VAIVÉM

See the exhibition that shows other perspectives on the hammock.

By Centro Cultural Banco do Brasil Brasília

Indigenous Hammock: Wapichana Extension, Artist Movement of the Huni Kuin – Mahku Yube Nawa Ainbu, Artist Movement of the Huni Kuin – Mahku (2019) by Gustavo Caboco, Mahku – Movimento dos Artistas Huni KuinCentro Cultural Banco do Brasil Brasília

Artist Movement of the Huni Kuin – Mahku (2019) by Mahku – Movimento dos Artistas Huni KuinCentro Cultural Banco do Brasil Brasília

The mural by Ibã Huni Kuin and Pedro Mana references the song Yube Nawa Aibu, used to summon a female boa constrictor. In the ceremony, it is sung to open the way to miracles and bring strength.

Father Hammock (2019) by Maria NepomucenoCentro Cultural Banco do Brasil Brasília

Yushã Kuru Dau Damini (2017) by Menegildo IsakaCentro Cultural Banco do Brasil Brasília

Making Hammocks, Child in the Hammock (2019) by Carmézia Emiliano, Alzelina LuizaCentro Cultural Banco do Brasil Brasília

Paulistando chair, Sheriff´s Armchair by Paulo Mendes da Rocha, Sergio RodriguesCentro Cultural Banco do Brasil Brasília

A fabric supported by a sinuous and rigid line produces a concave shape that comfortably receives the body of the person who sits on it. By the simplicity of its shape, the chair resembles a hammock.

Indigenous Hammock: Wapichana Extension (2019) by Gustavo CabocoCentro Cultural Banco do Brasil Brasília

A set of eight images dictates Gustavo Caboco's autobiographical narrative. Son of Lucilene, a Uapixana woman from Roraima, he sees his identity as stretched between that origin and the city where he was raised, Curitiba.

Each of these banner designs is presented as an allegory about different ways of relating to one's origins and identity.

Hat Rack, Stone and Hammock, Untitled by Dalton Paula, Francisco Klinger CarvalhoCentro Cultural Banco do Brasil Brasília

Photographic record for the 100-Hammock Performance for Itaú Cultural Institute – Paulista Avenue, 1997 (1997) by TungaCentro Cultural Banco do Brasil Brasília

Crade with skulls (2011) by TungaCentro Cultural Banco do Brasil Brasília

Untitle (2007) by Adriana Aranha,Centro Cultural Banco do Brasil Brasília

In this series, the hammocks lose their utilitarian function and become disturbing images; they no longer hold the human body to sleep and begin to initiate a reflection on other dimensions of everyday life.

Tripod Chair (2013) by Lina Bo BardiCentro Cultural Banco do Brasil Brasília

Cotton with Graphism Kaxinawá, Embroided Cotton Hammock, Waiãpi Industrial Thread Hammock, Kurâ-Bakairi Cotton and Twine Hammock, by Maria Rosilene Bismani and Sepi Shamãtxi, Cristina dos Santos, Natarina Waiãpi, Moniki Waiãpi e/and Roseline Waiãpi, Pakuiura Mehinako, Juvanil KasagaCentro Cultural Banco do Brasil Brasília

Traditional Caxinauá hammocks are made of cotton with graphics (kene). The skin of the boa constrictor is an inexhaustible source of inspiration for his visual scheme, as it contains every design there is.

Bobbin Lace Hammock by Antônia Cardoso, Gertrudes Gonçalves, Graça Maria, Joana d’Arc Pereira, Maria Luiza Lacerda e/and Sheila CaetanoCentro Cultural Banco do Brasil Brasília

The bilro is made of macaúba wood and used to make a special type of lacework, produced by successive crossing of textile threads. The main piece of this type of lacework is the net, which takes approximately three months to complete.

Social hammock (2019) by OPAVIVARÁ!Centro Cultural Banco do Brasil Brasília

The work entitled "Social Network" playfully highlights the relationship between a collective rest network and the virtual social networks that consume so much of our time.

A-B-A Jersey (1987) by Ernesto NetoCentro Cultural Banco do Brasil Brasília

The series A-B-A, composed of metal plates and pieces of rope, is one of the first works by Ernesto Neto, who looks for formal and symbolic links between various materials.

Untitle (2019) by Talles LopesCentro Cultural Banco do Brasil Brasília

"In this work by Talles Lopes, we see the hammock as a support for a replica of the columns of the Alvorada Palace in Brasilia, inaugurated in 1958 and designed by Oscar Niemeyer...". Breno de Faria

Diet weight (2013) by André Komatsu and Marcelo CidadeCentro Cultural Banco do Brasil Brasília

Credits: Story

Patrocínio/Sponsorship
Banco do Brasil
Realização/Presentation
Ministério da Cidadania
Secretaria Especial da Cultura
Centro Cultural Banco do Brasil
Produção executiva/Executive production
arte3 conceito
Curadoria/Curatorship
Raphael Fonseca
Curadora assistente/Assistant curator
Ludimilla Fonseca
Coordenação geral de produção/ General production coordination
Ana Helena Curti
Equipe de produção/Production team
Eduardo Toni Raele, Fernando Lion, Rodrigo Primo
Equipe de produção local/Local production team
Gisele Lima, Luiza Dias Coelho e Virgínia Manfrinato
Projeto Expográfico/Exhibition design
Pedro Mendes da Rocha
Assistência deprojeto expográfico/Exhibition design assistance
Debora Tellini Carpentieri
Desenho gráfico/Design
Raul Loureiro, Victor Kenji Ortenblad
Projeto de iluminação/Lighting design
Fernanda Carvalho
Conservação/Conservation
Denyse L. P. L. da Motta, Bernadette Ferreira Ibarra, Marília Palhares Fernandes
Coordenação de montagem/Set up coordination
Lee Dawkins
Equipe de montagem/Set up team
Caio Caruso, Elvis Vasconcelos Moreira, Hélio Bartsch, Juan Castro, Juan Manuel Wissocq
Execução do projeto expográfico/Design project construction
Metro Cenografia
Execução do projeto de iluminação/Lighting design assambly
Santa Luz
Equipamentos audiovisuais/Audiovisual equipment
Images projetores
Ampliações digitais/Digital prints
Kelly Polato Fine Art Print
Assessoria de imprensa/Press office
Tato Comunicação
Gestão financeira/Finance
João Luiz Calmon
Assessoria jurídica/Legal advice
Olivieri Associados

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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