Multiplicidade is a self-referential name, and I am a professional and spiritual reflex of this avalanche of information. I love fiddle and pick-up, bossa nova and break-beat, pencil and internet. Seriously, I adore all this multiplicity. The proposal meets a personal and artistic desire: to open space for putting together image and music through technology. The idea was to propose a regular cultural contemporary platform, to create a demand and promote digital content production, and this has been clearly happening in our seven years of existence. I had already seen different formats of festivals in Europe—Sónar, Ars Eletronica, Netmage, Transmediale, Mapping, etc. The challenge, in Rio, was to make something original. The festival is committed to fill a calender from June to December, always on the last Thursday of each month, with a plural repertoire with many different accents, national and international, without easy classifications in the electronic universe, creating a singular and unusual meeting of images and sounds.
am a curator with a transverse, transdisciplinary education. In fact, I always felt stimulated by the prefix “trans” because it reminded me of the word “transformation.” I studied visual communication and ended up in the audiovisual industry, TV and cinema, for ten years, where later I extended my education with a scholarship in Europe in the field of visual arts. I am a “remix” of current times. Or rather, an anthropophagist collecting information about things I see in festivals, or links and packages sent by interdisciplinary artists planning to participate in the festival. I am relentlessly curious, and this makes me see different forms of beauty, even those I initially despise. Festival Multiplicidade is a project in which I would love to participate as an artist, but I had the opportunity and privilege to propose it when the first art and technology centre appeared in Rio de Janeiro. We were born together with the cultural space of Oi Futuro, and I would say that we grew up together.
Onion Skin,Olivier Ratsi(ANTIVJ)_2013
WHEN SAINTS GO MACHINE_2014
Eight in the evening, all set. The crowded theatre, with an audience that was perhaps unaware of what would come next. The lights go out and, after a moment of silence, there is an explosion of Afro Mangue's Batucada on tin cans. The work of artist Marcos Chaves, projected onto three large screens arranged in a semi-circle, leads the audience to an experience of audiovisual catharsis. That new combination, presented during the first performance of Multiplicidade, already contained the “DNA” that would mark the festival in all its editions: to promote at each performance, the meeting of visual and sound artists, highlighting the use of some kind of technology.
Without a certain inconsequence, no one does anything important in life.
Something very anthropophagic, anticipating what was to come in the global communication of the next century
In those early years, my involvement in the design of each performance was full
so, in Multiplicidade the fragmentary takes care of a space?
I realized that this new art would be guided by a network dialogue, valuing the shared work
Mr. greenway would present a performance in which he decreed and called the death of cinema
Inventiveness has always been an abundant raw material here. This freedom has become one of the festival grounds and allowed us to promote unthinkable meetings.
It was a time when we need to reinvent ourselves, tracing new artistic perspectives, reviewing organizational strategies and, mainly, seeking new collaborations. A movement that has continued in the following years.
“the future of the future is the present”
It was a temple of contemporary Brazilian art.
Technology is transforming our lifestyles and even our concepts of right and wrong, of living and sharing
“You need to transee the world”
Onion Skin,Olivier Ratsi(ANTIVJ)_2013
Festival Multiplicidade was born in may 18th 2005, same week Oi Futuro Flamengo-RJ inaugurated the first art and technology center in Rio de Janeiro. The new facilities Oi Futuro Ipanema-RJ and Oi Futuro VH were also inaugurated with perfomances programmed by Festival Multiplicidade. Both in Rio de Janeiro and Belo Horizonte the audience was able to take part in the encounter of past, present and future at Museu das Telecomunicações, which explores the most advanced technological resources to tell, within an interactive experience, the history of human communication in Brasil and around the world. Pierre Lévy, David Lachapelle, Gary Hill, Orlan, Michel Chevalier, Gilberto Gil, Chelpa Ferro, Cao Guimarães, Wally Salomão, Daniel Senise and Marcos Chaves are some of the artists who passed through Oi Futuro.www.oifuturo.org.br/cultura
Parque Lage Visual Arts School is one of the most important brazilian strongholds for contemporary art education in the last decades. Remarkable generations of artists have graduated and also have taught in this place. Such great center for artistic vanguard, a privileged location among atlantic forest and a property from the 20's, is a relevant reference for festivals with an investigative curatorship. Festival Multiplicidade has been occuping Parque Lage as a whole for 4 years with performances, mappings, movies, shows, exhibitions, site-specifics, workshop, etc.www.eavparquelage.rj.gov.br
Festival Multiplicidade started 3 year ago a transversal conversation with Rio de Janeiro Planetary history. Reference for astronomical researches, they opened the doors for the first time for advanced inquiries in the FULLDOME and digital art field. Festival Multiplicidade and Planetário Rio, in an unprecedented partnership, are both gathering researches relating science and art with audiovisual mapping performances inside the third biggest dome in the world.www.planetariodorio.com.br
We are happy to be here in the 2025 working in full force, an unimaginable route for those who think life only in the realm of reality. Festival Multiplicidade never doubted everything would come to a better place, because we don't see a difference between real and virtual, natural and electronic, new and old, for we know these subjects belong together, in harmony, and they complete each other.
We spend 99% of our time daydreaming and the 1% left we use to settle all bureaucracies and boring things about everyday life. We have always been intuitive and we think the world in the first plural person.
Therefore, we are here in 2025, our 20th anniversary, claiming our main universal axes, but mostly reinforcing the transversal artistic platform we built highlighting the totality of artistic experimentation, with free, hybrid and advanced languages.
Throughout its 20 years of existence the festival leaves a very simple legacy: there is art in life. Also it reinforces that both, art and life, can never walk separated. Art is the food of our souls, echo in our minds and the way for unthinkable solutions. It contributes to the construction of a more humane society, more aware, more ethical, kinder, happier, more critic, more creative and much, much cooler.