Made by... Feito por Brasileiros

A1 - This performance transforms corncobs into pearlcobs and inscribes the central arch within a circle of corn. The presence of the human body as part of the work lends an aspect of theatre to the installation.

A2 - According to Lygia Clark, the participants “start out aware that what they are pulling out of their mouths is just thread, but as the performance goes on, they begin to feel like they are actually pulling up their own guts”.

A3 - The artist created a ghostly soot-black forest drawn onto the walls with an empty sedan chair placed in the middle of the room, waiting to be occupied. The conjunct creates a landscape of rare intensity.

A4 - Homage to two rubber trees that are located in the entrance of the hospital: the drawing represents their energy spreading to the walls, the floor and the ceiling.

A5 - The Tree Academy of the Museum of the Invisible asked a group of artists to contribute to a Tree Manifesto, based on the awakening to trees mediated by the healer/hypnotist Pierre Capelle.

A6 - 50 drawings were exposed in the room "Tree Clinic". In "Invisible Forest, a phantom and magical forest is created. Elaborated from metal screens, skulls, rocks and other objects.

A8 - The artist’s proposition concerned a stand of a dozen or so trees on the old hospital grounds at risk of being removed by the development. To avoid felling these trees, the artist proposed having them treated and replanted in large pots.

A9 - The rays that emanate from a tree are mutable, though it resembles a fixed prism through which we see the building in myriad forms, depending on the angle.

A10 - The forest, made of charcoal, is illuminated by video images of curious floating creatures. As ghosts, the images pass by fleetingly through the exhibition's reality.

A11 - The work consists of a pyramidal stack of melons impaled with cast-brass devil’s tongue leaves painted in the sansevieria’s typical dark and light-green bands

A13, B22, C9, C12 e D1 - A metal sculpture packed with used newspapers as a direct reference to the splurge of irrelevant information in the contemporary world. The artist boarded up windows and doors in all five buildings of the Matarazzo Hospital complex, packing them shut with print and technological scrap generated by an increasingly info-junkie world.

A14 - "The totems are present in the memory of most men. They come from different eras and worlds." The works of Feldman are memories of the first centuries, revisited in a contemporary language.

A15 - "With the image as flashlight and text as shadow, the project brings this [of what's the invisible] investigation into physical space. It’s not an just attempt to answer a question, but to elaborate upon the unknowable.”

A16 - Images of the manifestation held in São Paulo, in 2013, in which governmental and police repressive activities are associated to care, to the clinical anaesthesia and the uncertain atmosphere, inherent to a hospital.

A17 - The idea of the work is to restore the rhythm of passing time to the empty space, not with the precision of a doctor’s wristwatch, but that inexact rhythm of waiting; the silence of passivity.

A18 - Rodrigo Bueno describes the work with a poem: "Who are these Saints? / Are we the silent patients? (...)". The saints and plants were collected at the Hospital.

A20 e E17 - Intervention of red cables and electric wires that were spread in the rooms and corridors. It recalls the vein circuit of the human body in which blood circulates, referencing the hospital..

A21 - In Fragile Future, light functions as a symbolic and emotional ingredient rather than as a tool to simply illuminate the dark. Studio Drift creates an unexpected combination of high-technology and poetic imagery.

A22 e A26 - Woodman's apartment was the space of her questionings and ghosts, where she talked about the imperceptible, about the absence and the invisible, through a game of hide-and-seek with nothing.

A23 - The materials used remind the viewer of two states of the feminine: the erotic and the maternal, as symbolised by the uterine quality of the white fold formed by hospital curtains, the fragile fruit, the waiting-room chairs and the central lighting, which breathes life into the construct.

A24 - The ideia of a body presents itself disfigured, establishing a material continuity with the decayed ambient in which it's immersed.

A25 - Work of memory, mirror-work. Daniel Senise makes the past and the future confront one another when sharing on of the rooms in the old Hospital.

A27 - A video-installation showing colourful soundsuits in motion, some at normal speed and others in hypnotic slow-motion, allowing the artist to blend the structure, decoration and movement into one visual mass

A28 - To report the industry of chicken production, the video contemplates the baroque concept of "still life", with chickens that feed themselves nonstop with the delicacies of the abundance land, Cockaigne.

A29 - The work of Vik Muniz tells the story of Agenor Andrade Filho, showcasing documents that prove its veracity, just as wells as hospital objects, furniture and the wall-written story.

A30 - Minter created Mercurial, a video-installation produced especially for the Matarazzo Hospital. Mercurial shows a pair of women’s feet, painted silver, dancing in a pool of a silvery liquid.

A31- The documentary and the six audios are a homage to the artist. Beyond that, there is also the work "Reversible Poems" - check work description for more information.

A32 - At the wall, documental scenes of the crowds that attend these “funk balls”; in the antechamber, a handmade loud speaker plays recordings from the balls or snippets of the funk songs.

A33 - The Maze is a site-specific installation in which ancient Kufic calligraphy is written out on the ground in grass strips. The slogan—The People Want the Fall of the Regime—is repeated over and over as the maze is followed.

B1 e B3 - The artist usually creates enormous works that re-articulate physical characteristics of an specific urban or architectural environment. Still, he uses materials that have a strict relation to the place.

B2 - The artist's work deals with matters of place, structure, material, design and surface with a rigorous conceptual sensitivity. It is compromised to the minimalist subversion of everyday itens.

B4 - The video reveals an abandoned white car in a forest close to a lake. The car structure is incapable to contain the impact of the fireworks explosion.

B5 - The artist creates interventions in specific settings; he transforms places by flooding the floors with a thick veneer of oil (or blood) to create deep mirrors that permit no human intrusion. At the Matarazzo Hospital, at the foot of a magnificent marble staircase, Barclay created a silent mirror of black oil that reflected the surroundings.

B6 - This work suggests a geometry, or rather various geometries, as in the constant swirl of the spheres on this mobile, which is reconfigured to create unending compositions, always similar, but never the same.

B7 - The artist displays a large vertical photographic canvas print, in which it's hard to identify what exactly the photograph depicts

B8 - According to Marcia Xavier, “The idea of the project was to bring the shadows cast through the windows into the ground floor corridor."

B9 - Interactive art installation. A luminous cave with recycled materials was created: Cosmic Cavern #31 put together a series of plastic objects painted in neon paint.

B10, B12, B14 e B16 - The steps of whomever walks through this place generate a smoke that, when in contact with lasers, creates "walls" of light in the corridors and doors, drawing a new spatiality.

B11 - Two ambients are filmed in a timelapse. In each of the intervention rooms, the windows are painted black and you can see a big projection of another window.

B13 - In 9 necklaces of freedom, the artist refers to the history of Brazilian slaves, They used to adorn themselves with the extravagant jewels of their bosses for, in the moment of escape, leave them in the trees.

B15 - Two ambients are filmed in a timelapse. In each of the intervention rooms, the windows are painted black and you can see a big projection of another window.

B17 - Discarded materials found by the artist in the middle of the hospital's debris put together a subtle collage. The materials: broken plaster, pieces of fences, dry leaves and concrete.

B19 - Visitors participating at the performance in the kissing room from Natura.

B20 - A four-projection video-installation with Portuguese narration. The four cardinal points are personified and each is ascribed an idiosyncratic character. They engage, harass each other, argue, and interact.

B21 - The film tells the absurd story of a residential elevator that is particularly prone to operational gremlins. Given the constant floor-changes and interruptions, the elevator presents a series of surreal situations.

B24 - "The works all draw analogies with the daily reality of life in underdeveloped regions and the socio-cultural situations of occupied territories, customs and humdrum elements.”

B25 - Birdcages are transformed into nests and attached to a tree. Symbols of imprisonment and contention, here the cages are not only open and distorted, but actually become cosy passerine dwellings.

C1 - The Warli art is the only form of record available to a people that are not acquainted with written histories. It depicts the social life of this ancestral community.

C2 - The writing of the artist on the hallway, the walls, the ceiling and the floor of the old Matarazzo Hospital interact with the work of the Warli Tribe.

C3 - A synesthetic sound and visual installation is composed of three fundamental elements, that complement themselves, creating the work: a video, objects with sound fragments and colours and the public participation.

C4 e M1 - Interventions and installations made with the public's participation. One of the works is a grafitti with stencil portraits. The other one are statement-movies of people that were somehow connected to the hospital.

C5 - The sculpture generates an effect in urban whereabouts and in the architectural context. The work offers to the public a portrait that can be used as a pause and a reflexion on the place's identity.

C7 - The work is a three-dimensional tangle of kite skeletons, forming a rhizome that orchestrates a play of binomials: inside/outside, geometric/organic.

C8 - Pieces of the abandoned building, debris and bricks create an organism. The heaps overlap themselves in architecture, propagate and try to build themselves up in the space. Everything goes from growth to petrification.

C10 - The artist created a photographic installation that evoques ephemeral moments, exploring the pathos of interpersonal relationships, of gender and desire.

C11 - Collaborating with Tomas Faria, the ballet dancer created a conceptual intervention, integrating dance, aesthetics, architecture and emotion in the intuitive occupation of the old Hospital's empty spaces.

C13 - The hedgerow is an anti-stage and anti-bunker that proposes another structure altogether, an alternative space for socialisation and collective integration. Against the audience/stage dichotomy, the hedgerow breaks with the segmentary structure that separates public and private, the particular and the collective.