Manifesto Coletivo
Mirror and metal
620 x 900 x 200 cm
244 x 355 x 79 in
Rock The Mountain Festival
Itaipava, Rio de Janeiro, 2022
From curator Carollina Lauriano:
“The last years in Brasil have been more than challenging, but it did not take away from us the wish to dream of a future that is more open to embracing the multiple ways in which we can be and exist in this world.
We see and support the communities that position themselves daily as active critical agents in the fight for social transformation and, to foster a continuous dialogue that can bring about this future into the present, Carollina Laureano, Gustavo Prado, and João Doria de Souza have collaborated in the creation of this installation-manifesto, centering plurality and renovating our hopes of building the future together.
The project participates in the coming edition of Rock the Mountain Festival, from the 5-6 and 12-13th of November in Itaipava, Rio de Janeiro, Brasil.”
Mirror and metal
620 x 900 x 200 cm
244 x 355 x 79 in
Rock The Mountain Festival
Itaipava, Rio de Janeiro, 2022
From curator Carollina Lauriano:
“The last years in Brasil have been more than challenging, but it did not take away from us the wish to dream of a future that is more open to embracing the multiple ways in which we can be and exist in this world.
We see and support the communities that position themselves daily as active critical agents in the fight for social transformation and, to foster a continuous dialogue that can bring about this future into the present, Carollina Laureano, Gustavo Prado, and João Doria de Souza have collaborated in the creation of this installation-manifesto, centering plurality and renovating our hopes of building the future together.
The project participates in the coming edition of Rock the Mountain Festival, from the 5-6 and 12-13th of November in Itaipava, Rio de Janeiro, Brasil.”
Measure of Dispersion (2014-ongoing) is a series of sculptural installations that aim to amplify and manipulate the spectator’s field of vision. Made from concave and convex mirrors of many sizes that Prado attaches to industrial metal structures, the sculptures create something akin to an anti-camera that reconfigures the viewer’s vantage point and amplifies notions of (dis)location.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
Rather than capturing a specific moment like a camera, the mirrors reflect a fragmented body seen from uncontrollable angles and different points in space simultaneously. The resulting viewer experience is a challenge to the impulse to project preconceived assumptions onto what we see: we are made to test our sense of familiarity with our surroundings and, more importantly, with ourselves.
