Archivo de la categoría: exposiciones

Intervenciones in situ en los patios y corredores del MAMU

Por: Banco de la República – Actividad Cultural

El próximo sábado 30 de septiembre el Banco de la República inaugura una nueva versión de Nuevos Nombres, un programa que desarrolla desde 1985 y a través del cual busca visibilizar el trabajo de artistas emergentes en Colombia. Esta nueva versión es una curaduría conjunta de David Ayala-Alfonso, Nicolás Gómez Echeverri y Luis Fernando Ramírez, que se divide en tres etapas acumulativas que finalizarán en noviembre de 2018. Los siete artistas seleccionados harán intervenciones en diferentes espacios del Museo de Arte Miguel Urrutia –MAMU- y en el portal cultural del Banco de la República.

Tome nota:

  • La entrada al MAMU (calle 11 #4-21) es gratuita.
  • El museo está abierto de lunes a sábado (excepto los martes, que está cerrado) de 9:00 a.m. a 7:00 p.m. y los domingos y festivos de 10:00 a.m. a 5:00 p.m.

Durante los últimos veinte años Bogotá ha sufrido una serie de cambios estructurales que ha reorganizado su espacio urbano de manera radical, esto en parte, gracias a intervenciones públicas y privadas y a distintas iniciativas, por ejemplo de economía solidaria o de resistencia comunitaria, que promueven perspectivas diversas sobre la construcción y el uso de los espacios.

La Manzana Cultural del Banco de la República en el centro histórico de Bogotá es un buen ejemplo de esto. Este complejo cultural se caracteriza por la diversidad y el contraste entre estilos arquitectónicos, periodos históricos y materiales. Hay, por ejemplo, edificaciones del siglo XVII (como la Casa de Moneda), del siglo XIX (el antiguo Palacio Arzobispal de Bogotá, hoy en día el Museo Botero), la década del cincuenta del siglo XX (la Biblioteca Luis Ángel Arango) y de años más recientes (el Museo de Arte Miguel Urrutia, Premio Nacional de Arquitectura en 2006).

Esa amalgama de fachadas, corredores y pasadizos está, sin que se nombre o señale directamente, presente en la experiencia que se llevan los visitantes al recorrer los museos. Esta curaduría quiere enriquecer ese “estar en el museo” con intervenciones artísticas en los patios y los corredores del MAMU que, por una parte, cuestione a los espectadores sobre su relación material, inmaterial y cultural con los espacios; y por la otra, dé cuenta de cómo los artistas reaccionan a la ecología contemporánea del espacio.

Primera etapa

Durante esta primera etapa de Nuevos nombres, que se exhibe entre el 30 de septiembre de 2017 y el 5 de noviembre de 2018, se exhibirán cuatro obras in situ: Edificio Modinaglopro I (2017) de Matilde Guerrero, una obra que se instalará en una de las plazoletas externas del MAMU y que recuerda “las casas que crecen”, esas propiedades que avanzan en área y altura de acuerdo con las posibilidades de sus propietarios; El vuelo de la ballena (2017) de Snyder Moreno, una manga de viento de viento monumental que evoca los viajes migratorios de las ballenas en el Pacífico colombiano; Proyecto 2415017 (V. 2.0) (2017) de Carlos Guzmán, una obra que relata la toma del Palacio de Justicia, ocurrida a pocas cuadras de la Manzana Cultural; e Incrustación (2017) de Alejandro Sánchez Suárez, dos contenedores de carga que, casi irrealmente, se ensamblan en una de las fachadas interiores.

Además del espacio físico la muestra también alcanzará el espacio virtual, dado que tres obras se alojarán en el portal cultural del Banco de la República: Promesas (2017) de Ana María Montenegro, sobre los discursos y las promesas de los políticos; Datasfera_1.0: Tierra Bomba (2013) de Fito Segrera, sobre la construcción de experiencias compartidas a través de Internet; y La piel del dinero (2017) de Daniel Escobar Vásquez, un proyecto que estudia los billetes colombianos a partir de categorías de género, raza, procedencia geográfica, campo de acción (político, militar, científico o artístico), etc.

Datasfera_1.0: Tierra Bomba de Fito Segrera.

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“Contiguity and Incompleteness” is a curation effort by students in the Postgraduate Specialization in Art: Criticism and Curation at PUC-SP

Por: A.C. Videobrasil

This Saturday, beginning at 11 am, #GalpãoVB will show videos by Jonathas de Andrade, Clara Ianni and Mihai Grecu, among other artists in the Videobrasil Historical Collection. “Contiguity and Incompleteness” is a curation effort by students in the Postgraduate Specialization in Art: Criticism and Curation at PUC-SP, who picked through the Collection with guidance from professor Cauê Alves.

The Videobrasil Historical Collection, comprising artworks from all past Festivals, is the basis for the project, a PUC-SP/Associação Cultural Videobrasil partnership. The goal is to create a space in which to explore the formative role of the organizations involved, and to encourage the collective conception, discussion, and development of contemporary art curation projects.

Contiguity and Incompleteness is a snapshot of the artwork featured in the latest three editions of the Contemporary Art Festival SESC_Videobrasil. Their inspiration and general guidelines stem from the geopolitical South – Latin America, the Caribbean, Africa, the Middle East, Eastern Europe, South and Southeast Asia and Oceania – and its humanitarian, societal, political, and historical issues. The pieces in the show hint at distinct modes of analysis of particular realities from countries like Bolivia (Claudia Joskowicz), Brazil (Clara Ianni), Chile (Claudia Aravena), China (Liu Wei), North Korea (Mihai Grecu), and Zimbabwe (Dan Halter).

Memory, migration flows, the social fabric, the failure of social and economic models and of the modern project, the passage of time, historicity, repression and resistance, the visibility/invisibility of ideological, political and historical issues, and social/political conflicts all permeate the artwork and legitimize the pertinacity of bringing to light subjects that systematically converge towards vulnerable, recurring aspects of contemporaneity and of History.

Before the showing at #Galpão, the program designed by students from the subject “Experimental project in criticism and curation” will be available as a map on PLATFORM:VB, Videobrasil’s online art research, experimentation and curating tool, where users can intersect and connect different artworks. Here’s the link: http://plataforma.videobrasil.org.br/#mapeamentos
Check out the artwork list for the Galpão VB show on Saturday, December 10 at 11 am:

Contiguity and incompleteness (Continuidade e incompletude)
Students: Isabella Guimarães, Rachel Balassiano, Simone Nunes, Viviane Tabach
Featured Artworks:

Forma Livre – Clara Ianni – 2013 – 7’14”
11 de Septiembre – Claudia Aravena – 2002 – 5’39”
Round and round and consumed by fire – Claudia Joskowicz – 2009 – 9’12”
Unforgettable Memory — Liu Wei – 2009 – 10’15”
Beitbridge Moonwalk – Dan Halter – 2010 – 5’23”
Projeto Pacífico – Jonathas de Andrade – 2010 – 12’32”
Sitiado – Carlos Guzmán – 2012 – 14’30”
The Reflection of Power – Mihai Grecu – 2014 – 9’1”
QUICK FACTS

Contiguity and Incompleteness
December 10 (Saturday) – 11 amGalpão VB – Av. Imperatriz Leopoldina, 1150, São Paulo
+55 11 3645 0516
Directions: http://site.videobrasil.org.br/galpaovb/visitacao
Free admission / All ages

Panorama Colombia 2016: COLOMBIAN VIDEOART PROGRAM

Por: Panorama Colombia

Panorama_logo2

COLOMBIAN VIDEOART PROGRAM: PSYCHIC RESPONSE STRATEGY

This year Kurator Rex will delight us with “Psychic Response Strategy”, his most recent selection of video art which reunites fifty seven works of forty colombian visual artist and filmmakers from distinct generations and trajectories.

Psychic Response Strategy is a selection of video art that arises from the expectation raised by the probability of accessing a special category, a social welfare state called “Post-conflict”.

The VIDEOART PROGRAM will be screened continuously during the duration of the festival in a specially adapted exhibition space.

Faced with the sensitivity that is required to process a complex and massive event like the one announcing the post-conflict in Colombia, the proposed program of video art, which consists of a compilation of audiovisual projects of Colombian artists from different generations, not only presents a social memory or sequences of fiction, but also constitutes true psychic states that, through metaphors, become valuable documents of a social and human conflict.

In the first instance, video art is a residual material from psychic processes of the spectator, a spectator who we will later call artist. In the middle of the conflict, the artist is a spectator or an actor so fortunate, that he has had time on his hands, time to confront historical and social documents, to record, to appropriate them and set a personal document out of these, a direct and intimate response which emerges as an imperative need expressed by deliberate and experimental actions, as staging and video editing or montage.

In January this year the Government of Colombia announced the initial investment of 470 million dollars in the implementation of the first phase of the post-conflict. This phase has been called “Rapid Response Strategy” and would be implemented by the recently created “Ministry of Post-Conflict”.

We are used to hear statements from military and political language in the news, such as: “Governments should take charge of a -quick response- facing global threats of increasing terrorism and the spreading of the crisis” or “NATO will increase its -Rapid Response Force- up to 40,000 people”. Nevertheless, within the framework of this trascendent, collective event, the function of time expressions like: “Post”-conflict and “Rapid” Response cannot only be assumed as a part of a deep and urgent need to enter a new social state, but, above all in a new psychic state. Perhaps it could offers the possibility of a much less conventional peace than we usually see in the news.

Curated by Julian Santana

[view selected works]

Território, povoação| Blau Projects

by: myartguides

Blau Projects promotes the opening of the exhibition Território, povoação”, a result of its program of incentive for young curators, the C.LAB. The second edition of the program had, as chosen curatos, Gabriel Bogossian and Juliana Gontijo, that exhibit the present show with latin-american artists that question the problematics of the territories of the continent, since colonization until present days. They are: Andres Bedoya, Carlos Guzmán, Julián D’Angiolillo, Victor Leguy and Ximena Garrido-Lecca. Apart from the opening of the exhibition, the gallery launches the thrid edition of C.LAB, a program dedicated to reveal young latin-american curators with a financial aid and that, in 2016 offers, for the first time, an artistic residency in Buenos Aires.

Neoarte.net / Soluções fotográficas para o mercado de arte.

Território, povoação, installation view

In Latin-American history, land problems are recurrent. Since colonization, the disputes for land and its possession are a part of our everyday life, be it in an agricultural, environmental, ethnical contexts or a reflexion of the many favelas in latin-american cities. The exhibition works with this background, with works that approach the issue in various manners of our territories and the narratives that make them”, say curators Juliana Gontijo, a Brazilian who lives in Buenos Aires, and Gabriel Bogossian, a Brazilian who lives in São Paulo.

The name of the project is a reference to the title of an ensemble of classes the French Michel Foucault taught in France in the 1970s, investigating the relationship between the transformations of government ways and understanding of territory. Peruvian Ximena Garrido-Leca presents the video Contornos, from 2014, and shows the archaeology of a pre-Colombian past in a village in Peru contrasting with privatisation operations and mining activities. The dispute between heritage and modernity, tradition and progress, is, invariably, abandonment.

Antropolis, instalation by Argentinean Julián D’Angiolillo, made in 2011, is a project that fabricates an anomalous space neighbour to Tecnopolis, a science and technology fair the Argentinean government built to celebrate the 200 years of the country in Buenos Aires’ suburbs. The works exposes rawly the reality of latin-american suburbs and relativises the development and progress speeches that follow the uncontrollable and monstrous grouth of our metropoles.

Colombian Carlos Guzmán shows the video Colheita, from 2015, that presents a map of the city of São Paulo based on coffee plants found in the streets along two years. The artist becomes a collector of the plants on the ways of the harvestings made in the mountains of Colombia, searching for the best red grains. At the same time, Colombian immigrants enunciate the causes of geographical, social and cultural displacements of Colombian cities in relation to São Paulo.

Neoarte.net / Soluções fotográficas para o mercado de arte.

Território, povoação, installation view

The presence of immigrants in the city of São Paulo is the theme of the installation Irrealidades ficcionais pouco importantes, an original work by Brazilian artist Victor Leguy, made up of drawings, objects and videos with stories that sound almost fictional and testimonies of characters not found in the media.

Río Negro, by Bolivian Andrés Bedoya, made in 2014, part of an ensemble of eight videos that compose the installation with the same name, shows a close-up of Choqueyapu river, with it’s contaminated foam, that crosses the city of La Paz. The river that was responsible for the historical development of the city for it contained large quantities of gold is today considered a great geographical catastrophe. The rivers reflect their surroundings and its political, economical and social conditions.

Neoarte.net / Soluções fotográficas para o mercado de arte.
Território, povoação, installation view

‘A Thousand Visions: Contemporary Video from Latin America’

by: 1After320

1After320 Film Program: ‘A Thousand Visions: Contemporary Video from Latin America’

Oct-Dec
Latin America: David Ayala Alfonso

Defining Latin America beyond its geography and through the lens of culture is a challenge. The attempt to cast the denomination of a region have been recurrent for centuries, and has been closely related to independent processes and narratives. The idea of a Latin America lives in different versions that respond to an equivalent number of ends. There is a Latin America that lives in the political discourse of power that is in tension with other versions of the concept, particularly those in the context of cultural expression be it cinema, visual arts or music. Artists have thus developed discourses that call on an approach in presenting an idea of Latin America that is empathetic to what takes place within communities through nodes and networks of global exchange. Works in the selection potray a complex articulation of identities, filiations and oppositions that produce audio-visual discourse in the different countries of the region. Personal stories mingle with international connections and hybridizations, cultural contingencies and political utterances in depictions of contemporary Latin America.

Artists include: Felipe Steinberg, Carlos Motta, Laura Huertas Millan, Regina Parra, Claudia Joskowicz, Amanda Gutierrez, Carlos Guzman and Ana Tomimori.

1After320_2015_2

Images: 1After320

David Ayala Alfonso is a Colombian curator, artist, and researcher. He works as Editor in Chief for em_rgencia, a peer-reviewed journal on contemporary art. His practice is focused on examining social movements, public policies, education, and media consumption through the lens of arts and visual culture. Ayala Alfonso has published writings on Colombian art history, arts education, independent spaces, performance, and artistic interventions in the public realm. He is also an occasional writer and translator for different academic publications. As part of Group 0,29, he has produced various performances and intervention projects in Colombia and Latin America. Recently, he has been awarded the annual Arts Publishing Prize from the cultural office of the City of Bogota and the Fulbright Grant for Colombian Artists to pursue graduate studies in the United States in 2013

Frente à Euforia / Frente a la Euforia

Frente à Euforia é um projeto de exposição realizado com apoio da FUGA – Fundación Gilberto Alzate Avendaño (Bogotá) e da Oficina Cultural Oswald de Andrade (São Paulo).

Frente_a_euforia_web

O projeto busca traçar uma reflexão crítica acerca das atuais situações sociais e políticas vividas no Brasil e na Colômbia. Entendendo a sensação de euforia e otimismo em relação ao futuro como produtos imaginários, interroga-se como o passado e a passagem do tempo são relidos em momentos de intensas transformações econômicas e sociais. O imaginário das mudanças e rupturas bem como sua crise, são interpelados através de uma recente e específica produção cultural dos dois países, que indicam possíveis modos de olhar, com reticência, aos fenômenos sócio-históricos dos últimos 15 anos.

A pesquisa conta com uma exposição, seminário, oficina e maratona audiovisual, resultados de uma residência artística realizada pelos curadores em Cali, Bogotá e Medellín.

Curadoria: Fábio Zuker, Isabella Rjeille e Mariana Lorenzi

Com: Alejandro Martín, Breyner Huertas, Carla Zaccagnini, Carlos Motta, Carlos Guzmán, Clara Ianni, Danilo Volpato, David Escobar Parra, Elkin Calderón, Fabiana Faleiros, Fernando Arias, François Bucher, Gabriela Pinilla, Giovanni Vargas, Glauber Rocha, Jaime Lauriano, Juan José Lozano e Hollman Morris, Julia Buenaventura, La Fulminante, Leonardo Herrera, Luis Ospina e Carlos Mayolo, Luiza Baldan, Mauricio Carmona, Monica Restrepo, Paula Sachetta e Peu Robles, PPUB, Regina Parra, Rita Natálio, Veridiana Domingos, Veronica Stigger e William Zeytounlian.

Exposição/
Abertura: 14/5 – quinta-feira – 19h
Visitação: 15/5 a 11/7 – segunda a sexta-feira – 10h às 21h | sábados – 10h30 às 20h
Classificação: livre

Seminário //
16 de maio de 2015 a partir das 14h

Maratona audiovisual //
20 de junho de 2015 a partir das 17h //

Local exposição e seminário //
Oficina Cultural Oswald de Andrade – Rua Três Rios, 363, Bom Retiro, São Paulo

Local maratona de filme/
Casa do Povo – Rua Três Rios, 252, Bom Retiro, São Paulo

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Fabio Zuker/
Pesquisador e crítico cultural. Formado em Ciências Sociais pela USP, faz mestrado em Arts et Langages pela École des Hautes Études en Sciences Sociales, em Paris. Foi assistente de curadoria geral do Centro da Cultura Judaica e coordenador de programação cultural da Casa do Povo. Suas pesquisas se desenvolvem em diversos formatos, sobretudo em artigos e ensaios, projetos curatoriais e mostras de cinema. Trabalhou como curador assistente no projeto Inferno, de Yael Bartana, e coordenou ciclos de debates e cinema no [R.A.T.] México. Atualmente é curador adjunto do projeto de restauração aberto da VIla Itororó.

Isabella Rjeille/
Curadora, crítica e editora. Graduada em Artes Visuais pelo Centro Universitário Belas Artes, participou do Programa Curatorial Máquina de Escrever (CAPACETE Entretenimentos, 2013). Foi curadora assistente da exposição “artevida” (2014), que aconteceu no MAM-RJ, Casa França-Brasil, Escola de Artes Visuais do Parque Lage e Biblioteca Parque Estadual. Foi membro do corpo editorial da revista MARÉ crítica, hospedada no site do Ateliê397. Atualmente é editora do jornal Nossa Voz / Casa do Povo e colabora com a programação da Casa Tomada.

Mariana Lorenzi/
Curadora, produtora e gestora cultural. Graduada em Comunicação Social pela FAAP e com Master of Arts Politics pela New York University. Trabalhou no departamento de comunicação do Centro da Cultura Judaica por três anos e estagiou no departamento de curadoria do MoMA e New Museum, ambos em Nova York. Participou do projeto Laboratório Curatorial coordenado por Adriano Pedrosa, realizando a curadoria da exposição “O Corpo é o Meio” (2013). Colabora com textos para artistas e instituições, e atualmente é a coordenadora artística da Casa do Povo.

Fotografia de Elkin Calderon. ”Imagem 7”, da série ”O mesmo palhaço com diferente disfarce”, 2014 – presente na exposição Frente a Euforia.

Retrato de Familia. Catalejo II

Por: UTadeo

Inauguración: Martes, 21 de octubre 7pm
Museo de Artes Visuales – Universidad Jorge Tadeo Lozano
Curaduría: Carolina Ponce de Leon
Museografía: Juan David Laserna

 

Esta muestra, curada por Carolina Ponce de León, es la segunda versión de Catalejo, exposición de egresados del Programa de Artes Plásticas de la Universidad Jorge Tadeo Lozano. La exposición se presenta en el marco de las celebraciones de los 60 años de la Universidad y se inaugura el 21 de octubre a las 7pm en el Museo de Artes Visuales de la UJTL.

“La exposición reúne a cuarenta y cinco artistas de diferentes generaciones,  desde las primeras promociones, a mediados de los setenta, de la entonces Facultad de Bellas Artes hasta recién graduados del hoy llamado Programa de Artes. El resultado es un amplio espectro de tendencias estéticas y de prácticas representativas de la escena artística contemporánea….. Esta multiplicidad generacional y artística se toma como una oportunidad para concentrar temporalidades en un montaje integrador —un retrato de familia— En lugar de proponer una visión curatorial estructurada en función de asociaciones discursivas con el fin de sugerir una lectura específica, esta exposición presenta el conjunto de obras como un gran collage heterogéneo en la forma de una línea de tiempo no cronológico que altera la jerarquía tradicional de la experiencia expositiva, realzando el carácter fundamentalmente disímil entre las obras: unas tienden hacia la exploración de la contingencia social, otras hacia una poética de la imagen o de los materiales, unas se centran en experimentos formales, mientras que otras propician estrategias lúdicas como forma de activismo social.”

Extracto del texto de la muestra, por Carolina Ponce de León.

 

Otras actividades vinculadas a la muestra:

Viernes 24 de octubre. 12.30 a.m. Plaza de la Universidad. Acción de Matilde Guerrero
Martes 11 de noviembre 4 a 6 p.m.. Conversatorio con artistas participantes y alumnos actuales del Programa

Open Studio: The Public Domain

By: Delfina Foundation

27/04/14 — 20/06/14

To complement the residencies that form part of The Public Domain, Delfina Foundation will transform its project space into an open studio for the duration of the residencies, featuring finished artworks, research materials, films and videos that serve as starting points for the investigations taking place at Delfina Foundation.By bringing arts practitioners and the public together in the context of the open studio, Delfina Foundation would like to explore how creative strategies have and can be used to address wide-ranging issues related to the commons and public space, both the real and the imagined, from the city square to the computer screen.As an evolving exhibition of artworks and works-in-programme, the list of participating artists and works will change over time.  Current exhibiting artists include Azin Feizabadi, Decolonizing Architecture Art ResidencyCarlos Felipe Guzmán, Işıl Eğrikavuk, Maxime Hourani, Young in Hong, Mosireen Collective, Ahmet ÖğütLarissa Sansour and Keg de Souza

As part of The Open Studio, a programme of events and activities are being organised:

06/05  The Politics of Irresponsibility: Human Rights & the Commons – Lorenzo Pezzani on migrants and the EU’s maritime border; Basia Lewandowska Cummings on ‘hacktivism’ and the digital commons; and Juha van ’t Zelfde…

10/05  Temporality in architecture, food and communities, a discussion, picnic-lunch and live-mapping exploring food and space, hosted in Keg de Souza’s handmade inflatable.

10/05  A Collective Memory: Poetics, Politics & Love Letters, a screening-cum-lecture performance by Azin Feizabadi that maps transitional moments in the recent history of Iran and the greater Middle East. Institute of Contemporary Arts. BOOK TICKETS

14/05  Mass Media as Medium, Resident artist and Turkish newspaper columnist Işıl Eğrikavuk on the use of mass media as a medium in her artistic practice. In conversation with curator Övül Durmuşoğlu.

21/05  How and where to draw the circle? A discussion on biennales and publics. With resident curator Övül Durmuşoğlu, Simon Sheikh, Jochen Volz, freee collective and more…

09/06  Film & video screenings curated by Basia Lewandowska Cummings

28/06  Architecture After Revolution: A panel discussion with Decolonizing Architecture Art Residency at Tate Modern.  Booking info to be posted soon.

More events will be announced soon!

RSVP for events at Delfina Foundation by emailing guestlist@delfinafoundation.com with the event name in the subject line.  Please visit the relevant partner websites for external events.

Seguir leyendo Open Studio: The Public Domain

Seven countries, countless poetics

por: Associação Cultural Videobrasil

Sixteen artists from Latin America and the Caribbean reveal an artistic diversity in inverse proportionality to the variety of languages

Eight countries – Argentina, Chile, Colombia, Costa Rica, Jamaica, Mexico, and Peru –, all of which, apart from Jamaica, speak the same language. The representation of Latin America and the Caribbean at the 18th Contemporary Art Festival Sesc_Videobrasil, however, reveals a wealth of themes, poetics, procedures, and strategies that far exceeds any reductionist attempts. And there are some points of convergence that highlight both common discussions and very diverse associations of ideas.

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A tightly-knit dialogue with film language, for instance, appears in a variety of pieces. This relationship can be explicit, as in the video Sitiado (above), by Colombia’s Carlos Guzmán, in which 41 seconds from the film État de siège, by Costa-Gavras, are used in order to discuss military dictatorships in South America, or in The night of the moon has many hours, by his fellow countryman Mauricio Arango, in which the stories of disappeared political prisoners’ families are restaged.

Seguir leyendo Seven countries, countless poetics

Sete países, inúmeras poéticas

por: Associação Cultural Videobrasil

Dezesseis nomes de América Latina e Caribe revelam uma diversidade artística proporcionalmente inversa à variedade de idiomas

São oito países – Argentina, Chile, Colômbia, Costa Rica, Jamaica, México e Peru – e que, à exceção de Jamaica, falam um mesmo idioma. A representação da América Latina e do Caribe no 18º Festival de Arte Contemporânea Sesc_Videobrasil, porém, revela uma riqueza de temas, poéticas, procedimentos e estratégias que excede em muito qualquer tentativa de redução. E há alguns pontos de contato, que tanto ressaltam debates comuns quanto associações muito diversas entre ideias.