Bio:
OS GÊMEOS, Gustavo e Otávio Pandolfo, sempre colaboraram em suas criações artísticas. Durante a infância, nas ruas do tradicional bairro do Cambuci (SP), desenvolveram uma forma única de expressão através da arte. Com o apoio da família e a influência da cultura Hip Hop que chegou ao Brasil nos anos 80, encontraram uma conexão direta com seu universo mágico e dinâmico, comunicando-se com o público de maneira especial. Dedicavam-se com cuidado e paixão à exploração de diversas técnicas de pintura, desenho e escultura, utilizando as ruas como seu laboratório criativo.
Embora tenham continuado a fazer graffiti ao longo dos anos, o universo criativo da dupla expandiu-se para além das ruas, tornando-se uma linguagem própria em constante evolução, enriquecida por novas influências culturais.
Os artistas valorizam os encontros e experiências que a vida proporciona, fluindo com seu ritmo natural e delicado. Reconhecidos e admirados nacional e internacionalmente, utilizam uma variedade de linguagens visuais combinadas, improvisação e elementos lúdicos para criar projetos intuitivos em todo o mundo.
Realizaram numerosas exposições individuais e coletivas em museus e galerias em diversos países, incluindo Cuba, Chile, Estados Unidos, Itália, Espanha, Inglaterra, Alemanha, Lituânia e Japão. Para apreciar verdadeiramente a obra de OSGEMEOS, é necessário permitir que o imaginário prevaleça sobre a razão - mergulhar em suas criações, perceber suas sutilezas e embarcar numa jornada visual que transcende o óbvio. É preciso sentir primeiro para compreender depois.
English:
THE TWINS Gustavo and Otávio Pandolfo, always collaborated in their artistic creations. During childhood, in the streets of the traditional neighborhood of Cambuci (SP), they developed a unique form of expression through art. With the support of their family and the influence of Hip Hop culture that arrived in Brazil in the 80s, they found a direct connection with their magical and dynamic universe, communicating with the public in a special way. They dedicated themselves with care and passion to the exploration of various techniques of painting, drawing, and sculpture, using the streets as their creative laboratory.
Although they continued to do graffiti over the years, the creative universe of the duo expanded beyond the streets, becoming its own language in constant evolution, enriched by new cultural influences.
The artists value the encounters and experiences that life provides, flowing with its natural and delicate rhythm. Recognized and admired nationally and internationally, they use a variety of combined visual languages, improvisation, and playful elements to create intuitive projects worldwide.
They have held numerous individual and collective exhibitions in museums and galleries in various countries, including Cuba, Chile, the United States, Italy, Spain, England, Germany, Lithuania, and Japan. To truly appreciate the work of OSGEMEOS, it is necessary to allow the imagination to prevail over reason - to immerse oneself in their creations, perceive their subtleties, and embark on a visual journey that transcends the obvious. One must feel first to understand later.
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; recorded "Purple Rain", "Sign o' the Times", "Around the World in a Day"
Conceived under a Spiritus Mundi ranging from the quilombos and senzalas of Cachoeira and Santo Amaro to Havana and the provinces of Cuba to the wards of New Orleans to the South Side of Chicago to the sidewalks of Harlem to the townships of South Africa to the villages of Ireland to the Roma camps of France and Belgium to the Vienna of Beethoven to the shtetls of Eastern Europe...*
*...in conversation with Raymundo Sodré, who summed up the irony in this sequence by opining for the ages: "Where there's misery, there's music!" Thus A Massa, anthem for the trod-upon folk of Brazil, which blasted from every radio between the Amazon and Brazil's industrial south until Sodré was silenced, threatened with death and forced into exile...
And thus a platform whereupon all creators tend to accessible proximity to all other creators, irrespective of degree of fame, location, or the censor.
Matrix Ground Zero is the Recôncavo, bewitching and bewitched, contouring the resplendent Bay of All Saints (end of clip below, before credits), absolute center of terrestrial gravity for the disembarkation of enslaved human beings (and for the sublimity these people created), the bay presided over by Brazil's ineffable Black Rome (seat of the Integrated Global Creative Economy* and where Bule Bule is seated below, around the corner from where we built this matrix as an extension of our record shop).
("Black Rome" is an appellation per Caetano, via Mãe Aninha of Ilê Axé Opô Afonjá.)
*Darius Mans holds a Ph.D. in Economics from MIT, and lives between Washington D.C. and Salvador da Bahia.
Between 2000 and 2004 he served as the World Bank’s Country Director for Mozambique and Angola. In that capacity, Darius led a team which generated $150 million in annual lending to Mozambique, including support for public private partnerships in infrastructure which catalyzed over $1 billion in private investment.
Darius was an economist with the Board of Governors of the Federal Reserve System, where he worked closely with the U.S. Treasury and the IMF to establish a framework to avoid debt repudiation and to restructure private commercial debt in Brazil and Chile.
He taught Economics at the University of Maryland and was a consultant to KPMG on infrastructure projects in Latin America.
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
EX TERRA BRASILIS
The Small World Phenomenon
Susan Rogers
Alicia Svigals
Julian Lloyd Webber
Clarice Assad
Sodré
Betão Aguiar
Bule Bule
Caetano Veloso
Darius Mans
Sparrow/Pardal Roberts
RÁDIO MATRIX