atelier obraviva

The foundation of the production label atelier obra viva was laid in 2002 with the project or Gesamtkunstwerk ENTELÉQUIA (the philosophical term entelechéia coined by Aristotle means completeness, whereas „the end and completion of any genuine being is its being-at-work“). Nathalie Fari  worked on this project for two years bringing 19 artists from different fields and social backgrounds together to develop a performance exclusively for the space of today’s Art Factory Casa das Caldeiras in São Paulo - an old factory that has been in historic preservation since 1986. Not only Enteléquia was one of the first projects in the field of site specific performance in Brazil, it was also a model and a basis for the new artists-in-residence program which is now called „Obras em Construção“ (Works in Construction).

Atelier obra viva has officialy launched in 2006 when Nathalie Fari moved to Berlin and when the World Cup and „Year of Brazil in Germany“ were taken place. In that occasion Nathalie began her work in cooperation with the Brazilian video artist and producer Eduardo Raccah. Together they launched an art project "OFF COPA" which had a protest meaning, but ran along and as part of the official program at the House of World Cultures in Berlin. Main focus of OFF COPA (inspired by the initiative of the OFF Bienal in São Paulo) was to exhibit works of Brazilian artists who lived abroad or who were not accepted to the official program. The focus was to showcase their perspectives of foreigners who live „in-between“ cultures. 

In addition to these cultural exchange programs between Brazil and Germany, atelier obra viva investigates and produces artistic and educational projects in the field of performative arts. It designs space-, time and body related, site-specific works and workshops, particularly using alternative, historical and public spaces. These works, created mostly in collaboration with other artists and researchers, explore the character of the respective space not only by looking at its history and particular function, but also on finding its „hidden choreographies“ (or narratives). How can we occupy, acquire, use, enliven and interpret a certain space? and how can we translate the experiences made in a specific space into a performative language or singular action? are central questions in this regard.

The human body and especially its presence is the most important medium in this respect, on the one hand is for experiencing, interpreting and translating in a subtle way such spaces. On the other hand, it is for creating a type of „cartography“. This cartography (or dramaturgy) should not only reflect the atmosphere and different characteristics of a particular site, it should also encourage audience and as well as performers to rethink and change their own positions – vis-à-vis the site, the context of the performative event and in a wider sense, the social and urban environment in which they live.