How an Artist Is Born is a documentary that led us to reflect on a theme that everybody already thought about. Still, almost no one asked: “Why do some people become renowned artists and others who make some beautiful drawings do not?” It seems to be a taboo of sorts as if everyone had to know the answer. But it is not like that; contemporary art requires, from the observer, an experience and a repertoire that not everyone possesses... Read more

The theme will be addressed through three main perspectives: the artists’, the audience’s, and the scholars’. In the view of the artists, we will explore protocols of insertion in the institutions and also lesser-known resources to liberate creativity, development of discourse, and execution of artworks. In the view of the audience, we will propose reflections about the common questions contemporary art raises, which, for many, may look like a production within the technical reach of a baby. In the view of the scholars, we will offer some of the historical foundations that may lead to the conclusion that, in fact, “everyone is an artist” (Joseph Beuys).

The title question will be posed to specialists, collectors, and theorists in language accessible to the general audience. The idea is to lead to provocative and informative thinking, with an enjoyable content that guides the spectator around curiosities in the art world, in an educational way, but also accessible and entertaining. All this without compromising the opportunity of enriching the conversation about some of the great questions the creation of a contemporary artist raises. Back

What is Humanar? Humanar is an art space dedicated to special projects with an emphasis on social and relational art. What does Humanar mean?Humanar is to humanize, to risk, to make mistakes. Humanar is to live an experience capable of expanding the intimate universe of the participant. Humanar is to introduce air (ar in Portuguese) into humans. (Human.ar). What is relational art? Relational art is a social experience constructed by an artist. Relational art creates a social moment, an experience, an event where what happens between people sensitizes their creative potential, turning them into coauthors of the experience. Read more

Who comprises Humanar's target audience? Humanar's visitor looks for entertainment with artistic content, seeks to connect and act as part of a network. The visitor of Humanar believes that creativity is one of the significant differentials of the 21st century. The visitor of Humanar thinks that everyone has the potential to be an artist.

Who does not comprise Humanar’s target audience? The humanoids; those who are not analyzed (never been in therapy) and not analyzable (hopeless). Those who do not visit Humanar do not collect experiences, do not humanize, become humanoids. Those who do humanize and are militants of humanization (currently so rare…). Those who visit are going in the opposite way of the trend of diluting human qualities. Those who visit it regularly nurture human attributes.

So, is Humanar a diet? No, it is a counter-diet. OK, I know, Humanar is a political party then? No, of course not. We have our own ideas. And those ideas take the shape of exhibitions, events, and talks. Your participation is urgent. Note. This project is currently on hold. Back

Através

João Correia was invited by ATRAVES to collaborate as a curator of the WAVE of the FUTURE #12 Movement – TODAY, a collaboration which spawned three videos: an initial interview, the recording of a reading of an excerpt of the book Tropic of Cancer, by Henry Miller, and a final interview. ATRAVES is an organic collective of various artistic niches and professions. ATRAVES, throughout its existence, developed projects with hundreds of talents in the most diverse artistic disciplines—installations, mapped projections, street art, painting, sculpture, theatre, dance, exhibitions, movies, and more. Read more

Our digital exhibition space impacted millions of people with content related to the documentation of creative processes. There are more than 570 original videos and more than thirty thousand hours of LIVE content. ATRAVES’s fundamental motivation is the documentation of creative processes. Back

Arts Facilitation London
Arts Facilitation London, previously known as I Know What I Like, is a London-based project dedicated to the production of debates, conversations, and visits to exhibitions of emerging artists. It is a vibrant community that consists of circa one thousand members. The model is based on the importance of meeting art in its context, whether a gallery, a public space, or a studio. The group focuses on contemporary and urban art and visits to artist-led spaces. Read more

Meetings and events are casual but intellectually rigorous. Founded by João Correia in 2010, Arts Facilitation London is currently directed by Sarah Kravitz and co-organized by Sylvia Morgado. The project uses the Meetup platform and carried out almost three hundred events to date. Back

Pixo

Since 2013, João Correia researches the movement of pixação, under the supervision of the pixador, artist, and activist Cripta Djan. Pixação is an aesthetic manifestation of a part of the youth population of the suburbs of Brazil’s big cities. It is a stylization of calligraphy in the public spaces of the city, which often references the denomination of a group of youth or an individual’s nickname. Read more

“Pixação, usually spelled with an X by its authors, differentiates from other styles of calligraphy which exist in the city, such as political and poetic pixação. This pixação, which became a street movement, had its origins in Brazil towards the late 1980s, but in the 1960s and ’70s, political pixação already existed. São Paulo and Rio de Janeiro are states where pixação has more tradition. São Paulo, with the Pixo Reto (Straight Pixo) style, being also the pioneer on the use of ink applied with a roll. In Rio, Xarpi style, which is apparently coded like a rubric.” Text by Cripta Djan, referencing the academic paper of Alexandre Barbosa Pereira, PhD in anthropology from the Universidade de São Paulo. Back