ESPAÇO 
O ESPAÇO É FOCADO NA PRÁTICA E PROMOÇÃO DAS CONVERGÊNCIAS DO DESIGN, CINEMA, ARQUITETURA, FOTOGRAFIA, MODA E ARTES VISUAIS.
RUA TUPI
94. STA. CECÍLIA

SÃO PAULO
SP, 01233-001



AGENDA


WORKSHOP DESFILES DO COTIDIANO: COOLHUNTING ORIENTADO PELA SEMIÓTICA com Bruna Machado e Jaqueline Zarpellon


Um workshop para ampliar o olhar sobre as mudanças de gosto e estilo. A partir da perspectiva semiótica se desenvolve uma lógica analítica para a pesquisa de tendências de moda. Além de explorar os conceitos chave para mapear as tendências, vamos extrapolar a sala de aula em uma atividade prática por pontos chave da cidade de São Paulo exercitando a pesquisa para além da teoria.

1ª EDIÇÃO 9/12 - Das 10h - 18h
INSCRIÇÕES ABERTAS

2ª EDIÇÃO 16/12 - Das 10h - 18h
INSCRIÇÕES ENCERRADAS


Bolsas integrais disponíveis.
Solicite através do nosso e-mail: espaco@espaco.cc

FOTOGRAFIA - PRÁTICA, PENSAMENTO E POSSÍVEIS DIÁLOGOS com Camila Svenson


Com um misto de discussão, aulas teóricas, práticas e exercícios semanais os encontros partem do desejo de promover um espaço facilitador de produção, conversa e troca, onde a fotografia é só o ponto de partida.

SEGUNDA
4.11

SÁBADOS
2, 16, 23, 30.11
7, 14.12


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DESENHOS FEIOS com Helena Obersteiner


O curso Desenhos Feios busca a desconstrução de imagens pré-determinadas e esquemas de desenho a partir de exercícios que criem estranhamentos, compreendendo o que em primeiro momento parece uma dificuldade como potencialidade e recurso de expressão. Desta forma, procuramos romper com o conceito do erro, formar indivíduos ativos, capazes de criar uma linguagem gráfica autônoma e original.

SÁBADOS
28.09
5, 12, 19 e 26.10
2, 9 e 16.11
Das 14h às 16h.


INSCRIÇÕES ENCERRADAS


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O LIVRO COMO INVENÇÃO com Elaine Ramos


O curso aborda o percurso completo de um livro, desde a criação gráfica até a sua comercialização. O foco são as reflexões e decisões relativas ao projeto, considerando as condicionantes e o potencial criativo do livro.

TERÇAS
3, 10, 17, 24.09 e 1.10.
Das 20h30 às 22h30.


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9-DEZ.
PALESTRA
COM EIKE KÖNIG
-
EVENTO FACEBOOK
The work of Eike König’s studio HORT is well-known to most in the graphic design world. But today we’re talking about his personal projects, which have thus far only been accessible on his Instagram feed, where his poster designs nestle alongside HORT Nike projects and a black cat called Loki snoozing on mid-century furniture. It’s a spectacular collection of contemporary eye-candy, but it’s tricky to untangle the images and give them meaning.

That’s why Jacob and Nathan of Studio Haw-lin have been commissioned to build Eike a website: “You can guide people when you have a site,” says Eike. “It gives you a chance to control how people look through your work.”

However, Eike says he’s not really a fan of websites, deeming it romantic to think too much about arranging the old instead of focusing on the present. Online is for experiencing images in a certain fragmentary way, but for Eike it is a more intense experience than when you see work in a gallery, where you can admire scale, material quality and a poster’s relationship to space. “When you see an image on the phone or computer, whether you’re looking at a screen print or a tapestry or a slice of watermelon, in the end you’re looking at the same thing – glass, a photograph and light.”

He’s just come back from Portland, where he had his first Eike König show at the Fisk gallery. The show brought together Eike’s strongest pieces from the last few years, a group of work he’s been defining and refining since he partook in the prestigious Villa Massimo residency in Rome in 2013. This one-year residency is usually only awarded to artists, composers and writers. “It was the first time I felt I could do something that wasn’t related to HORT,” the designer says. “It was the first time I could do something without a reason or a commission, without the purpose of selling it.”



Graphic designers thrive on restriction and the safety of having a brief, but when Eike went to Rome he had nothing: “I had no network there, I had no programmes installed on my computer, no equipment, it was very scary.” When he arrived, he spent the first week walking around, figuring out where to find the best art supplies and coffee. “I needed to not be an alien; I needed not just the physical space but the emotional space too. You get that from knowing things like where to get the good pasta.

“When I knew where I was, I started thinking about what I should do with my time. I just sat there, looking at nature, and I thought and thought for hours. Then I repeated those thoughts. Gradually they became more abstract.” Drinking espresso in a sun-baked, tree-lined courtyard, Eike realised that what interested him most was words, and the strangeness of looking at a word or sentence for so long that its meaning starts to slip and change. “I decided, okay, I will never have a real conversation with this idea if I don’t give it a body – a physical body. That means writing it down or painting it.”

Walking to the local second hand bookshop, Eike found a Helvetica typeface – the body for his idea – and he scaled it up, buying paper at the same time. “I decided that I would only use this paper and only one Helvetica point size.” The paper he chose was a classic: it’s what graphic designer turned celebrity artist Andy Warhol used, as well as German Fluxus frontman Joseph Beuys. With his paper and his typeface, Eike had found himself the crucial parameters, and now he could start experimenting on the blank, 72 × 102 cm page. Two years later, the paper size still remains the same.