O segurança/monitor/indivíduo institucional deve ficar frente à obra que deve salvaguardar, alterando sua visibilidade para o público.

Untitled - croqui, 2024, ink on paper, 21 x 29,7 cm.

Untitled

The security guard must stay in front of the work that must safeguard, altering your visibility to the public.

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Untitled is a performative proposal in which the security guard will safeguard the exhibition’s work, using his own body. With this action, the protected work’s visibility is affected, forcing the audience to look at it in a way unusual to the art institutions. The security guard will remain in front of the work during the whole performance, only leaving it at shift change with other coworker, who must occupy the same spot immediately. The choice of the work to be protected will be by mutual agreement between the curatorial team and Amador e Jr. Segurança Patrimonial Ltda., keeping in mind some conceptual issues for the choice, such as: the historical context of the work; its market value; and the readings and interpretations in dispute, within the curatorship of the exhibition and its audiences.

Centro Cultural São Paulo [curadoria: Maria Adelaide Pontes, Guto Ezek / Victor Hugo de Souza], 2023, São Paulo, SP [fotos: Rubens Gonçalves]

Centro Cultural São Paulo [curadoria: Maria Adelaide Pontes, Guto Ezek / Victor Hugo de Souza], 2023, São Paulo, SP [vídeo: Luiza Lindner / Centro Cultural Sâo Paulo]

S.O.S. SARACVRA, 2017, SARACURA, Rio de Janeiro, RJ [fotos: Maca Béa]

Intervenções entre o XX e o XXI [curadoria: Beatriz Pimenta Velloso], 2016, Museu Nacional de Belas Artes, Rio de Janeiro, RJ [fotos: Wilton Montenegro]

Intervenções entre o XX e o XXI [curadoria: Beatriz Pimenta Velloso], 2016, Museu Nacional de Belas Artes, Rio de Janeiro, RJ [fotos: Maria Clara Boing]