mbaraka | US/KNOTS

US/KNOTS

Women have always been part of the history of science. From ancestral wisdom to the academic production of today, we women have written, healed, cataloged, created, invented, analyzed, and, above all, fought. 

The exhibition was held at the Paço das Artes in São Paulo and showcased the work of more than 20 contemporary artists intertwined with the research of various women scientists from Brazil and around the world. 

As we engage in the production of knowledge, we are simultaneously excluded from history, this science that, like physics, mathematics, and all others, has its institutional narrative predominantly constructed by men and from a Western perspective. The insistence on a binary society places feminine and masculine universes in opposing poles and, by assuming specific skills for each gender, restricts possibilities and futures, especially for women. 

US | KNOTS — art and science by women presents a glimpse into the history of science that, as far as possible, adds to many other initiatives for the appreciation of feminine magnitude. Not without the anguish of knowing that any exhibition space, no matter how large, could never fully represent all the contributions of women producers of knowledge. 

Knowing the history of women in science changes all of us because it also means understanding the misdirections, absences, and silences. Recounting this history is the path to emancipation. By expanding our networks, we develop new ways and possibilities to create, to be, and to exist in the world. Free and powerful! 

Developed by many women, the project, which also has a denunciatory tone, intertwined theories and fields of knowledge. Ranging from the history of sciences to milestones of feminism and social revolutions, we confirm the already popular phrase: “A woman’s place is wherever she wants!”

US | KNOTS is also a call for participation and inclusion. We invite everyone to reflect and participate actively, daily, continuously, understanding that in all our choices we can contribute, advance, and untie knots.

Idealização
estúdio M'Baraká

Realização
Ministério da Cultura e Governo Federal, Lei de Incentivo à Cultura

Patrocínio Master
AstraZeneca

Apoio
Paço das Artes

Curadoria e Coordenação Geral
estúdio M’Baraká [Isabel Seixas, Letícia Stallone, Diogo Rezende]

Consultoria em História da Ciência
Magali Romero Sá

Assistência de Curadoria
Gisele Billion

Textos
Isabel Seixas, Gisele Billion, Letícia Stallone, Magali Romero Sá

Produção Executiva
Izabel Campello, estúdio M’Baraká

Direção de Arte e Expografia
LICAAA [Lilian Sampaio], estúdio M'Baraká [Diogo Rezende]

Assistente de Arquitetura
Leticia Nasser

Produção
Fabia Feixas, Tatiana Belli

Produção de Arte
Caio Costa

Identidade Visual
Thamy Kurosawa

Equipe de Design
Eric Bernardo, Leonardo Gribel

Revisão
BR75 texto | design | produção

Fotografia de Acervo
Rogerio Von Kruger

Museologia
Angela Freitas, Sandra Sautter

Montagem Fina
Daniel Nogueira de Lima, Daniel Zagatti, Francisco Celio Costa, Mauricio Rossi, Silvio de Camillis

Pintura Artística
Ricardo Pennino

Projeto de Iluminação
Anna Turra

Montagem de Luz e Audiovisual
Fusionáudio soluções audiovisuais

Impressões Fine Art
Casa 2

Comunicação Visual
Tipografia Leo

Assessoria de Imprensa e Redes Sociais
Agência Febre [Katia Carneiro, Marlene Duarte, Felipe Teixeira, Gustavo Rispoli]

Cenografia
FR Cenografia

Coordenação Financeira
estúdio M’Baraká [Larissa Victorio]

Produção Administrativa
estúdio M’Baraká [Gisele Billion, Larissa Victorio]

Acessibilidade
Daina Leyton, Laysa Elias (Consultoria); Ponte Libras (Libras dos vídeos e vídeo Libras); Danielle França (Audiodescrição)

Molduras
Moldurax, Capricho

Transporte
Alves Tegan

Seguro
Affinitte

Gestão de Patrocínio
Mina Cultural

Artistas Convidadas
Antonia Dias Leite, Arissana Pataxó, Berna Reale, Bruna Alcântara, Camila Soato, Camila Sposati, Claudia Ferreira, Doralyce, Efe Godoy, Gabriela Noujaim, Hariel Revignet, Heloisa Marques, Katharina Welper, Marcela Cantuaria, Maria Auxiliadora, Marika Seidler, Japira Pataxó, Paty Wolff, Priscila Rooxo, Thatiana Cardoso, Yacunã Tuxá

Agradecimentos
Acervo Banco Itaú, Acervo do Museu Paulista da Universidade de São Paulo, Altafonte, André Pessoa, Arquivo Pessoal Nise da Silveira / SAMII, Biblioteca Barbosa Rodrigues / Jardim Botânico do Rio de Janeiro, Biblioteca Brasiliana Guita e José Mindlin - PRCEU/USP, CEDOC/FESPSP, Celma Albuquerque Galeria de Arte, Coleção Marchetti e Petrarca / Galeria Mendes Woods, Colmeia22, CREA-PR, Edouard Fraipont, Fundação Biblioteca Nacional do Brasil, Fundação do Homem Americano (fumdham), Fundação Oswaldo Cruz / Casa de Oswaldo Cruz, Imovision, Instituto Butantan, Instituto Cultural Cultne, Instituto Socioambiental, Jaqueline Góes de Jesus, Laura Lima, Memória e movimentos sociais no Brasil, Musée Curie (Paris), Museu de Ciências da Terra, Museu de Zoologia da USP, Museu do Índio, Museu Nacional / UFRJ, Museum of the Earth (Nova York), Nara Roesler Galeria, Renata Marquez, Revista Piauí, Revista Radar / Fiocruz, Sairi Pataxó, See Red Women’s Workshop, Sítio Roberto Burle Marx / Iphan, Victor André Martins de Miranda, Wescla Vasconcelos, Zipper Galeria

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

ARTE & CULTURE

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CURATORSHIP & DESIGN

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CONTEXTULIZATION OF COLLECTIONS

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About

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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Clipping

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.

US/KNOTS

ARTE & CULTURE

CURATORSHIP & DESIGN

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