Projects & Events

Mark Lewis

Mark Lewis



6 April, 11 am

On exhibition until 

27 April

Tuesday to Saturday

2 to 7 pm

Thursdays until 9 pm


Still from São Paulo Parte 1 (2019)

City presents two newly commissioned films by Anglo-Canadian artist Mark Lewis. They can be seen in sequence on the opening hours.

An eye flying over the empty streets of São Paulo unveils a ravaged city.

São Paulo Part 1 and São Paulo Part 2 are long stroll through and between the Teatro de Arte Israelita Brasileiro, known as TAIB, placed at the basement floor of Casa do Povo and the Art Palácio, located at Largo do Paissandú. Both spaces, landmarks of the modern architecture of São Paulo – respectively, a theater conceived by Jorge Wilheim in the 1950s and a cinema designed by Rino Levi in the 1930s –, unfortunately find themselves ruined nowadays. In the movie, however, the logic is inverted. While empty and frozen streets compose a post-apocalyptical setting, both rooms, formerly dedicated to theatrical and cinematographic illusion, are back to lavish their impeccable modernist features – as if it had never known its decay.

Mark is acquainted with the city of São Paulo, its streets and architecture. He has already made eight different films in the city, each one bearing as title the name of the place where the record was made, such as Escalators at Pinheiros, Galeria do Rock, or Vultures on the Edifício Martinelli (2014). None of these movies intends to be a comment on the city itself. They are precise contemplations and silent reflections in which the constructed space and its multiple layers come up as backdrop for daily gestures that, once filmed, turn into urban choreographies.

His camera moves around freely and slowly, soundless, going beyond the limits of the body, passing through voids, flying in between buildings. It ends up resulting in long takes at the threshold of cinema and documental photography. In his previous works, Lewis did not intervene beyond the chirurgical filmic cut. Yet, in recent works, as is the case of Lounge (2017) and Bauhaus (2019), the filmmaker increasingly interferes in the filmed object, even though often unnoticeably. Such shift is a delicate point of inflection in his work, characterizing the two new films commissioned by Casa do Povo. Whether by photographing, cutting, mirroring, or recomposing sceneries, he gets involved in editing experiments without ever letting go of long takes and respecting the own time of things, in order to shed critical light on a crumbling present and thus reveal other possible histories.

Benjamin Seroussi

About Mark Lewis

Born in Hamilton, Ontario, in 1958, Mark Lewis lives and works in London. In 2009, he represented Canada at the 53rd Venice Biennale with the exhibition Cold Morning. His work has been presented in solo exhibitions at Le Bal (Paris, 2015), The Power Plan (Toronto, 2015), Van Abbemuseum (Eindhoven, 2013), Forte di Bard (Italy, 2011), Canada House (London, 2015), and Louvre Museum (Paris, 2014). In 2015, Mark finished his first feature film, Invention, which premiered at the Toronto International Film Festival and was presented in festivals in Berlin, London, Chicago, as well as the 31st Bienal de São Paulo. In 2017, six of his films were exhibited at the Art Gallery of Ontario and Austin Contemporary, in Texas. He was awarded with prizes from several Canadian organizations for his work, among which are the Lifetime Achievement Award of the Canada Council for the Arts, and the Governor General’s Award for Excellence in Fine Art.



Benjamin Seroussi

Special effects

Paul Brogen and Robert Ashford


Alita Mariah, Lucas Rodrigues (production assistant) e Vanessa Montenegro (production assistant)


British Council, CSN e Canada Art Council for the Arts

Cultural support



Afterall, Central Saint Martins, Cristina Becker, Deborah Cook, Departamento do Patrimônio Histórico, Effie Vourakis, Juliane Gomes, Martin Dowle, Secretaria Municipal de Cultura da Prefeitura da Cidade de São Paulo, University of the Arts, London

Casa do Povo's programming expands the notion of culture, incorporating a large array of activities beyond artistic practices - from health and caring to community issues. The code of colors, filters and tags on the website helps to navigate through this entanglement of people and initiatives. Porous, mutant and critical, the programming allows the institution to structure itself without becoming rigid, to reinvent itself without growing precarious, to internationalize without giving up its local relevance, that is, in order to experiment with other forms of existence.

Regular activities

We strive to offer a lineup of courses that pique interest in the neighborhood and in Casa do Povo’s groups in residence, based on original and accessible practices (for those who offer, those who welcome and those who attend).

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In dialogue with the institution's axes, the study groups have various operational modes, some focused on internal processes, discussions and readings and others capable of overlapping into public events programming.


Commissioned works
Casa do Povo invites artists to develop new works, adapting its physical structure and guaranteeing the full operational existence of each project held here.

Each publication is understood as an extension of the projects developed and as a part of the events schedule.

Combining processes and results, discourses and actions, artistic and academic work, Casa do Povo promotes encounters based on specific themes according to the urgent issues of the day.

Hosted events

Groups in residence can promote public activities that become part of the events schedule. Deliberately discontinuous and fluid, these activities establish close dialogues with the institution's work axes and help make Casa do Povo larger than it is, overflowing with community life.

Projects and proposals can be sent to for assessment. At the same time, with the intention of encouraging this movement, an annual open call dedicated exclusively to collective practices has been launched.

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Nossa Voz
Nossa Voz

Nossa Voz is a publication by Casa do Povo. Literally “Our Voice,” the newspaper existed alongside the institution from 1947 to 1964, with texts in Yiddish and Portuguese and an editorial profile aligned with left wing ideals. It was shut down by the military dictatorship, which forced editor-in-chief Hersch Schechter and other contributors into exile. Relaunched in 2014, it continues to dialogue with its historical premises while rethinking its editorial directives.

The editorial committee relies on representatives from a wide variety of areas, meeting regularly to discuss issues concerning the city, memory and artistic practices according to the current political situation.

The publication is distributed free of charge and can be obtained at Casa do Povo during hours of operation, at partner institutions and some commercial establishments in the neighborhood of Bom Retiro in São Paulo.

Access recent issues below.

Click here to see old issues of Nossa Voz (1947-1964)