R.U.R., o Nascimento do Robô é uma adaptação feita pelo artista multimídia português Leonel Moura da peça de teatro R.U.R. (Rossum’s Universal Robots), escrita por Karel Capek em 1920.

A encenação original é considerada um clássico sobre o conflito entre homens e robôs, e marca a primeira vez em que a palavra Robot foi usada para designar máquinas capazes de realizar operações com certa autonomia. O termo, original do tcheco, significa trabalho repetitivo.

Na versão atual, são utilizados robôs verdadeiros para contracenar com humanos. Além disso, a narrativa é alterada significativamente ao introduzir reflexões e perspectivas das próprias máquinas no cerne da história.
agosto 2010

quinta 5 a domingo 8 e quinta 12 a domingo 15

sala itaú cultural 247 lugares

entrada franca

itaú cultural avenida paulista 149 [estação brigadeiro do metrô] fone 11 2168 1777 atendimento@itaucultural.org.br | itaucultural.org.br | twitter.com/itaucultural | youtube.com/itaucultural

não recomendado para menores de 12 anos

Ficha Técnica

Concepção, Texto e Direção:  Leonel Moura  Assistente de Direção e Figurinista: Madalena Poppe Direção de Atores e Adaptação do texto para o Brasil: Rubens Velloso Assistente Direção de Atores:  Joana Dória Música Original: Carlos Maria Trindade Vídeos: João Moura Atriz do Vídeo “Memória de Lúcio”: Isabel Souto Gonçalves Robótica: IdMind Programação de Alto Nível: Selftech Sistema de localização: Ubisense Adereços (montagem): António Gavinho Adereços (materiais): Matias Corporation, Emotiv Systems Inc. e Myvu Corporation Modelagem dos Robôs: Guliver Estúdio de Som: Namouche 3D: Alexandre Tavares Designer de Luz: Mirella Brandi


Sandra Miyazawa (Helena), Beto Matos (Absoluto), Marcos Azevedo (Lúcio), Robô Babá, Robô Helena, Robô Primus

Vozes dos robôs

Elizângela Morais Gomes Falcão (Babá), Isabela Salim (Helena), Joanyr Gomes Sobrinho (Primus), Nivaldo Souza (Conselho dos Robots)
R.U.R., o Nascimento do Robô [R.U.R., The Birth of the Robot] is an adaptation, by Portuguese multimedia artist Leonel Moura, of the theater play R.U.R. (Rossum’s Universal Robots), written by Karel Capek in 1920.
The original version is considered a classic about the conflict between men and robots, and marks the first time that the word robot was used to designate machines able to carry out operations with a certain autonomy. The term, originally from Czech, signifies repetitive work.
In the current version, real robots appear on stage with the human actors. Moreover, the narrative has been significantly altered by the introduction of reflections and perspectives of the machines themselves at the core of the story.
august 2010
Thursday 5 through Sunday 8 and Thursday 12 through Sunday 15
sala itaú cultural, maximum 247 viewers
free admission
itaú cultural avenida paulista 149 [brigadeiro subway station] phone +55 11 2168 1777 atendimento@itaucultural.org.br | itaucultural.org.br | twitter.com/itaucultural | youtube.com/itaucultural
not suitable for children under 12 years old
Conception, Text and Direction: Leonel Moura  Assistant Director and Costume Designer: Madalena Poppe Director of Actors and Adaptation of text to Brazil: Rubens Velloso Assistant Director of Actors:  Joana Dória Original Music: Carlos Maria Trindade Videos: João Moura Actress of the Video “Memória de Lúcio”: Isabel Souto Gonçalves Robotics: IdMind High Level Programming: Selftech Localization System: Ubisense Decoration (set): António Gavinho Decoration (material): Matias Corporation, Emotiv Systems Inc. and Myvu Corporation Robot Modeling: Guliver Sound Studio: Namouche 3D: Alexandre Tavares Lighting Designer: Mirella Brandi
Sandra Miyazawa (Helena), Beto Matos (Absoluto), Marcos Azevedo (Lúcio), Robô Babá, Robô Helena, Robô Primus
Voices of the robots
Elizângela Morais Gomes Falcão (Babá), Isabela Salim (Helena), Joanyr Gomes Sobrinho (Primus), Nivaldo Souza (Council of Robots)

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This edition of the Art.ficial Emotion 6.0 International Symposium, created by curator and researcher Fernando Oliva, aims to make room, now and in the near future, for discussions where relations between art and technology can be, once again, rethought in a critical and surprising manner, causing reverberations in the larger systems of art, culture and society.

In this sense, the symposium keeps a certain necessary and healthy distance from the esthetic and discursive environment created by the event’s exhibition section, without, however, labeling itself a “reservoir of theory and thought”, which is usually the case with an exhibition’s parallel discussions and seminars.

The discussions are multifaceted and cover a diversity of themes, such as anthropology and psychoanalysis; the affinity of Dominique Gonzalez-Foerster with science fiction, present in the literature of Adolfo Bioy-Casares, Roberto Bolaño and Enrique Vila-Matas as well as in the films of Jean-Luc Godard and Andrei Tarkovsky; technology as the possibility of communicating with the world of the dead; and a reflection on how social networks can be understood as a form of pornography (a problematic type of mediation of social activities, including sex).

The Art.ficial Emotion 6.0 Symposium aspires to collaborate so that new thought structures can arise in this area, which is, by definition, ethereal, fragmented and without attachments – traits that bear as much responsible for its fragilities as for its formal, intellectual, political and economic strengths. At best, the intention is to create anti-commodification strategies that can be used by artists as well as critics and historians who can and must reinvent themselves.

Fernando Oliva is a curator, researcher and professor at the FAAP School of Fine Arts. He is a member of the Videobrasil curatorial commission and has edited the Caderno Videobrasil Turista/Motorista. He was director of the CCSP curatorial department and curator of the Paço das Artes and MIS. His recent projects include O Retorno da Coleção Tamagni – Até as Estrelas por Caminhos Difíceis (MAM-SP, 2012, with Felipe Chaimovich) and O Desvio É o Alvo (2011, with Luisa Duarte).

See below the complete program of the Art.ficial Emotion 6.0 International Symposium:

Thursday, May 31st

7:30 pm introduction by Fernando Oliva and Guilherme Kujawski and

opening talk by Laymert Garcia dos Santos (Techno-Esthetics: Rethinking Relations between Art and Technology)

Initially, the talk seeks to question why an entire range of works that join art and technology are conceptually inconsistent and why this connection must be rethought. Further on, it will seek to demonstrate that it is possible to convert this negative connection into a positive one by means of philosopher Gilbert Simondon’s concept of techno-esthetics. Lastly, to illustrate the problem, the speaker will make use of the digital creations of artist André Favilla and the experiments of Leandro Lima and Gisela Motta.

Laymert Garcia dos Santos is a professor at Unicamp and holds a doctorate degree in information sciences from the University of Paris 7. He studies technology sociology and has written often on the relations between technology and culture. Between 2006 and 2010, he was the artistic director of the Amazonas multimedia opera, along with Peter Ruzicka and Peter Weibel.

Friday, June 1st

5:30 pm talks by Lisette Lagnado (The Reader of the Future) and Arto Lindsay (Difference and Repetition: A New Statute for Sampling)

mediator: Fernando Oliva

The Reader of the Future

(Lisette Lagnado)

Is it possible to achieve literary quality without actually writing a book, and instead do so by taking a visitor for a walk in the park, for example? This talk provides some clues to understanding the emergence of a new space for enjoyment in exhibition galleries. The work of Dominique Gonzales-Foester will be analyzed, along with its affinities with science fiction, present in the writings of Adolfo Bioy Casares, Roberto Bolaño and Enrique Vila-Matas and in the films of Jean-Luc Godard and Andrei Tarkovski.

Lisette Lagnado is an art critic and holds a doctorate degree in philosophy from USP. She was the chief curator of the 27th São Paulo Biennial and organized, in 2010, the exhibition Desvíos de la Deriva for the Museo Nacional Centro de Arte Reina Sofía (Madrid). Her other curatorial work includes Sala Especial de Iberê Camargo for the II Mercosul Biennial (1999) and Antarctica Artes com a Folha (1996).

Difference and Repetition: A New Statute for Sampling

(Arto Lindsay)

Despite much speculation over the demise of sampling, Lindsay discusses how it can be seen not as a paradigm but as one of the new sound technologies at music’s disposal that still has a lot to offer. Instead of creating a cell to be repeated, sampling is now something to be studied in its own right. The units created and their small variations and degrees are what is of interest. “We are longer hypnotized by the repetition itself and are starting to perceive and be able to classify the different relations between the elements of an artistic formula,” says Lindsay, who will also talk about how scientific and mathematical procedures are increasingly sought out as metaphors as well as the basis for works of arts.

Arto Lindsay is a musician. He has been a singer, guitarist, composer and record producer in New York. In the end of the 1970s, he played in a band called DNA that performed in Manhattan’s underground scene. In the 1990s, Lindsay began working in visual art projects. He currently lives in Rio de Janeiro and creates performance parades, such as the one for the Venice Biennale in 2009, and other musical expressions, as well as remaining active in the music field.

7:30 pm talks with Archive, collective group of Chris Kubick and Anne Walsh (An Afternoon with Joseph Cornell, from the Art After Death series) and Mario Ramiro (Haunted Media)

mediator: Fernando Oliva

An Afternoon with Joseph Cornell, from the Art After Death series

(Archive – Chris Kubick and Anne Walsh)

Anne Walsh and Chris Kubick will discuss primarily their An Afternoon with Joseph Cornell performance.  The basis of their project is a series of audio recordings of interviews with Joseph Cornell in 2002 at the Whitney Museum of American Art. Contact with Cornell was made through professional spirit mediums who talked with the influential American artist who discussed his work, reputation, legacy and dreams. Walsh and Kubick narrate this conversation using slides of Cornell’s enigmatic works, ephemeral objects made of paper, family photos, historical photos of his “hauntings” throughout New York City, advertising photos and the like. The narration includes a discussion of the various ethical and practical issues involved in making the Art After Death series, which includes the Cornell piece: the unusual combination of art historians and spirit mediums; the strange “truths” that emerge; the meaning of the word inspiration; the ownership of an artist’s legacy; and much more.

Archive is a collaborative production entity of the artists Anne Walsh and Chris Kubick. It has produced a series of CDs, including Conversations with the Countess of Castiglione, Yves Klein Speaks! and Visits with Joseph Cornell, as well as installations in galleries and museums, including the Whitney Biennial in 2002. Their work can be heard in public radio stations in the United States, Canada and England, and they have given talks in the Museum of Contemporary Art in Los Angeles, the Getty Museum and, recently, in the Institute for Surrealism Studies in Essex, England.

Haunted Media

(Mario Ramiro)

The artist will discuss how, at the time of the advent of telegraph communication and radio transmissions, a new belief system emerged in the western world based on the possibility of communicating with the dead. Similarly, the arrival of photography and its derivations, such as the x-ray, made visible what had previously been invisible to the naked eye. For more than 150 years, this belief also spread to the world of art, leading painters, photographers, writers and poets to reveal, by means of their unorthodox research, an extra-sensorial dimension to our sentient world.

Mario Ramiro is a multimedia artist. He was a member of the urban intervention group 3NÓS3. He holds a master’s degree in photography and new media from the Academy of Media Arts in Cologne, Germany, and a doctorate in visual arts from USP. Ramiro is currently a professor of the visual arts department and the graduate program at ECA-USP. He is a member of the Kurokos collective.

Saturday June 2nd

5:30 pm talk with Rod Dickinson and Roberto Winter [From Pornographic to Social (and Back)]

mediator: Fernando Oliva

Representation and Behavior Systems: The Milgram Re-enactment and Closed Circuit

(Rod Dickinson)

Dickinson will present two projects: The Milgram Re-enactment (2002) and Closed Circuit (2010). The talk explores how the two projects articulate and represent behavior and forecasting systems that are rooted in many facets of contemporary society. They are the result and legacy of the development of postwar information systems that place people in situations and institutions that manage and measure performance, choice and productivity. Consequently, this has created a systemic unit of man and machine united by means of a flowing and continuous feedback process. The presentation will focus specifically on how performance, dramaturgy, language and repetition can be used to question and separate this diffuse ontology.

Rod Dickinson is an artist and professor of media, culture and practice at the University of West England in Bristol, and his work explores ideas of control and mediation, focusing on how our behavior is moderated by feedback systems. By means of detailed research of moments in the past and present, the artist has created a series of meticulously represented events that explore situations and mechanisms that guide behavior.

From Pornographic to Social (and Back)

(Roberto Winter)

In 2008, for the first time in the history of the Internet, the use of social networks surpassed the search for pornography. More than just a possible upsurge in users’ morality, it instead suggests the possibility of understanding the social networks themselves as a form of pornography: a problematic type of mediation of social activities (including sex). By delving into this comparison and defining it more clearly, the speaker will deal with art’s place and role in an increasingly “pornographic” society (increasingly mediated by information and communication technologies), reflecting on the ethics/esthetics and radicalism/co-optation binomials in the relations between artistic production and the social field.

Roberto Winter is an artist. He holds a degree in physics from USP. He has participated in various exhibitions (such as the 17th Videobrasil International Contemporary Art Festival) and the Mitologias exhibition held at the Brazilian embassy in Paris). Winter was the curator of the exhibition À Sombra do Futuro, 2010, at the Instituto Cervantes, and is one of the editors of Dazibao, an art criticism magazine.

7:30 pm closing talk with Axel Stockburger

The Postwar Conditioning – A Techno-Political Perspective of Contemporary Art

(Axel Stockburger)

In the wake of the new millennium, the field of the arts in relation to the media underwent significant changes that led commentators to proclaim a state of “post-media condition.” It is therefore necessary to reconfigure art practices and their subjacent techno-political structures in light of the waves of crisis unleashed by global capitalism. How does the growth and strengthening of social networks and the corporate worlds of organized content – such as Amazon’s Kindle or iTunes – affect art forms that are aimed at a critical positioning in relation to the sociopolitical effects of the media?  What positions appear on the scene in a dynamic transformation of the battles for power between the corporate concepts of intellectual property and the numerous forms of virtual and material “Shanzhai” cultures and their challenge to the traditional forms of authorship? What is at play in the case of contemporary art when the paradigm of representative democracy is under siege while new meanings of the common emerge in the form of effervescent anonymous activities and movements such as Occupy Wall Street?

Axel Stockburger is an artist and a theorist.  He lives and works in Vienna. In 2006, he received his doctorate degree from the University of the Arts in London, exploring the theme of spatiality in digital game cultures. He currently is a member of the digital art media of the Academy of Fine Arts (Vienna).

itaú cultural auditorium 247 seats

[recommended for all ages]

In this edition, the institute offers an atemporal exhibition of international and local productions of digital and technological art, highlighting the new challenges of this form of expression within the contemporary art scene.

The idea is to create a “space for coexistence” aimed at works created with new media – art with technological beings (robots, synthetic organisms) and artistic expressions rooted in technical media (computers, mobile phones) – as well as projects developed on technological supports already considered traditional in contemporary art, such as cinema and video.

“It is art that must surprise, whether it uses older or cutting edge technology. However, we can’t deny the existence of new poetic forms that arise from these more recent technologies, which are closer to our everyday lives. Frequently, the surprise is seeing other purposes for something that is so commonplace today,” states Marcos Cuzziol, manager of Itaú Cultural’s Innovation center.

The exhibition does not intend to arbitrate interrelations between “new media art” and “mainstream contemporary art”, because connections are already being made without the help of theorists, critics or curators. It is unnecessary to discuss a diplomatic approximation between the two systems of art, and it actually may not even be pertinent as they were never technically separate. The sixth edition of Art.ficial Emotion reveals only a slight demarcation of boundaries, without the intention of delineating, segregating or even “de-territorializing” any of these worlds. Despite this, it has a conciliatory and ecumenical spirit. And a poetic one. But, above all, contemporary.

Thursday May 31 to Sunday, July 29, 2012

Tuesdays through Fridays 9 am to 8 pm
Saturdays, Sundays and holidays 11 am to 8 pm

floors 1, -1 and -2 [recommended for all ages]


scheduled visits

groups of 10 to 44 persons
Tuesday through Saturday, various times
[approximate duration: 90 minutes]

unscheduled visits
educators at the exhibition galleries
individuals or groups of up to 22

Tuesdays through Sundays and holidays
[duration varies according to interest]

information at the public reception desk

scheduling and information
phone 11 2168 1876 [Mondays through Fridays 9 am to 6 pm]