Homenagem a Athos Bulcão foi a primeira intervenção do MOVA, organizada para reapropriação do Estudio 3 da FAUSP, abandonado pelo processo de reforma da cobertura. Para execução da ação preparamos um grid a longo da parede de 80 m2, trouxemos papeis recortados em quadrados para simular o azuleijos utilizados pelo artista e outros papeis trinagulares. A ação foi divulgada no facebook.  O Painel ainda sobrevivê e foi cenário da reportagem sobre o Guilherme Arantes na revista Trip e da reportagem sobre a reforma do edifício da FAUUSP na revista Arquitetura e Construção.




Urban Intervention at the Gravataí Street in the city of São Paulo, it was made during a  coloborative street party. The development occured with the children and other people. The motivation was the inspiration on paintings of the Djanira artist.


Djanira da Motta Silva (1914-1979) was one of the most important brazilian artist of the century XX, daughter of Austrian immigrant and brazilian India, born in Avaré city. After she had lost her husband in a accident moved to Rio de Janeiro in the beginning of 1940, where lived in "Santa Teresa" neighborhood in the "Mauá Pension", which was a meeting point of artists and intellectuals. She started painting classes with Emeric Marcie and Milton Dacosta, while she frequented classes of the School of Arts of Rio de Janeiro.

Her first exhibition was in 1943, she was used to be with several artists such as Fernand Léger, Joan Miró and Marc Chagall, Jorge Amado, and others.
She tried some different kind of technic such as painting, woodcuts, tapestry and ceramic. The monumental panel of the Santa Barbara's tunel in Rio de Janeiro (1958) is her most important work. She was extremely catholic and entered in the Carmelita's Third Order with the name of Sister Teresa of Divine Love. Djanira was the first Latin America's artist, who exhibited works in the Vatican Museum.