2023 (GLOBE NEWSWIRE) -- Aura Minerals Inc B3: AURA33 and OTCQX: ORAAF) (“Aura” or the “Company”) is pleased to announce that it has recently indirectly acquired exploration permits known as the Serra da Estrela Project (“Serra da Estrela Project”) in the State of Pará Aura has made an initial payment of US$3 million and if it elects to continue to explore the Serra de Estrela Project Serra da Estrela Project (Figure 1) is an exploration permit totaling 9,805 hectares and gold (“IOCG”) mineralization targets along a 6 km strike with a surface anomaly (up 500 ppm Cu) Prior work includes 9 historical mineralized exploration holes totaling 2,552 meters Aura intends to undertake exploration activities to test the continuity and economic grades of the target Carajás Mineral Province is one of the most important polymetallic districts in the world and hosts several IOCG deposits such as Sossego and Salobo Mines (owned by Vale) “Aura is delivering its growth strategy of 86% growth by bringing online our three new mines in Brazil by 2025 we continue to see excellent opportunities to grow our resource base by adding to our exploration pipeline The addition of Serra da Estrela gives us potential long-term exposure to copper in the world class mining jurisdiction of Carajás while our exposure to gold continues to grow.” Figure 1: Map of the Serra da Estrela Project one of the most important polymetallic districts in the world and host to several IOCG deposits For further information, please visit Aura’s website at www.auraminerals.com Aura is focused on mining in complete terms – thinking holistically about how its business impacts and benefits every one of our stakeholders: our company and the countries and communities we serve Aura is a mid-tier gold and copper production company focused on the development and operation of gold and base metal projects in the Americas The Company’s producing assets include the San Andres gold mine in Honduras the EPP gold mine in Brazil and the Aranzazu copper-gold-silver mine in Mexico the Company has the Tolda Fria gold project in Colombia and four gold projects in Brazil: Almas which is under construction; Borborema and Matupá which are in development; and São Francisco Geology and Mineral Resources Director for Aura Minerals Inc has reviewed and confirmed the scientific and technical information contained within this news release and serves as the Qualified Person as defined in National Instrument 43-101 This press release contains “forward-looking information” and “forward-looking statements” as defined in applicable securities laws (collectively “forward-looking statements”) which include events or developments that the Company expects or anticipates will or may occur in the future the potential to increase its resource base and the Company’s potential exposure to copper and gold many of which are beyond the Company’s ability to predict or control could cause actual results to differ materially from those contained in the forward-looking statements Forward-looking statements are necessarily based upon a number of estimates and assumptions that while considered reasonable by the Company are inherently subject to significant business economic and competitive uncertainties and contingencies Specific reference is made to the most recent Annual Information Form on file with certain Canadian provincial securities regulatory authorities for a discussion of some of the factors underlying forward-looking statements the ability of the Company to achieve its short-term and longer-term outlook and the anticipated timing and results thereof the ability to lower costs and increase production the ability of the Company to successfully achieve business objectives copper and gold or certain other commodity price volatility the uncertainties involved in interpreting geological data environmental compliance and changes in environmental legislation and regulation interest rate and exchange rate fluctuations general economic conditions and other risks involved in the mineral exploration and development industry Readers are cautioned that the foregoing list of factors is not exhaustive of the factors that may affect the forward-looking statements All forward-looking statements herein are qualified by this cautionary statement readers should not place undue reliance on forward-looking statements The Company undertakes no obligation to update publicly or otherwise revise any forward-looking statements whether as a result of new information or future events or otherwise If the Company does update one or more forward-looking statements no inference should be drawn that it will make additional updates with respect to those or other forward-looking statements A map accompanying this announcement is available at https://www.globenewswire.com/NewsRoom/AttachmentNg/62674abb-e41e-4100-9595-6b462683fb30 Claire Rigby Features22 October 2014 74,110 tons of plastic; 11,822,000 fragile bodies Some of the ingredients that make up the city of São Paulo according – with the exception of the human beings – to statistics listed in an installation by the Spanish artist Lara Almarcegui at the 2006 São Paulo Bienal (Construction Materials How those elements come together to create the urban landscape where they belong and what happens when they clash are some of the problems addressed in the recent work of a number of artists living and working in Brazil They look past the monumental and the utopic to reveal the joins the human error and the human cost beneath the polished facade of modern architecture and of the cities we live in – and of Brazilian Modernism with its promise of ‘a singular and utopian future’ in the words of the Brazilian curator Moacir dos Anjos the drama of clashing urban forces reverberates in works that address architecture’s monumentalism the urban struggle is played out in the public–private axis: in local planning policy and in the dubious influence wielded by powerful construction companies whose bottom-line requirements are the basis of the kind of blunt hard-to-live-inside urbanism that shapes many a city in the Latin American country It takes place on the peripheries of every major city and in some cases inside them in the form of favelas and mass land occupations It’s at the heart of the dozens of major building occupations that have sprung up in downtown São Paulo in the past year in a current emerging from the Landless Workers’ Movement and socialist political groups of the 1980s and 90s and in some cases spurred by artist collectives a beautiful abandoned mansion on Rua da Consolação that was occupied in February and is run as a shared workshop a 13-storey building downtown that was broken into and squatted by a collective of musicians and artists in May The struggle is discernible more viscerally and in the lives lost in the eternal imperative to construct part of the new infrastructure accompanying the renovated World Cup stadium in Belo Horizonte that suddenly collapsed midway through the tournament killing two drivers and injuring 22 people And it’s there in the eight workers killed in onsite accidents during the construction of the World Cup stadiums the drama of clashing urban forces reverberates in works that address architecture’s monumentalism and apparent neutrality peeling it back to ask questions about how cities are made and how they are sustained; about who does the work who reaps the profit and who pays the price It resonates in the work of the contemporary art collective Bijari in its urban interventions and happenings – in its viral Gentrificado poster (2007) which pasted the word ‘Gentrified’ onto the walls of dozens of occupied buildings in downtown São Paulo over the entrance to a beautiful antique building in the city centre that had remained empty except for sporadic use for many years questioning the vast number of disused buildings in the city It’s in the work of Marcelo Cidade and André Komatsu around a wordless street sign and the debris of a strange building site It’s difficult to think about architecture in Brazil without the figure of Oscar Niemeyer instantly looming large in the work of the Mexican artist Héctor Zamora In Inconstância Material (Material Inconstancy Zamora brought a crew of construction workers into São Paulo’s Luciana Brito Galeria to perform a kind of bricklayers’ ballet in which they tossed hundreds of clay bricks from hand to hand along a human chain Calling out a random selection of words and phrases from ‘Gigante’ (‘Giant’ a poem created for the artwork by the artist Nuno Ramos missed bricks smashing to the ground as others piled up to form hurried and to let them take control of the work,” says Zamora Having the words to call out to one another as they heaved the bricks between them helped the builders relax in the unusual environment of the gallery adding a playfulness that gave rise to organically emerging songs until Ramos’s words began to melt into the improvised babel “The work was a way to create a circuit in which they were visible laughing as the bricks flew between them – it was a way to break the myth of architecture as untouchable.” It’s difficult to even think about architecture in Brazil without the figure of Oscar Niemeyer was one of the prime movers in the creation of Brazil’s urban landscape a futuristic delirium and the country’s capital city designed in conjunction with Lúcio Costa and con structed from scratch on the vast savannah in just five years (1955–60) An exhibition held from June to July at Itaú Cultural a major institution on São Paulo’s Avenida Paulista a 16- metre-long roll of paper bears sketch after elegant sketch of the asto nishing buildings that form his legacy which he drew as he spoke during the filming of Oscar Niemeyer: O Filho das Estrelas (Son of the Stars) a 2001 documentary about his life and work The film was also on display at the exhibition a handful of scale models and 51 sets of plans for projects that never left the drawing board a not-for-profit gallery down the hill in São Paulo’s Centro the artist Lais Myrrha has spent the past year working on another project in which Niemeyer’s work looms large Myrrha’s Projeto Gameleira 1971 (2014) takes as its point of departure the story of Brazil’s worst civil-engineering disaster in which a monumental building designed by Niemeyer destined to become part of a cultural complex in Gameleira a district in Myrrha’s home city of Belo Horizonte killing more than 100 construction workers with the implacable force of 10,000 tons of concrete According to press reports and contemporary accounts was keen that the complex be inaugurated during his soon-to-end term in office and the work was proceeding at an accelerated pace which took place during the military dictatorship was rapidly forgotten and is almost completely unknown in Brazil today Myrrha’s installation takes the form of an immense reimagined architectural model of the crumpled construction site based on one of the few photographs available of the scene of the disaster Visitors are confronted with the horrible geometry of the fallen concrete beams realistically rendered in painted plasterboard on wooden frames and invited to walk across the model via a stretch of scaffolding placed over the top of it absorbing the scale of the catastrophe with an almost physical pang visitors are faced with a wall lettered with the names of the 117 workers known to have perished a component of Projeto Gameleira 1971 titled In Memory of the Silence of the Architect The title refers to the fact that Niemeyer never publicly spoke of the disaster was rapidly forgotten by the population at large and is almost completely unknown in Brazil today and in the homes and hearts of those directly affected “The accident stayed in the media for a month or so,” Myrrha says “Particularly in Minas Gerais; but then it more or less disappeared despite the best efforts of more than one doctoral research student the blueprints for the project are also apparently nowhere to be found Disappeared like the rubble of the disaster scene of Belo Horizonte’s World Cup FIFA Fan Fest The accident’s eradication from Brazilian history makes the tragedy materialising to break through the silence more than 40 years on Myrrha has received emails from at least one member of the families of those who died at Gameleira expressing gratitude to her for making the accident public again In a statement published on the Institute of Brazilian Architects website accusing her of opportunism and of exploiting the dead to create her artwork What ends up being inscribed on our collective memory comes down again and again to power Myrrha writes that she has made no suggestion nor believes that blame for the accident lay either with Niemeyer “I find the architect’s lifelong silence about the disaster unpardonable,” she says It’s about the way what ends up being inscribed on our collective memory comes down again and again to power.” It’s about silence unmarked absence of the people who lost their lives at Gameleira; and the chronic invisibility – the powerlessness – of all the people who build our cities from the ground up Projeto Gameleira 1971 ‘seeks to undo social amnesia… regarding occurrences of undeniable importance,’ writes Moacir dos Anjos in the notes for the exhibition ‘which in most cases involve the imposition of damages on individuals or groups who do not possess the material and symbolic means to make their losses a public fact’ The third and final element in Myrrha’s installation is a tall stack of posters bearing the photograph of the Gameleira collapse set alongside the offset plate used to print them inexorably as the exhibition wears on – the image on the delicate plate But the stack of posters invites visitors to take one away with them when they go “Taking a poster confers a certain responsibility to keep it,” says Myrrha “maybe to display it and perhaps even” – the poster bears nothing but a photograph of the little-known historic scene – “to have to explain it to others Myrrha is not alone in having engaged with elements of Niemeyer’s own history and with that of the hundreds of thousands of workers who make his and other architects’ legacies manifest Clara Ianni has frequently addressed questions of urbanism and of labour in her work In the 2013 video Forma Livre (Brasília) (Free Form (Brasília) vintage images of Brasília phase in and out as Niemeyer is heard speaking in an interview made for the documentary Conterrâneos Velhos de Guerra (1991) who came from all over Brazil to build the new city Questioned during the interview about a massacre of striking workers that took place in Brasília in 1959 at the Pacheco Fernandes Dantas workers’ encampment “You can’t ask me about things I know nothing about.” But the massacre has been discussed extensively by the left “Ask me a generic question,” says the lifelong communist “Favelas are constructed by exactly the same people who have built the cities their communities surround,” says Héctor Zamora “There’s nothing inherently inadequate about the informal architecture they use.” The plight of the workers who executed Modernism’s utopian visions is also addressed in a site-specific work from 2010 by Clarissa Tossin materialising the memory of a favela inhabited by workers on the immense project to build Brasília In contrast with the elegant palaces of government their labour was crystallising in concrete the workers’ homes at the Sacolândia (‘Bagland’) shantytown were made of leftover cement bags The site was flooded in 1959 to form Brasília’s Lake Paranoá; and it was on the lake that Tossin launched her Monument: a large-scale raft made from cement bags over wood and Styrofoam with the brightly coloured bags tracing out the shape of the Palácio da Alvorada the first government structure in the new city and the official residence of every president since then the palace gardens become the verdant backdrop to the cement-bag palace “There’s nothing inherently inadequate about the informal architecture they use.” In a homage to the technology and skills existing on the periphery of cities in Latin America and beyond onto the side of Mexico City’s sleek Museo de Arte Carrillo Gil swelling up from the street to cling to the museum like an immense rusty organic parasite “Construction workers are the people who build the walls we live inside who solve the problem of urbanism on a day-to-day basis,” says Zamora excluded from the circuit of urbanism and of architecture.” Melting away invisibly once their work is done the builders’ presence is erased by the spurious perfection of the buildings they create their innards and origins concealed under slick improvisation and brutal honesty of informal architecture “Imperfection and human error are important aspects of creation capitalist system likes to talk about progress as if everything must only go forward but it takes no account of the way things grow heavily involved in the circuit of progressivism has been guilty of the same ideological omission “Everything about it responded to the linear narrative of progress and of providing solutions to capital’s demands unique truths they seemed to be at the time and that’s why Modernism has been so compelling as a subject for reflection in Brazil Human error has no place in the politics of progress,” he says This article originally appeared in the September 2014 issue Yuwen Jiang Features J.J. 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By continuing to use our site, you accept our use of cookies, revised Privacy LUIZ SUGIMOTO 26 Feb 2025 23:00:00 GMT?.css-1txiau5-AnswerContainer{color:var(--GlobalColorScheme-Text-secondaryText2);}EC Sao Jose won 3–1 over Oratorio on Wed Predicted lineups are available for the match a few days in advance while the actual lineup will be available about an hour ahead of the match 26 Feb 2025 23:00:00 GMT?EC Sao Jose won 3–1 over Oratorio on Wed 26 Feb 2025 23:00:00 GMT.InsightsHaven't kept a clean sheet in 5 matches Oratorio is playing home against EC Sao Jose at Estádio Milton Corrêa on Wed Um nome fundamental na construção de Brasília é Joaquim Cardozo Ele foi o engenheiro responsável pelos projetos estruturais de obras desafiadoras a capital federal ficaria sem cartões-postais tão importantes quanto a Catedral Metropolitana Seus métodos de cálculo revolucionaram o uso do concreto armado em todo o mundo que estabeleciam o uso de no máximo 6% de barras de ferro em estruturas de concreto para alcançar a ideia de leveza da construção Mas a imaginação de Joaquim Cardozo não ficava apenas nos projetos e cálculos crítico de arte e tradutor: ele conhecia oito idiomas Cardozo era “o brasileiro mais culto que existia” Quando questionavam sua habilidade em campos tão distintos ele dizia: “Não visualizo qualquer incompatibilidade entre poesia e arquitetura As estruturas planejadas pelos arquitetos modernos são verdadeiras poesias Trabalhar para que se realizem esses projetos é concretizar uma poesia” Mas uma tragédia profissional marcou para sempre sua vida A obra era assinada por Niemeyer e Cardozo A perícia detectou que o erro não foi no cálculo e sim na execução da obra por parte da empreiteira Joaquim Cardozo ficou extremamente abalado depois do acidente encerrou sua carreira de calculista e entrou em depressão o engenheiro tinha uma biblioteca invejável que foram doados à Universidade Federal de Pernambuco Seu endereço de email não vai ser publicado Salvar meus dados neste navegador para a próxima vez que eu comentar Δdocument.getElementById( "ak_js_1" ).setAttribute( "value" O endereço abaixo não existe na globo.com