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	<title>Bernardo José de Souza</title>
	<link>https://bernardojosedesouza.cargo.site</link>
	<description>Bernardo José de Souza</description>
	<pubDate>Mon, 15 Jun 2020 21:43:58 +0000</pubDate>
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		<title>Work</title>
				
		<link>https://bernardojosedesouza.cargo.site/Work</link>

		<pubDate>Wed, 10 Jun 2020 19:30:50 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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		<description>
	


	
 

















	Curator, art critic and teacher.

His projects investigate the relationships between time and space, culture and nature, often articulating contemporary art with the political and philosophical debate inspired by literature, cinema and science fiction.
CV





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		<title>Witt de With textos copy</title>
				
		<link>https://bernardojosedesouza.cargo.site/Witt-de-With-textos-copy-1</link>

		<pubDate>Mon, 15 Jun 2020 21:43:58 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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		<description>Selected Exhibitions

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		<title>Witte de With imagens</title>
				
		<link>https://bernardojosedesouza.cargo.site/Witte-de-With-imagens</link>

		<pubDate>Thu, 11 Jun 2020 18:28:26 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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		<title>Witt de With textos</title>
				
		<link>https://bernardojosedesouza.cargo.site/Witt-de-With-textos</link>

		<pubDate>Thu, 11 Jun 2020 18:28:26 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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		<description>An exhibition 
with works by...
&#38;nbsp;


Witte de With,&#38;nbsp;
Rotterdam, 2020Participants

Athos Bulcão, Marcos Castro, Anna Franceschini, Ni Haifeng, Nicolás Lamas, Praneet Soi, Adriana Varejão, Ana Vaz, Bouke de Vries, Raed Yassin, Karlos Gil, Belén Zahera

Curators
Sofía Hernández Chong Cuy, 
Bernardo José de SouzaThis exhibition explores the immigration of form. It regards a cultural product that is as much the result of local traditions as it is a cosmopolitan artifact. Here, consider Delft Blue in the Netherlands. Now, consider a piece of Qinghua Porcelain in China, or Iznik Ceramic in Turkey, Azulejo in Portugal, China in Britain, or Talavera in Spain and Talavera Poblana in Mexico. These are all blue-and-white ceramics that can be traced back to global trade. This type of artifact signals a commercial approach—by and large through colonialism—that massively transformed civilizations. By focusing on an aesthetic manifestation of a world in movement, this exhibition invites you to consider a blue-and-white ceramic piece as both a vessel and a port. It gathers artworks in different media made by contemporary artists from the Americas, Asia, and Europe.

In the Netherlands, the rise in popularity of blue and white ceramics came by way of the Dutch East India Company (VOC) in the early seventeenth century. The esteem and value of these ceramics was not only because their provenance and designs were considered exotic. Their material composition was foreign, too. These imported pieces were made in porcelain, of which invention and related enterprise was protectively overseen by the Chinese Dynasty. In the fourteenth century, when porcelain was considered “white gold,” The Ottoman Empire was already commissioning custom-made Chinese porcelain for export. They are also credited for having provided the Chinese with cobalt, the blue color-producing mineral, which they sourced from the region known today as Iraq. But it was long-distance maritime trade that globally internationalized the style of blue and white ceramics.

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		<title>traço</title>
				
		<link>https://bernardojosedesouza.cargo.site/traco</link>

		<pubDate>Sat, 13 Jun 2020 16:29:37 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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		<description>______________________</description>
		
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		<title>Subversao imagens</title>
				
		<link>https://bernardojosedesouza.cargo.site/Subversao-imagens</link>

		<pubDate>Thu, 11 Jun 2020 18:28:26 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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	<item>
		<title>Subversao textos</title>
				
		<link>https://bernardojosedesouza.cargo.site/Subversao-textos</link>

		<pubDate>Fri, 12 Jun 2020 18:30:19 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

		<guid isPermaLink="true">https://bernardojosedesouza.cargo.site/Subversao-textos</guid>

		<description>Subversion of Shape
&#38;nbsp;

Fundação Iberê Camargo, 
Porto Alegre, 2018Participants

Iberê Camargo, Daniel Steegmann Mangrané, Luiz Roque, Erika Verzutti





















Subversion of Form&#38;nbsp;seeks to confront a set of works, and specially of artists – Daniel
Steegmann Mangrané, Erika Verzutti, Iberê Camargo and Luiz Roque – who explore
a common repertoire, despite using different and quite particular vocabularies,
ultimately imbued with a speculative curiosity that leads them (us) to
reconsider the world from new perspectives, whether plastic, political,
affective or even mystical. This exhibition is born from the desire to rethink
the recognizable forms surrounding us, to urge the audience to find strangeness
in that which is familiar to it (us), as well as find similarities in that
which appears strange. 



 The works in show are infused with a sculptural presence
and, even those that may seem two-dimensional at first glance, are also
invested with a highly performative, if not choreographic, dimension. Figures
metamorphosed into almost mythical, more than human/inhuman creatures, objects
that transcend their function to attain a mystical plane, revealing both the
geometry and amorphous nature of the universe in its first stage.






Form and matter challenge our ability to assign meaning to
the elements in our midst, as though we were suddenly struck with a
myopia/dystopia/epiphany capable of subverting the rules of the game,
repositioning us at the center of a fictional vortex that starts corresponding
to reality.&#38;nbsp; 



 The bodies in this exhibition are magnetized by a high voltage
sexual zone which, at one and the same time, is commensurate with pulsations of
life, destruction and death, causing a wave of fantasies to pass through our
senses, sometimes feverish, sometimes dreamlike, sometimes paranoid, always
idiosyncratic. There is a predatory, cannibalistic atmosphere in the air, one
body devouring the other and the remains give shape to a new, perhaps perverse,
nature.



The supposed inexaustible plasticity of nature (and its
natural resources, of life itself, on the limit) ultimately comes to an end:
the act of taking shape, or giving shape – this activity of man, but also of
artists and sculptors in part – is followed by the total annihilation of
everything we had previously known. 



 An explosion - or type of death – and the consequent "vacuum",
represent the greatest and largest risk to our adventure on the planet. Nature
is broken, humanity is dissolved, memory is destroyed, the Earth is devastated.



 This exhibition is about the end. And about the
start of a new, unrecognizable, unnamable and ineffable era.




</description>
		
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	<item>
		<title>traço copy</title>
				
		<link>https://bernardojosedesouza.cargo.site/traco-copy-1</link>

		<pubDate>Sat, 13 Jun 2020 16:34:00 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

		<guid isPermaLink="true">https://bernardojosedesouza.cargo.site/traco-copy-1</guid>

		<description>______________________</description>
		
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		<title>Unanime Noite Imagens</title>
				
		<link>https://bernardojosedesouza.cargo.site/Unanime-Noite-Imagens</link>

		<pubDate>Wed, 10 Jun 2020 22:15:08 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

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	<item>
		<title>Unanime Noite textos</title>
				
		<link>https://bernardojosedesouza.cargo.site/Unanime-Noite-textos</link>

		<pubDate>Fri, 12 Jun 2020 20:13:39 +0000</pubDate>

		<dc:creator>Bernardo José de Souza</dc:creator>

		<guid isPermaLink="true">https://bernardojosedesouza.cargo.site/Unanime-Noite-textos</guid>

		<description>Unanimous Night
&#38;nbsp;

São Paulo, Bolsa de Arte, 2015
Vilnius, CAC Contemporary Art Centre, 2017&#38;nbsp;
 Porto Alegre, Fundação Iberê Camargo, 2018Participants












Ana Mazzei, Anna Costa e Silva, Anna Francheschini, Bas Jan Ader, Cinthia Marcelle, Cristiano Lenhardt, Daniel Jablonski, Daniel Jacoby, Daniel Steegmann Mangrané, Débora Bolsoni, Eduardo Haesbaert, Elena Narbutaite, Elida Tessler, Felipe Braga, Fernanda Gassen, Guerreiro do Divino Amor, Gustavo Torres, Gusmão e Paiva, Iberê Camargo, ÍO, Liudvikas Buklys, Luiz Roque, Marilá Dardot, Matheus Rocha Pitta, Michel Zózimo, Oliver Bulas, Pablo Accinelli, Pablo Pijnapple, Pedro Moraes &#38;amp; Luiza Crosman, Raimundas Malasauskas &#38;amp; Marcos Lutyens, Regina Silveira, Rodolpho Parigi, Sara Ramo, Samuel Beckett, Tomaso De Luca, Yves Klein













































A missing corpse, an amorphous landscape, a timeless zone, a
palimpsest, an unintelligible language, few clues, and plenty of dysfunctional
objects operating within a multidimensional space. 



 (an ever shifting exhibition) 



 
***



A handful of starting
points



1) a game: Cadavre Exquis;



2) a short story: The
Circular Ruins, by J. L. Borges;



3) a book: Hopscotch, by
Julio Cortázar; 



4) and yet another book: B
and/or an Exhibition Guide In Search for Its Exhibition, by Valentinas
Klimasauskas;



5) an exhibition that has always been and will never end; an
exhibition that changes its shape throughout space and time; an exhibition that
exists both mentally and physically; an exhibition in search for an author.
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