A Lanchonete.org é uma plataforma cultural contínua focada em como as pessoas vivem e trabalham, compartilham e sobrevivem na cidade contemporânea, tendo o Centro de São Paulo como panorama. O nome vem dos onipresentes balcões das lanchonetes — pontos de comércio amigáveis, sem barreiras, laboriosos e com suas luzes brancas — que ocupam todas as esquinas da cidade.
A Lanchonete.org (também conhecida como Associação Espaço Cultural Lanchonete) é um grupo de mais de vinte pessoas, entre artistas e outros participantes, que se importam com o Centro de São Paulo. A ideia é que seja o piloto de uma forma atípica de organização, um aglomerado de associados e organizações que trabalham juntos e partilham de alguns valores e aspirações básicos para a cidade. Consideramos que o direito à cidade não é algo estático e que nunca pode ser experimentado a fundo sem a ajuda de abordagens novas, graduais e fora da caixa… e algumas delas podem ser conhecidas e compartilhadas através do acolhimento de pessoas vindas de outros lugares e com outras experiências (Conferir a seção “envolvimento de artistas”).
Nosso foco inclui a relação entre rural e urbano, centro e periferia, além dos fluxos migratórios históricos que fizeram com que São Paulo, epicentro de negócios e comércio de todo o Brasil — além de uma das maiores cidades do mundo —, crescesse rumo à notoriedade. Estamos interessados precisamente no diferencial entre o poder de uma cidade e o das pessoas que nela vivem. E também nas bases comuns e nas narrativas que normalmente são deixadas de lado. Com seu caráter site-specific, a Lanchonete.org mantém-se como ponto de referência para o entendimento de outras cidades e contextos. É tanto um espaço físico quanto uma associação; um restaurante e uma plataforma; um comércio com ares de Cavalo de Troia.
Raquel Rolnik, relatora especial da ONU para o direito à moradia adequada e professora de arquitetura na Universidade de São Paulo, afirma que um novo desdobramento que ela observa nos movimentos sociais de São Paulo é o papel ativo dos agentes culturais. Ao passo que não existe uma definição padrão de plataforma, é justo dizer que os agentes culturais são parte bastante visível e catalisadora de processos urbanos graduais (que incluem ações, campanhas, intervenções etc.) que podem ser chamados de plataformas. Para a Lanchonete.org, uma plataforma é um “receptáculo durável” para misturar uma série de ideias e questões da comunidade, o que atravessa e conecta diferentes áreas do dia a dia sem se deixar definir por inteiro (com todas as letras) antes de se abrir como um processo acessível aos cidadãos que, por sua vez, podem entrar, associar-se, modificá-lo e defini-lo. Tome como exemplo a discussão focada na questão da água em São Paulo, realizada por um grupo local de artistas, curadores, arquitetos, ativistas e urbanistas na galeria KUNSTHALLE São Paulo.
Pensando naquele formato de “contêiner” – um prosaico balcão de lanchonete –, as questões de soberania alimentar, jardinagem urbana, ecossistemas, condições trabalhistas de profissionais da alimentação e o acesso a treinamento vocacional para o trabalho em restaurantes são todos elementos fundamentais a serem levados em conta, já que pretendemos usar produções locais e dar o exemplo de práticas trabalhistas justas. Para esse fim, estabelecemos parcerias com ONGs como Cidades Sem Fome (jardinagem urbana) e GastroMotiva (capacitação em culinária). Combinando a expertise desses parceiros, serão planejadas as operações diárias da lanchonete, e já começamos a projetar uma colaboração ainda maior que pode resultar em programas integrados de treinamento a serem oferecidos no próprio local ou em outras instalações. Ao passo que operar um restaurante popular traz o foco principalmente para questões de alimentação, nutrição e hospitalidade, esses tópicos estabelecem o lastro para entender e discutir a causalidade cumulativa de classe e trabalho na vida urbana e cotidiana da cidade em plena afluência.
A Lanchonete.org, se permite uma licença poética lúdica para tomar emprestada a rica cultura alimentar brasileira, como as feiras livres, a feijoada, o prato feito, os lanches e os carrinhos que vendem cachorro-quente e sobremesas, além de destacar pontos onde há uma representação alimentar com toques étnicos e/ou regionais nas diferentes regiões de São Paulo, como é o caso do acarajé ou da maniçoba vindos do Norte e Nordeste. Sem deixar, é claro, de buscar conexões profundas com os lugares que somos convidados a visitar fora do Brasil. (Ver: envolvimento de artistas)
Ao passo que amamos comida e tudo o que se relaciona com ela e entendemos como isso se relaciona a direitos, trabalho e vida cotidiana, também queremos ser cuidadosos na maneira como empregamos e incentivamos seu discurso. Estamos sabendo que, no nível micro, as tendências gourmet são facilmente absorvidas ou cooptadas pela narrativa de um mercado faminto, não sem tomar parte no processo de especulação que expulsa as pessoas dos bairros onde se instalaram, assim como o agronegócio é o palco da colonização 2.0 no nível macro. Por tudo isso, tomamos muito cuidado na maneira de preparar a nossa comida.
Falamos em envolvimento de artistas, mas isso é algo um pouco limitado. Você verá a seguir o trabalho de pesquisadores, chefs, ativistas, artistas, estudantes, professores, arquitetos, jardineiros, urbanistas, curadores, jornalistas e movimentos sociais. Como um de seus componentes principais, o projeto convida uma série de artistas internacionais para morar no Centro de São Paulo e, assim, desenvolver uma relação com seus cidadãos, instituições, problemas e padrões.
A melhor maneira de descrever a Lanchonete.org é como uma “plataforma” ou “contêiner”. Ao passo que a equipe se concentra primeiramente em construir e manter essa estrutura durável, cidadãos podem entrar com ideias, projetos, problemas e preocupações. Apoiamos a produção artística e outras colaborações que “entrem” nesse contêiner. Quanto aos artistas internacionais convidados, cada residência é adaptada a suas ideias, conceitos, necessidades de apoio, modos desejados de envolvimento e colaboração, além, é claro, do lugar onde vão viver e se inteirar da paisagem urbana. No mais, a Lanchonete.org participa de eventos e redes internacionais relacionados a seus temas de interesse, por exemplo a X Bienal de Arquitetura de São Paulo, o Festival de Fotografia Chobi Mela, Modes of Democracy @ DOX Centro para a Arte Contemporânea, Gdynia Design Days, Trienal Poli/Gráfica de San Juan, MAS Global Network, The Nature of Cities, Cities for People e o Arts-Policy Nexus do World Policy Institute.
Esses modos de envolvimento oferecem aos integrantes da Lanchonete.org (Associação Espaço Cultural Lanchonete) oportunidades para compartilhar o que estamos fazendo em São Paulo com pessoas de outros países, investigando as semlhanças e diferenças, além de compartilhar histórias, como é o caso de nosso projeto nos Encontros de Bamako 2015. A participação da Lanchonete.org em eventos pode se dar através da presença de uma única pessoa ou mais, e sempre conta com a probabilidade de desenvolver novos relacionamentos que evoluem rumo a futuras trocas. É bastante comum que as pessoas que recebemos no Centro de São Paulo trabalhem em iniciativas semelhantes em suas cidades ou países, e esses eventos culturais ou conferências temáticas normalmente se tornam um ponto de apresentação. Dê uma olhada nas nossas incursões anteriores.
Thiago Correia Gonçalves (*1983, Brazil) lives and works in São Paulo and New York. He studied Cinema at FAAP(SP-BR) and Architecture at the Escola da Cidade (SP-BR) and Architectural Association (LDN-UK). Among the institutions where he has shown his works are: Niklas Schechinger Gallery (2014), Hamburg (GER); Vitrina, MASP (2014); Memorial da América Latina (2014); Centro Cultural São Paulo (2013), all in Sao Paulo; Casa de Cultura Mário Quintana (2013) and Galeria Península (2014) in Porto Alegre (BR); and Dox Center in Prague (CZK).
Originally from São Paulo, Brazil, Leandro Viana is a freelance photographer based in New York City. After breaking into the field through fashion, editorial, and advertising photography, most notably at DPZ, one of Brazil’s leading advertising agencies, Leandro began documenting social issues such as immigration, refugees, and human rights.
Jakub Szczęsny is a co-founder of Centrala, a design platform from Warsaw, Poland. He operates globally with both architectural and artistic assignments, one of which takes place in frame of the Lanchonete.org project in São João Occupation in São Paulo’s downtown. His project of writer’s studio named Keret House was included in the permanent collection of MoMA in 2013.
Joseph Michael Patricio is Pepe Dayaw. ‘Pepe Dayaw’ is a work-in-progress. In this work lies a blend of folklore, precarious technologies and funky improvisations whose mission is to research and choreograph living designs and sociality. Formally educated in the University of the Philippines, University of Amsterdam, University of Warwick, the National Museum of Reina Sofia Madrid and the Kaloob Philippine Music and Dance Ministry, Pepe performs, having trained in several dance disciplines such as pangalay and butoh, a self-taught chef, polyglot and masseur; and a professional karaoke singer. Born in Manila and grew up everywhere, Pepe is a leftover of past lives that get renewed each time he performs. He started cooking out of nostalgia for island tropical memories and has since been utilising this practice as a research tool for rehearsing emergent democracies through his independent production platform Nowhere Kitchen.
Blake is a private chef in Toronto, Ontario, Canada. He is from Guelph, Ontario, Canada, and moved to Toronto when he was 18 to attend the culinary school of George Brown College. During Summers for the past seven years, Blake has been one of the head chefs for Wasan Island, an international conference center in the Muskoka Lakes, north of Toronto. In addition to Canada, he has lived and worked in London, Berlin, and Guatemala City. In Guatemala City he helped create a lunch program for homeless with local restaurants, and organized a monthly “Free Dr. Day” that brought doctors to an underserved community to offer pro bono care.
Chef Alyssa Becker entered the Toronto culinary scene after graduating from George Brown College in Toronto in 2008. Chef Becker completed the Chef Training program and the post-graduate French Culinary Arts program where she studied alongside chefs in Toronto as well as at the ITHQ – Institut de tourisme et d’hôtellerie du Québec in Montreal, and at the Institut Paul Bocuse in Lyon, France. Alyssa assisted in opening Rodney’s by Bay in downtown Toronto (2009), and worked as Head Chef at John and Sons Oyster House (2012-2015). She has also worked as the Executive Chef at Wasan Island since 2009, an International conference centre situated in the Muskoka Lakes, Ontario, where she is currently the Operations Manager. Chef Becker is highly driven by the food culture that Toronto celebrates and is continuously inspired by her travels to gain more knowledge of international cuisine.
Adler was born in Teresina, Piauí, Brazil (1986). He lives and works between São Paulo and Teresina. Adler is a visual artist—publication, drawing, installation and a range of collaborations—and independent editor/publisher. He sees his hybrid working style as a proposition for a contemporary artistic practice comprised of objects as well as cultural and social actions.
Jeaná Morrison is a doctoral student at Drexel University’s School of Education. Her research interests include access and equity in higher education and the negotiation of marginal identities in education contexts. Her dissertation research will examine Black Brazilian students attending university under the quota system.
梁丹丹 (Dandan Liang) is a theatre producer, manager, performer and director from Beijing. In 2008, she co-founded and began operating the very first independent theater in China – Beijing Penghao Theater. It is still the only theatre in Beijing to present a wide variety of performances. Since it’s founding, the 110 person black-box theater in Beijing has hosted over 200 different performances from artists around China and the world. By acting as a public Chinese theatre it has become an essential cultural force: cultivating original pieces, hosting international festivals and setting the stage for a theater community and dialogue in Beijing that previously did not exist. In 2014, Dandan enrolled in the Hong Kong Academy for Performing Arts to learn how theater organizations around the world operate.
Roberto Tejada is author of the poetry collections Full Foreground (Arizona, 2012), Exposition Park (Wesleyan, 2010), and Mirrors for Gold (Krupskaya, 2006). An art writer and historian, his other publications include National Camera: Photography and Mexico’s Image Environment (Minnesota, 2009), A Ver: Celia Alvarez Muñoz (Minnesota, 2009), essays in books on photographers Graciela Iturbide and Miguel Rio Branco, and critical writings on contemporary U.S. and Latino American artists in Afterimage, Aperture, Bomb, The Brooklyn Rail, SF Camerawork, and Third Text. In Mexico this year, a volume of his selected poems will appear as Todo en el ahora (Libros Magenta, 2015) with translations into Spanish by poets Alfonso D’Aquino and Gabriel Bernal Granados (Mexico), and Omar Pérez (Cuba).
Steph Yates is an artist, musician, and bookmaker living and working in Guelph, Ontario, Canada. Her practice involves stop-motion animation, installation, kinetic sculpture, printmaking, and mixed media work, which she is currently exploring as an artist in residence at The Boarding House Arts Incubator Program. Since 2013, Yates has been working with Publication Studio Guelph as its studio coordinator, bookmaker, member of the editorial group, and teacher of various hands-on workshops. Yates can often be seen performing in a slew of local bands, and her own musical projects include garage-pop outfit Esther Grey and sparkle-punk duo Cupcake Ductape.
El Departamento de la Comida distributes local organic harvest from different family and community farms in Puerto Rico. Its mission is to promote and support local agriculture without pesticides and of the highest quality, making available healthy, fresh, local produce and other products. Its suppliers come from all around the island and El Departamento takes responsibility for distributing the harvest through weekly boxes delivered straight to clients’ homes and offices, selling to restaurants, and through an online grocery store. El Departamento participates and supports educational programs and iniciatives that promote sustainable agriculture and local health and economy.
Jaime Lauriano (*1985, São Paulo, Brazil) holds a degree in Visual Arts from São Paulo’s Centro Universitário Belas Artes. His work discusses the structures involved in the formation of public space and the history of the development of the Brazilian state. It uses strategies present in contemporary audiovisual productions (such as advertising), of archival materials and field research, to leverage its discussions. Among his most recent exhibitions are the following solo shows: Impedimento, Centro Cultural São Paulo, São Paulo, Brazil, 2014; Em Exposição – Sesc Consolação, São Paulo, Brazil, 2013; Olhares, Escutas E Outras Histórias, SESC, Ribeirão Preto, Brazil, 2010. And the group shows: PIESP Exhibition 2013-14 / Programa Independente da Escola São Paulo, Casa do Povo, São Paulo, Brazil, 2014; Tatu: futebol, adversidade e cultura da caatinga, Rio Art Museum (MAR), Rio de Janeiro, Brazil, 2014; Taipa-Tapume, Galeria Leme, São Paulo, Brazil, 2014; Espaços Independentes: A Alma É O Segredo Do Negócio, São Paulo, Brazil, in 2013.
Thea Little is a choreographer, performer, musician, and composer born and living in New York City, USA. She holds an MFA in Dance from Hollins University and a BA in Dance from the School of General Studies at Columbia University. Thea works collaboratively with trained dancers, non-dancers, and performance artists, as well as with artists in other mediums, and draws a lot of her material from improvisation, with performances ranging from loose to set structures depending on venues and concepts. Thea is primarily interested in issues of boundaries, stretching what is foreign to home, and what is rigid and controlling to accepting and nurturing.
Niki Singleton is a Canadian drawer, painter and found material sculptor based in Brooklyn. A few of her projects include a 130 page graphic novel on the survival stories of four Sudanese refugees ( Echoes of the Lost Boys of Sudan ), a gay tragic/comic strip series on Facebook and a political comic series Counter Clockwise published on The Mantle. He work usually focus on the underdog or fringe groups whose voices go unheard. She has undertaken residencies in France, the Netherlands, New York and has had solo exhibitions at Undercurrent Projects in New York City, the Holocaust Museum in Dallas and Imagine Ic in Amsterdam. Her work has been included in group exhibitions at Friedman Gallery, Nurture Art Benefit and White Box Gallery in Manhattan as well as Life on Mars Gallery, Brooklyn Fireproof Gallery, Studio 10 and Triangle Workshop in Brooklyn.
Carlos Motta is a multi-disciplinary artist whose work draws upon political history in an attempt to create counter narratives that recognize suppressed histories, communities, and identities. His work is known for its engagement with histories of queer culture and activism and for its insistence that the politics of sex and gender represent an opportunity to articulate definite positions against social and political injustice.
Maya Mikdashi is a Mellon Postdoc at the Institute for Research on Women and the Department of Women and Gender Studies at Rutgers University. Her upcoming book length manuscript entitled ” Sex and Sectarianism: Secularism, Secularity and War in Contemporary Lebanon,” is both an archival and ethnographic study of the regulation of sexual and religious difference within secular political systems. Maya works at the intersection of legal anthropology, feminism, queer theory, and theories of sovereignty, secularism and religion. She has worked on a number of documentary and narrative film projects, and continues to edit and write for Jadaliyya, an e-zine that she co-founded and that is centered on critical approaches to studying the transnational Middle East.
Através de uma abordagem comunitária, a Lanchonete.org fica sabendo e amplifica os esforços dos cidadãos, buscando acrescentar valor a essas iniciativas por meio do envolvimento de artistas, como é o caso das residências de artistas integradas a estruturas de comunidades e das apresentações de trabalhos colaborativos em conferências, publicações e exposições, sem contar uma série de intervenções vindas de outros campos, como mapeamentos, reuniões com autoridades, banquetes e mídias comunitárias.
A series of portraits was taken by Leandro Viana in a studio improvised on the first floor of Occupation São João (a.k.a. Centro Cultural São João) in the Center. Leandro’s photographs portray community members (of the 67 families) who overtook the derelict former Hotel Columbia Palace to live close to their jobs in the convenience of downtown. The people we see in Leandro’s portraits made this space anew. They are maids, security officers, kindergarten teachers, street workers, and students. As much as they can, they repair it, build new additions, and take care of it. The same happens in housing occupations throughout the city, where both residential and commercial spaces often remain empty in central areas due to limited urban policies, which do not incentivize landowners to rent properties at incrementally-adjusted rates and even make it easier to build new structures in lieu of renovating older ones.
Led by Joseph Michael Patricio, Nowhere Kitchen is a research process that derives ways of learning (by doing) from cooking practices. It explores various social forms based on cooking with what is there as a ritualistic point of departure. By itself, it is liquid and can assume the form of and intervene with the contexts it inhabits. During his March 2015 residency with Lanchonete.org, Joseph (a.k.a. Pepe Dayaw) conjured Nowhere Kitchen in two cultural spaces in the Center of São Paulo—Phosphorus and the São João Cultural Center.
Isabel Gandía, Programs Coordinator/ Administration Isabel Gandía was born and raised in San Juan, Puerto Rico and has been living in New York for the past five years. Isabel has a bachelor degree in Fine Arts and masters in Arts and Cultural Management from Pratt Institute, NY. She balances her life between working on sets within the wardrobe department for film and television, coordinating art projects and documenting travels and music. Organized, creative and problem solving. Culture lover, tree hugger and people person.
Lorena Vicini works in institutional relations; she is a book editor and cultural producer in São Paulo. Her company, Prova3 Agência de Conteúdo specializes in the development of educational and cultural content. She is responsible for the coordination of the project Episodes of the South for the Goethe-Institut, which explores different ways to see the world while asking the question ‘What is the global south?’. For Lanchonete.org she is responsible for public relations and communications with Brazilians and international partners. Lorena loves carnival and produces the Bloco João Capota na Alves in São Paulo.
Daniel Lühmann is getting closer to his thirties and works mainly with translation, editing, and all that is written; among the authors translated into Portuguese by him are Emmanuel Carrère, Philip K. Dick and Georges Perec. He is also entering the field of contemporary dance with videos and other materials related to such domain.
Thiago Carrapatoso is a journalist, specialist in Communication, Arts, and Technology and holds a MA from the Center for Curatorial Studies (CCS) at Bard College (NY). He is a collaborator of the BaixoCentro Movement in São Paulo, Brazil, which tries to reclaim the streets from a civil society perspective. Thiago is the Executive Coordinator of the Digital Program at the Municipal Theater (São Paulo), and along with the REPEP group, helping create a methodology to use heritage education against gentrification.
Thiago de Paula Souza was born in São Paulo and raised between the crazy megalopolis and its outskirts. He holds an undergraduate degree in Social Sciences and works as an educator at Museu Afro Brasil, in São Paulo. Thiago is interested in anthropology and education, and researches fields related to racial issues in Brazil, African diaspora and contemporary African migrations.
Thiago Correia Gonçalves (*1983, Brazil) lives and works in São Paulo and New York. He studied Cinema at FAAP(SP-BR) and Architecture at the Escola da Cidade (SP-BR) and Architectural Association (LDN-UK). Among the institutions where he has shown his works are: Niklas Schechinger Gallery (2014), Hamburg (GER); Vitrina, MASP (2014); Memorial da América Latina (2014); Centro Cultural São Paulo (2013), all in Sao Paulo; Casa de Cultura Mário Quintana (2013) and Galeria Península (2014) in Porto Alegre (BR); and Dox Center in Prague (CZK). http://cargocollective.com/thiagocg
Adham Bakry is a graphic designer, illustrator and photographer, and has a BA in architecture. He recently had an exhibition of his photography entitled ‘ Maat el Kalam’ at the Townhouse Gallery of Contemporary Art in Cairo. Adham is always looking for new challenges – artistic and otherwise – for example, he enjoys riding his bike around Cairo. || http://abakry.com/en/
He has worked in leadership, advocacy, and strategic planning roles at Global Arts Corps, Reporters sans frontiers, and Astraea Lesbian Justice Foundation. He founded freeDimensional, a network that helps artists in danger by providing safe haven in participating artist residencies. Todd is a Senior Fellow at the World Policy Institute where he directs the Arts-Policy Nexus; a co-curator for the Arts & Society Team of Cities for People in Canada; and serves as a board member for arts, rights and literary organizations in India, Mexico, Brazil, and the US. artist.roundtable (A.RT) is a collaborative methodology that he is co-making with a broad group of artists and non-artists.
Currently cultural and art producer for Lanchonete.org Project and is conducting a research on African immigrants living in the São Paulo housing occupations for Goethe-Institut’s Episodes of the South program.
GastroMotiva is a social organization that believes in the power and responsibility of gastronomy as a transformation agent, capable of reducing inequalities and transforming places and lives. It operates in Brazil and spreads its philosophy around the world. https://gastromotiva.org
Cities Without Hunger is a non-governmental organization (NGO) which has set up sustainable agrarian projects based on organ- ic farming in São Paulo. The aim is to help and teach people to manage their own business and become financially independent, as well as to improve the diets of adults and children. Additionally, the Small Family Farms Project has been set up in Rio Grande do Sul to train farmers in multiple cropping as an alternative to monoculture and help them starting new businesses in organic farming. http://cidadessemfome.org
Casa das Caldeiras, a former industrial building listed as heritage since 1986, opens its doors on Sunday afternoons with the project TODODOMINGO, offering music shows, performances, exhibitions, workshops, lectures, cultural and artistic activities to the general public. The place also works as headquarters of a cultural association involved in promoting its occupation, as well as the mobilization of artistic, cultural, and social energies. http://casadascaldeiras.com.br/tododomingo/
Residency Unlimited (RU) supports the creation, presentation and dissemination of contemporary art through its unique residency program and year-round public programs. RU forges strategic partnerships with collaborating institutions to offer customized support meeting the individual needs of participating artists and curators. http://www.residencyunlimited.org
Additionally, the space also has a library, courtyard and a playroom for children. A partnership between Lanchonete.org and Occupation São João began with a three-week residency for Polish architect Jakub Szczęsny. During his residency, a multi-year collaboration was planned. Jakub’s drawings hint at the brainstorming that filled those three weeks in March 2014 (See: projects within the project).
Founded in 2012, PIVÔ is a non-profit cultural organization that operates as a platform for exchange programs and artistic experi- mentation with the objective of proposing critical questioning of the fields of art, architecture, urban planning and other contemporary manifestations. PIVÔ is a member of the Circuito Centro (http://www.circuitocentro.org).
Desculpe-nos, mas este texto está apenas disponível em Inglês Americano. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language. Faced with chaotic and uneven processes of gentrification, today São Paulo has a serious housing deficit: the city lacks 200,000 […]
Desculpe-nos, mas este texto está apenas disponível em Inglês Americano. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language. After the successful launch of Queer City (Cidade Queer) in São Paulo last November in collaboration with Mix Brasil, we now have […]
Desculpe-nos, mas este texto está apenas disponível em Inglês Americano. For the sake of viewer convenience, the content is shown below in the alternative language. You may click the link to switch the active language. The 10th Bamako Encounters, African Biennale of Photography, Telling Time, invites a participatory art project by Lanchonete.org (including Todd Lanier […]
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