{"id":1190,"date":"2020-09-12T16:28:27","date_gmt":"2020-09-12T19:28:27","guid":{"rendered":"http:\/\/lanchonete.org\/?p=1190"},"modified":"2021-04-27T13:22:49","modified_gmt":"2021-04-27T16:22:49","slug":"paim-final-touch","status":"publish","type":"post","link":"https:\/\/lanchonete.org\/en\/2020\/09\/paim-final-touch\/","title":{"rendered":"Paim, final touch (pt. 1)"},"content":{"rendered":"

<\/p>\n

*Watercolor by Thiago Gonc\u0327alves<\/a> depicting side views of Demoiselle and 14 Bis as well as \u2018imagined\u2019 airplanes on the 14 Bis lateral fac\u0327ade.<\/em><\/p>\n

*See\u00a0Paim, final touch (pt. 2)<\/a>.<\/i><\/p>\n

From 2013-2017, Lanchonete.org was an artist-led, research platform focused on the right to the city\u2014how people live and work in, navigate and share the contemporary metropolis\u2014with the Center of S\u00e3o Paulo as its outlook. The name comes from the ubiquitous lunch counters\u2014convivial, fluorescent-lit, open-walled, laborious, points of commerce\u2014that populate almost every street corner.\u00a0 <\/span>In 2016 the collective purchased a small lunch counter (Tarcisio\u2019s Bar, Loja 3) at the base of 14 Bis, one of three buildings\u2014including Demoiselle & Caravelle\u2014that comprise Conjunto Santos Dumont. This began the present phase of the project , which is to develop a special relationship with the 4000+ inhabitants of Conjunto Santos Dumont and better understand the historic neighborhood of Bixiga in which it is located \u2026 by becoming a lanchonete owner.\u00a0<\/span><\/p>\n

Given all that occurred during the project’s five-year duration, we decided to prolong the platform for an additional year or ‘planning cycle’ in 2018, which took the form of a ‘closing programme’<\/a> at first but thereafter revealed an option of ‘leaving open’<\/a> the Lanchonete.org process and its momentum. For example what began as an ‘outbound’ exchange between Lanchonete.org’s partners and members (a ceremonial reunion) at Kaays\u00e1 Art Residency<\/a> in Boi\u00e7ucanga continued in a different form the following year when the makers of a mural onsite at Conjunto Santos Dumont, Edgar Calel<\/a> and Fernando Pereira dos Santos<\/a> began their residency period with a two-week stay at Kaays\u00e1<\/a>. Similarly we co-hosted Canadian artist Andrew O’Connor<\/a> with Resid\u00eancia S\u00e3o Jo\u00e3o<\/a> in Rio State, and co-hosted Anat Litwin<\/a> with the International Seminar of Escola da Cidade ‘Still the Right to the City,’<\/a> also in 2019.<\/p>\n

This type partnership with other Brazilian residency programmes began in 2015\/2016 with Casa Tofiq, Goethe Institute and Bamako Encounters that hosted Lucia Nhamo<\/a> from Zimbabwe in both S\u00e3o Paulo and Salvador, and again in 2018 with the Goethe Institutes in Sao Paulo and Salvador to co-host Berlin-based, Nigerian photographer, Akinbode Akinbiyi<\/a>. Starting with Akinbode, one part of the exchange is the artist being present at Conjunto Santos Dumont and this experience conducted in contrast with another on the same trip such as a residency in Salvador (Goethe<\/a>), Boi\u00e7ucanga (Kaays\u00e1<\/a>) or rural Rio State (Resid\u00eancia S\u00e3o Jo\u00e3o<\/a>).<\/p>\n

Conjunto Santos Dumont, completed in 1956, first became a Northeastern regional enclave. A majority of inhabitants are from the state of Piau\u00ed. Sometime in the 1990s with general divestment in \u201814 Bis \/ 9 de Julho\u2019 basin, the dead-end internal roadway of Conjunto Santos Dumont became a \u2018drug den\u2019 and the broader area was referred to as \u2018little cracol\u00e2ndia\u2019. One could walk to the end of the internal roadway between 14 Bis and Demoiselle, at the entrance of Caravelle to purchase marijuana, cocaine, etc., a market that exists until today. A gate separates the cul-de-sac from a courtyard within the official property of Caravelle building, a place where kids play and mothers meet to chat. Due to its sheer size\u2014499 apartments, 4000+ inhabitants\u2014it is arguable that Conjunto Santos Dumont is second only to Niemeyer\u2019s Edif\u00edcio Copan in relevance from S\u00e3o Paulo\u2019s modernist period. And yet until only recently\u2014and for some, still\u2014going into Conjunto Santos Dumont is \u2018dangerous.\u2019 Over the past few decades a strong preconception \/\u2019dark cloud\u2019 developed over the buildings of Conjunto Santos Dumont at once condemning its drug trade, and conflating its origin. As the neighborhood gentrifies and drug traffic lessens, the preconception is lifting. Lanchonete.org uses its conceptual and built-environment interventions as \u2018soft wedges\u2019 that help keep the public spaces of the compound opening at a pace that makes sense (or feels right) to its cautious residents, folks who once stayed mostly indoors to prevent encounters with the drug dealers and\/or having their sons conscripted into the gang.\u00a0<\/span><\/p>\n

As these public spaces and practices now flourish, so does a pride of place and expressions of Northeastern culture.\u00a0<\/span>Just before COVID-19 struck and closed down the city, we began a mural project with visiting Guatemalteca artist, Edgar Calel<\/a> in the Caravelle courtyard. This is a collaborative project that also includes Abdoulaye Guibila<\/a>, Fernando Pereira dos Santos<\/a>, and an architecture\/urban planning collective called Margem<\/a>. The original architect, Aron Kogan named the compound after Alberto Santos-Dumont and the buildings after airplanes he invented. Lanchonete.org’s ‘final touch’ will be a large-scale LED installation depicting Santos-Dumont’s airplanes on\u00a0the 14 Bis building’s lateral fac\u0327ade, a work conceived by artist Thiago Gonc\u0327alves<\/a>. Some common design motifs will be recognizable in the final section of the Caravelle courtyard mural and the eventual LED installation. We anticipate an announcement of this work during the 2022 Centennial of the \u2018Modern Art Week\u2019.<\/span><\/p>\n

 <\/p>\n

\u00a0\u00a0\"\"<\/a><\/span><\/span><\/p>\n

A formal drawing of Conjunto Santos Dumont, completed in 1956 by modernist architect Aron Kogan.<\/p>\n

\u00a0<\/span><\/span><\/p>\n

\u00a0\u00a0 \u00a0 \u00a0 \u00a0\"\"<\/a><\/span><\/span><\/p>\n

A rendering of Lanchonete.org\u2019s original five-year project timeline overlaid on Conjunto Santos Dumont by artist Thiago Gonc\u0327alves.<\/p>\n

 <\/p>\n

\u00a0 \u00a0\"\"<\/a>\u00a0 \u00a0<\/span><\/span><\/p>\n

View of Demoiselle and 14 Bis.<\/p>\n

 <\/p>\n

\u00a0\u00a0\"\"<\/a>\u00a0<\/span><\/span><\/p>\n

View into Tarcisio\u2019s bar (Loja 3, 14 Bis Building), a traditional lunch counter open for four decades.<\/p>\n

 <\/p>\n

\u00a0\"\"<\/a>\u00a0<\/span><\/p>\n

Guatemalteca artist, Edgar Calel\u2019s proposal for a courtyard mural at Caravelle Building.<\/p>\n

 <\/p>\n

\u00a0 \u00a0\u00a0\"\"<\/a>\u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span><\/span><\/p>\n

The first section of the wall was painted by Edgar and local youth, an interactive way to start the four- weekend process.<\/p>\n

 <\/p>\n

\u00a0\"\"<\/a><\/span>\u00a0<\/span><\/span><\/p>\n

The following week Lanchonete.org and Edgar Calel engaged the \u2018courtyard users\u2019 to hone in on a desired aesthetic for the wall.<\/p>\n

 <\/p>\n

\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \"\"<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span><\/span><\/p>\n

Caravelle building manager, Paulo was on our side, taking part in the entire process. While he had the whole back wall painted white, we were asked to do a \u2018half mural\u2019 at first to make sure everyone liked its look.<\/p>\n

 <\/p>\n

\u00a0<\/span>\u00a0\"\"<\/a>\u00a0<\/span><\/p>\n

Based on universal acclaim, we were allowed to continue the following week, when a second scene (volcanic lake in Guatemala) was added to the first (Brazilian beach scene).<\/p>\n

 <\/p>\n

\u00a0\u00a0\"\"<\/a>\u00a0\u00a0<\/span><\/span><\/p>\n

We finished it just before a heavy rainstorm.<\/p>\n

 <\/p>\n

\u00a0\"\"<\/a>\u00a0\u00a0<\/span><\/p>\n

The adjacent wall was clearly off limits to us at first; it was not painted white for the project despite our offer to include it.<\/p>\n

 <\/p>\n

\u00a0\u00a0 \u00a0 \"\"<\/a>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span><\/span><\/p>\n

Shortly after Edgar Calel\u2019s mural was complete, Paulo had the maintenance team paint the adjacent wall white. We were officially invited to finish the outstanding wall (measuring 25 meters long and 3.5 meters tall) right as COVID-19 struck.<\/p>\n

\u00a0 \u00a0 \u00a0 <\/span><\/span><\/p>\n

\u00a0\"\"<\/a>\u00a0\u00a0<\/span><\/p>\n

This wall connects to a painting, caricatures of the locally-favored football team.<\/p>\n

 <\/p>\n

\u00a0 \u00a0 \u00a0\"\"<\/a>\u00a0\u00a0<\/span><\/span><\/p>\n

View at entrance of internal road; tiled building on left is Demoiselle and Tarcisio\u2019s bar (lanchonete) is on the right side at bottom of 14 Bis. *<\/p>\n

 <\/p>\n

\u00a0\"\"<\/a>\u00a0\u00a0<\/span><\/p>\n

A triumphant mural team.<\/p>\n

 <\/p>\n

\u00a0 \u00a0<\/span><\/span><\/p>\n

 <\/p>\n

<\/div>\n
\n

*[Image credit:\u00a0https:\/\/vejasp.abril.com.br\/cidades\/rua-paim- centro-revitalizado\/<\/a>]<\/p>\n<\/div>\n

\n

<\/p>","protected":false},"excerpt":{"rendered":"

\n*Watercolor by Thiago Gonc\u0327alves depicting side views of Demoiselle and 14 Bis as well as \u2018imagined\u2019 airplanes on the 14…\n<\/div>\n
Continue reading “Paim, final touch (pt. 1)”<\/span>…<\/a><\/div>\n","protected":false},"author":1,"featured_media":1247,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/posts\/1190"}],"collection":[{"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/comments?post=1190"}],"version-history":[{"count":31,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/posts\/1190\/revisions"}],"predecessor-version":[{"id":1376,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/posts\/1190\/revisions\/1376"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/media\/1247"}],"wp:attachment":[{"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/media?parent=1190"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/categories?post=1190"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/lanchonete.org\/en\/wp-json\/wp\/v2\/tags?post=1190"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}