Vinicius Fernandes

Vinicius Fernandes

(São Paulo, 1986)

Vinícius Fernandes lives and works in São Paulo as producer, composer, researcher and sound artist. His work focuses on the use of technological resources in the artistic, literary and musical expression for the elision of the subjectivity of the supposed artist, author or composer.He has a degree in “Literary Studies” at the State University of Campinas (UNICAMP) and is currently in a masters program in sonology at the School of Communication and Arts at the University of São Paulo (USP). In 2014 he had his piece “Carnaçao Ligeira” selected to integrate the program of the XII National Meeting of University Composers. Since 2014, he has been producing the TUDOS experimental music label, which in 2015 was awarded a scholarship from the UNICAMP Graduation Pro-Rectory for the production of six albums that document the scene of experimental music and sound art in Campinas. Also in 2015 he released the album “Amador” with Tabutril and “Pássaro-concreto” with “Pássaro-conreto”.In 2016 he presented his piece “9 Antlers” on speakers housed in objects made from hyphae of the fungus Pleurotus Ostreatus at the “Psychotropic House: Zooetics Pavilion of Ballardian Technologies” of Gediminas and Nomeda Urbonas at the 32nd São Paulo Biennial.In 2017 he was curator of two editions of the ¿Música? festival held at the University of São Paulo. He performed at various experimental music concerts throughout his career including performances in Naples, Berlin, Vilnius, Riga, Tallinn and Barcelona.

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My work explores the relationship between the ___________and ____________

With influences as diverse as _____ and _________, new ______ are _______ from both _________ and _________ __________.
Ever since I was a ___________ I have been fascinated by __ __________ _________ ___ ___ ________. What starts out as _______ soon becomes______ into _ ________ __
_______, leaving only a ________ __ _______ and the ________ of a _____ ________.
As  ________.  ________. become  ________. through  ________. and  ________.practice, the viewer is left with a  ________.to the  ________. of our  ________.
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