35ª Bienal de São Paulo - coreografias do impossível [curadoria: Diane Lima, Grada Kilomba, Hélio Menezes, Manuel Borja-Villel; assistência de curadoria: Matilde Outeiro, Sylvia Monasterios, Tarcisio Almeida], 2023, Pavilhão Ciccillo Matarazzo, São Paulo, SP [fotos: Levi Fanan / Fundação Bienal de São Paulo]
360º
The security guards will stand with their backs to each other, so that their gazes never cross, but they will observe everything that the other cannot see.--
How many times do we feel worried about our surroundings, don't we? We can look at the horizon, turn our necks sideways, but there will always be that space that our eyes cannot see while we are paying attention to another angle of vision: the blind spot. Similarly, our security guards are also hindered by these limitations. Whether they keep an eye on the works before they are touched, or periodically patrol around, there is always the possibility of missing something, especially in large environments, large exhibitions and places with wide public access. In the absence of qualified professionals, in the lack of staff, in the daily precariousness of basic work in art institutions, the worst can always happen. The security guard – often alone there, becomes the entry point for damages to the property and the exhibition environment. Without eyes on his back, he cannot do anything against what is not visible, alone in a huge gallery, with so many expensive objects that require his care.
We also know that CCTV systems have little effect on the speed with which acts of trespass against works of art occur. Our attentive professionals can quickly identify a subversion on camera. Until he informs one of the security guards on site, until he reaches and stops the supposed visitor, the worst may have already happened. Large spaces with many works of art and the lack of the ideal number of security guards there, together with just one malicious person, are enough to produce very serious problems. This happens despite the most diverse technological apparatus – radio communication systems, alarms and camera circuits operated by a central office, for example.
That is why today we are offering a service to balance the equation. Aware of the budget problems of the institutions, despite their ability to keep open ever larger exhibitions, we recognize that our skilled workers can once again offer - and will always be able to offer our clients - a solution to their problems, even if the hiring of more security guards is precarious. Only one of our workers will have to be reassigned to the risk area so that we can offer 360º: a service in which our security guards stand with their backs to each other, so that their gazes never cross, but they observe everything that the other cannot see. This is our proposal to increase personal security - through the invisible presence of another one of them at their back - at the same time as they themselves, therefore, will be constantly checking their place of safeguard; of total monitoring from the intersection between them as the central and intangible axis of observation of the world.
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35ª Bienal de São Paulo - coreografias do impossível [curadoria: Diane Lima, Grada Kilomba, Hélio Menezes, Manuel Borja-Villel; assistência de curadoria: Matilde Outeiro, Sylvia Monasterios, Tarcisio Almeida], 2023, Pavilhão Ciccillo Matarazzo, São Paulo, SP [fotos: Levi Fanan / Fundação Bienal de São Paulo]
Amador e Jr. Segurança Patrimonial Ltda. [texto crítico: Leno Veras], 2020, Centro Cultural São Paulo, São Paulo, SP [30ª Edição do Programa de Exposições] [fotos: Artur Cunha]
Amador e Jr. Segurança Patrimonial Ltda. [texto crítico: Leno Veras], 2020, Centro Cultural São Paulo, São Paulo, SP [30ª Edição do Programa de Exposições] [fotos: Artur Cunha]
29ª Mostra de Arte da Juventude [curadoria: Ana Roman, Marcelo Amorim], 2019, Sesc Ribeirão Preto, Ribeirão Preto, SP [imagens: Danny Abensur / Sesc São Paulo]
29ª Mostra de Arte da Juventude [curadoria: Ana Roman, Marcelo Amorim], 2019, Sesc Ribeirão Preto, Ribeirão Preto, SP [imagens: Danny Abensur / Sesc São Paulo]
29ª Mostra de Arte da Juventude [curadoria: Ana Roman, Marcelo Amorim], 2019, Sesc Ribeirão Preto, Ribeirão Preto, SP [imagens: Danny Abensur / Sesc São Paulo]
29ª Mostra de Arte da Juventude [curadoria: Ana Roman, Marcelo Amorim], 2019, Sesc Ribeirão Preto, Ribeirão Preto, SP [imagens: Danny Abensur / Sesc São Paulo]
LAVRA [propositoras: Alice Ferraro, Carine Caz, Dinah Oliveira, Jéssica Guia, Jessica Kloosterman], 2019, Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, RJ [fotos: Diambe]
LAVRA [propositoras: Alice Ferraro, Carine Caz, Dinah Oliveira, Jéssica Guia, Jessica Kloosterman], 2019, Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, RJ [fotos: Diambe]
LAVRA [propositoras: Alice Ferraro, Carine Caz, Dinah Oliveira, Jéssica Guia, Jessica Kloosterman], 2019, Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, RJ [fotos: Gabriel Vieira]
LAVRA [propositoras: Alice Ferraro, Carine Caz, Dinah Oliveira, Jéssica Guia, Jessica Kloosterman], 2019, Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, RJ [fotos: Gabriel Vieira]
LAVRA [propositoras: Alice Ferraro, Carine Caz, Dinah Oliveira, Jéssica Guia, Jessica Kloosterman], 2019, Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, RJ [fotos: Gabriel Vieira]