Zara Arshad, Alessandro Rolandi & Bruno Porto_ photo by Caue Ferraz

At the opening of the poster exhibition “Discover the Brazilian Cinema” presented at the 2nd Brazil Film Festival in Beijing, its co-curator Bruno Porto was joined by British designer Zara Arshad and Italian multimedia artist Alessandro Rolandi in an panel to address the relation between moving and still images: movies and its posters. The trio discussed aspects of contemporary marketing and promoting techniques – in which target audiences may only see a poster when they reach the theater, long after they’ve watched the trailer and read about it online – that subvert the original role of the poster, changes in technology that liberate the poster from paper, as well as its collectible aspects, and some of the “style formulas” specific genres use.

The debate and the exhibition were some of the parallel events of the 2nd Brazilian Film Fest in China, that took place at the Broadway Cinematheque MOMA in Beijing from November 17-22. It also featured a concert by musician, actor and soundtrack composer André Abujamra and a Q&A session with André Klotzel, director of Reflections of a Blender, the movie that won the festival Judge’s Choice Award. The international jury was composed by directors Xie Fei, Liu Jiayin, Sam Voutas and Vicky Mohieddeen & movie critic Raymond Zhou.

Descubra o Cinema Brasileiro poster exhibition_

Curated by graphic designers Billy Bacon and Bruno Porto, “Discover the Brazilian Cinema” features works by 30 graphic artists from diverse backgrounds, generations and parts of Brazil that encourage – through curiosity, beauty and witty visual solutions – the Chinese audience to enjoy Brazilian films. The show had been presented before at the 10th Shanghai International Film Festival in 2007 and the Pernambuco Design Salon in 2008. It was also selected for the 9th Brazilian Graphic Design Biennial, that traveled to Mexico and China in 2009.

Broadway Cinematheque MOMA_ Beijing

Posters by André Stolarski, Batman Zavareze, Billy Bacon, Bruno Porto, Claudio Reston ‘Haroldinho’, Daniel Bueno, Eduardo Denne, Felipe Muanis, Manifesto (Guto Lins / Adriana Lins / Fernando Arruda), Itamar Medeiros, Kako, José Bessa ‘Elesbão’, Leonardo Buggy, Leonardo Eyer, Lilian Granado, Marcello Rosauro, Marcelo Martinez, Marck Al, Mariana Ochs, Orlando Pedroso, Rafael Ferreira, Rafo Castro, Renato Faccini, Ricardo Cunha Lima, Ruth Klotzel, Walter Vasconcelos, Yomar Augusto and Ziraldo.

Broadway Cinematheque MOMA_

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Illustra Brazil is coming to China

Brought to Asia in a joint-project of SIB and the Ministry of External Relations of Brazil, the exhibition will be held from August 20th – September 25th 2011 at The Foundry Gallery in Shanghai, China. The exhibition catalog featuring text in Chinese, English, Spanish and Portuguese will be distributed during the festival.

The event also includes a series of lectures and workshops in Chinese universities, children guided tours, and meetings with Chinese professional associations. A seminar featuring Brazilian illustration, comics and animation projects for international clients will be presented on August 26th at the prestigious RockBund Art Museum by Orlando Pedroso, Marcelo Martinez and Bruno Porto, members of SIB’s Council of Directors.

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Bruno Porto, co-editor of BrazilianGraphicDesign.com, presents the website at the Sunhoo International Industrial Designers Forum (photo by Alessandro Rolandi)

The first Sunhoo Festival for Creativity and Innovation took place in the cities of Hangzhou, capital of the Zhejiang province, and FuYang from April 21-29 2011, gathering 35 design professionals from 18 countries in the five continents and an audience of 850 people. The event meant to explore the relationship between design, industry, art and technology through art installations in the LiuYing Garden at the West Lake and lectures at the Sunhoo International Industrial Designers Forum.

Three Brazilian design professionals were among the keynote speakers, featuring the work they’ve been conducting in China. Fashion designer Enesoe Chan presented the Summer collections he has been developing in Shanghai, mixing Brazilian and Chinese elements as wearable art; architect Cecilia Reichstul of Fernando Brandão Design presented their project for the Brazilian Pavilion at the Shanghai Expo 2010; graphic designer and educator Bruno Porto showed how the Brazilian graphic arts have been promoted in China through exhibitions, workshops and publications (including BrazilianGraphicDesign.com), as well as his own design and consultancy projects.

Others speakers included Clive Roux, CEO of Industrial Designers Society of America; Soon-In Lee, president of the Seoul Design Center; Reiner Packeiser, head of exhibitions of the Vitra Design Museum; Swiss furniture designer Jonas Merian; Colombian new media researcher Andres Burbano, from UCSB; Lars Thoegersen, CEO of CPH Design Denmark; and architect Anu Leinonen of OMA / Rem Koolhaas.

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"São Paulo's Soccer Museum" by Jair de Souza Design and Fundação Roberto Marinho

Jair de Souza, Daniela Thomas, Felipe Tassara, Mauro Munhoz and Leonel Kaz received the Gold Medal at IDSA’s IDEA 2010 Awards in the Entertainment Category for Museu do Futebol:

São Paulo’s Soccer Museum is a multi-artform project combining architecture, curatorship, museography, art direction, multimedia and visual design. The Museum is situated within Pacaembu Soccer Stadium and tells Brazil’s history through soccer, while contextualizing and identifying this sport as part of the spirit and essence of Brazilian culture. Conceived as a multi-sensorial venue, the museum’s infrastructure is made up of LCD screens, back projection screens, LED panels, glass plates and aluminium, iron, steel and polycarbonate structures. The major curatorial challenge was to create a museum that would be both intelligent and exciting, moving away from the traditional concept of sports museums – no banners, trophies, pennants, soccer players’ shirts and shoes – without changing the stadium’s architecture.

via Museu do Futebol The Soccer Museum | Co.Design.

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Composite of "Where is My Vote?" posters by Rico Lins and Yomar Augusto

Brazilian graphic designers Rico Lins and Yomar Augusto are among the 140 graphic artists that take part in “Where is my vote?”, a poster exhibition for the Green Movement in Iran presented in New York, at the Visual Arts Gallery (601 West 26th Street, 15th floor), from August 30th – September 25th, 2010.

Based on a curatorial concept by Green Bird and organized by Steven Heller, Anita Kunz, Woody Pirtle and Francis Di Tommaso in collaboration with Andrea Rauch, the exhibition features works of renowned international designers such as Milton Glaser, Isidro Ferrer, Seymour Chwast, Alain Le Quernec, Michael Vanderbill, Ralph Steadman, Massimo Vignelli and Ivan Chermayeff.

Posters can be seen at http://public.sva.edu/eblast/0099/web.html

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'Amor' by Daiana Santana / Ednaira Mendes / Leonardo Dias, from Oi Kabum! Escola de Arte e Tecnologia, Salvador

Brazilian graphic designer Felipe Taborda has curated an exhibition of posters at Warsaw’s Rampa Art Gallery and Poster Museum as part of Poland’s 22nd International Poster Biennale.

Titled ‘Kabum! Mix’, the exhibition is the culmination of a two-year project with the Brazilian Oi Kabum! schools of Art and Technology in Rio de Janeiro, Recife, Salvador and Belo Horizonte, sponsored by Oi Futuro.

The nine posters for 2008 series, produced by the students, in conjunction with French designer, Alain Le Quernec, were exhibited throughout the world to great acclaim. For the 2009 series, the students worked with local tutors and Mexican graphic designer, Alejandro Magallanes, creating posters based on the themes of ‘love’, ‘the future’ and ‘Aids’.

The 2009 posters were spread throughout Rio by Clear Channel, the company who administrates urban advertisement in the city.

via Kabum! Mix poster exhibition, Warsaw – Art – Wallpaper.com – International Design Interiors Fashion Travel.

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DINGBATS BRASIL in Venezuela

The exhibition DINGBATS BRASIL opened on April 30th at the Galeria Venezolana de Diseño in Caracas, Venezuela, as part of the program of the 4th Latin American Typographic Biennial TIPOS LATINOS 2010.

DINGBATS BRASIL features the first decade (1996-2006) of Brazil’s production of digital pictorial alphabets – the dingbats – through thirty-five projects by 22 prominent contemporary designers like Leonardo Buggy, Tony de Marco, Marina Chaccur, Claudio Rocha, Marcelo Martinez, Guto Lacaz and Rafo Castro, among others.

This is not the first time the exhibition is seen in Venezuela: in October/November of 2008 it was presented within the 4th COIDIGRA – Congreso Internacional de Diseño Gráfico, in the city of Mérida. The exhibition has also traveled Brazil, Colombia and China in local and international design events, and has been seen by over 12,000 people from 50 countries.

Photos by Maga Uzcátegui Rangel & information in Spanish here and in English & Portuguese here.

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Warsaw International Poster Biennale

Carlos Vinicius Lopes – who recently won the main award at the 3rd International Biennial of the Poster in Bolivia with his poster series “Sobreviver” (“Survive”) – and Kiko Farkas – who had a solo exhibition of 50 of his posters for the São Paulo Symphonic Orchestra at the Nanjing Arts Institute, China – are the Brazilian participants of the 22nd edition of the Warsaw International Poster Biennale, that will take place in 2010.

See the complete list of qualified participants here.

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OS GÊMEOS A mural by two Brazilian graffiti artists who call themselves Os Gêmeos has burst upon a corner of Houston Street and the Bowery (photo: Justin Maxon/The New York Times)

Which is to say that their fantastic, epic mural, on a concrete wall about 17 feet high and about 51 feet long, is light and frothy, a dream of happiness with an underlying chord of melancholy. And everything in it is exquisitely fine-tuned and detailed, a dazzlement of effortless technique that sustains long bouts of close looking. It will remain up until March.

The delicate black lines that thread throughout the entire image like drizzled charcoal dust are feats of spray-can painting. The prismatic color of everything else has a saturation unusual in graffiti art. The sky alone is half a spectrum. It begins with deep blue green at the top and descends through green and chartreuse to a golden, sunbathed yellow that serves as land, water, light, human skin and more.

And the storybook imagery is out of this world, yet not. Sure, people and things often levitate or are impossibly stacked, and the setting is a tad unreal — simultaneously wet and dry, or hard and spongy. But both the subways of New York and the favelas of São Paulo are here, and the figures wear brightly patterned garments (thanks to ingenious small-bore stenciling) that seem truly Brazilian. Plus, there are enough fish to placate the fish lovers of both cities. Sometimes these creatures have scales of many colors. Often they carry something in their mouths, like the bringers of good luck they are supposed to be: radiant little shacks, people or heads, whole figures. It’s magical realism with a touch of grit.

While the onslaught of figures, episodes and colors is at first overwhelming, a casual left-to-right reading suggests some narrative possibilities. Basically what we have here is a tale of escape and growth that begins in darkness and — after taking a few tips from the Bible, Hieronymus Bosch and M. C. Escher — ends in a stunning vortex of brilliant color. At far left, in the gray dimness of a narrow, cell-like space, a small figure strains toward the golden light seeping through a chink in the wall. Wearing pants, a jacket and a girlish scalloped bonnet and shouldering a bag, she’s leaving home, as the song says. A small spotted dog watches from the safety of a tenderly, elaborately wood-grained floor.

Through the chink the golden world awaits, arrayed around and above what seems to be a nearly circular waterfall; it’s a world populated by spirit guides, with or without gills. And it all adds up, or at least it is all visibly linked. You’re supposed to keep going, from one thing to the next, gaining wisdom along the way.

To sketch in some of the action, the connections begin with a boy on a four-poster bed (Dreamland’s point of origin) with a peacock on his back, using a second peacock as an ear trumpet. He listens to a whale whose skin, a mosaic of blues, is dotted with extra eyes. Atop the whale lies a girl (maybe our heroine, but older) so relaxed that the dots on her lavender-pink blouse are rising into the atmosphere like bubbles. The whale’s tail hooks over the rail of a snaking subway track, while the beast itself balances on a stack of three figures teetering on a rope bridge with iffy wood slats (San Luis Rey, anyone?) extending from one side of the waterfall to the other. (Don’t ask.)

Back on the tracks a subway car — the N train — is straddled by a large boy, who has human heads gathered around him like the day’s catch and a galleon on his head. A fish that is also a dirigible on its side is anchored to his hand. (Behind all this stretches a yellow out-of-focus landscape where the hills are faces.)

Next we are in the city where two boys who could be Os Gêmeos (Portuguese for the Twins, which the 35-year-old Pandolfo brothers are) are cramped inside a two-story, two-room house. The tracks continue into a station with an Escher-like mural of bright checkerboards receding to a vanishing point, and also the tag of Dash Snow, a New York graffiti artist who died last month and to whom the mural is dedicated.

The station is also part of a boat (touring the waterfalls?), with plush red seats tufted with yellow faces. At the front of the boat, next to a protective figurehead, sits a knowing young woman looking out at us amid bundles of patterned fabric. She has little houses in her green-and-black hair and wears a blouse whose planetlike dots are, this time, staying put.

The final third of the mural explodes in the rainbow vortex that is fabulously explicit in color but physically indeterminate. Sometimes it is a beach at low tide, sometimes a prison wall, sometimes quicksand, at least for a figure carrying a grandfather clock. Also here is a small Trojan horse (or maybe a mule), which brings back the lovely wood grain in warmer colors. Its neck is open and forms a double cameo for the faces of a boy and girl.

This telling omits many wonderful details. One of the best is front and nearly center in the image: a boy who seems to sit on a waterspout, wearing a fish mask and a T-shirt that is one of the painting’s best moments. It depicts a landscape: note the white stenciled stone wall, the changing greens of the tiny stenciled trees, the golden setting sun. It is an idyll of pastoral, escape-from-the-city living, cottage and all.

via Art Review – Os Gêmeos – Os Gêmeos, Brazilian Graffiti Artists, Create a World on a New York Wall – NYTimes.com.

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Rogério Duarte at The Narrows Gallery

It is impossible to comment on the work of Rogério Duarte from a purely visual perspective. It carries complexities that you can’t begin to grasp until you first understand the environment in which it was created. Duarte was born in Brazil in 1939. He is a graphic designer, poet, songwriter and professor and recognised as an intellectual force of the Tropicália movement of the late 60s, dominated by musicians such as Gilberto Gil and Caetano Veloso.
(…)
This autumn, The Narrows in Melbourne, Australia showed an insightful retrospective of Rogério Duarte’s work with curators Warren Taylor and James Hibbard carefully positioning the collection within this broader context. The exhibition vibrantly brought together iconic works created during the Tropicália movement and included record covers created for resistance musicians Gilberto Gil, Caetano Veloso and Gil Jorge, original posters designed for experimental Cinema Novo films, book covers, poetry and other media.
(…)
Duarte chaotically mixes styles and influences. He cannibalises and re-elaborates popular-culture references. Duarte devours and spits out The Beatles’ Let It Be cover for Veloso’s 1975 album, Qualquer Coisa, and his artwork for Gilberto Gil’s self-titled release is heavily influenced by Peter Blake’s Sgt. Pepper’s Lonely Hearts Club Band (but features Gil in military-style art-school uniform).

Grafik magazine can be purchased here.

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Kiko Farkas and NewGraphic's editor Ge Hong at the exhibition at Nanjing Arts Institute

Two weeks after his presentation at the Icograda World Design Congress in Beijing, Brazilian graphic designer Kiko Farkas gave a talk at the Nanjing Arts Institute at the opening of an exhibition of 50 posters for the São Paulo Symphonic Orchestra.

In the talk to students and guests at November 10th 2009, Kiko was introduced by Ge Hong, editor-in-charge of the Chinese design magazine NewGraphic. The magazine’s latest issue (#22, released in September) featured about one hundred of Farka’s works with his design company Máquina Estúdio.

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9th Brazilian Graphic Design Biennial goes to Mexico

The Universidad Autónoma Metropolitana-Xochimilco, the Franz Mayer Museum, the National Association of Schools of Graphic Design (Frame), the Autonomous University of Aguascalientes and the Mexican Council for Accreditation of Program Design (Comaprod) are bringing ADG’s 9th Brazilian Graphic Design Biennial to Mexico

_Opening
Tuesday November 3, 2009, 19:00
Central courtyard of the Museo Franz Mayer

The Exhibition goes on until 13 December 2009.

_Lectures
The event will also host the lecture “Axes of Brazilian design”, by André Stolarski and Chico Homem de Melo:
Saturday 7 November 2009, 12:00
Franz Mayer Museum Auditorium
Hidalgo 45, Centro Histórico, Ciudad de México,
México, DF 06300

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Leonard Eyer at the Netherlands Photo Museum

Brazil Contemporary is an overview exhibition compiled by the Netherlands Architecture Institute (NAI), Museum Boijmans van Beuningen and the Netherlands Photo Museum. These three institutions have joined forces to introduce to the general public Brazilian artists, architects, photographers and designers.

Museum Boijmans Van Beuningen presents a survey of the contemporary art of Brazil. The work of Hélio Oiticica (1937-1980) occupies pride of place. Oiticica considered that Brazil should not just passively undergo and imitate Western influences, but that artists should transmute these influences into a uniquely Brazilian culture. According to Bregje van Woensel, curator of the exposition at Boijmans, contemporary Brazilian art is characterised by a highly-structured and controlled approach to material and design. The exhibition shows to what extent today’s artists are still under the influence of Oiticica, with works by Ernesto Neto, Rivane Neuenschwander, Cao Guimaraes and Ricardo Bassbaum.

Thanks to the work of Oscar Niemeyer, Lúcio Costa and Roberto Burle Marx, twentieth-century Brazil developed a surprisingly unique urban modernism. It “was sentenced to the future”, as phrased by Paul Meurs, who compiled the exposition on São Paulo in the NAI.

The Netherlands Photo Museum zooms in on the rapidly changing Brazilian visual culture with its mixture of high and low, elitist and populist, artistic and applied. The exhibition shows not only photography, but also other old and new media, television and internet, with an panorama on fashion and graphic design, featuring the work of — among others — Marcelo Martinez and Leonardo Eyer.

via Surprising Brazilian art in Rotterdam | The Power of Culture.

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Poster of "Brazil Illustrated: Bruno Kurru / Wagner Pinto / Eduardo Recife" exhibition during London Design Festival

Part of this year’s London Design Festival, the exhibition Brazil Illustrated does not aim to create a geographical representation of the practice of illustration in Brazil today, but brings together three individual artists — Bruno Kurru, Wagner Pinto and Eduardo Recife — whose work synthesizes the numerous possibilities of the medium in its multiple variations. All three artists incorporate a variety of media and materials in their work, whilst still maintaining drawing at the very heart of their practices, comfortably accommodating seemingly disparate visual elements such as line drawing, photography, painting and collage.

The exhibition, curated by João Guarantani, concentrates on the possibilities of illustration outside its applied state, before it is appropriated by design and visual communication, and presents an exploration of the most expressive qualities of the medium in its raw state through site-specific installations.

via Brazil Illustrated: Bruno Kurru / Wagner Pinto / Eduardo Recife | London Design Festival.

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"Dream" by Eduardo Recife

With Brazilian designers and companies like F. Akasaka and Melissa helping to put Brazil on the map for design (not just street art), there’s a lot of talent that’s on the brink of making it big, which is the subject of the exhibit “Brazilian Design Today: Frontiers.”

Interest in Brazil’s arts outside of the traditional cultural symbols is relatively recent, so to celebrate and showcase the variety and contributions of Brazilian design in the 21st century, the show focuses mostly on industrial design but also takes a look at digital mediums.

There are gems aplenty among those 90 picked for the show, from Eduardo Recife‘s handmade cut-and-paste fonts (like “Dream“) and Fernando Prado‘s “Bossa” adjustable lamp.

Also worth checking the pieces of Alexandre Wollner, Claudio Rocha, Tony de Marco, Rogério Duarte, and Tipos do Acaso.

via Brazilian Design Today: Frontiers.

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• DINGBATS BRASIL

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Rogério Duarte, a graphic designer, musician, composer, poet, philosopher and professor, is considered to be the one of the main intellectual forces behind the Tropicália/Tropicalismo movement. Duarte co-wrote songs with key figures of the movement including Gilberto Gil and Caetano Veloso and produced the album covers for other great names in Brazilian popular music, such as Gal Costa, João Gilberto and Jorge Ben.

The Brazilian artistic movement ‘Tropicália’ arose in the late 1960s, during a time of international cultural and political upheaval, with civil rights movements and anti-Vietnam protests in the US, riots in Paris, and the 1964 military coup in Brazil. The movement was truly global in its perspective, reflecting the chaos and anti-authoritarianism that seemed to be sweeping the world. The movement redefined Brazilian arts and re-shaped Brazilian society.

Although the original movement was crushed by an authoritarian regime, the influence and irrepressible spirit of Tropicália is far reaching. Many musicians including David Byrne, Beck and Kurt Cobain cite the influence of Tropicália on their work, and the ground breaking nature of the visual arts has only recently begun to be fully appreciated.

Tropicália launched the careers of many of Brazil’s most famous musicians and was Duarte’s closest association with fame. A true polymath, his work spans numerous fields and decades but he is best known as a designer of record covers for many of the great names of Brazilian popular music, such as Veloso, Gilberto Gil, Gal Costa, João Gilberto and Jorge Ben, posters for some of the signal films of Brazilian cinema, including Black God, White Devil, as well as book covers and works in other media. This exhibition showcases the range of Duarte’s creative endeavors in Brazil during his period.

As part of the 2009 Melbourne International Arts Festival, the exhibition will be launched on Thursday October 15 at 6pm and will continue until Saturday November 14.

ROGÉRIO DUARTE
OPENS 6PM THURSDAY OCTOBER 15 2009
Curated by Warren Taylor and James Hibberd

The Narrows
Level 2 | 141 Flinders Lane
Melbourne Victoria – Australia 3000
P + 61 03 9654 1534
www.thenarrows.org
info@thenarrows.org

Warren Taylor has an ongoing interest in the work of Rogério Duarte and as founder and director of The Narrows, has initiated, curated and toured exhibitions by distinguished graphic artists such as Ronald Clyne (2007), Experimental Jetset (2007), Roma Publications (2007), Ed Fella (2008), John Melin (2008) and Tobias Frere-Jones (2009).

James Hibberd has a longstanding interest in Tropicália specifically, and South American cultures more broadly, including history, literature, indigenous cultures and music.

Poster for the film Deus e o Diabo na Terra do Sol, 1964

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• DINGBATS BRASIL

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Premiere Brazil! 2009, the seventh annual collaboration between MoMA and the Rio de Janeiro International Film Festival, introduces New York audiences to original and compelling films by both new and established Brazilian filmmakers. The exhibition’s opening-night screening is the U.S. premiere of acclaimed director Bruno Barreto’s Last Stop 174, a tender and suspenseful story of human tragedy and loss set in Rio de Janeiro. Also featured are eight seminal works by Eduardo Coutinho, Brazil’s master of documentary filmmaking. Highly regarded for their formally distinguished and innovative style, Coutinho’s influential films highlight the amazing storytelling abilities of ordinary people. The Coutinho retrospective includes the world premiere of his latest film, Moscow. The festival’s annual selection of classic films celebrates the centenary of one of Brazil’s most popular composers, Villa Lobos, with a screening of the rare 1937 Humberto Mauro film The Discovery of Brazil, which features a beautiful Lobos score. Several music-filled documentaries featuring Brazil’s most beloved contemporary poets and performers form a significant component of this year’s festival, which also includes live performances of Brazilian music in the Museum’s Sculpture Garden, presented as part of MoMA Thursday Nights. All films are from Brazil and in Portuguese with English subtitles. Most first screenings will be introduced by the filmmaker(s).

via MoMA | Premiere Brazil! 2009.

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9th Graphic Design Biennial: LOGO

The China Tour of ADG Brasil’s 9th Brazilian Graphic Design Biennial exhibition was made possible by the Consulate General of Brazil in Shanghai and Creative Connect, with the support of Raffles Design Institute, Elizabeth Premazzi Architecture & Interior Design, CAFA – China Central Academy of Fine Arts and the endorsement of Icograda.

Shanghai 15-21 October 2009
Shanghai International Creative Industry Week 2009
800 Changde Road, Building 3 – Jing’an District

Beijing 26-30 October 2009
Icograda World Design Congress
Central Academy of Fine Arts
No.8, Hua Jia Di Nan Jie
4th Floor Gallery, Building  7

_Guided Tours

Saturday/Sunday | October 17th/18th
• 11am (Portuguese / English)
• 3pm (English / Chinese)

_Lectures

Wednesday | October 14th • 6:30pm
9th Brazilian Graphic Design Biennial
Cecilia Consolo
Bruno Porto

Monday | October 19th • 6:30pm
Visual Communication & Technology
Julius Wiedemann
Fluid mechanics: Design in the elastic environment
Luli Radfahrer

Lectures will be presented at the Raffles Design Institute Shanghai
Main Building Auditorium N305 / Donghua University – 1882 Yan An West Road (t.021.62701196)

_Workshop
October 17th-20th
Brazilian Chinese Hybrid Design Icograda Workshop
Bruno Porto, Simon Richards, Sarah Stutz, David Fox_ Raffles Design Institute
Cecilia Consolo_ Fundação Armando Alvares Penteado
Kelvin Tam_ Hong Kong Design Institute
Luciano Cardinali_ Escola Superior de Propaganda e Marketing
Luli Radfahrer_ Universidade de São Paulo

_Portfolio Review
Tuesday | October 20th
Asian Graphics NOW!
Julius Wiedemann & Bruno Porto

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Dingbats Brazil goes to Venezuela

DINGBATS BRASIL is an exhibition that features the first decade (1996-2006) of Brazil’s production of digital pictorial alphabets – the dingbats – through thirty-five projects by 22 prominent contemporary designers. The fonts can be seen in its +dingbatsbrasil) and related matters (in the dingblog).

The themes of most of the exhibited projects emanate from a broad cultural sphere, and they are carried in a comprehensive bunch of languages and styles – which reflect the diversity of Brazilian contemporary graphic arts. The initiatives of rescuing and registering aspects of Brazilian culture – music, religion, art, sports, culinary and even design itself – could be understood as a premeditate or unintentional way of popularizing the Brazilian-way-of-life through graphic design

Read Also:

• DINGBATS BRASIL goes to Venezuela
• DINGBATS BRASIL goes to Beijing ICOGRADA 2009
• Chinese design magazines will publish over 200 pages of Brazilian graphic arts in 2010
• 9th Brazilian Graphic Design Biennial goes to China
• Roots: Tupixel (Brazilian Illustrators Index)

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