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Simone Michelin
* 1956, currently based: São Paulo, Brazil
Affiliated institution: Escola de Belas Artes/Universidade Federal do Rio de Janeiro

Archive of Digital Art (ADA). “Simone Michelin – artist profile”. (retrieved 2021-24-05). @online{ADAartistprofile, author = {Archive of Digital Art (ADA)}, title = {Simone Michelin artist profile}, url = {}, urldate = {retrieved 2021-24-05}
SM Lives in São Paulo as a New Media Artist and Researcher employing computer-based technologies and moving-image associated to architectural constructions in the production of art. Michelin investigates the production of social space through people's behavioral relationships, within spaces of public domain, triggered by artistic propositions. Her research focuses on Electronic Art with special reference to video, telecommunication systems, interactive systems and lately VR.
"The scenario where I inscribe my work is given by communication, architecture, and machine-mediated processes. I am interested in creating uncanny situations that can disturb the apparent naturalness of the codes that govern social life and shape public domain, the life in communion. I understand art as part of the public sphere, as a common good. So what I do are essays of production of social space, by the bias of poetry. Within this perspective, the work operates as an Interface configuring a conversation model, a field of experiences. I always carry out intense experimentation with the technological resources to which I have access, observing the repercussion of the different haptic and visual regimes that each device activates in relation to perception and behavior. The goal is not to represent reality, but to present possible realities, to provide encounters as diversified approaches to the Real. These constructs are territories for sensitive training, aiming to interfere in the dynamics of everyday life. Ultimately, it means to experiment with the plasticity of the world."

Born in Bento Gonçalves, Rio Grande do Sul, Brazil, 1956. Lives and works in São Paulo, Brazil.
PhD in Visual Arts, School of Fine Arts, Federal University of Rio de Janeiro, Brazil, 2003/2006. PhD researcher at CAIIA-STAR, Center for Science, Technology and Art Research, University of Plymouth, UK, 1999-2000; under the guidance of Roy Ascott. Specialization in Art and Technology, Temple University, School of Communication and Theater and Tyler School of Art, Philadelphia, USA, 1998-99; under the guidance of Peter D'Agostino. Master in Visual Arts, School of Fine Arts, Federal University of Rio de Janeiro, Brazil, 1996-1997. Bachelor of Arts, Institute of Arts, Federal University of Rio Grande do Sul, Porto Alegre, Brazil, 1975-79.

Other references:


2020 - CIFO Grants & Commissions 2020; Cisneros-Fontanals Art Foundation, mid-carrier latin-american artist.
2009-2011 –CNPq, support to research APQ1 - project Qualia, Group of Research Lab. 01 – CNPq/2008.
2003 - RUMOS ITAÚ CULTURAL 2003 – mention of honor for the research project “PUBLIC DOMAIN: enhancing social interaction through computer-mediated systems”.
2001 - PROJECT MAC - ARTIST RESEARCHER, grant of the Museum of Contemporary Art of Niterói.
2000 - RIOARTE Grant in Art and Technology, Municipal Secretary of Culture, Rio de Janeiro, Brazil.
1999 - CAPES fellowship - Ministry of Education, Brazil.
1998/1997 - VIRTUOSE - Cultural Fellowship, Secretary of Cultural Support, Ministry of Culture, Brazil.


2018 - CORTE MATUTA, the musical, Lake Gallery, Museum of Republic, Rio de Janeiro.
2010 - QUALIA, Oi Futuro Flamengo Cultural Center, Rio de Janeiro, RJ.
2007 – MONUMENTS AND FENCES in São Paulo, Monumenty a fasády v São Paule, Month of Photography, Central European House of Photography, Bratislava, Slovakia, November.
2004 – VIVI WATCHES VIDEO, video objects and installations. A Gentil Carioca Gallery, Rio de Janeiro, BR.
2002/01- "BONJOUR, BONSOIR, ADIEU TRISTESSE", interactive installation, Espaço Cultural Sérgio Porto, Rio de Janeiro, BR.
1998 - THE BRIDE DESCENDING STAIRCASE - video-Installation, Tyler Gallery, Philadelphia, PA, USA
1994 - 1994 – vídeo installation. Candido Mendes Cultural Center - CCCM, Rio de Janeiro, BR.
1988 - SIMONE MICHELIN – GAIA - site specific work. FUNARTE - Nacional Foundation for the Arts, Rio de Janeiro, BR.
1987 - PORTRAITS & (ALMOST) HUMAN FIGURES - installation with sound, Cultural Foundation of the Federal District, Brasilia.
OUR BREAD OF EVERY DAY, photogravure and artist books, 542 Art Space, Porto Alegre, RS, 1980 - OUR DAILY BREAD, photogravure and artist books, 542 Art Space, Porto Alegre, RS, 1980.
1982 - AUTRES ALPHABETS - photogravures, silkscreen, books; Maison Internationale, Cite Universitaire, Paris.
1979 - MEMORY REGISTERS – mixed media collages, postcards, books; Espaço N.O., Alternative Center of Art and Culture, Porto Alegre, RS.


2019 - WOMEN in the MAR COLLECTION, Museum of Art of Rio, Rio de Janeiro, RJ, 2018/19.
2019 – WOMEN ARTISTS, Pinacoteca Aldo Locatelli, Paço Municipal, 33º Festival de Arte de Porto Alegre, Porto Alegre, RS.
2018 - ALL THE WOMEN OF THE WORLD, female presence in the EAV Parque Lage collection, Rio de Janeiro.
2018 – MOSTRA VIDEO_ERA, Festival Curta Cinema 2018, video art in the 1980s, Rio de Janeiro.
2017 - LIKE DUST IN THE WIND, photography in the MAR collection, Museum of Art of Rio, Rio de Janeiro.
2012 - DE STRAAT, MHKA Museum of Contemporary Art of Antwerp, Antwerp, Belgium, Festival EUROPALIA, 2011/12.
2012 - N-MINUTES VIDEO ART FESTIVAL video in the urban context; public art program, China, CITIC Square LG Atrium, 1168 West Nanjing Rd, JingAn district, Shanghai.
2012 - THE SENSITIVE MUSEUM, a vision of the production of women artists in the MARGS collection; Museum of Arts of Rio Grande Ado Malagoli, Porto Alegre, 2011- 2012.
2011 - I VIDEURBE - video art on urban surfaces, large scale projection, UERJ, Maracanã, Rio de Janeiro, 11/05/2011.
2011 - VIDEO GUERRILHA 2011 - Public Art Project video projection in building facades at Augusta Street, São Paulo.
2009 - 7ª Bienal do Mercosul, Radiovisual, Porto Alegre, RS.
2009 - 10th Bienal de Havana, Fuerte de La Cabana, presenting Lilliput 4.0, Havana.
2007 - Anos 70: a arte como questão (The 70s: Art As Inquiry), Institute Tomie Ohtake, São Paulo.
2007 - VIDEO LINKS BRAZIL: an anthology of Brazilian Vídeo Art 1981-2005, Tate Modern, London.
2007 - EXPERIENCES OF THE IMAGE: CINEMA, VIDEO AND TELEVISION, within the "Global and local, video and Images of Insilio" exhibition, Itaú Cultural, São Paulo, May 2007.
2007 - ATLAS: AMERICAS, latinamerican video art, Oi Futuro, Rio de Janeiro, 2007.
2006 - INTERCONNECT@between attention and immersion, ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe.
2006 - PLATFORM 01 - AFFECTS AND DESAFETOS, Museum José Luis Belo and Gonzalez, Puebla, Mexico, 2006.
2004 - EMOÇÃO ARTIFICIAL II – Divergências Tecnológicas, Brazilian Biennial of Electronic Art, Instituto Cultural Itaú, São Paulo.

2005 - CORPOS VIRTUAIS (Virtual Bodies) - presenting “‘Lilliput”, commissioned for the opening of the Cultural Center TELEMAR, Rio de Janeiro.
2005 - Bel Horizon dans le cadre de “brésil, brésils”, année du brésil en France, et en marge de la Biennale de l'Image en Mouvement de Genève, Vidéoformes présente 3 rétrospectives vidéos d'Eder Santos, Lucas Bambozzi et Simone Michelin. Musée-château d'Annecy, 11/11 a 12/12/2005, Annecy.
VIDEOFORMES vidéo et nouveaux médias dans l'art contemporain, CLERMONT-FERRAND, France, 14-19 March 2005.
2003 – 2005 - MADE IN BRAZIL three decades of Brazilian Video Art – retrospective on Brazilian Video Art curated by Arlindo Machado – Instituto Cultural Itaú, São Paulo.. It was presented in 14 Brazilian cities, in Italy, Argentina, Mexico, Germany, Colombia, Peru. Video: “Araponga”.
2001 - 13º Vídeobrasil Internacional Festival of Electronic Arts, New Media category, with MMM, SESC-Pompéia, São Paulo.
1999 - GRAVURA BRASILEIRA - BRAZILIAN ENGRAVING - Bienal de Cerveira, Brasil País Convidado, Cerveira, Portugal.
1998 - IDEA DE LUGAR/ SENSE OF PLACE - video single-channel show, Centro de Arte Reina Sofia, Madrid. 
1997 - FORERUNNER AND CONTEMPORARY PIONEERS - exhibit of Art and Technology. Video installation '1994', Paço das Artes, São Paulo.
1995 - INSIDE BRAZIL, Brazilian video art exhibition, Long Beach Museum of Art, Long Beach, California, USA.
1994 - 17th TOKIO VIDEO FESTIVAL, Tokyo, Japan.
1993 - 11 POINTS IN PUBLIC SPACE, Museum of the Republic, Passion of the Look, Municipal Secretary of Culture, Rio de Janeiro.
1988 - GENERATIONS, SCULPTURES / INSTALLATIONS, Casa de Cultura Lauro Alvim, Rio de Janeiro.
CONNECTIONS PROJECT / CONEXUS - 150 ARTISTS BOOK, Museum of Modern Art (MOMA), New York, USA, 1988.
1987 - CONNECTIONS PROJECT / CONEXUS, Museum of Contemporary Hispanic Art (MOCHA), New York, USA.
NEW CARIOCAS - PROJECT VIVA O RIO, House of Culture Cândido Mendes, FUNARTE, Rio de Janeiro, 1985.
ART GAUCHA TODAY, itinerancy, São Paulo Biennial Pavilion, SP; Oswaldo Goeldi Gallery, Brasília; Museum of Art of Rio Grande do Sul, MARGS, 1982/83.
1982 – PORQUE SIM: MULTIMEDIA FRAGMENTS - Museum of Art of RS, Porto
Alegre, RS.


LUCIFERINS: SIMONE MICHELIN / [Paulo Herkenhoff ... et al. ; organization Simone Michelin; English version by Paul Webb and Renato Rezende]. - Rio de Janeiro: Airplane: Instituto Oi Futuro, 2011. 304p. : il. ; 25 cm (Art and technology)
MACHADO, Arlindo. All the movies are foreigners. IN: Matrizes Magazine, VOL 2, number 1, of ECA / USP, pages 97-111, 2008.
A Gentle Invention, catalog, SESC RJ, 2008.
HERKENHOFF, Paulo. ATLAS: Americas, catalog Oi Futuro, 2007.
Chronology Brazilian Art XX century, electronic publication, CD-ROM, National Network of Arts, FUNARTE, 2005.
ARANTES, Priscila. Art and Media, perspectives of digital aesthetics. São Paulo: SENAC Publisher São Paulo: 2006. ISBN 85-7359-452-7
FUNARTE Visual Arts National Network, direct action in transition territories; documentary on the activities developed in Brazil, 2004; Ministry of Culture MINC, Rio de Janeiro: FUNARTE, 1st edition 2006, 2nd edition 2006.
BUREAUD, Annick; SORET, Jean-Luc. (Org.). Art Outsiders Festival //: Brazil. 1 ed. Orleans: HYX, 2005, v. 5
BUREAUD, Annick. Impressions du Brésil IN: Art Press issue no.305, Octobre 2004. (2) ISBN 85-7507-064-9 (1) (1) (1) (2) (2) (2)
INSTALLATION ART IN THE NEW MILLENIUM: The Empire of the Senses - org. by Nicolas de Oliveira, Nicole Oxley and Michael Petry, Thames and Hundson, London, 2003.
MADE IN BRAZIL, three decades of the Brazilian video, org. Arlindo Machado, publication Instituto Cultural Itaú São Paulo, 2003. ISBN 85.85291-37-0
art - documentary by Walter Silveira. Production Itaú Cultural Institute, TV Cultura and Philbus, 2002.
PANORAMA OF ART AND TECHNOLOGY IN BRAZIL - research by Arlindo Machado and Silvia Laurentiz, electronic publication Itaú Cultural Institute, Itaulab, São Paulo, 2002.
ENCYCLOPEDIA of VISUAL ARTS - electronic publication Itaú Cultural Institute, Itaulab, São Paulo, 2001.
BOUSSO, V.D., FABRIS, A., BENTES, I. Precursor and Contemporary Pioneers. Catalog. Paço das Artes, Secretary of State for Culture, São Paulo, 1997.
DICTIONARY OF PLASTIC ARTS IN RIO GRANDE DO SUL - Renato Rosa and Décio Presser, Publisher of the University / UFRJ, Porto Alegre, 1997, pgs 367,368.
ALMOST CATALOG: PLASTIC ARTISTS IN RIO DE JANEIRO 1975-85, org. by Heloísa Buarque de Holanda; coordination and research Cristina Cavalcanti. Rio de Janeiro: CIEC, 1993. p.104 (almost catalog.2).
CARVALHO, Ana Maria Albani. Space N.O. (1979-1982). A Place to Experience Art. Catalog. Museum of Contemporary Art, Porto Alegre.
SPACE N.O., Space N.O. Events and Performing Artists: 1979-1982. Porto Alegre, FUNARTE, August 1982.
CARVALHO, Ana Maria Albani. "Optical Nerve and Space N.O.": Diversity in the Artistic Field in Porto Alegre during the 1970s. Dissertation (Master in Visual Arts) Institute of Arts, UFRGS. Porto Alegre, 1994.
ENCYCLOPEDIA OF BRAZILIAN ERUDITE AND FOLKLORIC MUSIC - 2nd Edition, Art Editora, Publifolha; p-223; 1998.

*MICHELIN, S. On the extraordinary in everyday life. MODES. Journal of History of Art. Campinas, v. 2, n.1, p.277-294, Jan. 2018. Available at: 
˂http: //˃; DOI:
MICHELIN, Simone. Times of Crisis. Culture and Thought, MINC, Petrobrás, 2010.
*MICHELIN, Simone. DVD - FABRO NO HO, electronic publication, drawing of 100 copies, realization Line Cultural Projects, PPGAV / EBA / UFRJ, Rio de Janeiro, RJ, 2009.
*MICHELIN, Simone. About creation? IN Revista Polêmica, nº 8 (1), year 2009. ISSN 1676-0727
MICHELIN, Simone. Digitally Born - back to the future. IN Revista Arte & Ensaio, n.19, year 2009
MICHELIN, Simone. The Santinho in the Annual Biennial of Búzios, public actions and intervention in the newspaper of Búzios, The Peru Wet, January 18, 2008.
*MICHELIN, Simone. Public Domain (Inside - Outside - Between) IN: Medeiros, Maria Beatriz de; Monteiro, Mariana F. M. (Org.) Performance and Space, 2007. 196 p. PPG-Arte Publisher of UnB, 196 p. ISBN 978-85-89698-14-6 p. 171 to 181
Cv is a project concieved for the openning of the web gallery of the electronic magazine Conccinitas Virtual, UERJ University of the State of Rio de Janeiro in 2007. ISSN 1981-9897
*MICHELIN, Simone. LILLIPUT - a case study on the "space-between." Published in the annals of the congress, electronic publication, I International Congress of Aesthetic Technological, June 02, PUC / SP, 2006.
MICHELIN, Simone. Utopia, atopy, heterotopia, teletopia, etc. IN. Controversy Image, electronic magazine, UERJ, Year 2006/7 ISBN 1676-0727
*MICHELIN, Simone. "Public Domain" IN. Controversy Image, electronic magazine, UERJ, Year 2006. ISBN 1676-0727
*MICHELIN, Simone. Polêmica Imagem, electronic magazine (synopsis and images)
Year 2006, ISBN 1676-0727
MICHELIN, Simone. Public domain, in-out-between, abstract, IN FILE: International Electronic Language Festival, catalog, São Paulo: FILE, 2006. Bilingual edition. 304 p. ISBN 85-89730-05-0 p. 300
*MICHELIN, Simone. Public domain. IN: GARCÍA, Iliana Hernández (org.). Aesthetics, science and technology: electronic and numerical creations. Bogotá: Editorial Pontificia Universidad Javeriana, 2005 (a). 322 p. ISBN 958-683-791-2 p. 202 to 212
*MICHELIN, Simone. Public domain. In: BENTES, Ivana (org.). Virtual bodies. Rio de Janeiro: Centro Cultural Telemar, 2005. 180 p. ISBN 85-99247-01-8 p. 84-89; English p. 157 to 160
MICHELIN, Simone. July 18, 2003, IN: Art / State, visual arts - lectures and debates 2003, Rio de Janeiro: FUNARTE, 2004. 320 p. CDD 701.18 p. 56-58
*MICHELIN, Simone. Portfolio, Uncertainty. IN: ECO-Post "Television, production, programming, reception" - publication of post-graduation in communication and culture, v.7 - n.1 - jan to jul, 2004. 156 p. ISSN 0104-6160 p.127-133.
*MICHELIN, Simone. De Rerum Natura, article for the newspaper O Povo, Fortaleza, CE, Sunday, 01/02/2004.
*MICHELIN, Simone. The Center of the Crucible, IN: Sensorial Networks: Art, Science and Technology. Org. Katia Maciel and André Parente, Editora Backward, Rio de Janeiro, 2003. 334 p. ISBN 85-86011-74-6 p.107 to 120.
*MICHELIN, Simone. From Myth, Media & Movement, in Conccinitas, journal of the Institute of Arts of UERJ, year 4, n.4, March 2003.254 p. ISSN 1415-2681 p. 44-52.
*MICHELIN, Simone. Activate the distance memory, IN: Polêmic Imagem, electronic magazine, UERJ, Year 200 ... ISBN 1676-0727
MICHELIN, Simone. Of Myth, Media & Movement, published in the annals of INTERCOM, Brazilian Congress of Communication Science. Campo Grande, MS. Audiovisual Communication Research Center, coordination of Arlindo Machado. Electronic publishing. 2001.
*MICHELIN, Simone. BEAM ME UP, MR. ASCOTT,,, art in telematic networks, in RIOARTES, year 10, nº 28, publication of RioArte Municipal Institute of Art and Culture of the Municipal Secretariat of Cultures, Rio de Janeiro, 2001. p. 24-25.
*MICHELIN, Simone. From Myth, Media & Movement; Project MN.02: essay in the Telecommunications space of the city of Rio de Janeiro; Teleanamnesis, Art In Telematic Networks. 2001. Electronic publications. Originally at
Available at
*MICHELIN, Simone. Project MN.02: essay in the Telecommunications space of the city of Rio de Janeiro; IN: Art and Essay, journal of the Post-Graduation in History of Art of EBA / UFRJ, n.7, 2000. 228 p. ISSN 1516-1692 p. 84-89
*MICHELIN, Simone. Project MN.02: rehearsal in the space of telecommunications of the city of Rio de Janeiro; in the annals of Consciousness Reframed 3, International Conference, University of Wales at Newport, UK, 23-26 / 08/2000.
*MICHELIN, Simone. Polysensorial Zones: Sensitive Structures in Urban Space, IN: Visual Languages, journal of the Post-Graduation in History of Art of EBA / UFRJ, n.1, 1999.


CIFO Grants & Commissions 2020; Cisneros Fontanals Art Foundation.

CIFO Grants & Commissions Program 2020; Cisneros-Fontanals Art Foundation, Mid-carrier latin-american artist. For this commission I am developing the VR installation CAIÇARA #1. Sinopsis: The Fall of Heaven The word caa-içara is of Tupi-Guarani origin: caa means twigs, sticks, bush, while içara means trap. Over the years caiçara has been used to designate things, people and a culture. Being part of the Brazilian coastal inhabitants, the caiçaras are one of the oldest cultures, representing the first contact of the white man with the aboriginals. Hence, the native caiçara represents the beginning of the colonizer-colonized relationship in Brazil. The work Caiçara is a fiction about a micro cosmogony, which embodies Brazilian daily life, without commitment to anthropological true documentation. As a metaphor, it points to a culture developed from the encounter of the European white with the Brazilian native, thus referring to the myth of origin. In this dimension, of the origin, there are the Indians, ancestors who inhabit the region of dreams, from where they transmit their tradition and knowledge. However, they are invisible, their presence is only perceived through the sound. Remains of the caiçara culture, the first Brazilians, appear in the use of wood (crafts, design, buildings, fences and furniture) that composes the real and virtual scenery of the work, as well as in the preeminent presence of the soundtrack. The proposition happens in two spaces (actual_real and virtual) simultaneously. It is structured as a dialectics between belonging and exclusion, inside and outside, past and present, excess and scarcity, fear and joy, exposure and invisibility. My goal is to convey the impression, the pathos, of the present times in Brazil, "a great caiçara full of few people" paraphrasing the Portuguese poet Fernando Pessoa.

Publications & References
Michelin, Simone and Paulo Herkenhoff and Gloria Ferreira and Arlindo Machado and Tadeu Capistrano, ed. Luciferinas : Simone Michelin (Luciferins : Simone Michelin) . Vol.57. Arte e Tecnologia, first th ed.Rio de Janeiro: Aeroplano; Instituto Oi Futuro, 2012.
Michelin, Simone. »Luciferins: Simone Michelin.«
Machado, Arlindo. Made in Brazil. Sao Paulo, Brazil: Editora Iluminuras and Itau Cultural, 2007.
Oliveira, Nicolas de and Nicola Oxley and Michael et. al. Petry. Installation Art. London, UK: Smithsonian Institution Press, 2003.
Machado, Arlindo and Walter et al. Zanini, ed. Made in Brazil:três décadas do vídeo brasileiro. ISBN 85.85291-37-0, São Paulo: Itaú Cultural, 2003.
Machado, Arlindo and Silvia Laurenitz and Fernando Iazzetta. »Panorama de Arte e Tecnologia do Brasil.«
Rosa, Renato and Decio Presser. Dicionario de Artes Plasticas no Rio Grande do Sul. : Ed. Ufrgs, 1997.
De Holanda, Heloisa Buarque, ed. Quase catálogo 2: Artistas Plásticas no Rio de Janeiro 1975-85. Rio de Janeiro: CIEC / UFRJ, 1991.
Michelin, Simone. »O Centro do Crisol.« In Redes Sensoriais: Arte, Ciencia e Tecnologia, edited by Katia Maciel and André Parente, 107-120. Rio de Janeiro, Brazil: Editora Contracapa, 2003.
Michelin, Simone. »Do Mito, Media and Movimento (On Myth, Media and Movement).« In XXIV Congresso Brasileiro da Comunicacao - Campo Grande/MS - setembro 2001, edited by Intercom - Sociedade Brasileiro De Estudos Interdisciplinares Da Comunicacao. Campo Grande, Brazil: 2001.
Michelin, Simone. »Beam me up, Mr. Ascott:,, arte em redes telemáticas.« Rioartes 10, no. 28 (2001): 24-25.