Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
de Alice
Instalação Imersiva
Lucas Bambozzi
Laura Campos
Ale Duarte
Entrada Franca
Classificação Indicativa: Livre para todos os públicos
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O Gabinete
de Alice
Instalação Imersiva
1
Lucas Bambozzi
Laura Campos
Ale Duarte
apresenta
DE 10 DE DEZEMBRO DE 2016
A 19 DE FEVEREIRO DE 2017
VISITAÇÃO: De terça a domingo
Sessões contínuas
Das 10h30 às 14h e das 15h às 19h
CAIXA CULTURAL SÃO PAULO
Praça da Sé, 111 - São Paulo/SP -CEP 01001-001
Terça a domingo, das 9h às 19h
Visitas monitoradas.
Agendamento e informações: (11) 3321-4400
A CAIXA é uma empresa pública brasileira que prima pelo respeito à diversi-
dade, mantendo comitês internos que promovem entre os seus empregados
ações, campanhas e programas voltados à disseminação de idéias, conheci-
mentos e atitudes de respeito e tolerância à diversidade de gênero, raça, orien-
tação sexual e todas as demais diferenças que caracterizam a sociedade.
A CAIXA também é uma das principais patrocinadoras da cultura brasileira.
Somente em 2015, investimos R$ 76 milhões em 539 projetos em todo
o Brasil, visitados por 931 mil brasileiros. Em 2016 serão mais R$ 75 milhões
para patrocínio a projetos culturais em espaços próprios e espaços de parcei-
ros, com ênfase para exposições de artes visuais, peças de teatro, espetáculos
de dança e shows musicais, além de festivais de teatro e dança em todo
o território nacional.
Os projetos patrocinados são selecionados via edital público, uma opção
da CAIXA para tornar mais democrática e acessível a participação de produto-
res e artistas de todas as unidades da federação, tornando mais transparente
para a sociedade o investimento dos recursos da empresa em patrocínio.
Desta maneira, a CAIXA contribui para promover e difundir a cultura nacional
e retribui à sociedade brasileira a confiança e o apoio recebidos ao longo
de seus 155 anos de atuação no país. Para a CAIXA, a vida pede mais que um
banco. Pede investimento e participação efetiva no presente, compromisso
com o futuro do país e criatividade para conquistar os melhores resultados para
o povo brasileiro.
Com base em tais premissas, o projeto foi sendo pensado rais do sistema nervoso.
Hesitação e Colapso
Cansaço generalizado Integração / Homeostase
como uma forma de viabilizar um processo criativo e cola- A autoregulação inata do organismo
Ritmo respiração baixo
Energia vital baixo Queda para o mantém sempre atuali-
Congelamento
borativo envolvendo estudos da percepção e a fisiologia do zada a potência
Tônus muscular baixo
Temperatura corporal baixo inventiva da cognição, o que não acontece
corpo, artes visuais, novas mídias e artes cênicas. Assim, Sistema Nervoso Parassimpático
quando o ciclo -
fisiológico fica comprometido. A observação
o projeto reuniu os artistas e pesquisadores Lucas Bamboz-
zi (cinema, vídeo e novas mídias), Joãozito Pereira (artes
O Gabinete
plásticas), Laura Campos (dança, artes cênicas) que passaram de Alice 1 2 3-4 5
11
a se valer não apenas do repertório associado a seus campos
de atuação, mas do diálogo com o trabalho sobre a percep-
ção e a fisiologia do corpo desenvolvido pelo terapeuta
Ale Duarte. Em encontros bastante intensivos, pautados por
pesquisas e divagações abertas acerca das possibilidades de
formato, viabilidade técnica e conceitual, surgiu o formato
final de O Gabinete de Alice, apresentado no MAB – Museu de
Arte da Bahia, em Salvador, em outubro de 2014.
Cabines móveis, cabines para gravação de áudio e para espaços públicos (Imagens: divulgação).
Mobile booths, booths for audio recording, and for public spaces (Images: promotional material).
Foto: Lucas Bambozzi
21
23
CAIXA is a Brazilian public company which excels by its respect for diversity. It
maintains active internal committees working to promote among its employees
actions, campais and programs aimed to spread ideas, knowledge and attitudes
of respect and tolerance to the diversity of gender, race, sexual orientation and
every other differences that characterize society.
Alice’s Immersive
CAIXA is also a major sponsor of Brazilian culture. In 2015, we invested R$ 76
million in 539 projects throughout Brazil, visited by 931,000 Brazilians. 2016 will
Alice’s Cabinet is an immersive installation project that proposes to provide of the process, the adoption of more mechanical structures was replaced by
techniques linked to interaction through movement and an understanding of
the audience with sensorial situations, through audiovisual media together
space, together with resources for projecting on irregular and curved surfaces,
with physical and gestural interaction resources, as possibilities for conducting
considered to be enveloping, intuitive, and easily interactive.
perception. The project arose out of a confluence of distinct fields, bringing During the project’s development, made possible thanks to the Culture Fund
together experiments in visual arts, interactive media, and studies about the of the Secretary of Culture of the state of Bahia (provided in 2014), we sought to
movement and physiology of the body. synthesize these technical premises of the project with studies linked to the auto-
The balance of our current figure is broken, its outline nomic nervous system (ANS), thinking about the modes of use and understand-
THE PROJECT
wavers. We can say that every time this happens, the cur- ing by the audience that could be equivalent to the ways of learning related to
rent format of our body undergoes a violent act, because it the body – in search of the ways the body autoregulates its physiology.
destabilizes us and demands that we create a new body (…) The proposal came together over the course of time as a truly multidis-
that comes to embody this new state that arose in us. And
ciplinary project whose main challenge was to provide reflections about the
every time we respond to the demand imposed by one of these
states, we become someone else (Suely Rolnik, 1993). possibilities of using current technologies to raise awareness about our sensory
abilities, seeking to understand how supposedly “intelligent” environments can
Alice’s Cabinet is a reference to the Cabinets of Curiosity, or Cabinets O Gabinete reduce or increase our power of sensory perception.
de Alice
of Wonder (Wunderkammern), popular in the 16th and 17th centuries, and The center of the process of creating the project was guided by this
27
which to a certain extent preceded the museums and exhibitions of today. The dedication to sensorial aspects, utilizing as the conceptual foundation studies
cabinets of the time brought together technically advanced instruments and about perception and the senses, and how these can be altered, considering
curiosities originating in studies and explorations linked to the context of the that it is through them that an internal and/or external reality is ‘shaped’ in the
great navigations. individual. The idea was to transpose, onto a limited physical space (a sort of
In Alice’s Cabinet, we seek to create an analogy between this informative uni- technologically “prepared” cabinet or booth), a type of play on the senses, with
verse and the altered perception of Lewis Carroll’s Alice, be it in light of simple perception and ‘proprioception.’
situations such as mirrors, or through ‘potions’ that change one’s understanding With these premises as a base, the project was conceived of as a way to
of what is happening, such as the sensation of growing or shrinking in size. make possible a creative and collaborative process that included studies of
The project brings together playful resources and conditions that produce perception and the body’s physiology, visual arts, new media, and theater arts. As
a reflection about the state of perception experienced through technological a result, the project brought together the artists and researchers Lucas Bambozzi
devices in a physically limited space, which we define as an interactive booth. Ini- (cinema, video, and new media), Joãzito Pereira (visual arts), and Laura Campos
tially entitled Sensorial Booth, its development was initially conceived as a series (dance, theater arts), who took advantage not only of the repertoires associated
of possibilities such as video projections, LCD screens, movement sensors, and with their fields of activity, but also the dialogue with the work about perception
‘haptic’ surfaces. The idea was to provide the audience with more than just visual and physiology developed by the therapist Alexandre Duarte. In very intensive
and sound effects, but also physical transformations of the space itself, through meetings, guided by studies and open-ended discussions about possible for-
the movement of scenery as well as the surfaces, the walls, and the ceiling. The mats and their technical and conceptual feasibility, the final format arose: Alice’s
booth also would be equipped with drawers, doors, “sensitive” objects, and Cabinet, presented at MAB (Bahia Museum of Art) in Salvador in October 2014.
REFERENCES AND SCRIPT OF SITUATIONS proved most viable and open to distinct meanings, bringing to mind the pene-
Therapist Ale Duarte has been recognized for his work in conflict zones trables created through the installations of Hélio Oiticica (especially Tropicália –
and in areas affected by natural disasters, providing him with vast experience PN2: Purity is a myth, and PN3: Imagetic), geared towards collective experiences.
and knowledge about critical situations. In his therapeutic method, Alexandre The conception of the booth that we used is that of a versatile space,
developed a chart of the body’s physiological cycle, whose application restores relatively easy to assemble, and able to be moved and transported. We opted
the organism’s natural state of autoregulation. According to the therapist, many for this format due above all to the possibility of controlling the systems of
of the “disorders” in contemporary life are unleashed by discrepancies between interaction and sensory stimulation through a modular construction that could
our physiological needs and the demands of the modern world. For him, the be versatile in terms of assembly and adaptation to existing exhibition spac-
way towards autoregulation lies in our physiology, more specifically in the reor- es. Because this is a project that seeks to follow up with studies (distinct and
ganization of the nervous system’s natural cycles. complementary, connected to perception as well as to interactive technologies),
The organism’s innate autoregulation regularly updates the inve ntive poten- the format should be that of a model where functionalities and resources can be
tial of cognition, something that does not happen when the physiological cycle is transposed to other spatial situations as a result of the experience registered as
compromised. Observing the significant results that came out of the application a consequence of its presentation to a diverse audience.
of this knowledge gave rise to the possibility of using the chart in projects with In more metaphoric or symbolic terms, the booth recalls the cabinet, the
an interactive art environment to ensure not only the construction of an envi- room of wonders, as well as synthesizing the difficulties faced by Lewis Carroll’s
ronment that updates our inventive capacity but also raises questions about the O Gabinete Alice in relation to simple and at the same time complex space that she enters
de Alice
implications implicit in the relationship between our somatic dimension and a in her adventures, and the altered states of perception regarding the world
29
world that is increasingly configured through technological environments. around her.
dance and performance, led the project directly to the field of experimenting ambiguity between “inside” and “outside.”
with perception and the physiology of the body. This is a field called Somatic Similarly, Alice’s Cabinet has as its central point the relationship between
Education, which involves a consistent number of corporeal approaches and the environment and the body’s physiology, a constant and present happening
which has as its main focus the investigation of first-person experiences. We (in continuous negotiation) that molds our subjectivity, but which due to the
currently see, in an incipient but increasingly important way, studies that raise
force of habits of perception rooted in our modern culture, oftentimes passes
questions about the implications that exist in the interaction between our
us by unnoticed.
somatic dimension (the lived body) and environments generated out of new
technologies that, at least in big cities, permeate our daily lives almost full-time. The process of developing Alice’s Cabinet sought out this need to corpo-
It was in this sense that this project was conceived, with the aim not only of realize the feeling of (self)satisfaction when faced with a stimulus, with a work
investigating questions that are interwoven with this relationship of the somatic O Gabinete of art - something essential to giving the experience meanings that strengthen
de Alice
to new technologies, but also creating an environment based on this play on corporeality in its process of fragile ontology, and that don’t attach themselves
31
perception and new technologies, so that the audience can, in this installation, to standards of perception or behavior that impede them from advancing in
experience unexplored dimensions in their field of sensibilities, as well as con-
the intensive field of moving, learning, existing, being, and possibly dancing.
struct questions according to the experiences they themselves felt thanks to the
We recommend that the installation be experienced in pairs, with “an other.”
devices involved in the work.
In the world of contemporary art, we see a set of practices utilized in instal- This relationship of “coupling” in relational (and also educational, of shared
lations that unite the concept and perception of space, often offering us the op- experiences) environments is a result primarily of this meeting with the other in
portunity to experience new perceptive possibilities through sensorial resources the field of affects. Therefore, the installation serves as a model for constituting
that produce interesting tensions between physical space and the physiology environments or processes of learning that simulate cycles of autoregulation, for
of the body. This context motivates us to develop an interactive installation that we understand that the state of autoregulation may be very close to the state of
includes in its development an understanding of our physiological cycle and
marvel when faced with an aesthetic experience.
its process of autoregulation, at the same time that it educates the sensibility
MORE ABOUT THE PROCESS
necessary in an artistic project.
The work of Lygia Clark and of Hélio Oiticica, for example, are emblematic Alice’s Cabinet creates an effective confluence between a variety of concepts
in regard to the study of perception in participatory or interactive art spaces. in an installation where the immersion in an interactive environment updates our
In another context, the work of artists James Turrell or Olafur Eliasson stand inventive cognitive capacity, developing the opening of a dimension of the sensi-
out, as their process of perceiving and understanding the physical space are ble insofar as this environment allows audiences to perceive their own sensations.
at the center of an artistic study geared towards sensorial processes. The work
The project is the fruition of a work that is continuously experimental. We
have no pretensions that the work substitute therapeutic processes, and less so
that it function as an effective resource to cure any somatic or traumatic incident
– even keeping in mind the proliferation of kinesthetic installation of this kind
or another. There is, however, a premise that processes beyond art be used in a
field of sensorial experience, that it synthesize questions which show them-
selves to be not only relevant but necessary: the relationship between somatic
states and technology, the playful and perceptive potential of environments
created by an expanded understanding of new media, by the state of “pause”
and decompression provided by the installation in contrast with the contempo-
rary sense of urgency, by the absorption of a form of art in direct contact with
our senses.
33
REFERÊNCIAS / REFERENCES
GABINETE DE CURIOSIDADES / CABINET OF CURIOSITIES
http://pt.wikipedia.org/wiki/Gabinete_de_curiosidades[1]
https://en.wikipedia.org/wiki/Cabinet_of_curiosities
O MUNDO DE LYGIA CLARK / THE WORLD OF LYGIA CLARK
http://www.lygiaclark.org.br/defaultpt.asp[2]
HÉLIO OITICICA (TROPICÁLIA, PENETRABLES)
http://www.heliooiticica.org.br/home/home.php[3]
VIDEOCABINES SÃO CAIXAS PRETAS / VIDEOBOOTHS ARE BLACK BOXES - SANDRA KOGUT
http://site.videobrasil.org.br/acervo/obras/obra/146843[4]
JAMES TURRELL
http://www.pbs.org/art21/artists/james-turrell
OLAFUR ELIASSON
http://www.olafureliasson.net/works.html
ZEE - KURT HENTSCHLÄGER
http://www.kurthentschlager.com/portfolio/zee/zee.html
MÁQUINAS CAPAZES DE CUIDAR DE CRIANÇAS / MACHINES CAPABLE OF CARING FOR CHILDREN
http://bit.ly/2gCSRDK
UM ROBÔ QUE INTERAGE COM O AUTISTA / A ROBOT THAT INTERACTS WITH PEOPLE WITH AUTISM
http://bit.ly/2fYf0eK
O Gabinete
de Alice
35
FICHA TÉCNICA | CREDITS
Idealização | Concept: ALE DUARTE, JOÃOZITO PEREIRA, LAURA CAMPOS E LUCAS BAMBOZZI
Coordenação Geral | General Coordinators: LAURA CAMPOS E LUCAS BAMBOZZI
Desenho de cenografia e montagem | Scenery design and assembly: JOÃOZITO PEREIRA
Direção de imagens, interatividade e conteúdo | Director of images, interactivity, and content: LUCAS BAMBOZZI
Consultor e pesquisador em fisiologia e educação do movimento | Consultant and researcher in physiology and
movement education: ALEXANDRE DUARTE
Design gráfico | Graphic design: JULIO DUI
Assessoria de imprensa | Media Relations: LILIAN MICHELAN (São Paulo)
Montagem e cenografia | Installation and scenography: BLADE (Salvador), ELÁSTICA/WILLIAM ZARELLA (São
Paulo)
Direção de montagem | Installation Director: LANUSSI PASQUALE (Salvador), WILLIAM ZARELLA (São Paulo)
Local da exposição inicial | Original exhibition location: MAB – MUSEU DE ARTE DA BAHIA
Textos | Text: LAURA CAMPOS E LUCAS BAMBOZZI
Desenvolvimento tecnológico | Technological development: TONI OLIVEIRA, JAVIER CRUZ E GUIMA SAN
Trilha sonora | Soundtrack: PEDRO AUGUSTO DIAS
Produção executiva | Executive producers: TIAGO TAO E MARINA PINHEIRO
Bambozzi, Lucas.
O Gabinete de Alice / Lucas Bambozzi, Laura Campos e Ale Duarte
- São Paulo, 2016.
ISBN: 978-85-916927-2-9
Catálogo de exposição.
1.Arte. 2.Arte Contemporânea. 3.Instalação. 4.Interatividade.
5.Experiência Sensorial. 6. Ambientes imersivos.
I. Título.