Bruno is a multitask artist, He works in different fields such as painting, drawing, photography, sculpture and He also writes. But all those are under the influence of painting thoughts. He works as a teacher in the Parque Lage, which is one of the best art schools in Rio de Janeiro (Escola de Artes Visuais - EAV).
He incorporated food within his art practice because of his interest in social rituals like dining as a family, the whole system around it, the setting and tools involved like plates, cups, napkins and its poetry. Bruno found very interesting all the dynamics of commensality, the guests and the childhood memories surrounding those activities which most of them are of happiness. Also, all the objects that took part on those rituals are silent witnesses of our lives and He is devoted to such objects.
I usually work with sculpure’s classic materials: bronze, wood, stone. The artistic experiment which was shown at Art15 (sculptures made from bread), is linked to my interest in the portrait, which I wanted to extend in the area of the art essay with symbolic conotations. The technical approach was aimed to test and push the limits of improvisation. By observing the standard stages of making a portrait, I have obtained novel nuances and plastic effects, which even I wasn’t expecting. The result is spectacular but perishable – classically-shaped portraits, cast in bread dough. This perishable quality is accepted also as a reminder of the modern concept of art, one which no longer relies on solidity to ensure its longevity.
My work focuses on social and political reflection in which I analyse what affects the communities,in the last five years I have focused on the relationship between violence and resources,this investigation has taken me to also mention the influence of the war in food prices and production .
A decade ago I started to construct a map where I have located the conflict areas and what was growing and exploding in these geographic locations,this led me to to see how across the equatorial area of the world the same patterns of colonisation and control over territory and their communities are repeated; confirming the label of ¨The pantry of the world ¨ because in these countries can cultivate more times, because they do not has as severe as north or south of the planet seasons.
The weapons used in these times against the civilian population are others, the struggles for survival, the water wars, food wars, or wars over the control of the population occur many times in our tables,in supermarkets and franchise restaurants.
The battles are also because of food for the large transgenic mono-crops, hunger and food produced with large amounts of poison. At the dining tables of our homes, comes meal bathed in blood , a consequence of the funding illegal groups by companies that have threatened populations causing displacement, massacres and even their extinction , cases such as the Urabá banana plantations in Colombia, where it was found that international companies paid to kill workers, union members and citizens are repeated daily in many parts of the country and the world, a military strategy for economic and social control .
The internal struggles, guerrilla warfare, the arms trade, workers abuse, the use of children in cultivation, cultivators low wages , direct exposure and contamination with fungicides, are some of the results which leaves the production of food in central America, Africa, south America, India and many other places where violent methods are used in the production of our food.
Martinez in his interactive performances, called PerforMANcena, perfomance-banquet, push deep rooted cultural memories of cannibalistic pleasures to surface, while the use of explosives for pictorial and sculptural purposes links to the use of fireworks by Mexican indigenous peoples in order to prevent the gods of the imminent arrival of a new soul.
But it is through his deflated and collapsed latex sculptures, that he generates a dramatic ongoing discourse on Life itself. When air goes out, viewers are urged to confront with the enormous dangers we face in our transition to trans-modernity, making Martinez art a memorable experience.
Koctel is a Spanish Street Artist and Illustrator. One of his most predominant themes is Food, which he tackles from different angles in a colourful and vivid palette. From the Iberian Peninsula to the streets of China, he has travelled through the global urban landscape riding on the universality of consumption. Difficult to ignore by his vivacious technique and an understanding of something that we all can relate to. He elevates food to a higher category, giving it the status of a character, almost human and bold.
My proposal is based on the exercise of creating spaces for spectators to become actors and co-authors of my work under the following assumptions:
1. The concepts depend on the circumstances.
2. To star a conversation from those questions and concerns that we share and not from the way in which we respond them, makes the field of trading to expand and multiplies the options to follow.
3. “Ma” a Japanese concept that defines the space, time or pause between things.
4. I Imagine and materialize each work consciously playing with the balance (or not) between intention, aesthetics and ethics to create what I call platforms: A place with a preset time and a excuse where ideal conditions are given in order to what I propose to my interlocutor germinates.
At the moment my practice is articulated between research, teaching and production. I reflect on the instability of the fixation process of latency, inevitable in any temporal sequence. My processes are constructed by gaps in vision, the measuring of the non-measurable or the paradoxes that invert popular and scientific beliefs. I like to perceive my practice as a vague momentum or the critical instance where the creation of images is fostered. It could be interpreted as the development and tracking of an irreproducible experience. I work through latent images and the graphias of an experience. For instance, my recent projects include a body minerals collection, the creation of machines that re-signify the composition and circulation of air, the re-action of a group of bodies crossing the bottom of a river hugging a stone, or the collective ingestion of a meteorite. My practice adopts a wide variety of shapes from video, photography, installations and actions, that as devices, entail new actions. I create situations and devices that are born to be consumed. Such devices are developed on a symbiotic level, intrinsically connected to man, by a correspondence that is activated through him, and disappears with him. My methodology activates long research periods involved in the context and that put together interdisciplinary teams that elaborate a polyhedral view of the development.