only in this way, speaking the language of our time, we can connect people and content.

P: What, more specifically, is this differential of M’Baraká?

In essence, the differencial of M’Baraká is in the concern of leaving the common place where the promotion of art and culture is plastered in outdated formats and addicted mechanisms to attract public and investors. We believe that by giving priority to the duet “content and its form of expression”, it’s possible to create new ways of experiencing arts, entertainment and brand experiences. Working with multidisciplinary professionals assures us a more encompassing, creative and strategic look towards our projects. In sum, our differential is based in the way we put together content and innovation, in investing upon our own research process, in the qualification and diversity of our partnerships, and in the strategic concern of putting the public and investors in touch through projects.

P: What is the mission and vision of M’Baraká

Mission: To promote experiences that generate knowledge and value.
Vision: To be recognized as a company that distinguishes itself by the articulation of knowledge, people, languages and aesthetics, with a commitment to provide society with multiple experiences, attached in cultural diversity, in the arts, design and in partnerships with creative professionals and investors.

P: What is Design in the Context of M’Baraká’s Projects?

We understand Design as a broader concept of visual and spatial communication. We work in a multidisciplinary way in design, blending concepts of product design, interface, graphic design and environment design, heeding more broadly to the communication needs of a cultural project. The more is the complexity of a design project, the more is the team of professionals involved: architects, scenographers and programmers are usually added to the house’s team.

P: How do you work together with artists?

Working with artists is the essence of our work making process. For us it is important, whenever possible, to establish a greater degree of dialogue between the artist’s work and the specific project or curation that we are developing in the moment. We don’t work by touting artists (musicians, visual artists, actors, etc.), and we are not an art gallery. Our goal is to contextualize art careers and works of art within projects, always concerned with the quality of the work’s presentation in the context of the projects, seeking to cause sensorial experiences in the public.

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