Vivian Caccuri investigates musical cultures and sound productions in a broad sense, proposing experiments with sound that go further than the auditory field and encompass the visual, the corporeal and the technological. Through objects, installations, performances and original music, Caccuri creates situations that disorient the everyday experience and, consequently, interrupt perceptions sedimented in culture and ingrained in cognitive structures. The artist sheds light on historical and cultural conditionings that establish distinctions between noise, music, natural sounds and silence. The constructions of Soundsystems in various materials and contexts highlights the collective meaning and, so often, the censorship of certain musical expressions. Thus, her work assumes a strong political sense. In recent years, mixing scientific data and fiction, Vivian Caccuri has investigated mythologies involving the mosquito and other insects. Narrated in embroidery and drawings, these works retell and update stories that describe the human aversion to these animals, both as epidemic agents and for their sound emissions.
Graduated in Fine Arts in 2007, the artist has participated in several group exhibitions in Brazil and abroad, among which stand out: in 2013, the 33rd Panorama of Brazilian Art at the Museum of Modern Art of São Paulo (MAM-SP); in 2016, at the 32nd São Paulo Biennial – Living Uncertainty; in 2017, Future Generation Art Prize 2017, Victor Pinchuk Foundation, Kiev, Ukraine; in 2018, she participated in the 11th Mercosul Biennale and in the People’s Biennale – Kochi-Muziris Biennale 2018, Kochi & Kerala, India; in 2019, Somos muit+s, Pinacoteca do Estado de São Paulo; The Shape of a Circle in the Mind of a Fish with Plants (General Ecologies Project), in which she presented commissioned work at Serpentine Galleries, London; La Biennale di Venezia – May you Live in Interesting Times, Venice, Italy; TabomBass, FAENA Art, Miami, USA, and As If: Alternative Stories from Then to Now, at The Drawing Center, New York, USA. In 2020, the artist participated in Freedom is outside the skin, Kunsthal 44Møen, Møen, Denmark and The Musical Brain, at High Line Arte, New York, USA. Caccuri has also held solo shows in galleries and institutions, such as; in 2018, Água Parada, MAC Niterói; in 2019, A Soul Transplant, Röda Sten Konsthall, Gothenburg, Switzerland and, in 2022, Mosquito Revenge, at Kunsthal 44Møen, Møen, Denmark.
During her career, Vivan Caccuri has collaborated with various musicians, such as Arto Lindsay,Gilberto Gil, Fausto Fawcett and Wanlov. The artist wrote and published the book O que Faço é Música, investigating the first vinyl records made by visual artists in Brazil, in 2013, this book won the Funarte Prize for Critical Production in Music. Recently, Caccuri also released her first vinyl record recorded on the organ of the Studio Acusticum conservatory in northern Sweden and the book Making it Heard: A History of Brazilian Sound Art, a compilation of texts on sonorities in Brazilian art, published by Bloomsbury NYC. The artist was a winner of the awards: Rumos Itaú Cultural, in 2008; in 2011, Sergio Motta Art and Technology Award; she was nominated for the Future Generation Art Prize, 2017 and a finalist for the PIPA Award, in 2018. Her work is featured in publications such as Remember Nature, by Hans Ulrich Obrist, USA, 2021; Entrevistas Brasileiras vol. 2 – Hans Ulrich Obrist, Brazil, 2019 and Making it Heard, Bloomsbury, New York, 2019 Vivan Caccuri’s work is part of the public collections of MAR – Museu de Arte do Rio, Rio de Janeiro; Pinacoteca do Estado de São Paulo, São Paulo and the Institute of Contemporary Art, Miami.
