top of page
Ser um modelo vivo - Escola de modelo vivo - CASA CORPO2
  • YouTube
  • Blog Modelos Vivos
  • Blogger - Black Circle

In 2006, the actor Juliano Hollivier, working as an actor and dancer in the Italian group ÉDEN in the city SHARM EL SHEIK - EGYPT, participated in his first performance involving the immobility of the body. For a few hours he remained motionless in front of the public who visited the Resort. Back in Brazil in 2008, he was introduced to the lifemodel´s work, by his friend and artist Marta Keppler, inviting him to pose in the lifedrawing classes at Cultural Center of São Paulo. That was when he realized the great artistic potential influencer of this activity, assuming it as his profession.

Juliano has worked as an actor, producer and writer of sensory performances with GRUPO SENSUS since 2009, practicing his musical poetic characteristic in the group's works. As it could not be otherwise, the performer combines the artistic exposure of the nude body with his sensorial, scenic, musical and poetic repertoire, transforming the classic life drawing sessions into true "Jam Sessions", where good music, light, scenic contexts and poetry contribute to the consciousness exposure of the body and to an emotional content to be drawn. He realized over the years that the artistic nude exposure, when done with body awareness and dedication, promotes respect and acceptance of the unique characteristics of the human being.

In 2013, after 5 years of artistic partnership with actress and lifemodel Cristina Ferrantini together decided to create a space where they could teach people about the lifemodel's profession. In 2014, they started the postgraduation course in the Klauss Vianna Technique, at Pontifical Catholic University / Sao Paulo. The creative process of the pair was interrupted when Cristina was diagnosed with Acute Leukemia, dying in March 2016. Juliano continued his studies at KVT, completing the training in 2017, whose studied material could justify the continuation of an innovative project not seen in the arts of the body: the professional formation of lifemodels.


After the mourning, Juliano joined forces to finally open CASA CORPO2 - Lifemodel´s School, Art & Reference, in honor of his late friend and partner in such innovative works. Initially a space for exchanging knowledge about the lifemodel´s body, the way he presents himself and prepares himself for the artistic nude exposure. A place where you can encourage the lifemodel´s art, an ancient and so essential practice to the Arts. In addition to working on the training of new professionals and the expansion of body awareness.

The school will offer courses related to body knowledge, both for people who want to be lifemodels, professionally or not, as well as for artists who need to know about the work (such as those who draw or photograph models), about the own body and about Nude.


by Juliano Hollivier

With the intention of preparing people to practice this profession and spreading quality and professional work, I created the first school in Brazil of a lifemodel's formation. It is initially proposed as a cultural extension aimed at all those who, with some artistic involvement, are interested in body awareness, body arts and artistic creation.


More than forming new professional lifemodels with referential quality, CASA CORPO2 aims to raise the intellectual artistic degree of those who intend to expose their nude bodies in lifedrawing sessions, painting, photography, sculpture, anatomy and many other.


People of all ages over 18, ethnicities, body types, actors, dancers, circuses, visual artists, body artists, photographers, art and photography directors, physical educators, physiotherapists, somatic educators, psychologists and many other professionals can take advantage of the activities and courses offered at CASA CORPO2. Designers, painters, sculptors and photographers interested only in the observation of lifemodels can also attend the school's proposals.


The formation of lifemodels is a concrete action for valuing and recognizing this work, carried out for so many years by anonymous people who dedicated and dedicate their lives to making art. It comprises a series of actions to be taken by the school, which aims to improve the lifemodel's work, the labor market, the respect and social, financial and moral recognition of its role in the artist's formation. Mainly, of the scope and importance of his role in Art education. These actions aim to provide a basis for a profession that has not yet been formally recognized within the performing arts and aims, above all, to spread a new understanding of the observed body.


The school proposes a thinking and updating of what is done today by lifemodels, considering the multidisciplinarity of the current artistic languages ​​and the technology that acts so much on the artistic works of today, interfering in the contemplation capacity of the young student.


It is also about the appropriation of an artistic aspect not taught and seen in Brazil. It is intended, from the effectiveness of this school, a reference for the body arts and also the consequences generated from it, both visual and conceptual.


  by Juliano Hollivier, 2017.

1. I have always believed that we can be recognized artistically, financially, socially and morally as professional artists into the Nude Genre of Art. This is possible if we always prepare ourselves with all our work capacity, which includes our own body together with our history, our artistic ideals with our entire cognitive and skills repertoire. Our body + mind + soul can co-act with students, artists and future artists.


2. I also believe that for sustainable work to happen, it takes more than knowledge of one's own body and our physical and emotional limits being nude. I have learned in these almost 15 years that "something more", what "makes a difference", or "something that we don't know how to explain, but that makes us really want to observe" is what encourages us to undress the soul for one or 400 people to draw us.


3. We have lost work space in the market, at least we who make this our profession, due to the increasing number of lifemodels adventurers and people who are unaware of their bodies, who just take their clothes off and stand still (which is already so difficult, but prerequisite) in educational institutions and artistic practices. This has been happening in our category. For a symbolic price or much lower than what should be practiced respecting this profession, or even out of curiosity, misunderstanding, fetishism, budget composition ("to earn a change"), leisure work and so many other reasons, people use to pose only for money, venturing into lifedrawing sessions in the city of Sao Paulo. They end up decreasing or minimizing the possibility of the recognition mentioned on topic 1 above. We lost jobs for financial reasons, budget cuts, changes in teaching guidelines and little understanding by the new coordinators and deans of the colleges about the importance of our participation in teaching art. In the last 07 years, the hours of lifedrawing classes at major brazilian universities have dropped by 75%, if not 100%.


4. Our fees have been frozen for years, without any significant increases. And in the last 2 years they started to decrease instead of following any financial index. Thus, we started to work less (or more, for us when we compensate for the quantity) and to earn even less.


Faced with the love for what I do, I have been asking myself in the last years where we would end up. Far from definitive answers, I understood that something can change if we change something within ourselves: the way we understand the body that we expose. It can encompass not only our physical and intellectual apparatus but, also the space and all other bodies + minds that inhabit it. And, mainly, consider the ephemerality and unrepeatable that sustain our body.


So, in 2014 I decided together with the actress and lifemodel Cristina Ferrantini, to study the body academically, write about our work and raise possibilities for a new path for the future of this profession. The course in Klauss Vianna Technique at Pontific Catolic University in Sao Paulo, was one of the measures adopted in this search. Other studies have been done and new ones are being and will be done, because the body never stops, contrary to what many think when they see us posing. Right at the beginning of this endeavor, I and Cris wanted to set up a school for trainning, updating and formation of lifemodels, where we could teach everything we learned to those who aimed to take the profession seriously. With the death of Cris, this project was kept in some part of this corpomídia "that I inhabit", given the pain of the soul due to the loss of a friend and the interruption of such a special, innovative and brilliant dream (in our view, modesty aside).


With the worsening of situations (3) and (4), but with the non-death of creeds (1) and (2) and added to the love already mentioned, I decided that this is the time for this project / dream to happen. As if Cristina were blowing in my ear that now is the time to put into practice all our study and commitment so that the direction of this profession treads the professionalization, the social, moral and financial recognition, that of non-anonymity and non-disrespect. We deserve, for all that we do, to have our space in art recognized, valued and dignified.


Therefore, in addition to many other things, it is necessary to train people who think the body and the profession as Cris and I thought, as I still think and I believe that many think so. It is necessary to show and teach that illusory immobility and just to get naked are not enough to live as lifemodels. It is necessary to show and teach how difficult this activity is, but how much we can do without hurting ourselves or weakening the body. And it is also possible to teach how much of our uniqueness can contribute to artistic learning and new ways of making art.


The body's capacity for contemplation has been changing, the time for attention and observation of the other much more. If we want to continue working on what we love, we need to keep up with these changes. It will be necessary to assume certain novelties and incorporate them into our concept. The speed and multidisciplinarity of those who draw us (paint, photograph, sculpt, write or just observe us) will need to be added to the way we work. Our multifaceteness can also be part of this model, in order to win new fans both in the art of posing and in the art of watching.


Setting up a training course for lifemodels means thinking about all this and not just that. CASA CORPO2 - Lifemodel's School, Art & Reference, as Cris and I thought, will come to address all these points and so many others that come up, related to training and the professional job market. It will house the ideas of all who share the principles that validate the profession as such, towards social recognition. Far from "creating new posing bodies", that think how we think and that can "steal" the little work we have, this training aims to spread respect for the category.


If we want respect and recognition, we need to respect ourselves above all and qualify for it. To qualify is to study all the subjects that involve the universe of our work and to always make ourselves available to the new, because this is what the lifemodel causes: always the new, with each second observed, a new breath, a new condition, a new position of world.


And this is what CASA intends to teach. At first a pure content, in simple infrastructure, almost like the practices in ateliers that we usually work with. Small groups will be set up. I believe that, with all certainty, we will all be able to win with these actions and, in a not so long time span:


☆ more professional people presenting themselves to the market = new and more jobs will be promoted;


☆ more lifemodels that are valued in the market (due to study and training) = low fees will tend to rise;


☆ more qualified and differentiated lifemodels (artistic singularity worked in the formation) = they will occupy the space of the “naked adventurers”, they will raise the concept of the administrators contracting this function and it will guide for the quality the classes that we participate. It will also introduce and spread this new concept of body (as opposed to the recipient body from which only information is extracted) and its exposure in the universe of the lifemodel, causing the possible non-acceptance of those who only take off their clothes to earn change (which harms us so much).


☆ more lifemodels studied = some respect for more and greater chances of recognition, more people "making a difference" on the platforms and practicable, more people loving what we do.


☆ Represented by a school, with conceptual strength and a significant training process, we will also be able to act in the provocation of changes in the institutions that hire lifemodels, gaining the due respect that we seek, in addition to the artists themselves who use our work for learning.


Juliano develops since 2007 a different performing work as lifemodel, adding to this milenas job the particularity of his scenic, poetic and musical expression. He studies and researches the body and its artistic expressions within the creative process, in addition to human anatomy and the lifemodel´s participation in the artistic formation. He proposes looking at the lifemodel as a participatory subject of artistic mediation, and no longer just as a container body, from which the visual artist just extracts information for his drawing, painting, sculpture or photo. Quality of attention, presence and awareness are principles that base your body work and lead to collective autonomy and creativity. He argues that creative work is the result of the collective between the model artist, observant artists and the environment in which they work. Post-graduated in Klauss Vianna Technique from Pontific Catolic University - Sao Paulo, he bases the modeling in the Brazilian somatic education technique. He holds a BA in Music, studied Interpretation, Actor Preparation, Experimental Theater and Dramaturgy. He has worked with Pocket Broadway in Italy, Egypt and England and has been dedicated to the arts of the body since 2002 through theater and performances. He worked with sensorial theater in sensory performances that awaken the public's imagery repertoire, encouraging care and respect for the other. He participated in GRUPO SENSUS acting, writing and producing sensory performances since 2009. He maintains publications about the artistic body exhibition on the blog , poetic texts at www.julianohollivier.blogspot. com , videos on Youtube and social media .


Performs in theaters and unconventional spaces throughout Brazil, Biennials of the Book, International Festivals of Literature and Poetry and acts as a lifemodel in universities of Fashion, Fine Arts, Architecture and Design, educational and cultural institutions and private studios, cite São Paulo Cultural Center (from 2008 to 2017), FAAP, European Institute of Design, SENAC University Center, ECA - USP, FAU - USP, UNESP - Bauru, Fine Arts College, Anhembi-Morumbi University, Panamerican School of Arts, University Mackenzie, FASM - Faculdade Santa Marcelina, Escola da Cidade - Graduation and Post-Graduation in Architecture, UNI-Santos - Catholic University of Santos, MELIES College, FPA - Paulista College of Arts, ETEC - Tiquatira, Paulista Association of Fine Arts, AXIS School of Visual Effects, ICS - Innovation Creative Space, Quanta Academy of Arts, Abra - School of Art and Design, MAM - Museum of Modern Art, Mube - Brazilian Museum of Sculpture, SESC (Pompéia units , CineSesc, Belenzinho, Consolação, Ipiranga, Vila Mariana, Santo Amaro, Santo André, São José do Rio Preto, Bauru), Body Observation House, Casa do Saber SP, St. Paul´s School, Ateliê Pacca Studios, Ateliê of Newton Santana Sculpture, Ateliê Israel Kirslansky, Ateliê Paulo von Poser, Ateliê Ferez Khoury.

-------------------------------------------------- ---------------------------------------

bottom of page