Rafael Vogt Maia Rosa
Brazil - 1974
Rafael Vogt Maia Rosa (born October 5, 1974) studied cello with Zygmunt Kubala, and had his theatrical initiation in the production of Evgeny Schwartz's play A Sombra (1940), at the Rudolf Steiner School. He presented a first exhibition of metal engravings, Genesis (1992), at the Comunidade dos Cristãos de São Paulo and published his first pieces O Amor dos Telepatas e Anjos no Limbo (1999) by the Badaró Series. He graduated in Linguistics, holds a master's and a doctorate in Literary Theory and Comparative Literature from the University of São Paulo, with a dissertation on the avant-garde prose of Oswald de Andrade and a thesis on theatricality in contemporary Brazilian art. He was a visiting researcher in the Department of Spanish and Portuguese and a guest artist in the Department of Theater and Performance Studies at Yale University from 2010 to 2015.He worked as a reporter in the culture area of the Folha de S. Paulo newspaper and at the Fundação Bienal, where a first critical text about Flavia Ribeiro was published. He was part of the CPT Dramaturgy Circle, directed by Antunes Filho, where he rehearsed and published his play Banhistas (SESC, 2005) which was presented at the 19th São Paulo International Book Biennial (2006), at MASP (2012) and at the Britsh Council ( 2012). He was a professor of visual arts at Faculdade Santa Marcelina and mentor at the 2011 Yale Playwrights Festival.Presented the text The False Beginners (2014) at Movement Research in New York and at Casa da Luz (2016), while at the Casarão do Belvedere (2011) and at NYCPlaywrights (2011) and Moodlings8 (2015) performed and recorded at the Agnut Laboratory, in an experiment with Delivered in Voices (2015), by Tunga.He curated the exhibitions Marcello Nitsche: O Espaço Onomatopoico (Mariantonia USP 2008), The Zone: Duke Lee, Baravelli, Fajardo, Nasser and Resende (Mariantonia USP, 2009), with João Bandeira, Collective exhibition (Collegio das Artes, 2009), Camila Sposati: Espaço Gabião (Mariantonia USP, 2011), HONY: Heliotapes (Casa das Rosas, 2015), 15 (Galeria Luciana Brito, 2015), Portraits (Galeria Millan, 2017), Fernando Zarif: O Fim do Obscuro, (Galeria Luciana Brito, 2018), Overture 1980:(Figueiredo Ferraz Institute, 2019), and, The iridescent path: Claudio Tozzi, (Virtual curatorship, Blombô, 2020). He is the author of the play Esquecendo Wimbledon (Grito e Escuta, 7th Bienal do Mercosul, 2009), while he is here (Teatro Para Pessoas, 2012) and presented the exhibition of watercolors and videos Senhor das Nuvens (Galeria São Paulo Floating, 2019). Since 2001, he has given free courses on Brazilian art at institutions such as MAM de São Paulo, Pinacoteca do Estado, SESC, Instituto Tomie Ohtake, among others.He was a member of the critics group at Centro Cultural São Paulo, between 2002 and 2005. He published interviews with Paulo de Carvalho Neto, Regina Silveira, Nelson Leirner, Ronald Golias, José Resende, Tunga, Alan Pauls, K.J. Holmes, Robert Storr, among others, and texts such as Inútil Landscape Alberto da Veiga Guignard (Novos Estudos CEBRAP, 2000), How far can you go so far? (Ars USP, 2007), Planos Gerais by Mônica Nador (Pinacoteca do Estado, 2013), Ilhas de Facto e Fiction, Laura Belém (Cosacnaify, 2013), Bela Triste Natureza: Janaina Tschäpe (Jacarandá Magazine, 2015), among others.He is an associate professor of Art History at EBAC, of Theory and Criticism at the Graduate Program of the Faculty of Fine Arts and coordinator of the online residency A Voz do Artista. Since the beginning of the Covid19 pandemic, she has been working on the assembly of the play Complexo de Oleanna (2019), with friends and collaborating artists. His investigations think about the resonances of theatricality present in Brazilian art of the 1960s, 70s and 80s, in the current scenario.
