Leticia Kamada
1975
São Paulo | Brazil
Leticia is a brazilian japanese descendant photographer and multimedia visual artist. She holds a masters degree in “Sound and Image Creation through Electronic Mediums”. And has published and exhibited her work in several locations in and outside of Brazil. She is active in the areas of curation, exhibition development, photography editorial publication, audio-visual creations, poetry (Haikai) and artistic interventions.
In 1990’s, she began the research on various artistic languages and in 1998 defended her thesis in photography and music, at UNESP. In 1998 she returns to São Paulo and operates in the field of stage and performance photography. In addition she works as an instructor of musical studies and multimedia at SESC / SP, where she remained for 10 consecutive years. She participates in national and international group exhibitions and publications of visual arts and poetry.
In 2010, after completing the thesis “Mashup: what you see is what you hear“, she moves to a community of 500 residents in the mountains in the country side of the state of São Paulo and starts to research the sounds, images and movements of nature through language of Haikai. After four years of residence, creates the main project that is currently focused, the Haikai Audiovisual.
In 2011, she conceives her first photographic intervention at a prison in Fortaleza. Next year she holds her first work as a photography curator and after that organizes several group exhibitions.
She developed more than 50 video art films between 2008 and 2012, when she begins to produce the Haikai Audiovisual. With a MIS project (Museum of Image and Sound SP) she operates for a year in search of these Haikais. She lectures at academic courses and workshops since 2001.
Since a year ago lives in São José dos Campos, where she held the curatorship of the “Photography Week 2014” (large photography festival – video) and other photographic iterventions of the city. Two of her works, “Traveling Circle” (2015) and “Rotation“(2015) (video) are part of the permanent collection of the “Museu Municipal de São José dos Campos” (Municipal Museum of São José dos Campos, São Paulo). Her work has been exhibited at the “VII Festival Literário da Mantiqueira”, “3ª Biennale of Brazilian Arts in Brussels” (video), “Desvenda | SPA das Artes” (video), “62º Salão de Abril de Fortaleza” (video), ”Identidad 27 | Bienal Revisitada” (Cusco/Peru). And has been featured in publications such as “Revista Highlike – FILE”, “Revista Léptica” (Madrid), “Revista Bric-à-Brac” (Ucrânia) e na “Antologia IV Prêmio Literário Canon de Poesia”. Her work is also part of several online galleries and private collections. Leticia is the author of the thesis, “Mashup, what you see is what you hear” (2010).
We present here the body of work deemed most relevant to the proposed project. For images and more information about these works, as well as a complete portfolios of the artists please see:
Behance / Site / Press / Instagram
São Paulo | Brazil
Leticia is a brazilian japanese descendant photographer and multimedia visual artist. She holds a masters degree in “Sound and Image Creation through Electronic Mediums”. And has published and exhibited her work in several locations in and outside of Brazil. She is active in the areas of curation, exhibition development, photography editorial publication, audio-visual creations, poetry (Haikai) and artistic interventions.
In 1990’s, she began the research on various artistic languages and in 1998 defended her thesis in photography and music, at UNESP. In 1998 she returns to São Paulo and operates in the field of stage and performance photography. In addition she works as an instructor of musical studies and multimedia at SESC / SP, where she remained for 10 consecutive years. She participates in national and international group exhibitions and publications of visual arts and poetry.
In 2010, after completing the thesis “Mashup: what you see is what you hear“, she moves to a community of 500 residents in the mountains in the country side of the state of São Paulo and starts to research the sounds, images and movements of nature through language of Haikai. After four years of residence, creates the main project that is currently focused, the Haikai Audiovisual.
In 2011, she conceives her first photographic intervention at a prison in Fortaleza. Next year she holds her first work as a photography curator and after that organizes several group exhibitions.
She developed more than 50 video art films between 2008 and 2012, when she begins to produce the Haikai Audiovisual. With a MIS project (Museum of Image and Sound SP) she operates for a year in search of these Haikais. She lectures at academic courses and workshops since 2001.
Since a year ago lives in São José dos Campos, where she held the curatorship of the “Photography Week 2014” (large photography festival – video) and other photographic iterventions of the city. Two of her works, “Traveling Circle” (2015) and “Rotation“(2015) (video) are part of the permanent collection of the “Museu Municipal de São José dos Campos” (Municipal Museum of São José dos Campos, São Paulo). Her work has been exhibited at the “VII Festival Literário da Mantiqueira”, “3ª Biennale of Brazilian Arts in Brussels” (video), “Desvenda | SPA das Artes” (video), “62º Salão de Abril de Fortaleza” (video), ”Identidad 27 | Bienal Revisitada” (Cusco/Peru). And has been featured in publications such as “Revista Highlike – FILE”, “Revista Léptica” (Madrid), “Revista Bric-à-Brac” (Ucrânia) e na “Antologia IV Prêmio Literário Canon de Poesia”. Her work is also part of several online galleries and private collections. Leticia is the author of the thesis, “Mashup, what you see is what you hear” (2010).
We present here the body of work deemed most relevant to the proposed project. For images and more information about these works, as well as a complete portfolios of the artists please see:
Behance / Site / Press / Instagram
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Papers by Leticia Kamada
Palavras-chave: a+b=c; Remix; Mashup
The desire to establish correspondences between sound and image has been intriguing and bringing up several issues and analogies for ages. This research aims to raise questions related to sound and visual fields, discuss the practice of mashups as a particular aesthetics and propose a reflection about the remix culture from where it comes from. Coping, cutting and pasting are nowadays intrinsic actions of cyberspace where recombining information has become an usual practice. In this context, questions related to collaboration, interaction and copyright, as well as the conceptualization of the practice are supported by the studies of Lev Manovich and Lúcia Santaella. This concept is based on the malleability of the binary code and on the conversion of one media into another. It was realized that the mashup forming process, based on the formula a+b=c, in which the combination of two or more sources generates something new, is the same that has been being adopted throughout human history, varying only in form and in the relation between the concepts that precede the emerging media and technologies. Based on this premise, we tried to identify and form a concept of the mashup aesthetics. Therefore, four stages were elaborated. In the first one, a historical approach based mainly on the Gesamtkunstwerk proposed by Wagner and on the Kuleshov effect. The concept is discussed in the second stage having as a starting point texts by Eisenstein and the scene of Visual Music. In the third, we associate the visual dimension of the music to the aspects related to the hypertextual language of the digital media. And finally, aiming to give visibility to that Contemporary trend, as study object we examined the virtual mashup-album “Thru You” by the musician Kutiman, in which “what you see is what you hear”.
Keywords: a+b=c; Remix; Mashup
Books by Leticia Kamada
Palavras-chave: a+b=c; Remix; Mashup
The desire to establish correspondences between sound and image has been intriguing and bringing up several issues and analogies for ages. This research aims to raise questions related to sound and visual fields, discuss the practice of mashups as a particular aesthetics and propose a reflection about the remix culture from where it comes from. Coping, cutting and pasting are nowadays intrinsic actions of cyberspace where recombining information has become an usual practice. In this context, questions related to collaboration, interaction and copyright, as well as the conceptualization of the practice are supported by the studies of Lev Manovich and Lúcia Santaella. This concept is based on the malleability of the binary code and on the conversion of one media into another. It was realized that the mashup forming process, based on the formula a+b=c, in which the combination of two or more sources generates something new, is the same that has been being adopted throughout human history, varying only in form and in the relation between the concepts that precede the emerging media and technologies. Based on this premise, we tried to identify and form a concept of the mashup aesthetics. Therefore, four stages were elaborated. In the first one, a historical approach based mainly on the Gesamtkunstwerk proposed by Wagner and on the Kuleshov effect. The concept is discussed in the second stage having as a starting point texts by Eisenstein and the scene of Visual Music. In the third, we associate the visual dimension of the music to the aspects related to the hypertextual language of the digital media. And finally, aiming to give visibility to that Contemporary trend, as study object we examined the virtual mashup-album “Thru You” by the musician Kutiman, in which “what you see is what you hear”.
Keywords: a+b=c; Remix; Mashup