Rio Connection Magazine

nº 12 | jun | 2016

RIO connection

YOU CAN also FIND... history • nightlife •

...to live real experiences.

secret gems • tipical recipes • and more!

Street Art The graffitters Os Gêmeos (The Twins) came to Rio for a new project.

Get to know their fantastic and memorable work.

together by one passion R$12,00

behind the genius mind

2

nº 12 | jun | 2016

RIO connection

YOU CAN also FIND... history • nightlife •

...to live real experiences.

secret gems • tipical recipes • and more!

BEHIND THE GeNIUS MIND 2

street art | together by one passion R$12,00

nº 12 | jun | 2016

RIO connection ...to live real experiences.

YOU CAN also FIND... history • nightlife • secret gems • tipical recipes • and more!

Street 2 Art The graffitters Os Gêmeos (The Twins) came to Rio for a new project. Get to know their fantastic and memorable work

together by one passion behind the genius mind

R$12,00

departments

22

letter from the editor

10

letters to the mag

12

our connectors

14

being Carioca 22 feeding the soul 24 less is more

26 secret gems 26 refreshing mind 28 secret beach

30

38

42

46

mealtime 30 space food 32 royal`s meal

back in time 38 old but gold 40 from the twenties

54

what`s on 42 street, art and culture 44 art 24/7

munchables 54 gourmet dog 56 bohemian times

58

drink

the taste 46 sweet teaspoon 48 flavored flour

62

58 streets taken 60 fresh time party rock 62 under the ground 64 music`s cave

FEATURES

Street Art

2

The graffitters Os GĂŞmeos (The Twins) came to Rio for a new project. Get to know their fantastic and memorable work.

By Fernando Bilder

together by one passion

behind the genius mind

Soccer is the most famous sport in Rio and in Brazil. But what would be of it, without their fans? Let`s see closer, get to know them and understand their passion for this sport and clubs.

Rio Connection found an underground archive of Pablo Picasso`s work.

By Roberto SarĂŁ

By Lisa Marins

LETTERS FROM THE EDITOR

from the editor One morning, when Gregor Samsa woke from troubled dreams, he found himself transformed in his bed into a horrible vermin. He lay on his armour-like back, and if he lifted his head a little he could see his brown belly, slightly domed and divided by arches into stiff sections.

The bedding was hardly able to cover it and seemed ready to slide off any moment.His many legs, pitifully thin compared with the size of the rest of him, waved about helplessly as he looked. “What’s happened to me?” he thought. It wasn’t a dream. His room, a proper human room although a little too small, lay peacefully between its four familiar walls.

A collection of textile samples lay spread out on the table - Samsa was a travelling salesman - and above it there hung a picture that he had recently cut out of an illustrated magazine and housed in a nice, gilded frame. It showed a lady fitted out with a fur hat and fur boa who sat upright, raising a heavy fur muff that covered the whole of her lower arm towards the viewer. Gregor then turned to look out the window at the dull weather. Drops of rain could be heard hitting the pane, which made him feel quite sad.

“How about if I sleep a little bit longer and forget all this nonsense”, he thought, but that was something he was unable to do because he was used to sleeping on his right, and in his present state couldn’t get into that position. However hard he threw himself onto his right, he always rolled back to where he was. He must have tried it a hundred times, shut his eyes so that he wouldn’t have to look at the floundering legs, and only stopped when he began to feel a mild, dull pain there that he had never felt before.

PEDRO AURORA editor @peaurora

10

Rio connection | jun-2016

LETTERS TO THE MAG

reader`s mail tell us what`s on your mind at www.rioconnection.com.br/readersmail

No Pain No Gain Dear RC, I was reading your article about body art and I have to say I completely agree! Sure, an entire memorium to your dead aunt on your back is pushing it, but if the tattoo means something symbolic to you then I certainly agree that there is no gain without a little bit of pain.

Allen Tyme Falter, NY

November’s Cover Dear RC, November’s cover was insanely inpiring to me. I loved that you featured a very dark, African American model amongst a black background. She looked absolutely gorgeous and poetic. I appreciate your welcoming of artistic beauty in every form, shape, and color. Please can we see more of these diverse models in the future, I really think it gives you an edge over.

Denise Vanna Lymel, Conn

Fashion Flesh Dear RC, I needed to contact you about your Artist on File article. I loved that you chose Fantasia Berillo as your artist of the month, she is quite unheard of, but now has gained a lot of publicity following your magazine. Her artwork really inspires me as an artist to break out of my regualar mediums and try some crazy stuff like using Fashion!

Who knew! Learning about her photography of the models and the fashion pieces really interested me. I’m glad to say that after reading your article I feel completley inspired to be an artist. Hey, maybe I’ll be your next artist on file!

Anna Fiera Shanton, NJ

12

Rio connection | jun-2016

contributors 14

PEDRO AURORA online

BIA LAMARCA writer

@martinsli

@peaurora

@peaurora

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Polis Sucos

Boomerang Mix

Baladas

JOÃO SARÃ director/editor

VINÍCIUS BOTIM writer

ISABEL MARIA editor/writer

@saranana

@vinicicimus

@belmaria

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Oliveira`s Truck

Bibi Sucos

Bibi Sucos

Rio connection | jun-2016

our connectors

Elisa Martins director/ writer

The ones who stay plugged to provide always the best contents

what`s your favorite snack bar?

@martinsli

@peaurora

@peaurora

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

...party rock!

...have dinner out

...hang out with friends

JOÃO SARÃ director/editor

VINÍCIUS BOTIM writer

ISABEL MARIA editor/writer

@saranana

@vinicicimus

@belmaria

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

...go for a beer

...go for a beer

...drink some wine with friends

Rio connection | jun-2016

The ones who stay plugged to provide always the best contents

BIA LAMARCA writer

on a saturday night I...

PEDRO AURORA online

our connectors

contributors 14

Elisa Martins director/ writer

BIA LAMARCA writer

@martinsli

@peaurora

@peaurora

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Ipanema

Prainha

Ipanema

which is the best beach in Rio?

14

JOÃO SARÃ director/editor

VINÍCIUS BOTIM writer

ISABEL MARIA editor/writer

@saranana

@vinicicimus

@belmaria

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

Itaqui od mos renditatur iiosn Ihillectem que nos perupta tquistrum repelectur aria nonsentiunt. Iberferchita nulliqu idipis dolInverum fugitatia necti re volore erchit aut aute nobis maximin cimagnam aperibus eruptatur

My bathtub

Leblon

Copacabana

Rio connection | jun-2016

our connectors

PEDRO AURORA online

The ones who stay plugged to provide always the best contents

contributors

Elisa Martins director/ writer

CREDITS

RIO connection EDITOR IN CHIEF DESIGN DIRECTOR CREATIVE DIRECTOR

Willow Edmund Ana Yin LanJ ustin Hernandez

MANAGING EDITOR

Michaela May Rotini

EXECUTIVE EDITOR

John Lee

SPECIAL PROJECTS EDITOR

Alexandra Pernoski

DEPUDY EDITOR

Ernesto Rodriguez

ARTICLES EDITOR

Kari Anne Johnson

FASHION EDITOR

Michael Bailey

EDITOR AT LARGE

Tracy Ulman

ENTERTAINMENT DIRECTOR COPY CHIE FFEATURES EDITOR

Peter Bradshaw Linda Cavanaugh Bradley Falter

ART DIRECTOR

Jane Cornell

PHOTO EDITOR

Jacob Washington

ASOCIATE PHOTO EDITOR PHOTO ASSISTANT CONTRIBUTING EDITORS

Hanna Veranoski Mia Tellanova Olivia Marie Renaldo

CONTRIBUTING WRITERS Reina Capelana Lana Clifford Talia Jane Murando Elliot Verdana Rebecca Tremundo Samantha Tribeca Tamara Tunie August Walter CONTRIBUTING PHOTOGRAPHERS Illan Ruben Recardo Nupal Michele Turner Opalo Shaw Talan O’Hallow Jake Shwartz Lila Portney Peter Leon Amanda Green Randy Roberts www.rioconnection.com.br 16

Rio connection | jun-2016

22 being Carioca 22 feeding the soul 24 less is more

26 secret gems

outside activities that will make you feel the real carioca spirit

26 refreshing mind 28 secret beach

30 mealtime 30 space food 32 royal`s meal

Rio connection | jun-2016

21

outside // Being Carioca

photography: Dani Balero

less is more At SAARA you can find and buy the most different things at bargain price

By Elisa Martins

ocated within the Copacabana Fort , the Fort Cafe has a superb view of Copacabana Beach. The public can enjoy the menu of Confeitaria Colombo as traditional pastries, snacks, waffles, as well as salads, sandwiches and pasta.

Interestingly, the site also serves breakfast and afternoon tea. It also has a lounge where you can choose a la carte meals.

In his grandiose spaces shine Belgian mirrors and reign the beautiful rosewood furniture and Italian marble countertops .

More than hundred years of history. Since 1893 the Columbus, ultimate symbol of the belle ĂŠpoque of the city, is part of the Historical and Artistic Heritage of Rio de Janeiro.

But not only the large halls, reception stage the distinguished visitors such as King Albert of Belgium, in 1920, Queen Elizabeth of England in 1968, or even politicians, writers and artists who have marked the history. Portuguese silverware, crockery Cia Vista Alegre, more than 500 old menus, photos and product packaging sold by the confectionery in the last century are part of the beautiful collection, exhibited at the memory space.

Rua da Alfândega, 101 | Get off on Uruguaiana`s Station

22

Rio connection | jun-2016

outside // Being Carioca

feeding the soul

Lage Park is a place that mixes nature, recreation and education for all ages

By Elisa Martins

’ve never been very “nature”

rocks and a wonderful view! I was de-

when he came waterfalls for ex-

lighted with this place and can not wait

ample was bothered by insects,

to enjoy another Sunday there. The Rio

never dipped in ice water and contented

de Janeiro is really amazing! The Secret

me to go in the “ordinary” beaches. Lately,

lies between the beaches of Macumba

perhaps blog encouraging, let the com-

and Prainha, on the playground.

mon beaches as a last option and I am al-

Both are well known in the area, to

ways looking for new adventures. I found

get there you just go following the sea-

that this contact with nature provides a

front from the bar, super quiet and with-

lightness in the soul, turning all the stress

out error. It took us a while to find the

of everyday life in pure peace! It’s too get a

trail of the secret, but ask and told us

totally natural place (hidden preference!)

that is close to a gazebo.

And be able to enjoy every moment.

In the last weekend in just one Sunday, I met Horto waterfall and an amazing little place called Secret. It is a natu-

Parque Lage Rua Jardim Botânico, 66

ral pool with clear water, surrounded by illustration: Ricardo Balaneiro | photos: Maria José

24

Rio connection | jun-2016

outside // Secret Gems

Mind refreshing A few minutes away from buildings, a trail located in Tijuca`s National Park, leads to beautiful waterfalls

photography: Dani Balero

By Pedro Aurora

r t i p ses and bring wl atotelie down

e sho a tow • Use ups rget o f t n gro no bly i gs a r • Do rocks e f in pre e long one, on th our ur be ome o s y h n eck y t i o h c w e s y o •G an e lway ds ks! A keep r roc orts han and o f t u p o p tch re su • Wa whe and p e t s

If you are going... by car Just follow the street Pacheco Leão (Jardim Botânico neighbohood) to the Horto board, turn right and follow up in parallel to the Botanical Gardens Park. The beginning of the trail is about 500m from the gatehouse of the Tijuca National Park.

ound that such Waterfall Garden is located in the Tijuca National Park and off we went behind another adventure by Janeiro. We try to go as soon as possible and we arrived at the park around 10am. It was super quiet, still had place to park right near the entrance and did not have a lot of car movement, just muuuuitos cyclists who make the journey to the Chinese Pavilion.

on foot In this case, the best option is to jump on the end point of the bus 409 and then walking by road to the trail entrance. But relax, the walk is quiet and takes about 20 min. Chatting with friends, you do not feel the route.

Arriving at the track entrance (going to the park entrance, is located at the fifth right turn) we saw that they were only 150 meters uphill.

What I did not realize was that it was a very steep climb and a bit difficult due to the slippery rocks and a very tense part that we have to use your hands inclusive. I was not ready and went with a bad sandal, which slipped a

by bike No exclusive bike path, the climb can be a little heavy, but the descent is guaranteed fun.

The trailhead is a bike rack for those who choose this option.

26

Rio connection | jun-2016

lot. Finally we arrived at Cachu, a beautiful fall, which lies between two stones.

check it out our gems collection at www.rioconnection.com.br/secretgems

outside // Secret Gems

Secret BEACH finding a treasure

Praia do Secreto (Secret Beach) it`s hidden between two popular beaches on the west side of the city. It worth search for this treasure.

’ve never been very “nature” when he came waterfalls for example was bothered by insects, never dipped in ice water and contented me to go in the “ordinary” beaches. Lately, perhaps blog encouraging, let the common beaches as a last option and I am always looking for new adventures. I found that this contact with nature provides a lightness in the soul, turning all the stress of everyday life in pure peace!

It’s too get a totally natural place (hidden preference!)

By Pedro Aurora

And be able to enjoy every moment.

In the last weekend in just one Sunday, I met Horto waterfall and an amazing little place called Secret. It is a natural pool with clear water, surrounded by rocks and a wonderful view! I was delighted with this place and can not wait to enjoy another Sunday there. The Rio de Janeiro is really amazing! The Secret lies between the beaches of Macumba and Prainha, on the playground.

Both are well known in the area, to get there you just go following the seafront from the bar, super quiet and without error. It took us a while to find the trail of the secret, but ask and told us that is close to a gazebo.

On the map it is easier to view, and the trick is to park at the gazebo which has this road between the beaches. Then you can just make a quick track 5 minutinhos in the woods and down the pedra.secretoA tip is to go to tennis, because we have to go down a very steep and slippery rock! It is super quiet and quickly, worth any effort! If it is difficult to find the trail, I suggest asking for a location. I realized that there they call the Secret “Piscininha”.

check it out our gems collection at www.rioconnection.com.br/secretgems

28

Rio connection | jun-2016 photography: Dani Balero

outside // Meal Time

Space food

The event, with 28 trucks, offers varied menus.

And the public has free entry to the Museum of

The food trucks are parking at the Planetarium to celebrate a year of gastronomic fair

the Universe, with participation in the experiments. Check it out some of the participants.

You can check all the participants online, on the

By Bia Lamarca

event website.

The Pub Truck

Nhac

Che Boludo

It offers an exclusive service , with finely cooked British food.

British music and service with accents round out the menu.

It offers an exclusive service , with finely cooked British food.

British music and service with accents round out the menu.

It offers an exclusive service , with finely cooked British food.

British music and service with accents round out the menu.

More info: www.thepubtruck.com @thepubtruck

More info: www.nhac.com @nhactruck

More info: www.cheboludo.com @cheboludo

s mis

!

n o t a.m. to 22pp.m. o d 11 22 . . to th .m.

a.m e 18 0p.m - 11 Jun to 2 h . t 9 m a. e1 - 12 Jun rdo, 0th 2 ea ns Bera e v n a u e G Rub J r o da tรกri vernado e n Pla Vice Go br Rua Gรกvea om. ria.c รก 100 t e lan irap w.fe netรกria w w la irap @fe

@

30

Rio connection | jun-2016

Dona Mena

Carolina`s

It offers an exclusive service , with finely cooked British food.

British music and service with accents round out the menu.

It offers an exclusive service , with finely cooked British food.

British music and service with accents round out the menu.

More info: www.donamena.com @donamena

More info: www.carolinas.com @carolinastruck

photography: Dani Balero

outside // Meal Time

royal`s meal The place, the food, the atmosphere.

A visit at Confeitaria Colombo will make you feel back to royal times.

By Bia Lamarca

ocated within the Copacabana Fort, the Fort Cafe has a superb view of Copacabana Beach. The public can enjoy the menu of Confeitaria Colombo as traditional pastries, snacks, waffles, as well as salads, sandwiches and pasta. Interestingly, the site also serves breakfast and after-

check it out the homemade classic sweets

noon tea. It also has a lounge where you can choose a la carte meals.

In his grandiose spaces shine Belgian mirrors and reign the beautiful rosewood furniture and Italian marble countertops .

More than hundred years of history. Since 1893 the Columbus, ultimate symbol of the belle époque of the city, is part of the Historical and Artistic Heritage of Rio de Janeiro.

But not only the large halls, reception stage the distinguished visitors such as King Albert of Belgium, in 1920, Queen Elizabeth of England in 1968, or even politicians, writers and artists who have marked the history. Portuguese silverware, crockery Cia Vista Alegre, more than 500 old menus, photos

enjoy

the m ornin sun w g awes ith an ome view

and product packaging sold by the confectionery in the last century are part of the beautiful collection, exhibited at the memory space.

Forte Copacabana - Praça Coronel Eugênio Franco, 01 | 21 2201 4049 | 8566 1594 From Tuesdays to Sundays - 10am to 8pm Access to the Forte: R$6 or R$3 www.confeitariacolombo.com.br

32

Rio connection | jun-2016

r rde an o kfasts c u ea yo le e br plet 3 peop m o il c t n u for

back in time 38 old but gold 38 from the twenties 40

what`s on 42 street, art and culture 42 art 24/7 44

the taste 46 sweet teaspoon 46 flavored flour 48

absorbs the Rio`s unique culture

Rio connection | jun-2016

37

RICH HISTORY // back on time

old, but gold Santa Tereza is one of the oldest neighbourhoods in the city and reveals a lot of rich history

By Vinícius Botim

here is indeed much more Rio than Cristo, car-

hosa, the marvellous city’ stretches between rain-forest

nival and caipirinhas - it’s a dazzling flux of color

covered peaks and white-sand beaches, with a wild mix of

and movement, reserved for the most adventur-

architecture – from beaux-arts theatres to art-deco apart-

ous of travelers. Keep in this intrepid spirit as you explore

ment buildings – scattered along its buzzing tree-lined

the secret side of the Marvelous City. Though the areas

streets. Here are our top 10 places not to be missed while

mentioned below are safe to visit, it’s wise to exercise cau-

visiting the city.

tion while exploring Rio.

It’s a rare visitor who doesn’t fall hard for the alluring

It’s a rare visitor who doesn’t fall hard for the alluring

beauty of Rio de Janeiro. Known as the cidade maravil-

beauty of Rio de Janeiro. Known as the cidade maravil-

hosa, the ‘marvellous city’ stretches between rain-forest

hosa, the ‘marvellous city’ stretches between rain-forest

covered peaks and white-sand beaches, with a wild mix

covered peaks and white-sand beaches, with a wild mix of

of architecture.

architecture – from beaux-arts theatres to art-deco apartment buildings – scattered along its buzzing tree-lined streets. Here are our top 10 places not to be missed while visiting the city.

It’s a rare visitor who doesn’t fall hard for the alluring beauty of Rio de Janeiro. Known as the cidade maravil-

38

Rio connection | jun-2016

“ Santa Teresa, with 19th-centu ry mansions and a bohemian spirit , offer a very diffe rent take on the Marvelous City ”

RICH HISTORY // back on time

from the twenties Bar Luiz is the most classical bar/restaurants which preserves their menu for 90 years

By Vinícius Botim

ith an art deco environment remains virtually the same as 1927, when the house was installed in the Carioca Street - the foundation was at another address and date of 1887. With a kitchen with a German accent, the traditional Bar Luiz offers dishes like sausage with potato salad; the Kassler (smoked rib) and Eisbein (pork knuckle), both with potato salad or sauerkraut. But the menu also makes room for new developments such as whiting Gurjão with tartar sauce, which goes down well with caipirinhas or caipivodcas. Among the desserts, apple strudel with cream, German pie and milk pudding.

The house, founded 120 years ago, will soon receive the tipping your brand through process with the House of Councillors city, immortalizing definitely the name of the Bar Luiz in Rio de Janeiro culture.

Inserted in this mosaic of experiences and stories, we find some of the oldest houses of Rio’s trade, among which the Bar Luiz, an institution that has completed 120 years of existence in 2007. Known for the quality of its beer - one of the best in town - and its typical German cuisine, the Bar Luiz has been an eyewitness to the events in recent centuries in Rio de Janeiro. Historical and cultural heritage of the city, as well as unifying characters from different social conditions by own profile location, this bar reflects some of the peculiar culture of the mall and the city of Rio de Janeiro.

Bar Luiz - Rua da Carioca, 59 - Centro 21 2201 4049 | 8566 1594 Open daily - from 11am to 10pm www.barluiz.com.br

our s ugges tion t sausa o ord ges o er: r esca lope w potat ith o sala d 40

Rio connection | jun-2016

RICH HISTORY // what`s on

STREET, ART AND culture Arte Core happens on the first weekend of the month, exibiting the street culture in different areas By João Sarã

treet art was legalized in Rio de Janeiro in 2014 when the city’s public spaces were officially opened up to Carioca creative types and professional street artists. Whether it is stencils on stairways or adventurous tags on towering buildings, Rio has become one of the most dynamic urban art galleries in the world.

In the alternative culture hub of Lapa, there is a generous spread of gritty graffiti art as well as elegantly composed pieces. Adjacent to the grand Arcos da Lapa is a vibrant wall featuring art by Marcelo Eco, whose characters - always discernible from their trademark triangular chins - can be spotted all over the city.

On the very edge of Lapa, at the corner of Rua do Lavradio and Avenue República do Chile, stands one of the most phenomenal pieces in the neighborhood: a gargantuan painting of a woman is wounded by a heart-tipped arrow by artist Pamela Castro, who highlights social issues such as domestic violence in her alluring art.

MAM - Museu de Arte Moderna - Praça Coronel Eugênio Franco, 01 | 21 2201 4049 | 8566 1594 25/06 (fri) to 27/06 (sun) - 15am to 4am Free | Tickets for the parties: R$60 or R$80 www.artecore.com.br

42

Rio connection | jun-2016

... ance sic, d u m , one skate every d r o f is oo pace nge g the s xcha e d an ents play mom

live art! mous check out fa ainting grafitters p event e during th

RICH HISTORY // what`s on

Art 24/7

By João Sarã

One of the most important museums of the city keeps the doors open during the late night

he Bank of Brazil Cultural Center

Marcelinho da Lua, plus a special live with mu-

(CCBB) promotes "Viradão" on

sicians Fred Ferreira Lopes and Lancaster.

the last weekend of the exhibition

The show features 90 works coming from

season Picasso and the Spanish

the Reina Sofía acquis, based in Madrid, brings

modernity. The show runs until Monday, Sep-

together an impressive collection of art of the

tember 7th, holiday independence, but on the

twentieth century. Curated by Eugenio Car-

Saturday, the 5th, opens the door at 9am and

mona, art history professor at the University

welcomes visitors for 36 consecutive hours,

of Malaga and renowned expert in the field

until the 21h of the day 7. The special visitation

in exposiçãooferece the different approaches

has Ratchet Free entry.

Brazilian public about the contributions of the

Who want to spend the night at the lo-

do

n

ot

s mis

7 06/0

!

cation, you can enjoy the return of the Dawn

n)

(Mo

at) a 5 (S 0 / 7 0 .m. sil Bra From . to 12p o do c m n 049 .

Ba 01 4 09 a ural 1 22 t l 2 u | C 1 ntro ço, 0 - Ce Mar B e d B CC eiro r Prim m.b Rua b.co b c aoc rad w.vi w w

44

Rio connection | jun-2016

founder of Cubism and his contemporaries to the international art scene.

Project at the Center, with Dysrhythmia Party,

The exhibition highlights how Picasso

with set full of Brazilian music, tacky to the cult,

conceived modernity and how influenced or

presentations of singer Rita Benneditto and DJ

was related to the main creators of the time, also presenting the dialogue, interrelationships and challenges established between

you can arrive early to enj oy the party later or visit the exib ition during the night

himself Picasso and Juan Gris, Miró, Dalí, Julio González, Óscar Domínguez and the set of Spanish masters of modern art.

RICH HISTORY // the taste

SWEET TEASPOON Learn to cook Brigadeiro, one of the most famous brazilian sweets

By Izabel Maria

ingredients

1 can of condensed milk

dy

o! g ?

a re

1 tsp of butter

3 tbs of chocolate powder

In a pan, mix the ingredients.

On medium heat, dont stop stirring until become thick and starts to bubble.

Let it cool. You can eat with a spoon or roll them up in mini balls and pastry with sprinkles of your choice.

check it out our menu with other recipes at www.rioconnection.com.br/thetaste

46

Rio connection | jun-2016

RICH HISTORY // the taste

flavored FLOUR Learn to cook Farofa. One ingredient, multiple possibilities.

check it out our menu with other recipes at www.rioconnection.com.br/thetaste

By Izabel Maria

prepare the PLAIN FAROFA

1 2 3

In a medium fry pan, melt 100g of salty butter

Add 2 cups of toasted flour and mix

Add salt and stir until get golg

our suggestions for flavors

garlic cut the garlic in slices and fry them until get gold. Mix in the farofa.

48

SCRAMBLED EGGS

BACON

BANANA

cook the scrambled eggs and mix in the farofa

chop the bacon and fry them until get crunchy. Mix in the farofa.

chop the banana and fry them with a little of sugar salt.

Mix in the farofa.

Rio connection | jun-2016

the night is young

munchables 54 gourmet dog 54 bohemian times 56

drink 58

streets taken 58 fresh time 60

party rock 62 under the ground 62 music`s cave 64

Rio connection | jun-2016

53

LATE NIGHT // munchables

gourmet dog

The most famous hot dog in the city waits for you at late night

By Elisa Martins

tronghold in the crowded night purposes is a successful idea kept for more than two decades by Oliveira Ferreira da Silva. He began to prepare their hot dogs in wagon on the sidewalk in Humaita, which now has fixed structure, and opened a branch on wheels in front of the South America Convention Center, New City - the tent corner of the streets of Orange and General Glicério he went to his ex-wife. The traditional application in the soft bread that passes through the plate is served by R $ 8.00 with sauces to choose from.

Two German sausages, white lamb veal and other beef are alternatives, but the price goes up to R $ 14.00. Considered outmoded, corn and peas were removed from the list, but here are among the possible additions Parmesan cheese and green and black olives, and raisins and quail egg.

In finalizing come with apricot mustard yellow, black olive sauce with black mustard, mayonnaise with garlic and the newcomer gorgonzola, and more. Oliveira also fulfills orders for private events.

54

Rio connection | jun-2016

Oliv eir Rua a Hot D o Hum aitá, g Truck in fro nt of Zon

a Su

l Ma

rket

- Hu

mait á

LATE NIGHT // munchables

Bohemian TIMES Through years, Cervantes attends 24/7 the most varied public of the city

By Elisa Martins

ervantes was founded on July 30, 1955, by Hamuss Zalman. At first it was a simple grocery store that also provided sandwiches at whim. In 1965, Cervantes was acquired by the current partners, both Spaniards, who turned into restaurant and kept the sandwiches that have become famous for the quality and abundance.

Another distinguishing feature of the company is that restaurants are now open at noon and close late, expanding its service into the night. Opened on 07.30.1965 was the group’s first restaurant. The location in the Junior Prado street in Copacabana, near the bustling commerce of the region, and at the time, near the ancient “Teatro Villa Lobos” and “Canecão”.

Cervantes turned in a reference place for the bohemian. “Safe Harbor at dawn”, where “Mata to hunger with a great sandwich, then just go home and sleep,” - as commented goers. It has an integrated bar with an entrance on the street Barata Ribeiro, where, in a relaxed way can take a beer and talk.

Cervantes R Barata Ribeiro, 38 - Copacabana

the

56

Rio connection | jun-2016

bes

t ch

oice

!

a classic restaurant with a lot of history and awards!

LATE NIGHT // drink

photography: Dani Balero

streets taken Baixo Botafogo brings together dozens of bars that takes over the sidewalks

By João Sarã

ow Botafogo is already a gastronomic and cultural

are concentrated in the Baixo Botafogo area near the beach. You

tradition in the Botafogo neighborhood. It is quad

can have loads of fun by the beach then head on over to the bar

formed by Streets Nelson Mandela (the number of

for a cold beer and delicious appetizers.

section 100), San Clemente (between Botafogo Beach and Nel-

Right destination for those looking for a cold beer to drink at side-

son Mandela) and Homeland Volunteers (the stretch from # 88 to

walk tables, the Low Volunteers region at the end of the street

the beach), and the passage formed by Botafogo beach, between

Volunteers of the Homeland, in Botafogo, a strengthening won

the Streets Volunteer of the country and St. Clement, which has

last month. It is the Office bar, which differs from many feet-dirty

several restaurants and bars.

surrounding the sprawled environment.

The region of Botafogo is well known for its bars and nightlife.

The neighborhood holds great appeal for the alternative public.

Voluntários da Pátria Street has several bars, but most of them

58

Rio connection | jun-2016

Rua Voluntários da Patria | From the subway station until Botafogo`s Beach

LATE NIGHT // drink

FRESH TIME

Learn how to prepare the most ordered Carioca drinks

By Elisa Martins

Red Sangria Ingredients

1/4 cup sugar 1/4 cup warm water 2 cups of prosecco 3 cups sparkling citrus 1 cup aperol

Lemon Caipirinha ingredients

1/2 lemon cored sliced 2 tablespoons (dessert) sugar 3 pieces of grated ginger 50 ml of rum Ice

2-3 cinnamon sticks 1-2 whole anise

preparation

3 cups assorted fruit pitted

A glass old fashioner, mix the 3 first ingredientes and mash.

preparation

Add the rum and ice.

Stir the sugar in hot water to dissolve, let cool. go cutting the fruit - the revenues were used cherries, oranges, peaches and plums.

Stir and serve.

When all fruits are cut, combine all ingredients in a jar.

Put in the fridge and drink cold. check it out our menu with other recipes at www.rioconnection.com.br/drinks

60

Rio connection | jun-2016

LATE NIGHT // party rock

undertheground

Fosfobox, the most alternative nightclub of the city offers parties 5 days a week

By Elisa Martins

n April 20, 2004, the inauguration of Fosfobox began to change the concept of club in Rio. From the beginning the house has become a reference for an audience that seeks new trends, becoming the meeting place of friends and admirers of underground culture / alternative.

With a varied program of festivals, pacing for electronic music, rock, pop, hip hop and bass music, among other genres, the house also hosts performances, theater, film, poetry and other cultural events. Situated in the heart of Copacabana, in a region with avant-garde tradition, ‘Phospho’ is surrounded by bohemian bars that serve a chill in improvised, the popular ‘warm’ before entering.

Some of the TOP DJs that have played in the club: Antony Rother, Matias Aguayo, Martin Eyerer, Kollektiv Turmstrasse, Optimo DJs, Marky, Extreme G, Craze, Ean Golden, P. Toile, Cassy,​​ Tom Clark, Etienne de Crecy, Borgore, Adam Shelton, D-Nox & Beckers, Pornbugs, Soul Clap, Doctor Dru and more.

a

ban paca o b C u l 9 ar C s, 28 box B mpo Fosfo ueira Ca Siq Rua .br x.com o b o .fosf www

BG - Baixo Gavea Rua Marques de São Vicente, 01 - Gávea

62

Rio connection | jun-2016

LATE NIGHT // party rock

music`s cave The Cave offers an awesome infra structure and good music for all tribes

By Elisa Martins

rancisco Octaviano Street, 20, here on the border between Arpoador and Copacabana, is a famous address in the Rio night, known as one of those places cursed in the city, which always end up closing. There already worked as nightclubs and Mess Base, but now the peak was dominated by Cave.

Party e-music and hip hop has busy night in the area, including the after-hours to 10 am. The lighting system is impressive.

The space opened its doors in 2013, just hope to be a more durable design that extinct clubs.

There already worked as nightclubs and Mess Base, but now the peak was dominated by Cave.

Cave - Rua Francisco Otaviano, 20 21 2201 4049 | 8566 1594 From Thursdays to Mondays - 10am to 8pm www.cave.com.br

64

Rio connection | jun-2016

T e e R T S 2 T AR

68

Rio connection | jun-2016

BY FERNANDO BILDER The graffitters Os GĂŞmeos (The Twins) came to Rio for a new project.

Get to know their fantastic and memorable work

Rio connection | jun-2016

69

o

távio and Gustavo Pandolfo, aka Os Gêmeos,

cy in New York, staged a triumphant homecoming show in São Paulo

are identical twins whose work one might have

that drew huge crowds, and painted the 737 that was used to trans-

come across without knowing it, on one’s hur-

port the Brazilian national squad during the World Cup. It’s possible

ried way somewhere else. This is not a hyperbole;

their iconic, smile-inducing, yellow-skinned faces, which adorned

graffiti and murals by Os Gêmeos exist around the

the plane, prevented 200 million Brazilians from ripping Seleção to

globe: in their native São Paulo, Athens (where they

shreds after its loss to Germany.

created a mural for the 2004 Olympics), Berlin, Barcelona, Scot-

Before this banner year, OSGEMEOS showed at the now-shut-

land, San Francisco, Los Angeles, Coney Island, and even Wil-

tered tastemaker gallery Deitch Projects in New York (2005), decorat-

liamsburg. OsGemeos sidestep the trappings of street culture

ed the monolithic façade of the Tate Modern in London (2008), and

by not discriminating amongst indoor and outdoor walls.

took up a large chunk of real estate in the biggest retrospective of

They’re as comfortable leaving their imprint on the streets

graffiti ever at the Museum of Contemporary Art in Los Angeles (2011).

as they are making paintings on wood and canvas to be shown

Now that they’ve conquered the art world while somehow main-

in galleries, and cull their imagery as much from outsider art,

taining their immense street cred, the next logical career move is to

Brazilian folklore, and global hip-hop culture, as from their own

execute their biggest public mural ever—in Vancouver, a city whose

private mythology. Their multifaceted output, which includes

most revered piece of public art is the $97,000 poodle on a pole at

sculptures and installations, makes all the sense in the world:

Main and East 18th.

theirs is an artistic practice times two.

by the Vancouver Biennale, began with a scouting mission back in

of street art, then consider OSGEMEOS the Beach Boys, if Bri-

December. While here, the 40-year-old brothers, Gustavo and Otavio

an Wilson were a Brazilian B-boy with an equally gifted identi-

Pandolfo, noticed a marked difference between Vancouver and their

cal-twin brother.

hometown of São Paulo, a topsy-turvy world where outdoor advertis-

In the past year, OSGEMEOS (Portuguese for “The Twins”) has collaborated with Banksy during his wildly popular residen-

70

Preparation for this massive undertaking, which was organized

If Banksy and Shepard Fairey are the Stones and Beatles

Rio connection | jun-2016

ing is outlawed, heritage buildings are preserved, and tagging everything in sight is a popular daytime activity on Sundays.

I

y r e v a is w o l l Ye ery

v a , r u o l o c c i . r u mag o l o c g n o n a str c t i e v e i l e e g n a We b h c f o t o l a e k y a a m w d o o g a n i

Jv Rio connection | jun-2016

71

“You don’t see many murals or graffiti in the city [of Van-

While the scope of the project is ambitious, the Pandolfo

couver]. They really control and really go against it. That’s sad.

brothers have had ample time to prepare. Having drawn since

That’s really sad,” Otavio, the more talkative of the two, recalls

they were four, the twins began brandishing spray cans at age

in a home near urban-art epicentre Brentwood Mall, in Burnaby.

nine, after spotting some guys tagging near their home. “When I

“We don’t think graffiti is vandalism. We think that the way

saw the spray cans, I wanted to draw with them. So the next day

the government governs the city, this can be vandalism. How

our parents bought us spray cans, one for each of us, and we

they treat the people who pay tax every month, they steal and

sprayed my parents’ whole house,” Otavio says with a grin. “In

you don’t know what they do with the money. They don’t care.

the ’80s, you had to find ways to play. We liked to destroy things

This can be vandalism,” he continues, and then adds: “If you

and burn things.”

don’t use the city, the city’s going to use you.”

72

Unfortunate for their family home and, possibly, the one

His brother Gustavo is attentive and occasionally chimes

they’re staying at in Burnaby, but it’s a good thing they got com-

in. However, he’s also focused on prepping a stencil that will

fortable with the tools of the trade at such an early age: they’re

be used on the mural, a 360-degree, 23-metre-high public art

going to use 1,400 cans on the silos, a large number of which will

project that will spread over the six Ocean Concrete silos on

be their signature yellow.

Granville Island. When it’s unveiled on September 7 for the

“Yellow is a very magic colour, a very strong colour. We be-

2014–2016 Biennale, not only will the mural be a beacon for art

lieve it can make a lot of change in a good way,” an impassioned

enthusiasts around the world, it’s certain to become the most

Gustavo pipes up. “We believe in our own world,” he elaborates,

Instagrammed landmark in Vancouver. (Apologies, gum-cov-

shamanically. “It is a place that we go after we pass away. All the

ered head of Douglas Coupland. You had a good run.)

drawings that we do, most of them come from this place.”

Rio connection | jun-2016

T

his dreamy otherworld Gustavo speaks of is an idea they developed symbiotically at an early age. In it, downtrodden, colourfully dressed vandals, gostosas, musicians, children, and other assorted neighbourhood characters are all presented with a playful dignity. It’s the

sort of work Diego Rivera might have produced if he’d watched Wild Style on Repeat during an ayahuasca trip. Today, their surreal visions are in such great demand that people come at OSGEMEOS’s noncommissioned street work with masonry saws and dreams of selling the slab of concrete at Sotheby’s. But the two are quick to point out they don’t believe their career is simply some Basquiat-esque rags-to-riches transition to becoming contemporary-art-world darlings.

“Our school is from the streets, but we see our work as more than painting a wall or painting inside a gallery. It’s more spiritual for us. We need to find space that we can create our universe, this universe that we believe. That’s why we started to work with galleries, because we get the empty space, white space, and could transform all this into the world we believe in sharing with the people,” Otavio says. “Spirituality for us is positive vibrations—bring positive things and give positive change.

This is one of the important reasons to make art.”

With Emily Carr University of Art and Design poised to relocate in 2016, OSGEMEOS and the Vancouver Biennale are ensuring that art will always be an important part of Granville Island.

While the two don’t have immediate plans to give our city walls any additional gifts, the Biennale is running a crowd-funding campaign on Indiegogo to help offset the costs of the endeavour. (The budget is only about $28,000 more than the poodle’s.)

One of the donation perks is a limited-edition lithograph of the finished mural, which is sure to sell out and be much easier to frame than a slab of concrete.

However, if, over the next few weeks, you see a pair of similar-looking fellas with a ladder around Main and 18th, and then hear the unmistakable rattle and hiss of spray cans, don’t call the cops. It likely means OSGEMEOS are giving that bloody mutt a much-needed make-over.

Rio connection | jun-2016

73

RioConnection: Did you study art? How did you begin making

RC: There is a great tradition of mural painting in all of Latin America.

graffiti? Did a particular context incline you to intervene in pub-

Can you tell us about the iconography you use, the representations of

lic space; in other words, did you intend to engage in a form of

Brazilian folklore in your images? How did you arrive at your vision?

social critique?

OsGêmeos: We had a formal education up to high school and

it is still being plundered, used, sold. In the midst of thousands of

began studying art on our own when we were five years old. It

problems, people learned to be happy, to accept certain conditions

was the way we would amuse ourselves in the street, the way

and reject others, to be radical with regard to some issues and keep

we would play outside. Everything was always very intense and

quiet about others. Brazil is a hot-blooded country where, as they

vibrant. Using public space was our way of dialoguing, directly

say, “one doesn’t need much to be happy.” In keeping with this way of

or indirectly, with other people. The mere act of interfering in

life, we learned to improvise: a serious problem can turn into a joke,

public space already entailed a critique, changing something.

jokes can turn into problems. Ours is a country in which people have

No one had to tell us what to make or when and where to make

learned to do much with very little. To improvise is the best way to

it. It’s that old story, if you don’t use the street it will end up us-

make art. South America thrives on improvisation. Brazil is a country

ing you. In Brazil there are a lot of things that need to be said

of great miscegenation of peoples, races, beliefs, folklores, popular

and exposed: there’s violence, corruption, lack of security. Very

cultures, foods, et cetera. It’s as if there were many worlds within a

little is done to change things. It seems as if people in Brazil ei-

larger world called Brazil.

ther accommodate themselves to reality, flee, or pretend not to see it. To intervene in public space was our way of speaking out.

74

OG: Brazil is a country that has not been totally discovered yet. Today

Rio connection | jun-2016

RC: In many of your paintings, instead of finding the great heroic figures of traditional murals, we encounter rather diminished masculine figures. Why? OG: You know how before bedtime you open your diary and you write down what you did, how your day went, your thoughts, your wishes and sadnesses? You leave it on the pillow and fall asleep.

" People passed by our paint i n g sometimes s and noticed t hem but often did not "

The next day you decide to open your diary and show everything you’ve been feeling to your entire family, your friends, acquaintances, and strangers. Thankfully, every day that goes by is another day in that diary called life. We believe in the path we decided to follow.

It’s as if we were living within a play 24 hours a day.

RC: You seem to be as comfortable in the street as in the commercial gallery circuit. Has there ever been any debate around your exhibiting actual paintings in galleries? Are you still making graffiti?

OG: We’ve had the opportunity to learn, see, and reflect from both sides; we can arrive at our own conclusions. We’ve learned not to delude ourselves and others with eye candy—not to idolize our own art. We’ve learned to search for a balance in our production so that our work can participate in these two extremely different worlds. For a long time our graffiti was part of the urban scene and was always amidst people: poor, rich, happy, sad, distracted people. To enter the contemporary art scene was fun, maybe more so because our first show was with a US gallery, Deitch Projects in New York. A few years later we had our first show in São Paulo, at the Fortes Vilaça Gallery. People from all social classes visited our show. Kids came by. It was fun and good to be near and experience things closely, from a distance. . . .

Rio connection | jun-2016

75

76

Rio connection | jun-2016

RC: Do you read comics? Your images bring them to mind, al-

OG: We each have our privacy, sometimes our different tastes

though they also relate to vernacular culture.

and ways of going about things, but when it comes to Os

OG: We have thousands of influences. Every second of every hour of every day we’re presented with information: films, scents, tastes, et cetera, that inspire us. We’ll tell you a story: one day we were in our studio waiting to see some sort of light, and

Gêmeos we’re a single person: We’ve created a parallel world and living in it, for us, is completely natural. We’re in synch 24 hours a day. We’re thrilled with everything that has happened to us. We know how to keep things separate.

we saw, from the window, this light coming to us and getting

The universe of the street cannot be compared to that of the

nearer. My brother grabbed my hand and said, “Let’s go.” We

gallery in the least. It’s like a scale. We’ll give you an example: it’s

opened the window and saw a path and knew we had to follow

like scuba diving without an oxygen tank. You dive into the wa-

it fearlessly.

ter and find an entire universe waiting to be discovered, and a

No matter what happens the show must go on: Sometimes we’re laughing but feel like crying and other times we’re crying but feel like laughing; sometimes we scream in silence; sometimes we talk to the walls; sometimes we listen; sometimes we’re happy and sometimes we’re sad; sometimes we’re distant from everything. Painting is a lot like that. It can be interpreted in a thousand different ways, and it gives you freedom to play. We discovered that our way of keeping a diary was through painting, making sculptures, and building.

RC: Vik observed that there is a perfect communion between

myriad of beautiful, mysterious, and dangerous things, but your body needs some oxygen so you rise to the surface and look up and encounter another beautiful, mysterious, and dangerous universe to be discovered. We have lots of ideas and things to say, and we’re gradually discovering different ways to express them.

They’re as comfortable leaving their imprint on the streets as they are making paintings on wood and canvas to be shown in galleries, and cull their imagery as much from outsider art, Brazilian folklore, and global hip-hop culture, as from their own private mythology. Their multifaceted output, which includes

the two of you. What do you each contribute to the creative

sculptures and installations, makes all the sense in the world:

process? Do you think differently? Did you ever want to work on

theirs is an artistic practice times two.f graffiti ever at the Muse-

your own?

um of Contemporary Art in Los Angeles (2011).

Rio connection | jun-2016

77

together

by only

ONE passion Soccer is the most famous sport in Rio and in Brazil.

But what would be of it, without their fans?

In this special article, let`s see closer, get to know them and understand their passion for this sport and clubs.

by Roberto Sar達 78

Rio connection | jun-2016

Rio connection | jun-2016

79

Otávio and Gustavo Pandolfo, aka Os Gêmeos, are identical

in São Paulo that drew huge crowds, and painted the 737 that was

twins whose work one might have come across without know-

used to transport the Brazilian national squad during the World Cup.

ing it, on one’s hurried way somewhere else. This is not a hyper-

It’s possible their iconic, smile-inducing, yellow-skinned faces, which

bole; graffiti and murals by Os Gêmeos exist around the globe:

adorned the plane, prevented 200 million Brazilians from ripping

in their native São Paulo, Athens (where they created a mural for

Seleção to shreds after its loss to Germany.

the 2004 Olympics), Berlin, Barcelona, Scotland, San Francisco,

Before this banner year, OSGEMEOS showed at the now-shut-

Los Angeles, Coney Island, and even Williamsburg. OsGemeos

tered tastemaker gallery Deitch Projects in New York (2005), decorat-

sidestep the trappings of street culture by not discriminating

ed the monolithic façade of the Tate Modern in London (2008), and

amongst indoor and outdoor walls.

took up a large chunk of real estate in the biggest retrospective of

They’re as comfortable leaving their imprint on the streets as they are making paintings on wood and canvas to be shown

Now that they’ve conquered the art world while somehow main-

in galleries, and cull their imagery as much from outsider art,

taining their immense street cred, the next logical career move is to

Brazilian folklore, and global hip-hop culture, as from their own

execute their biggest public mural ever—in Vancouver, a city whose

private mythology. Their multifaceted output, which includes

most revered piece of public art is the $97,000 poodle on a pole at

sculptures and installations, makes all the sense in the world:

Main and East 18th.

theirs is an artistic practice times two.

Preparation for this massive undertaking, which was organized

If Banksy and Shepard Fairey are the Stones and Beatles

by the Vancouver Biennale, began with a scouting mission back in

of street art, then consider OSGEMEOS the Beach Boys, if Bri-

December. While here, the 40-year-old brothers, Gustavo and Otavio

an Wilson were a Brazilian B-boy with an equally gifted identi-

Pandolfo, noticed a marked difference between Vancouver and their

cal-twin brother.

hometown of São Paulo, a topsy-turvy world where outdoor advertis-

In the past year, OSGEMEOS (Portuguese for “The Twins”) has collaborated with Banksy during his wildly popular residency in New York, staged a triumphant homecoming show

80

graffiti ever at the Museum of Contemporary Art in Los Angeles (2011).

Rio connection | jun-2016

ing is outlawed, heritage buildings are preserved, and tagging everything in sight is a popular daytime activity on Sundays.

Brazi l of gre is a coun at mis t r y of peo cegenat i p o l n e s , beliefs races, , popula folklores, r cultu res...

Rio connection | jun-2016

81

sicians, children, and other assorted neighbourhood characters are all presented with a playful dignity. It’s the sort of work Diego Rivera might have produced if he’d watched Wild Style on Repeat during an ayahuasca trip. Today, their surreal visions are in such great demand that people come at OSGEMEOS’s noncommissioned street work with masonry saws and dreams of selling the slab of concrete at Sotheby’s. But the two are quick to point out they don’t believe their career is simply some Basquiat-esque rags-to-riches transition to becoming contemporary-art-world darlings.

“Our school is from the streets, but we see our work as more than painting a wall or painting inside a gallery. It’s more spiritual for us. We need to find space that we can create our universe, this universe that we believe. That’s why we started to work with galleries, because we get the empty space, white space, and could transform all this into the world we believe in sharing with the people,” Otavio says.

“Spirituality for us is positive vibrations—bring positive things and give positive change. This is one of the important reasons to make art.”

With Emily Carr University of Art and Design poised to relocate in 2016, OSGEMEOS and the Vancouver Biennale are ensuring that art will always be an important part of Granville Island. While the two don’t have immediate plans to give our city walls any additional gifts, the Biennale is running a crowd-funding campaign on Indiegogo to help offset the costs of the endeavour. (The budget is only about $28,000 more than the poodle’s.) One of the donation perks is a limited-edition lithograph of the finished mural, which is sure to sell out and be much easier to frame than a slab of concrete.

However, if, over the next few weeks, you see a pair of similar-looking fellas with a ladder around Main and 18th, and then hear the unmistakable rattle and hiss of spray cans, don’t call the cops. It likely means OSGEMEOS are giving that bloody mutt a much-needed make-over.

RioConnection: Did you study art? How did you begin making graffiti? Did a particular context incline you to intervene in public space; in other words, did you intend to engage in a form of social critique?

OsGêmeos: We had a formal education up to high school and began studying art on our own when we were five years old. It was the way we would amuse ourselves in the street, the way we would play outside. Everything was always very intense and vibrant. Using public space was our way of dialoguing, directly or indirectly, with other people. The mere act of interfering in public space already entailed a cri-

82

Rio connection | jun-2016

“You don’t see many murals or graffiti in the city [of Van-

our parents bought us spray cans, one for each of us, and we

couver]. They really control and really go against it. That’s sad.

sprayed my parents’ whole house,” Otavio says with a grin. “In

That’s really sad,” Otavio, the more talkative of the two, recalls

the ’80s, you had to find ways to play. We liked to destroy things

in a home near urban-art epicentre Brentwood Mall, in Burnaby.

and burn things.”

“We don’t think graffiti is vandalism. We think that the way

Unfortunate for their family home and, possibly, the one

the government governs the city, this can be vandalism. How

they’re staying at in Burnaby, but it’s a good thing they got com-

they treat the people who pay tax every month, they steal and

fortable with the tools of the trade at such an early age: they’re

you don’t know what they do with the money. They don’t care.

going to use 1,400 cans on the silos, a large number of which will

This can be vandalism,” he continues, and then adds: “If you

be their signature yellow.

don’t use the city, the city’s going to use you.”

“Yellow is a very magic colour, a very strong colour. We be-

His brother Gustavo is attentive and occasionally chimes

lieve it can make a lot of change in a good way,” an impassioned

in. However, he’s also focused on prepping a stencil that will

Gustavo pipes up. “We believe in our own world,” he elaborates,

be used on the mural, a 360-degree, 23-metre-high public art

shamanically. “It is a place that we go after we pass

project that will spread over the six Ocean Concrete silos on

away. All the drawings that we do, most

Granville Island. When it’s unveiled on September 7 for the

of them come from this place.” This

2014–2016 Biennale, not only will the mural be a beacon for art

dreamy

enthusiasts around the world, it’s certain to become the most

speaks of is an idea they de-

Instagrammed landmark in Vancouver. (Apologies, gum-cov-

veloped symbiotically at an

ered head of Douglas Coupland. You had a good run.)

early age. In it, downtrod-

While the scope of the project is ambitious, the Pandolfo brothers have had ample time to prepare. Having drawn since

otherworld

Gustavo

den, colourfully dressed vandals, gostosas, mu-

they were four, the twins began brandishing spray cans at age nine, after spotting some guys tagging near their home. “When I saw the spray cans, I wanted to draw with them. So the next day

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83

tique, changing something. No one had to tell us what to make

happy.” In keeping with this way of life, we learned to improvise: a

or when and where to make it. It’s that old story, if you don’t

serious problem can turn into a joke, jokes can turn into problems.

use the street it will end up using you. In Brazil there are a lot of

Ours is a country in which people have learned to do much with very

things that need to be said and exposed: there’s violence, cor-

little. To improvise is the best way to make art. South America thrives

ruption, lack of security. Very little is done to change things. It

on improvisation. Brazil is a country of great miscegenation of peo-

seems as if people in Brazil either accommodate themselves to

ples, races, beliefs, folklores, popular cultures, foods, et cetera. It’s as

reality, flee, or pretend not to see it. To intervene in public space

if there were many worlds within a larger world called Brazil.

was our way of speaking out.

RC: In many of your paintings, instead of finding the great heroic figRC: There is a great tradition of mural painting in all of Latin

ures of traditional murals, we encounter rather diminished mascu-

America. Can you tell us about the iconography you use, the

line figures. Why?

representations of Brazilian folklore in your images? How did you arrive at your vision?

write down what you did, how your day went, your thoughts, your

OG: Brazil is a country that has not been totally discovered

wishes and sadnesses? You leave it on the pillow and fall asleep. The

yet. Today it is still being plundered, used, sold. In the midst of

next day you decide to open your diary and show everything you’ve

thousands of problems, people learned to be happy, to accept

been feeling to your entire family, your friends, acquaintances, and

certain conditions and reject others, to be radical with regard to some issues and keep quiet about others. Brazil is a hot-blooded country where, as they say, “one doesn’t need much to be

84

OG: You know how before bedtime you open your diary and you

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strangers. Thankfully, every day that goes by is another day in that diary called life. We believe in the path we decided to follow. It’s as if we were living within a play 24 hours a day.

RC: You seem to be as comfortable in the street as in the commercial gallery circuit. Has there ever been any debate around your exhibiting actual paintings in galleries? Are you still making graffiti?

OG: We’ve had the opportunity to learn, see, and reflect from both sides; we can arrive at our own conclusions. We’ve learned not to delude ourselves and others with eye candy—not to idolize our own art. We’ve learned to search for a balance in our production so that our work can participate in these two extremely different worlds. For a long time our graffiti was part of the urban scene and was always amidst people: poor, rich, happy, sad, distracted people. To enter the contemporary art scene was fun, maybe more so because our first show was with a US gallery, Deitch Projects in New York. A few years later we had our first show in São Paulo, at the Fortes Vilaça Gallery. People from all social classes visited our show. Kids came by. It was fun and good to be near and experience things closely, from a distance. . . .

RC: Do you read comics? Your images bring them to mind, although they also relate to vernacular culture.

OG: We have thousands of influences. Every second of every hour of every day we’re presented with information: films, scents, tastes, et cetera, that inspire us. We’ll tell you a story: one day we were in our studio waiting to see some sort of light, and we saw, from

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behind the genius`s mind Rio Connection found an underground archive of Pablo Picasso`s work. • By Lisa Marins •

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t

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o say that Pablo Picasso dominated Western art in

from his much mythologized virility. He was the Minotaur in a can-

the 20th century is, by now, the merest common-

vas-and-paper labyrinth of his own construction.

place. Before his 50th birthday, the little Spaniard

He was also politically lucky. Though to Nazis his work was the

from Malaga had become the very prototype of

epitome of "degenerate art," his fame protected him during the Ger-

the modern artist as public figure. No painter before him had

man occupation of Paris, where he lived; and after the war, when

had a mass audience in his own lifetime. The total public for Tit-

artists and writers were thought disgraced by the slightest affiliation

ian in the 16th century or Velazquez in the 17th was probably no

with Nazism or fascism, Picasso gave enthusiastic endorsement to

more than a few thousand people--though that included most

Joseph Stalin, a mass murderer on a scale far beyond Hitler's, and

of the crowned heads, nobility and intelligentsia of Europe. Pi-

scarcely received a word of criticism for it, even in cold war America.

casso's audience--meaning people who had heard of him and

No painter or sculptor, not even Michelangelo, had been as fa-

seen his work, at least in reproduction--was in the tens, possibly

mous as this in his own lifetime. And it is quite possible that none

hundreds, of millions. He and his work were the subjects of un-

ever will be again, now that the mandate to set forth social mean-

ending analysis, gossip, dislike, adoration and rumor.

ing, to articulate myth and generate widely memorable images has

He was a superstitious, sarcastic man, sometimes rotten to

been so largely transferred from painting and sculpture to other me-

his children, often beastly to his women. He had contempt for

dia: photography, movies, television. Though Marcel Duchamp, that

women artists. His famous remark about women being "god-

cunning old fox of conceptual irony, has certainly had more influence

desses or doormats" has rendered him odious to feminists, but

on nominally vanguard art over the past 30 years than Picasso, the

women tended to walk into both roles open-eyed and eagerly,

Spaniard was the last great beneficiary of the belief that the language

for his charm was legendary. Whole cultural industries derived

of painting and sculpture really mattered to people other than their

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89

devotees. And he was the first artist to enjoy the obsessive attention of mass media. He stood at the intersection of these two worlds. If that had not been so, his restless changes of style, his constant pushing of the envelope, would not have created such controversy--and thus such celebrity.

In today's art world, a place without living culture heroes, you can't even imagine such a protean monster arising. His output was vast. This is not a virtue in itself--only a few paintings by Vermeer survive, and fewer still by the brothers Van Eyck, but they are as firmly lodged in history as Picasso ever was or will be. Still, Picasso's oeuvre filled the world, and he left permanent marks on every discipline he entered. His work expanded fractally, one image breeding new clusters of others.

Moreover, he was the artist with whom virtually every other artist had to reckon, and there was scarcely a 20th century movement that he didn't inspire, contribute to or-in the case of Cubism, which, in one of art history's great collaborations, he co-invented with Georges Braque--beget. The exception, since Picasso never painted an abstract picture in his life, was abstract art; but even there his handprints lay everywhere--one obvious example being his effect on the early work of American Abstract Expressionist painters, Arshile Gorky, Jackson Pollock and Willem de Kooning, among others.

Much of the story of modern sculpture is bound up with welding and assembling images from sheet metal, rather than modeling in clay, casting in bronze or carving in wood; and this tradition of the open constructed form rather than solid mass arose from one small guitar that Picasso snipped and joined out of tin in 1912. If collage--the gluing of previously unrelated things and images on a flat surface--became a basic mode of modern art, that too was due to Picasso's Cubist collaboration with Braque. He was never a member of the Surrealist group, but in the 1920s and '30s he produced some of the scariest distortions of the human body and the most violently irrational, erotic images of Eros and Thanatos ever committed to canvas. He was not a realist painter/reporter, still less anyone's official muralist, and yet Guernica remains the most powerful political image in modern art, rivaled only by some of the Mexican work of Diego Rivera.

Picasso was regarded as a boy genius, but if he had died before 1906, his 25th year, his mark on 20th century art would have been slight. The so-called Blue and Rose periods, with their wistful etiolated figures of beggars and circus folk, are not, despite their great popularity, much more than pendants to late 19th century Symbolism. It was the experience of modernity that created his modernism, and that happened in Paris.

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" Painting is

stronger than me, it makes me do what it wants

"

m

ass production and reproduction had come to the forefront of ordinary life: newspapers, printed labels, the overlay of posters on walls--the dizzily intense public life of signs, simultaneous,

high-speed and layered. This was the cityscape of Cubism.

Picasso was not a philosopher or a mathematician (there is no "geometry" in Cubism), but the work he and Braque did between 1911 and 1918 was intuitively bound to the perceptions of thinkers like Einstein and Alfred North Whitehead: that reality is not figure and void, it is all relationships, a twinkling field of interdependent events. Long before any Pop artists were born, Picasso latched on to the magnetism of mass culture and how high art could refresh itself through common vernaculars. Cubism was hard to read, willfully ambiguous, and yet demotic too. It remains the most influential art dialect of the early 20th century. As if to distance himself from his imitators, Picasso then went to the opposite extreme of embracing the classical past, with his paintings of huge dropsical women dreaming Mediterranean dreams in homage to Corot and Ingres.

His "classical" mode, which he would revert to for decades to come, can also be seen as a gesture of independence. After his collaboration with Braque ended with his comment that

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"Braque is my wife"

- words that were

as disparaging to women as to Braque--Picasso remained a loner for the rest of his career. But a loner with a court and maitresses en titre. He didn't even form a friendship with Matisse until both artists were old. His close relationships tended to be with poets and writers.

Though the public saw him as the archetypal modernist, he was disconnected from much modern art. Some of the greatest modern painters--Kandinsky, for instance, or Mondrian--saw their work as an instrument of evolution and human development. But Picasso had no more of a Utopian streak than did his Spanish idol, Goya. The idea that art evolved, or had any kind of historical mission, struck him as ridiculous. "All I have ever made," he once said, "was made for the present and in the hope that it will always remain in the present. When I have found something to express, I have done it without thinking of the past or the future." Interestingly, he also stood against the Expressionist belief that the work of art gains value by disclosing the truth, the inner being, of its author. "How can anyone enter into my dreams, my instincts, my desires, my thoughts...and above

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all grasp from them what I have been about--perhaps against my own will?" he exclaimed.

To make art was to achieve a tyrannous freedom from self-explanation. The artist's work was mediumistic ("Painting is stronger than me, it makes me do what it wants"), solipsistic even. To Picasso, the idea that painting did itself through him meant that it wasn't subject to cultural etiquette. None of the other fathers of Modernism felt it so strongly--not Matisse, not Mondrian, certainly not Braque.

In his work, everything is staked on sensation and desire.

His aim was not to argue coherence but to go for the strongest level of feeling. He conveyed it with tremendous plastic force, making you feel the weight of forms and the tension of their relationships mainly by drawing and tonal structure. He was never a great colorist, like Matisse or Pierre Bonnard. But through metaphor, he crammed layers of meaning together to produce flashes of revelation. In the process, he reversed one of the currents of modern art. Modernism had rejected storytelling: what mattered was formal relationships. But Picasso brought it back in a disguised form, as a psychic narrative, told through metaphors, puns and equivalences.

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m

ost powerful element in the story--at least

"to put eyes between the legs, or sex organs on the face. To

after Cubism--was sex. The female nude

contradict. Nature does many things the way I do, but she

was his obsessive subject. Everything in

hides them! My painting is a series of cock-and-bull stories."

his pictorial universe, especially after 1920,

There seems little doubt that the greatest of Picasso's

seemed related to the naked bodies of women. Picasso im-

work came in the 30 years between Les Demoiselles d'Avi-

posed on them a load of feeling, ranging from dreamy eroticism

gnon (1907) and Guernica (1937). But of course he didn't

(as in some of his paintings of his mistress Marie-Therese Walter

decline into triviality. Consistently through the war years

in the '30s) to a sardonic but frenzied hostility, that no Western

and the '50s, and even now and then in the '60s and '70s, he

artist had made them carry before. He did this through meta-

would produce paintings and prints of considerable power.

morphosis, recomposing the body as the shape of his fantasies

Sometimes they would be folded into series of variations

of possession and of his sexual terrors. Now the hidden and

on the old masters and 19th century painters he needed to

comparatively decorous puns of Cubism (the sound holes of a

measure himself against, such as Velazquez and Goya, or

mandolin, for instance, becoming the mask of Pierrot) came out

Poussin, Delacroix, Manet and Courbet.

of their closet. "To displace," as Picasso described the process,

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