About the Artist

My artistic research and work engage extensively with collective memory and its erasure in society.

The works are often based on the interpretation of specific events in relation to the city, architecture and historical representation in relation to the present, searching for new meanings to forgotten aspects of a conflictive lexicon in whose internal movement the writing of history is disputed.

My interest is to create installations and multimedia works that emerge from a deep research into cultural dynamics, that takes Brazilian architecture and its practitioners as central figures of my research.

Important architectonic icons like Casa França Brasil, The Gustavo Capanema Palace also known architecturally as the Ministry of Education and Health Building or the figures as Athos Bulcão, Lina Bo Bardi, and Lota de Macedo Soares or Carmen Miranda are many times the starting point to develop my research.

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Mi investigación artística y obra están involucrados extensivamente  con la memoria colectiva y su borramiento en la sociedad.

Las obras a menudo están basadas en la interpretación de eventos específicos en relación a la ciudad, la arquitectura y la representación histórica en relación al presente, buscando nuevos significados para los aspectos olvidados de un léxico conflictivo, en cuyo movimiento interno la escritura de la historia está en disputa.

Mi interés es el de crear instalaciones y obras multimedia que surgen de una investigación profunda sobre las dinámicas culturales, que toman a la arquitectura brasileña y sus practicantes como figuras centrales de mi investigación.

Importantes  iconos arquitectónicos como  Casa França Brazil, El Gustavo Capanema Palace también conocido arquitectónicamente como el  edificio del Ministerio de Educación y Salud; o las figuras como Athos Bulcão, Lina Bo Bardi, y Lota de Macedo Soares, or Carmen Miranda, son muchas veces los puntos de partida  para desarrollar mi investigación.

Selected Biographical Information

Education / Training

• 1999-2001: Master degree, Konstfack , Stockholm, Sweden.

Prizes / Fellowships

• 2011: Residence Botkyrka, project in collaboration with Birger Lipinski, Residence Botkyrka, Stockholm , Sweden.
• 2011: Konstnärsnämnden, 2 years Grant, Konstnärsnämnden, Stockholm, Sweden.
• 2008: IASPIS, Residency Program, IASPIS, Stockholm, Sweden.
• 2007: Batiscafo Residency Program, Batiscafo Residency Program, Havana, Cuba.
• 2005: Konstnärsnämnden, 1 year Grant, Konstnärsnämnden, Stockholm, Sweden.
• 2004-2005: Akademie Schloss Solitude, Residency Program, Akademie Schloss Solitude, Stuttgart, Germany.
• 2002: I mostra Rioarte Contemporânea , Museu de Arte Moderna, Rio de Janeiro, Brazil.
• 2002: II Prêmio Sergio Motta, Instituto Sergio Motta, São Paulo, Brazil.

Solo Exhibitions

• 2016: “Past Projects for the Future”, Dallas Contemporary, Dallas, USA.
• 2016: “Restauro / Restoration”, Ana Mas Projects,  Barcelona, Spain.
• 2015: “O que acaba todos os dias”, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
• 2014: “Fachada/ Façade”, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
• 2013: “Contos sem Reis – Tales with no Kings”, Casa França Brasil, Rio de Janeiro, Brazil.
• “Lembrança de Brasilia / Memory from Brasilia”,  Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
• 2005: “Listen to me”, Kunsthalle Göppingen, Göppingen, Germany.

Group Exhibitions

• 2016: “Depois do Futuro“, EAV Parque Lage, Rio de Janeiro, Brazil.
• 2015: “The Devil is in the details“, Ka.Be Contemporary, Miami, USA.
• 2015: “Tarsila e Mulheres Modernas no Rio“,  Museu de Arte do Rio, Rio de Janeiro, Brazil.
• 2014: “Do Valongo à Favela“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
• 2014: “Idea di Frattura – Opinione Latina / 2“, Galleria Francesca Minini, Milan, Italy.
• 2014: “Josephine Baker and Le Corbusier in Rio – a Transatlantic Affair“, Museu de Arte do Rio,  Rio de Janeiro, Brazil.
• 2014: “Dispositivos para um mundo (im)possível“, Galeria Nara Roesler – Roesler Hotel #25, , São Paulo, Brazil.
• 2014: “Brasil:Arte/Música / Brazil:Art/Music“, Zacheta Project Room,  Warsaw, Poland.
• 2013: “Amor e ódio à Lygia Clark / Love and hate to Lygia Clark”, Zacheta National Gallery of Art,  Warsaw, Poland.
• 2013: “Prêmio Pipa – Finalist“, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
• 2013: “Visão do Paraíso: Pensamento Selvagem“, ARTRIO, Rio de Janeiro, Brazil.
• 2013: “The right to the city“, Stedelijk Museum Bureau Amsterdam, Amsterdam, Holland.
• 2013: “The Insides are on the Outside”, SESC Pompéia, São Paulo, Brazil.
• 2013: “MAC 50: Doações Recentes 1“,  Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil.
• 2012: “Esquemas para una Oda Tropical – An exhibition /a poem /a library / a landscape“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
• 2012: “Novas Aquisições 2010 – 2012 – Coleção Gilberto Chateaubriand,  Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
• 2011: “Bananas is my Business: The South American way“, Museu Carmen Miranda,  Rio de Janeiro, Brazil.
• 2010: “Um so Mehr“, Kunsthalle Göppingen, Göppingen, Germany.
• 2006: “Geração da Virada“, Instituto Tomie Ohtake, São Paulo, Brazil.

Publications

• Laercio Redondo, Intimacies – Proximidades (Berlin: The Green Box), 120.
• Laercio Redondo, I need You (Göppingen: Kunsthalle Göppingen), 60.
  
• Tobi Maier, “O que acaba todos os dias / What Ends Every Day”, Artforum, New York, USA, April 2016, 257.
• Paula Alzugaray, “Feminismo em campo expandido“, Select Magazine, Brazil, 05/02/2016.
• Luisa Duarte, “Lendo os sons do silêncio“,  Jornal O Globo, Brazil, 04.JAN.2016.
• Kaira M. Cabañas, “Laercio Redondo – Casa França Brasil“, Artforum, New York, USA, Summer 2013, 381.
• Paula Alzugaray, “Visão oblíqua do Rio“, Revista Istoé Independente, Edição 2263, 28.03.13.
• Fernanda Lopes, “Uma história que não anda em linha reta”, Select  Magazine, Brazil, 24/04/2013.

Collections

• Andrea & José Olympio Pereira Collection, São Paulo, Brazil.
• Gilberto Chateaubriant Collection, Rio de Janeiro, Brazil.
• Itaú Cultural Collection, São Paulo, Brazil.
• Kunsthalle Göppingen, Göppingen, Germany.
• Museu de Arte Contemporânea da USP São Paulo, São Paulo, Brazil.
• Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
• Pinacoteca de São Paulo, São Paulo, Brazil.

• Artists

About the Artist

My practice is influenced by the aesthetics and logic of architectural drawing and the legacy of geometric abstraction. However, instead of merely exploring the formal aspects associated to these disciplines, I am interested in investing my work with more playful, unstable or destabilising elements that disrupt the rigorous principles underlying traditional architecture and abstraction.

Over the past 5 years, I have been developing a series of wall-based sculptures/ drawings where three-dimensional elements (depth, shadow and movement) are used as a drawing tool, often incorporating elements from the surrounding space into the composition.

I had my first solo show in August 2015 at Galeria Marilia Razuk in São Paulo. The show was titled “Aonde”, which translates as “To where/ Where to”, implying the movement to or the search for a place. The works had in common a certain flexibility of boundaries and an interest in the space that contains or is contained by each piece.

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Selected Biographical Information

Education / Training

• 1995-1999: Architecture, Faculdade de Belas Artes de São Paulo, São Paulo, Brazil.

Solo Exhibitions

• 2015: “Aonde (To where/ Where to)”, Galeria Marilia Razuk, São Paulo, Brazil.

Group Exhibitions

• 2016: “Projeto Piaui”, Jacarandá, Rio de Janeiro, Brazil.
• 2016: “In Between”, Bergamin & Gomide, São Paulo, Brazil.
• 2016: “Projeto Piauí”, Pivô, São Paulo, Brazil.
• 2013: “Brutalidade Jardim”, Galeria Marilia Razuk, Sao Paulo, Brazil.

Publications

• Claire Wrathall, “One To Watch”, Christie’s Magazine, september 2016, 52/ 53.

Collections

• Andrea e José Olympio Pereira, São Paulo, Brazil.

• Artists

Ricardo Rendón – Vazio Contido / Contained Emptiness, texts by Paula Braga and David Miranda, Zipper Galeria, Sao Paulo, 2013

In this catalogue, Paula Braga writes: “In his works, Ricardo Rendón proposes a renaissance in reverse, that emphasizes manual work, and exposes the worker face of conceptual art, that which values the process, the singularity of each gesture, which, as we learned with Sisyphus, is a redeeming attitude. Rendón, therefore, joins a school of Latin American artists like Hélio Oiticica who practiced a “cordial conceptualism”, in Marcelo Campos’ apt expression; cosa mentale, no doubt, but smoothened by the appreciation of banal materials.

The obsessive works in which Rendón pierces a felt, card or plaster surface are based on an idea of repetitive procedure that is no stranger to conceptual art. But it is not enough for this Mexican artist to offer the script, the algorithm that defines the repetitions to be executed; it’s necessary to present the object, to scatter on the floor the remains of the repetitive process of piercing the industrial felt, thus exhibiting a dimension of the object called time, even if what remains of the work is more of a void than actually matter; a void that points to the idea of corrosion, wear and tear, disappearing, dematerialization through division into small parts.”

To download the full catalogue, click here

• Contexts

Artist: Nuno Ramos

O DIREITO À PREGUIÇA
April 27, 2016 – June 27, 2016
Centro Cultural Banco do Brasil
Belo Horizonte, Brasil

Exposição do multiartista Nuno Ramos que traz a Belo Horizonte trabalhos inéditos, como as instalações Paredes (instalação); Balanças (instalação + performance); O direito à preguiça(órgão-andaime/instalação sonora). Além, de outras obras que ainda não foram vistas na capital mineira: No sé (instalação + performance); Confissões de uma máscara (Desenhos); Choro Negro (instalação escultórica).

Nuno Ramos é um dos mais importantes artistas brasileiros revelados na década de 80 e com contínua produção. Vem desenvolvendo trabalhos para diversas instituições nacionais e internacionais como a Bienal Internacional de São Paulo (1982,198 e 1995), a Latinamerican Art of the Century, o Moma, em Nova Iorque (EUA), entre diversas outros. O trabalho de Nuno vem se diversificando em várias áreas das artes visuais, cênicas, sonoras e poéticas, com uma produção que inclui filmes, livros e letras de música.

Na mostra serão abordadas diversas temáticas da produção do artista, como a mistura entre música e grandes peças. A ocupação do espaço com obras de dimensões elevadas, que poderão ser observadas de diversos ângulos e que causam estranheza aos espectadores, uma das marcas de Nuno Ramos, também estarão presentes.

• Happenings

Artist: Dario Escobar 

Composições [Compositions]
April 6, 2016 – May 7, 2016
Casa Triângulo
São Paulo, Brazil

Dario Escobar’s artistic research develops from sculptural and installation acts started with the appropriation of industrial objects. Throughout a path of over fifteen years, the artist has already worked in dialogue with visual traditions as diverse as the Guatemalan baroque, the skin of broken cars and objects seen as symbols of consumerism. His operation as an artist happens from the selection of those pieces and their reconfiguration through actions like juxtaposition and repetition, fragmentation and cut of materials, and a reflection on how to install them inside the exhibition space.

In “Composition”, continuing this investigation, the artist presents new works in Brazil, which propose multiple possibilities of composition through the appropriation and approximation of dissimilar elements. In the series “Geometric construction” and “Modular construction”, Escobar recodes the tradition of painting the back of trucks in Guatemala, creating new patterns that invite the spectator to open them up and enjoy their distinct configurations. The formal research starting with the two-dimensional is also perceptible in his “Motor oil compositions”, in which also using a non-conventional material the artist explores the possibilities of paper and drawing.

Regarding the three-dimensional, in the series “Still-life” the artist explores ways of presenting objects from the sports industry, like basketballs, still aseptic and distant from its use by the human body. In “Balance” there is a tension of the material as well as of the elements mentioned by the artist: on one hand the metal sheets recall the minimalist sculptures of Carl Andre, on the other hand, sustaining its weight, the glass is present in the famous American glasses commercialized in Sao Paulo since 1940 and already elevated to symbols of Brazilian design.

Besides those works, in dialogue with this sculptural thought that composes through the geometry inherent to ordinary objects, there will be presented new works which will be developed through the meeting between Dario Escobar and the commodities from the popular markets in Sao Paulo. Therefore, these compositions aim to establish other direct conversations with the Brazilian visual culture, in the same way the artist replies everyday to the industrialized objects used in Guatemala.

-Raphael Fonseca

• Happenings

Artist: Ricardo Rendon

Possible Memory
April 2, 2016 – April 30, 2016
Zipper Galeria
São Paulo, Brazil

Against the backdrop of a social vision that remains very clear in the way that the act of physical labor is understood, the artist seems to once again emphasize the sculptural value of his production. Evidently, the works of Rendón never ceased to be properly sculptural, and thus occupying, in an inescapable way, the exhibition space. But what we see here is a clear concern with specific aspects of the sculpture, notably the treatment of weight, or the way in which the weight of each piece is not an accessory but rather central to the creation of the work. By suspending wooden and stone slab fragments, Rendón brings these questions to light, while suggesting a dialogue with references to the recent history of Western sculpture, such as the series Gravitaciones by Eduardo Chillida, among other possible references, thus justifying his claim for a central role for sculpture in the contemporary art scene.

• Happenings

Artist: Montez Magno

Poemata (It is all poetry)
March 30, 2016 – May 21, 2016
Galeria Pilar
São Paulo, Brazil

The latest exhibit by Brazilian artist Montez Magno (b. Pernambuco, 1934) contains over forty works, rigorously selected to reflect Magno’s sixty-year investigation of artistic language as expressed on a myriad of surfaces. Curated by art critic Lisette Lagnado.

Lagnado examines the artist’s poetic inflections, a lesser-known aspect of his work, highlighting the dialogue between painting and script; between “celestial letters” and poems.

“Poemata” seeks to establish non-hierarchical relations between two praxis of creation, making subtle transitions using works in different forms (for example, a painting and a score, a drawing and a poem), subtle just like the lines that appear in the white space on the surface of his work, be it paper, canvas or Styrofoam.

With lines at times vertical and at others horizontal, reminding us of the patterns of a notebook, the chosen works display a type of leitmotif in the vocabulary of the artist, independent of the chosen surface.

• Happenings

Artists: Matheus Rocha Pitta, Marcos Chaves, Pedro Motta, Marepe, Rosângela Rennó, Rochelle Costi, Alexandre da Cunha, Marcos Vilas Boas, Fernando Lazslo, Alice Quaresma, Laura Belém, Maria Laet, Luiza Baldan, Arnaldo Antunes, Cinthia Marcelle, Vicente de Mello, Maria Nepomuceno, Marcia Xavier, Omar Salomão, Marcius Galan e Douglas Garcia, Jarbas Lopes, Thiago Honório e Cao Guimarães.

Coleções 10
Curated by Nessia Leonzini
November 25, 2015 – January 30, 2016
Galeria Luisa Strina
São Paulo, Brazil

A série Coleções, considerada um projeto pioneiro no universo da fotografia e da arte contemporânea no Brasil, tem como objetivo ampliar o público da fotografia no país e a formação de novos colecionadores. Já participaram de Coleções mais de 100 artistas, consagrados e emergentes, brasileiros e estrangeiros.

Nesta edição fazem parte 23 artistas que trabalham, também, em outros suportes e representam diferentes pontos de vista. Eles utilizam um vocabulário imagético inspirado por objetos e situações do dia a dia ou determinados por uma poética pessoal. O espírito de Coleções é definido pelo envolvimento dos artistas que produzem trabalhos específicos para o projeto e tornam possível a aquisição de obras de arte a um preço acessível.

• Happenings

Artist: Eduardo Stupia

Cenas de uma Viagem
November 9, 2015 – January 16, 2016
Baró Galeria
Sao Paulo, Brazil

A mostra conta com obras criadas em São Paulo, inspiradas no bairro da Barra Funda. As telas pintadas por Stupía, reconhecido por seus desenhos de formas arquitetônicas utópicas, revelam uma percepção do artista, mais do que sobre o deslocamento geográfico. Stupía acredita que toda mudança física e territorial implica em mudanças emocionais, é o que transparece nas obras que compõem a exposição.

“O bairro da Barra Funda impõe suas qualidades a um recém-chegado e um forte temperamento cênico. Nesse sentido, entendo a mostra como um verdadeiro diário de viagem, além de aventuras geográficas, mas sim impressões psíquicas, ressonâncias, metáforas e miragens. Às vezes, olhando para cada uma das telas, individualmente parecem representar aspectos mais narrativos”, comenta Stupía.

Segundo o artista, a inspiração aconteceu naturalmente quando esteve em visita ao galpão da Baró Galeria, ao entrar no grande espaço, observou que havia uma ressonância entre o alcance e geometrias, estruturas arquitetônicas e espaços ao ar livre em torno. “Tudo começou a ser processado e traduzido na forma de linguagem gráfica pura, ou seja, minhas impressões sobre a viagem produziram um fenômeno mais análogo do que mimético”, reforça.

As cores são a influência mais visível na estadia de Eduardo Stupía no bairro, na série há presença, vibração, temperamento e importância, segundo o artista, mais fortes do que em suas obras mais recentes. Suas pinturas narram mais uma vez o estado das coisas, antes mesmo das próprias coisas. Sons, percepções sobre o caos, mistura de características suburbanas com a turbulência do centro, estão em cada detalhe em suas obras.

• Happenings

Artist: Emilio Chapela

Cavalo de pau
October 9 – November 21, 2015
Galeria Pilar
Sao Paulo, Brazil

• Happenings

Artist: Marcius Galan

Planta / Corte
October 8 – November 14, 2015
Galeria Luisa Strina
Sao Paulo, Brazil

O título da exposição é retirado da denominação das vistas de desenhos de arquitetura, utilizadas para a compreensão geral da área de um projeto.

Em Planta/Corte, Marcius Galan fragmenta elementos como linhas, cantos, e intervalos, em uma escala próxima à escala real, em que a espessura das linhas coincide com a das paredes da galeria.

Exercícios geométricos e de transposição de escalas, além do tráfego entre diferentes disciplinas, são recorrências em seu trabalho. Na Bienal de São Paulo de 2010, o artista apresentou dois trabalhos: Ponto em escala real, apropriando-se de um elemento gráfico do mapa (um ponto) e submetendo-o a uma escala 1:1; eEntre, um conjunto de microscopias que partiam de linhas divisórias em mapas nos quais a noção de precisão se transformava na possibilidade de adentrar em um universo interno às fibras do papel.

O universo da geometria costuma ser encontrado em sua pesquisa. A linha pode ser um simples desenho no papel, assim como também pode se impor como barreira física, impossibilitando a livre movimentação entre territórios, orientando nosso percurso pela cidade, e organizando o espaço doméstico e, diagramando os formulários burocráticos, as filas de banco, etc. Nesse sentido, ao desmembrar essas plantas em pequenos fragmentos, temos uma situação ambígua entre a organização e a desordem.

Translúcido, outra série apresentada na exposição, é formada por sobreposições de retângulos de ferro vazios que estão posicionados contra a parede e projetam um improvável reflexo de vidro e sombra. O trabalho forma um conjunto de janelas, em equilíbrio aparentemente precário, onde a percepção do espaço está outra vez em jogo.

Na última sala será apresentado um conjunto de trabalhos inéditos intitulados A mão suja, em que superfícies impregnadas de grafite são suspensas em uma parede que guarda a marca de sua instalação, formando desenhos que registram os movimentos durante a montagem da sala. Novamente o desenho deixa de lado seu aspecto virtual, de representação, e impregna a sala com os rastros do trabalho ali realizado durante o período de pouco mais de uma semana.

Ao sobrepor sistemas e códigos, apresentando novas formas de leitura e de compreensão do espaço, Marcius Galan explora a funcionalidade dos objetos e dos sistemas de representação, e propõe, consequentemente, um questionamento acerca da ideia de precisão – sobretudo no que se refere à representação de lugar, como a cartografia, a geometria, a arquitetura e o design.

Recentemente, seu trabalho participou de importantes mostras coletivas como Site, Specific, Objects, Galerija Gregor Podnar, Berlim, Alemanha (2015); Now? Now!, Biennial of the Americas, Museum of Contemporary Art Denver, EUA (2015); Empty House/Casa vazia, Luhring Augustine, Nova York, EUA (2015); Spatial Acts: Americas Society Commissions Art, Americas Society, Nova York, EUA (2014);  Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, EUA (2014); My Third Country, Frankdael, Amsterdã, Holanda (2013); Blind Field, Krannert Art Museum e Kinkead Pavilion, EUA (2013); Planos de fuga: uma exposição em obras, Centro Cultural Banco do Brasil, São Paulo, Brasil (2012); Cisneros Fontanals Art Foundation 2011 Grants Program, Miami, EUA (2011); 8^a Bienal do Mercosul, Porto Alegre, Brasil (2011); 29^aBienal de São Paulo, Brasil (2010); Para ser construidos, MUSAC Castilla y León, Espanha (2010); Color into light: Selections from the MFAH Permanent Collection, Museum of Fine Arts Houston, EUA (2008).

Exposições individuais incluem: Diagrama, NC – Arte, Bogotá, Colômbia (2013); Geometric Progression – Marcius Galan Inside the White Cube, White Cube Bermondsey, Londres, Inglaterra (2013).

Seu trabalho é parte das seguintes coleções privadas e institucionais: Museu de Arte Moderna de São Paulo (Brasil), Museu de Arte Moderna do Rio de Janeiro (Brasil), Pinacoteca do Estado de São Paulo (Brasil), Fundação Serralves (Portugal), Zabludowicz Collection (Inglaterra), Museum of Fine Arts Houston (EUA), Cisneros Fontanals Foundation (EUA), MALBA – Museo de Arte Latinoamericano de Buenos Aires (Argentina), Nicolas Cattelain Collection (Inglaterra), CACI – Centro de Arte Contemporânea Inhotim (Brasil), Coleção Instituto Figueiredo Ferraz (Brasil).

Entre os prêmios e residências, destacam-se: residência na Gasworks, Londres (2013); Prêmio PIPA (2012); residência na School of the Art Institute of Chicago (2005); prêmio residência do Instituto Iberê Camargo (2005); residência na Cité des Arts, Paris (2003). hosting information lookup

• Happenings

Artist: Nuno Ramos.

Houyhnhnms
August 29 – November 15, 2015
Pinacoteca de Sao Paulo
Sao Paulo, Brazil

São mais de 20 obras entre pinturas, relevos, desenhos e esculturas de grandes proporções produzidas ao longo de nove meses e que agora ocupam o quarto andar da Estação Pinacoteca. Com exceção de Cavaloporpierrô, já montada em 2014 no Instituto Iberê Camargo de Porto Alegre, todos os trabalhos apresentados são inéditos.

As cinco pinturas encontradas na exposição retomam o uso maciço da vaselina como base das cores, procedimento que Nuno Ramos desenvolveu no fim da década de 1980 e abandou no começo da década seguinte. Quatro relevos e sete desenhos completam a mostra. Feitos a partir de chapas e tubos de metal, tecidos, plásticos e tinta a óleo sobre madeira, os relevos apresentam elementos tridimensionais que prolongam ou contrastam os movimentos sugeridos pela pintura. “Os relevos e as vaselinas se complementam. Os desenhos, por sua vez, formam uma série dedicada a Proteu, conhecido na mitologia grega como o deus da metamorfose. Cada um traz carimbado o nome de uma das transformações pelas quais Proteu passou no canto IV da Odisséia”, explica o curador Lorenzo Mammì.

• Happenings

Artists: Amilcar de Castro, Ana Maria Tavares, Daniel Senise, Cristina Canale, Carlito Carvalhosa, Cinthia Marcelle, Chiara Banfi, Laercio Redondo, Marcius Galan, Miguel Rio Branco, Nelson Leirner e Rodrigo Matheus.

Exposição de Acervo 2015
June 26 – August 1, 2015
Silvia Cintra + Box4
Rio de Janeiro, Brazil

Com trabalho de 12 artistas representados pela Silvia Cintra+Box4, a “Exposição de Acervo 2015 ” traz um panorama diversificado da arte contemporânea brasileira.

• Happenings

Artists: Brígida Baltar, Carlito Carvalhosa, Fabiana de Barros & Michel Favre, José Damasceno, Laura Vinci, Marcius Galan, Marcos Chaves, Paola Junqueira, Paulo Vivacqua, Waltercio Caldas, Anthony McCall, Ben Vautier, Bruce Nauman, Ceal Floyer, François Morellet, James Turrell, Keith Sonnier and Ryan Gander.

Inmaterialidade
Curated by Adon Peres and Ligia Canongia
July 2 – September 27, 2015
SESC Belenzinho (Leste)
Belem, Brazil

A mostra de arte contemporânea traz diferentes artistas cujos trabalhos evocam a desmaterialização, a sublimação da matéria, ou, artistas que têm o impalpável como elemento principal do trabalho – som, luz, ar, palavra.

• Happenings

Artist: Ricardo Alcaide

One Phenomenon Among Others
July 4 – 25, 2015
Baró Jardins – Baró Gallery
Sao Paulo, Brazil

Com base na experiência e percepção de como a sociedade funciona e lida com os problemas causados pelas condições de vida modernas nas grandes cidades, o trabalho recente de Ricardo Alcaide tem criado diferentes paralelos entre a combinação de princípios da arquitetura modernista com a precariedade que se manifesta na vida cotidiana, revelando o progresso na sociedade como vago, perdendo rapidamente a sua forma.

Em sua terceira exposição na galeria Baró, One Phenomenon Among Others (Um fenômeno entre outros), Ricardo Alcaide apresenta suas mais recentes pinturas realizadas sobre paneis de MDF com tinta industrial. No processo, o artista constrói estruturas temporárias de madeira sobre o suporte para criar limites e divisões que conformam a composição, posteriormente removidas. Trata-se neste caso de uma aproximação fictícia de partes de mobiliário desmanchado que retém a memoria da estrutura já inexistente. Eis aqui um “ato de desconstrução” no processo real que conta como o ponto mais relevante deste trabalho. A recriação abstrata revela esta descontrolada e imprecisa condição e reflete  – novamente – sobre a falência do progresso associado com a estética moderna dentro de seu discurso. O resultado pode ser percebido formalmente como pura abstração com possíveis leituras do neoconcretismo, mas o que reside por trás disso são anedotas e formas simbólicas da dura realidade de hoje e de seu “progresso” subdesenvolvido.

• Happenings

Artist: Alice Quaresma

Além (Beyond)
Curated by Mario Gioia
Fauna Galeria
São Paulo, Brazil

The current exhibit of Alice Quaresma is one of the most interesting ones, not only for its unstable and migrant character in the photographic process, but also for embodying, in a poetic and unique way, some pungent issues to the contemporary artist. In particular, we can highlight those that lean towards relationships, identity issues, uprooting, sense of permanence and displacement, among other powerful traits within her work.

In the Além (Beyond) exhibit, which represents a new debut for Fauna Gallery, now located in Vila Mariana _ a special locus within São Paulo art circuit _ the artist based in New York and who had much of her art education in London shows a series of photographs in which the boundaries and definitions of this language are consciously stretched, but do not fail to establish themselves within the photographic field. They are certainly expanded, since Quaresma seems to aim for what she refers to as “photo-objects”, while taking advantage of painting, drawing, collage and three-dimensional elements.

“The non-object designation is entirely appropriate to my work. […] There are certain types of artworks that belong to the same family. My work is neither architecture, nor sculpture or painting in the old sense “1, declared Hélio Oiticica (1937-1980) to Vera Martins in 1961. Mentioning the name of Oiticica, a reference in the Brazilian Neoconcretism, comes in handy in Quaresma´s visual and conceptual research for being a paradigm in this blur of boundary of means and pillar of art and languages, expanding the resonance of the national constructive project and, to this date, still influential to new generations of artists here (in Brazil).

It is now relevant to tell a little about Alice Quaresma’s journey. Graduated in painting in London, she began to experiment with photography in college, and then went through a phase of self-portraits and other phases of still life in the studio setting, with equipment and strategies focused on an impeccable technique. Later she got back to painting and, from there, managed to deconstruct her own photographic process using elements of other plastic arts and visual researches, guided by a formal detachment.

It is almost under an aegis of crisis _ seen not in the negative sense, but as a propeller for something new to be experienced and discovered under new prisms _ Quaresma’s journey is being built, and now unfolds in a persistent unease about what is photographic _ in a time of overflown circulation of this mean (photograph), something that brings ubiquity but also increasingly rarefied quality of its specificities _ and how it can be covered by subjectivity and a less tenuous presence.

“I am interested in dealing with time; but overlapping it, not linearly. When you see a blurred picture, it is simply the record of time in one click (only one image)”, she says. “Then the paint and many other materials that I have been using on my photographic images come in. I will always use materials, which I have not yet tested. At the moment, I have been using a lot of paint, oil sticks and colored tape.”

Then a more experimental approach comes in, as advocated by Oiticica and his peers, and that helps Quaresma in building a particular path, in which there were times when Demand, Hofer and Becher were decisive, but they stand just as some of the modules that constitute her work. “These interferences deal with the possibility of bringing casual traits. Hand Gestures bring more intuition and less control. The materiality brings moments of surprise by enriching the texture over the flatness of the photo paper.”

And there is this feeling of being a foreigner, from continuously dealing with the idea of not belonging and with the careful, yet not painful, construction of an affectionate memory, which can have great concreteness links, but also, only in images and records, something evanescent, undone. In this sense, they gain importance in Além artworks, such as: Encontro, Mudanças do Tempo e Vestígios (Encounters, Time Changes and Traces); which the titles reveal much of her indicial temporality in collapse. This is something that was already noticeable in her previous project, such as Raízes (Roots, 2013) _ blurred ocean, vigorous vegetation massifs now portrayed in black and white, once glorious public and private buildings and, at the time of the authorial registration, less solid and robust.

Moving against the almost incessant reproduction quality of the photo medium, Alice Quaresma’s unique creations seem to unveil, therefore, a new territory, to “beyond”. And here they echo in the inescapable collage thought of the Italian Luigi Ghirri (1943-1992): “Many […] have seen or considered these photographs as photomontages; just like I would call them, instead of photodémontage. To a large extent, the reality is increasingly transformed into a colossal photograph, and the photomontage has already happen; it is in the real world” ².

Mario Gioia, June 2015

1. OITICICA FILHO, Cesar, COHN, Sergio, VIEIRA, Ingrid (org.). Encontros – Hélio Oiticica. Azougue, Rio de Janeiro, 2009, p. 25.
2. FABIANI, Francesca, GASPARINI, Laura, SERGIO, Giuliano, NOGUEIRA, Thyago (org.). Luigi Ghirri – Pensar por Imagens. Instituto Moreira Salles, São Paulo, 2013, p. 68

• Happenings

Artists: Angela Ferreira, Arnaldo Antunes, Catarina Botelho, Chelpa Ferro, Chiara Banfi, Gabriela Albegaria, Guto Lacaz, Kiluanji Kia Henda, Maimuna Adam, Mauro Pinto, O Grivo, and Susana Gaudêncio.

As Margens dos Mares
May 8 – August 2, 2015
Sesc Pinheiros
Sao Paulo, Brazil

Com curadoria de Agnaldo Farias, a mostra reúne doze artistas de Angola, Brasil, Moçambique e Portugal, a fim de apresentar uma parcela da produção contemporânea destes países lusófonos. Os trabalhos apresentam interseções entre as artes visuais e a música, refletem sobre questões como memória, espaço e arquitetura por meio de instalações, fotografias, vídeos e objetos.

Um encontro entre artistas expoentes de Angola, Brasil, Cabo Verde, Guiné-Bissau, Moçambique e Portugal que busca apresentar por meio das artes visuais e da música uma expressão da cultura contemporânea destes países lusófonos: este é o horizonte de “As Margens dos Mares”, projeto que ocorre no Sesc Pinheiros entre 8 de maio e 2 de agosto com curadoria do crítico de arte e professor da FAU-USP Agnaldo Farias e direção musical do guitarrista, compositor e produtor norte-americano Lee Ritenour.

Realizada pelo Sesc e idealizada pela Sociedade Cultural Arte Brasil, a iniciativa reunirá uma exposição com obras de doze artistas que refletem sobre questões como memória, espaço e arquitetura a partir de instalações, fotografias, vídeos e objetos, além de encontros musicais inéditos com a presença de músicos dos países convidados. “A diluição dos contornos rígidos que, um dia, estabeleceram fronteiras entre linguagens artísticas expandiu caminhos para criadores. Imagens, sons, toques, cheiros e gostos hoje se misturam em composições sinestésicas que proporcionam reflexões sobre inquietações contemporâneas – esta profusão de experiências sensíveis constitui a linha mestra d’As Margens dos Mares”, explica o diretor regional do Sesc São Paulo, Danilo Santos de Miranda. “O projeto nasceu de uma música aparentada às jam sessions jazzísticas, nas quais instrumentistas de origens diversas entram em sintonia pela linguagem dos sons, timbres e ritmos”, conta Carmen Ritenour, diretora-fundadora da Sociedade Cultural Arte Brasil. “Suas marcas são a colaboração entre artistas consagrados e a oferta de diversas manifestações criativas ao público”, completa a diretora geral da iniciativa. ARTES VISUAIS.

A exposição, localizada no segundo andar do Sesc Pinheiros, contará com obras de Arnaldo Antunes, Guto Lacaz, Chelpa Ferro, Chiara Banfi e O Grivo (Brasil); Ângela Ferreira, Maimuna Adam e Mauro Pinto (Moçambique); Catarina Botelho, Gabriela Albergaria e Susana Gaudêncio (Portugal) e Kiluanji Kia Henda (Angola). “As instalações predominam e a música, incluindo ruídos, atua como elemento agregador da exposição, atravessando-a de ponta a ponta”, define o curador Agnaldo Farias, cujo trabalho é voltado ao rompimento das barreiras entre linguagens artísticas.

Ações educativas e programação integrada com debates, oficinas, intervenções e exibições de filmes enriquecem o período expositivo, de 8 de maio a 2 de agosto. Para o curador da exposição, Agnaldo Faria a mostra é um diálogo sinestésico. “São 12 trabalhos artísticos de Angola, Brasil, Moçambique e Portugal, que interagem no espaço de ‘As Margens dos Mares’. As instalações predominam, e a música, incluindo ruídos, atua como elemento agregador da exposição, atravessando-a de ponta a ponta”, define o curador que busca por obras que nascem do rompimento das barreiras entre linguagens artísticas. A noção de sinestesia e o estímulo de mais de um sentido norteou as escolhas da curadoria.

• Happenings

Artist: Chiara Banfi

Fiume Achates
May 14 – June 13, 2015
Silvia Cintra + Box4
Rio de Janeiro, Brazil

Em sua terceira exposição individual na galeria, Chiara irá apresentar dois novos trabalhos. Uma grande instalação feita com pedras de rios e uma série de treze desenhos chamada “Achates”, com pedaços de Ágata incrustadas em partituras musicais. O título da exposição vem justamente do nome de um rio na Sicília, sul da Itália, onde foram encontradas as primeiras pedras de Ágata.

Como toda a questão da obra de Chiara se baseia nas relações possíveis entre música e arte, a artista chegou nas ágatas quando estava pesquisando equipamentos de som e vitrolas. A Ágata ė na realidade um tipo de quartzo, que ė usado nesses equipamentos como um estabilizador. A partir disso, Chiara coloca esse material nas partituras, como se cada mineral tivesse sua própria frequência, vibração e consequentemente som.

Já na instalação “Afluente”, que irá ocupar metade do espaço da galeria, a artista trabalha com pedras de rio compradas em lojas de paisagismo. Essas pedras são cortadas e Chiara cabeia todas com cabos RCA, que foram desenvolvidos na década de 40 para ligar vitrolas mono a amplificadores.

Embora não se trate de uma instalação sonora, fica clara uma sugestão, a memória do som dos rios que essas pedras poderiam carregar.

No dia 23 de maio, durante o CIGA (Circuito de Galerias promovido pela feira Art Rio), Chiara irá fazer na galeria um show com os músicos Domenico Lancellotti e Bruno de Lullo. Juntos eles formam a banda “Dissonambulos” que tem como principal objetivo explorar as diversas sonoridades que saem das esculturas sonoras criadas pela artista, permeando a apresentação com algumas canções que surgem e desaparecem nas ondas do som.

Image: Fiume 11, 2015, from the series Achates, 48x64x5cm, Agata, papel pautado e freijó, unique piece.

• Happenings

Artists: Agnieszka Kurant, David Lamelas, Elena Damiani, Felipe Cohen, Felipe Ehrenberg, Francis Alÿs, Frank & Robbert, Robbert & Frank, João Maria Gusmão + Pedro Paiva, John Smith, Luis Ospina, Marcius Galan, Martin Creed, Nelson Leirner, Pilvi Takala, Raphael Hefti, Stefan Burger, and many more.

Akakor
Curated by Kiki Mazzucchelli and Maria do Carmo M.P. de Pontes
April 9 – May 23, 2015
Baro Galeria
Sao Paulo, Brazil

The exhibition Akakor looks at acts of charlatanism within the artistic realm.

Image: Installation view

• Happenings

My work elaborates on life “displacements” that take you to an uncomfortable place and push you to your limits. The cultural remnants that I encounter living overseas as a foreigner have always inspired me to create work that deals with memory, identity and melancholy. I am fascinated by the unique moments I experience when I live away from my culture. Despite the visual clarity of my artwork, the pieces convey a sense of oddness and casual dysfunction. I am interested in materials within my art practice that do not blend, but overlap to hide sections of the composition and reveal others. The revelations in the work come through a sense of surprise. My current work draws great influence from painting and photography. My fascination with painting started as a kid and it is my biggest challenge. Every time I paint I grow restless and find it difficult to resolve an artwork. However, this challenge teaches me to appreciate the qualities of painting as a process in my work.

My work has an almost abstract quality. The precise marks and interventions (with paper, tape, wood, paint and oil pastel) directly on photographic prints – produce an authentic quality to the work. As a result, my artistic investigation transcends the language of photography and acquires qualities of painting. I have been intrigued by ways to break the qualities of the photographic medium in my art practice. One of the art movements that has been especially inspiring to me is the Neo-Concrete art movement from the 1960’s (Rio de Janeiro, Brazil) where artists were using geometry as a way to expand the possibilities of texture and sensorial qualities in art. The work’s often experimental qualities allowed it to undergo a process of self-transformation.

Traducido del inglés

Mi trabajo profundiza en los “desplazamientos” de la vida que te llevan a un lugar incómodo y que te empujan hasta sus límites. Los restos culturales con los que me encuentro al estar viviendo en el extranjero siempre me han inspirado a crear obra que tenga que ver con la memoria, la identidad y la melancolía. Tengo una fascinación por los momentos únicos que experimento cuando vivo lejos de mi cultura natal. A pesar de la claridad visual de mi obra, las piezas transmiten una sensación de extrañeza y disfunción casual. Como parte de mi práctica artística, me interesan los materiales que no se mezclan, pero que se superponen para ocultar secciones de la composición y revelar otras. Las revelaciones en mi trabajo vienen a través de un sentido de sorpresa. Mi trabajo actual tiene una gran influencia de la pintura y la fotografía. Mi fascinación por la pintura comenzó desde que era una niña y se ha convertido en mi mayor reto. Cada vez que pinto, crezco de manera inquieta, y me resulta difícil resolver de esta manera la obra de arte. Sin embargo, este reto me enseña a apreciar las cualidades de la pintura como un proceso en mi trabajo.

Mi obra tiene una cualidad casi abstracta. Las marcas e intervenciones (con papel, cinta, madera, pintura y pastel al óleo) hechas sobre impresiones fotográficas, producen una auténtica calidad de la obra. Como resultado, mi investigación artística trasciende el lenguaje de la fotografía y adquiere cualidades de la pintura. Me ha intrigado la manera de romper las cualidades del medio fotográfico como parte de mi práctica artística. Uno de los movimientos artísticos que ha sido especialmente inspirados para mí es el movimiento de arte Neo-concreto de la década de 1960 (Río de Janeiro, Brasil) en donde los artistas utilizaron la geometría como una forma de ampliar las posibilidades de la textura y las cualidades sensoriales en el arte. Las cualidades a menudo experimentales del trabajo, permiten que éste se someta a un proceso de auto-transformación.

Selected Biographical Information

Education / Training

• 2007-2009: Master of Fine Arts, Pratt Institute, New York, USA.
• 2003-2007: Bachelor of Fine Arts, Central Saint Martins School of Art and Design (UAL), London, UK.

Prizes / Fellowships

• 2014: Foam Talent, Foam, Amsterdam, Netherlands.
• 2014: Jardim do Hermes Residency, Hermes Artes Visuais, São Paulo, Brazil.
• 2013: Barracão Maravilha Residency, Barracão Maravilha, Rio de Janeiro, Brazil.
• 2012: School of Visual Arts Residency, School Of Visual Arts (SVA), New York, Brazil.
• 2012: Camera Club Of New York Honorable Mention, Camera Club of New York (CCNY), New York, USA.
• 2010: Garimpo (finalist), Das Artes, Rio de Janeiro, Brazil.
• 2009: PS122 Prize, PS122, New York, USA.

Solo Exhibitions

• 2015: “Além (Beyond)”, Fauna Gallery, São Paulo, Brazil.
• 2013: “Bichos (Beast)”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2013: “Raízes (Roots)”, Barracão Maravilha , Rio de Janeiro, Brazil.
• 2011: “Duas Pessoas Cem Lugares (Two People and One Hundred Places)”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2010: “A Casa Americana (American Home)”, PS122 Gallery, New York, USA.

Group Exhibitions

• 2014: “20”, Mercedes Viegas gallery, Rio de Janeiro, Brazil.
• 2014: “Group show”, Fred Giampietro Gallery, New Haven, USA.
• 2014: “Foam Talent Exhibition”, East Wing Gallery, Dubai, United Arab Emirates.
• 2014: “In-dissonance”, The John Slade Ely House (Center for Contemporary Art), New Haven, USA.
• 2014: “Billboard 2×2, Special Projects”, Unseen Photo Fair, Amsterdam, Netherlands.
• 2014: “Foam Talent Exhibition”, L’Atelier Néerlandais, Paris, France.
• 2014: “Eat The Food, Not Its Name”, Clemente Soto Velez Center, New York, USA.
• 2013: “Constructions for Nowhere”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2013: “New Collection Project”, Orlando Lemos Gallery, Minas Gerais, Brazil.
• 2012: “Collective 12”, Mercedes Viegas Gallery, Rio de Janeiro, Brazil.
• 2012: “MACAA Members Juried Exhibition”, Wayne State University , Detroit, USA.
• 2009: “Some Place Like Home”, Daniel Cooney Gallery , New York, USA.

Publications

• Arianna Catania, “31 Photographs that Will Show You The Future of Photography“, The Huffington Post, January 1st 2015.
• IMA Magazine, “Is this Photo or Painting?”, IMA Magazine, Vol. 10, Nov 2014.
• Nani Rubin, “Obra em Progresso”, O Globo, December 1st 2014.
• Karin Bareman, “Recherche”, Foam Magazine, September 2014.
• Charlie Ambler, “From ArtRio to the São Paulo Biennial, Here Are 9 Brazilian Artists Under 35 You Need to Know“, Artsy.net, September 2014.
• Gazeta do Povo Newspaper, “New Art on the Web”, Gazeta do Povo Newspaper, September 7th 2014.
• O Fluminense Newspaper, “Alice Quaresma traz seus “Bichos” a Mercedes Viegas”, O Fluminense Newspaper, September 14th 2013.

Collections

• Museu de Fotografia de Curitiba, Curitiba, Brazil.

Links

• Artspace
• Turn to art
• Globo TV

• Artists

Artist: Iván Navarro

Jardins, Opening of new gardens at Baró
April 11 – May 23, 2015
Baró Jardins
Sao Paulo, Brazil

Ao subverter conceitos de design, criando um minimalismo carregado de emoção, o artista chileno coloca em foco reflexões políticas e sociais originárias de sua experiência com o regime ditatorial chileno sob o qual cresceu. Mais do que trazer estas questões à luz do neon, Iván Navarro transporta o espectador a infinitos labirintos, onde o espelhos ecoam o que muitas vezes as vozes podem calar.

Image: Iván Navarro, Strike

• Happenings

Artists:  Chris Coleman, Donato Sansone, Henrique Roscoe (VJ 1mpar), Hugo Arcier, Lucas Bambozzi, Luiz duVa, Matheus Leston, Mike Pelletier, Rick Silva, Ricardo Carioba, Richard Garet, Ryoichi Kurokawa, Santiago Ortiz, Semiconductor, Susi Sie, Transforma.

Adrenalina -a imagem em movimento no século XXI
Curator: Fernando Velazquez
March 14 – May 5, 2015
RedBull Station
Sao Paulo, Brazil

A adrenalina é um hormônio neurotransmissor que é descarregado no corpo em situações que demandam uma rápida resposta em termos cognitivos, comportamentais e fisiológicos. Ela aguça os sentidos e aumenta a capacidade do cérebro de processar informações, com o objetivo de reestabelecer o equilíbrio entre o ser e o meio.

Esta exposição apresenta um recorte do audiovisual nos dias de hoje, em que vivemos anestesiados pela imagem. Emprestar, no título da mostra, o nome desta substância é um modo de sugerir que ainda podemos ser desafiados e surpreendidos por imagens. 

Os trabalhos apresentados têm em comum a utilização de programação algorítmica e de artifícios generativos, ou seja, se utilizam de sistemas ou regras que permitem o aparecimento de soluções imprevistas. São obras que exploram os recursos narrativos e de linguagem do chamado tempo real, estratégia alternativa à edição convencional de natureza aristotélica.

O interessante neste conjunto de obras está na forma particular de olhar a realidade, as coisas e as pessoas, revelando estruturas e qualidades visíveis e invisíveis a partir de perspectivas que nos solicitam condicionamentos cognitivos específicos, além da abertura ao diálogo com imaginários pouco conhecidos.

Como nos lembra Steve Dietz, todo novo meio penetra as camadas da cultura deixando um legado estrutural de base. O novo meio da fotografia trouxe um outro entendimento da estética da pintura e contribuiu para consolidar culturalmente a conjunção tempo-espaço. O novo meio do vídeo traz uma nova compreensão da estética do cinema, e junto com a TV estabelece o assimilação da ideia de tempo real. O novo meio digital muda o entendimento da arte no sentido que desloca o interesse do comportamento da forma, para a forma dos comportamentos, destacando a potência da interatividade e dos comportamentos em rede. Dos campos eletromagnéticos que nos atravessam em tempo integral (e cujo real efeito sobre o nosso corpo ainda desconhecemos), ao corpo de dados que nos conforma (possível de ser processado e manipulado por algoritmos autônomos), vivemos tempos de reconfigurações sutis da ética, da estética, da política e do território – tópicos sobre os quais propomos refletir a partir deste heterogêneo grupo de obras.

Apoio: SONY

Image: Ricardo Carioba, Abra, 2009, still.

• Happenings

Artists: Kader Attia, Francis Alÿs, Darío Escobar, Alberto Baraya, Albano Afonso, Matías Duville, Patrick Hamilton, Carlos Garaicoa, Cinthia Marcelle e Tiago Mata Machado, Moris, Pedro Alonso & Hugo Palmarola, Sandra Cinto, and Santiago Sierra.

Beleza?
January 24 – March 29, 2015
Curated by Pamela Prado
Centro Cultural Sao Paulo
Sao Paulo, Brazil.

Beleza? – com sinal de interrogação – é uma expressão brasileira que pergunta se por acaso tudo está bem. Assim, parece relançar a beleza – conceito extinto no discurso da arte – para outro lado, para o da preocupação dos artistas com o estado do mundo contemporâneo, a globalização e a crise do modelo econômico imperante. Beleza? reúne obras que parecem formular esta mesma pergunta: está tudo bem? Em distintos formatos e estratégias, dão visibilidade e reagem às transformações e contradições próprias do desgaste dos sistemas políticos e econômicos que se chocam contra as pessoas (e suas relações sociais), as paisagens (e as definições territoriais) e os países (e suas demarcações geopolíticas).

• Happenings

Artists: Ana Maria Tavares, Valeska Soares, Laura Vinci, Rosangela Rennó, León Ferrari, Marcelo Silveira, Milton Marques, Jorge Menna Barreto, Emmanuel Nassar, Eliane Prolik, Oswaldo Goeldi, Maciej Babinski, Hudinilson Jr., Nazareth Pacheco, Farnese de Andrade, Leonilson, Amilcar de Castro, Mira Schendel, David Ireland, Mabe Bethônico, Rodrigo Andrade, Tatiana Blass, Thiago Rocha Pitta, Marcius Galan, Hércules Barsotti, Antonio Manuel, Caetano de Almeida, Waltercio Caldas, Marcos Chaves, Nelson Leirner, Regina Silveira, Marcelo Moscheta, Ricardo Basbaum e Shirley Paes Leme.

Afetividades Eletivas
December 2, 2014 – March 1, 2015
Centro Cultural Minas Tênis Clube
Belo Horizonte, Brazil

A mostra conta com 150 trabalhos – pintura, escultura, gravura, desenho, fotografia, vídeo e registros de performance –, de cerca de 100 artistas nacionais e estrangeiros. Realizadas nos últimos 40 anos, essas obras permitem tanto a discussão sobre o colecionismo quanto sobre os questionamentos suscitados pela arte contemporânea. “Sempre me interessei por novas tendências e por uma arte que problematizasse sua própria constituição enquanto arte”, ressalta Luiz, que começou sua coleção enquanto ainda era estudante de Engenharia da UFMG.

Com curadoria de Margarida Sant’Anna e do próprio Luiz Sérgio Arantes, o fio condutor da exposição, que será aberta ao público no dia 3 de dezembro, é a relação afetiva do colecionador com suas obras e com as obras dos vários artistas presentes, algumas representadas com trabalhos experimentais, obras ofertadas como gesto de amizade, outras cuidadosamente garimpadas em galerias e leilões, e que, pouco a pouco, eletivamente, foram encontrando seu lugar no conjunto, como que regidas por uma lógica intuitiva.

As obras estão agrupadas em núcleos, tendo em vista o valor intrínseco de cada uma delas e as ideias que determinadas relações permitem discutir: o emprego da letra, da palavra ou da caligrafia como elemento visível constitutivo; o corpo como suporte em diferentes operações artísticas; o espaço questionado pela arte, seja como representação, seja como campo, lugar da experiência; e a arte como questão da arte, na relação com a sua história, com o mercado e com o próprio colecionismo.

Nesses possíveis diálogos, ficam evidenciadas as questões que atravessam o imaginário contemporâneo, a partir do contexto cultural em que as obras foram produzidas. Os núcleos, entretanto, remetem-se uns aos outros, estimulando leituras transversais.

Para a arte contemporânea, o espaço da galeria deixa de ser apenas um lugar de apresentação para se tornar parte integrante da obra. E, nesse espaço, o espectador passa a ser participante e construtor da obra com o seu olhar.

Tendo uma única coleção como campo para possíveis recortes, é inevitável que se busque estabelecer o perfil desse conjunto, a procedência das obras, de que maneira cada peça foi sendo incorporada ao conjunto. São essas circunstâncias que ajudam a dar sentido ao todo e a delinear nexos entre os seus diversos segmentos. Elas revelam a personalidade do colecionador, mas, ao mesmo tempo, falam, de maneira muito particular, do movimento cultural do período em que as peças foram sendo incorporadas e em que medida o ambiente cultural pauta os caminhos da subjetividade na constituição de uma coleção.

Uma circunstância, em especial, favoreceu a formação dessa coleção, num momento anterior à proliferação das galerias, dos leilões e das feiras de arte: a associação aos Clubes de Colecionadores de Gravura e de Fotografia do Museu de Arte Moderna de São Paulo. Com curadorias atentas, esses Clubes têm esgarçado as fronteiras da arte, empurrando cada vez mais longe seus limites, problematizando, enfim, sua própria constituição enquanto arte. E essa tem sido uma questão fundamental para a arte contemporânea.

Outro fator, não menos importante, é o interesse pelos artistas mineiros desde o tempo em que o colecionador frequentava a Faculdade de Engenharia, na Universidade Federal de Minas Gerais. Três gerações de artistas estão contempladas na coleção, tendo como figura central Amilcar de Castro, representado com cinco obras na exposição. Amigos e contemporâneos do artista, seus alunos e uma geração mais jovens, constituída de artistas com menos de 30 anos, também figuram no conjunto exposto.

• Happenings

Artist: Lucia Koch

Duplas
November 29, 2014 – January 31, 2015
Galeria Nara Roesler
Rio de Janeiro, Brazil

Lucia Koch once again proposes an interaction between architecture and color. This time, not only does she intervene on ambient light, she also presents pieces endowed with object-like character: factory-made windows and doors transformed by the use of color.

Koch uses mobile structures – sliding and pivoting – and replaces the original glass panes with filters in various colors, always in pairs, working with the notion that the minimum indivisible unit in reading colors is the pair. Some of the filter colors repeat themselves in several windows, but since they are always affected by their pairing, they are seen differently in each pair.

“These are windows through which you cannot see the outside, windows that do not connect spaces, or inside and outside. They are enclosed unto themselves and restricted to the relationships they contain. However, these relationships are not fixed, they get remade whenever we move their parts and one color inclines, covers or reveals, or slides upon another,” the artist explains.

Lucia Koch creates an intervention on the vast skylight above one of the gallery’s halls, adding a different shade of matte acrylic sheet to each of the seven panes: Semana Cinzenta (Grey Week).  “These are custom-made acrylic sheets, not at all neutral shades of grey – reddish or bluish – which, when placed side by side, appear as unique colors and have their colors projected onto the wall, moving throughout the day, affected by the moods of the sky.”

This chromatic series is seen alongside the pairings installed onto doors and windows, the same type of filter at times operating directly on the architecture, and at others on portable objects. “Natural light, filtered and traversing the architecture, shares the space with more or less transparent objects lit up by lamps, a more stable, controlled light. Maybe the different natures of the elements in this set will be rendered evident; maybe they will get dissolved, contaminated by one another.”

What is at stake in Koch’s works is the transitory, fugacious character of vision in particular (and of the senses in general) as an instance that reassures onlookers of the external world. All that is left is for the observer to yield to the transitory in the contest between visual immediacy and the comprehension of what one sees.

• Happenings

Artist: Carmela Gross, Angelo Venosa, Carlos Fajardo, Edith Derdyk, Eduardo Haesbaert, and Regina Silveria.

Iberê Camargo: século XXI
November 18, 2014 – March 29, 2015
Curators: Agnaldo Farias, Icleia Cattani e Jacques Leenhardt
Fundação Iberê Camargo
Porto Alegre. Brazil

Diferenciando-se de um formato convencional de exposições comemorativas, em geral um conjunto representativo ordenado cronologicamente, a mostra destaca a potência da poética de Iberê Camargo em diálogo com trabalhos de dezenove artistas brasileiros de gerações variadas.

O recorte valoriza as relações de vizinhança e tensões entre as pinturas, gravuras e desenhos de Iberê e uma grande variedade de linguagens, incluindo escultura, instalação, fotografia, literatura, dança e cinema. Com essa perspectiva, pretende-se salientar o diálogo consciente e inconsciente que os artistas travam entre si e, no caso particular deste projeto, evidenciar uma espécie de “efeito Iberê Camargo” na arte brasileira, ou seja, o modo como sua produção impôs-se ao nosso meio artístico, desvelando questões profundas da existência humana e do modo de representá-las. Um efeito que excedeu a própria duração da vida do artista, ultrapassando as linguagens por ele praticadas para ressoar em artistas de extração completamente distintas as suas, embora com sensibilidade e energia semelhantes.

Pela primeira vez, todos os espaços do edifício sede da Fundação Iberê Camargo são tomados como expositivos. A totalidade do prédio projetado por Álvaro Siza, desde o lado de fora ao interior tortuoso das rampas, passando pelo grande átrio, acolhe obras e conjuntos de obras com afinidades aos grandes eixos problemáticos tratados pelas várias séries de Iberê Camargo. Séries como “Carretéis”, “Núcleos”, “Fantasmagorias”, “Ciclistas” e “Idiotas” são apresentadas na companhia de trabalhos de artistas cuja proximidade, em alguns casos, pode trazer à mente a ideia de sombra, enquanto o caráter profundamente diverso da produção de outros, ao contrário, provoca fricções, ingrediente fundamental para o desdobramento de novos planos de leituras. O cinema, que Iberê tanto apreciava ocupa as rampas que levam de um andar ao outro, como também a literatura, que ele amava a ponto de praticá-la.

Alternando exemplares das principais séries de Iberê Camargo com trabalhos expressivos de artistas contemporâneos, a proposta de Iberê Camargo: século XXI é estabelecer um coro, colocar lado a lado um grupo consistente de vozes até então distantes umas das outras. A tensão e a surpresa provenientes dessas aproximações e cruzamentos interessam por si sós, dado que podem desencadear uma multiplicidade de sentidos.

Imagen: By Gustavo Kunst from Igrejinha, Porto Alegre, Brasil (Iberê) [CC-BY-SA-2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons

• Happenings

Artists: Chiara Banfi and Domenico Lancellotti

Desenhos Sonoros
October 4, 2014
Inhotim (Igrejinha)
Brumadinho, Brazil

Este show faz parte da turnê do disco homônimo e traz uma parceria com a artista Chiara Banfi, responsável pela ambientação do espaço. Em Cine Privê, Domênico é acompanhado por uma superbanda, formada por Pedro Sá (guitarra), Alberto Continentino (baixo), Stephane San Juan (bateria) e Claudio Andrade (teclados).

• Happenings

Artist: Carmela Gross

Marapeé, Project Parede
July 2 – December 14, 2014
MAM
Sao Paulo, Brazil

This work of Carmela Gross is composed by names of foreign immigrants, of the countries they came from, and the age they had when they arrived in Brazil, together with names of places of São Paulo state and other words in Portuguese that came from the Tupi language of the Brazilian indian population. The contrast between the recent immigration to Brazil and the ancient immigration from indian populations, that arrived in America coming from northeast Asia, addresses our ideas of national and foreign.

• Happenings

Artists: Carmela Gross, José de Guimarães, Mestre Didi, Kifouli, Siron Franco, Gilvan Samico, Carybé, Juarez Paraíso, Francisco Graciano, Noemisa Batista dos Santos, Benim and Haití.

A Serpente no imaginário artístico
September 6 – November 2, 2014
Museu Afro-Brasil
Sao Paulo, Brasil

A serpente sempre capturou a atenção do homem. Poucos animais possuem uma iconografia tão rica, com a presença de arquétipos contrapostos: o bem e o mal; conhecimento e desrazão; a vida e a morte. O Museu Afro Brasil, Instituição da Secretaria de Cultura do Estado de São Paulo, envereda pelos caminhos sinuosos das representações artísticas do ofídio, em duas novas exposições simultâneas: “José de Guimarães – O Ritual da Serpente: 10 Guaches inspirados na obra de Aby Warburg” e “A Serpente no Imaginário Artístico”.

• Happenings

Artists: Abbas Kiarostami, Abraham Palatnik, Adenor Gondim, Adrian Cowell, Adriana Pacheco dos Santos, Adriana Souza, Agnaldo dos Santos, Agnès Varda, Alagbês “Oritálaiyè – Encruzilhadas do Mundo”, Alba Liberato, Aldemir Martins, Alejandro Jodorowsky, Alex Andrade, Alex Oliveira, Alexia Riner, Alice Schmidt, Alighiero Boetti, Alisson Silva, Almandrade, Ana Cristina Cesar, Ana Fraga, Ana Rita Queiroz Ferraz, Ana Verana, Anísio de Carvalho, Anna Paula da Silva, Antonello L’Abbate, Antônio Brasileiro, Antonio Santos, Aristides Alves, Arlete Cruz, Arno Schmidt, Arthur Scovino, Babalu, Bakary Diallo, Baldomiro Costa, Ceguêra de Nó, Bárbara Alessandra, Barry Flanagan, Bauer Sá, Beatriz Franco, Benjamin Abrahão, Berklee Interdisciplinary Arts Institute (BIAI), Bernard Venet, Bia Medeiros, Bianca Portugal, Bloco de Hoje a Oito, Bruno Munari, Bule-Bule, Caetano Dias, Camila Sposati, Capitão Ramon Diego, Carla Brandão Zollinger, Carlos Mélo, Carlos Martiel, César Romero, Charbel-joseph H. Boutros, Chico Liberato, Chico Dantas, Clara Domingas, Claudio Manoel, Cláudio Pinheiro, Claudio Costa, Cristiana Tejo, Dalton Harts, Daniel Buren, Daniel Castanheira, Daniel Lisboa, Daniel Marins, Daniel Santiago, Daniela Azevedo, Daniela Guimarães, Danniel Ferraz, Darcy Ribeiro, David Blandy, Dennis Oppenheim, Di Cavalcanti, Diana Valverde, Dicinho, Diego Mauro, Dilson Midlej, Dimitri Ganzelevitch, Documentação Simões, Durval Muniz de Albuquerque Júnior, Eckenberger, Edgard Navarro, Edgard Oliva, Ediane do Monte, Edinízio Ribeiro Primo, Edivaldo Bolagi, Eduardo Witzel, Efrain Almeida, Elias Santos, Elomar Figueira Mello, Emanoel Araújo, Enderson Araujo, Eneida Sanches, Etsedron, Eustáquio Neves, Evandro Sybine, Fabiana Dultra Britto, Fabiane Beneti, Fátima Pombo, Fernando Guerreiro, Fernando Pontes, Flávio de Barros, Florencia Langarica, Florival Oliveira, Fluxus, Francisco Teixeira, Frans Krajcberg, Franz Erhard Walther, Fundação Terra Mirim, Gabriel Vieira, Gaio Matos, Galeria 13, Gary Kuehn, Genaro de Carvalho, Ger van Elk, Geraldo Simões, Gerardo Mosquera, Gerry Schum, Gerson Nascimento, Gianni Piacentino, Gilbert & George, Gilberto Zorio, Gilson Barbosa, Gilson Rodrigues, Gino de Dominicis, Giovanni Anselmo, Giselle Beiguelman, Giulio Paolini, Glauber Rocha, Goli Guerreiro, Grupo Posição, Guilherme May, Gustavo Carvalho, Guto Lacaz, Hamish Fulton, Hansen Bahia, Harald Szeemann, Harry Laus, Hélio Oiticica, Hilda Baqueiro, Hilda Salomão, Humberto Aquino Rocha, Ian Wilson, Ícaro Lira, Ícaro Vilaça, Ieda Oliveira, Inaicyra Falcão, Ingmar Bergman, Isa Trigo, Itaberaba Sulz Lyra, Ivo Foguete, J. Cunha, Jaci Menezes, Jaciara Cruz Acassio, Jaime Fygura, Jan Dibbets, Janaina Conceição, Janilda Ferreira Abreu, Jason Lim, Jean-François Lyotard, Jerusa Pires, João Dannemann, João Omar de Carvalho Mello, Joaquim Lino, Johanna Gaschler, Jomard Muniz de Britto, Jonathan Monk, José Antônio Saja (Ramos Neves dos Santos), José Eduardo Ferreira Santos, José Rufino, José Umberto Dias, Joseph Beuys, Juarez Paraíso, Juca Ferreira, Juraci Dórea, Justino Marinho, Karen Silva, Kaysha Kutner, Keith Sonnier, Klaus Rinke, Laura Castro, Lauren McAdams Selden, Lawrence Weiner, Lênio Braga, Leonardo Alencar, Leonardo Villa-Forte, Lia Cunha, Lia Robatto, Lina Bo Bardi, Lisette Lagnado, Louco (Boaventura de Silva Filho), Luciano Figueiredo, Luis Berríos-Negrón, Luisa Mota, Luiz Ramos, Luiz Jasmin, Lygia Clark, Maninho Abreu, Marcelo Cunha, Marcelo Faria, Marcia Abreu, Márcia Magno, Márcio Lima, Márcio Meirelles, Marcondes Dourado, Marco Aurélio Damasceno, Marepe, Maria Adair, Maria Antonieta Tourinho, Maria Celeste de Almeida Wanne, Maria Célia Pereira da Silva (Terreiro de Mãe Stella), Maria Magdalena Campos-Pons, Mariete Barbosa, Marília Moreira Cavalcante, Marinus Boezem, Mario Cravo Neto, Mario Merz, Marta Argolo, Martha Araújo, Maxim Malhado, Mestre Ambrósio Córdula, Mestre Didi, Michael Heizer, Michael Walker, Milena Travassos, Mitta Lux, Mônica Hoff, Monique Evelle, Movimento Nosso Bairro é 2 de Julho, Myriam Mihindou, Nádia Taquary, Naia Alban, Nanci Novais, Naziha Mestaoui, Negro Davi, Nehle Franke, Neil Leonard, Neville King, Nino Cais, Nuno Ramos, Olga Gómez, Omar Salomão, Orlando Pinho, OSBA, Paraíba da Viola, Pascal Pique, Pasquale de Chirico, Pasqualino Magnavita, Patricia Almeida, Patrick Proctor, Paulo Bruscky, Paulo Meira, Paulo Nazareth, Paulo Pereira, Pedro Filho Amorim, Pedro Marighella, Pedro Archanjo, Perinho Santana, Pier Paolo Calzolari, Piero Gilardi, Pierre Capelle, Pierre Restany, Pierre Verger, Poro, Ramiro Bernabó, Raynolds, Regina Costa, Reiner Ruthenbeck, Renato Fonseca, Renato da Silveira, Rener Rama, Rex Schindler, Richard Long, Richard Serra, Riolan Coutinho, Robert Barry, Robert Smithson, Roberto Dias, Robinson Roberto, Rodrigo Matheus, Roger Buergel, Rogéria Maciel, Rogério Duarte, Rubem Valentim, S. da Bôa Morte, Sante Scaldaferri, Sepp Baendereck, Sergio Camargo, Sergio Guerra, Siron Franco, Solange Maria de Souza Moura, Solange, Tô aberta, Sonia Castro, Sonia Rangel, Stanley Brouwn, Sture Johannesson, Sylvie Blocher, Tata Mutá Imê, Tecco Ribeiro, Terezinha Dumet, Tetine (Bruno Verner e Eliete Mejorado), Thiago Martins de Melo, Thomas Farkas, Tiago Ribeiro, Tobi Maier, Tonico Portela, Torquato Neto, Tracy Collins, Tuti Minervino, Tuzé de Abreu – Alberto José Simões de Abreu, Ulrich Rückriem, Universidade LIVRE de Teatro Vila Velha, Vadim Zakharov, Valerie O’Hara, Vânia Leite Leal Machado, Vauluizo Bezerra, Vieira Andrade, Viga Gordilho, Virginia de Medeiros, Vítor Rios, Wagner Lacerda, Walter de Maria, Walter Smetak, Waly Salomão, Washington Queiroz, Willyams Martins, Yêda Maria, Yoko Ono, Yves Klein, Zé de Rocha, Zé Sergio Gabrielli, Zu Campos, and Zuarte Júnior.

Bahia Biennale
May 29 – September 7, 2014
Museu de Arte Moderna de Bahia (MAM-BA)
Salvador BA, Brazil

Actions and exhibitions are scattered between Bahia’s Museum of Modern Art (main) and 30 locations in Salvador and other ten cities in the State of Bahia, Brazil.

The 3rd Bahia Biennale (Bienal da Bahia) enters its final phase with all of the 30-plus exhibitions, film cycles and actions spread all over Salvador and the state of Bahia along with several artistic occupations of public and private spaces. Artists in residence unveil their final works, developed since the start of the year, while the ongoing debates about the possibilities of a Biennial model outside of the established system and its markets extend to actual instances of living art.

Camila Sposati digs her Earth Anatomic Theatre in Itaparica Island, where it will stay long after the Biennale is finished, while Nuno Ramos’s Iluminai od Terreiros project explores inaccessible sites of Salvador in one-off interventions offering a unique experience of estrangement and illumination. Teatro Castro Alves’s modernist design, in downtown Salvador, is the locus of an architectural intervention by Luís Berríos-Negrón, and Salvador’s Central Library (Barris) awakens its ghosts with Omar Salomão’s sound installation.

The Archive and Fiction Working Group, curated by Ana Pato, deepens its original proposal to exchange experiences, research and content production about artistic practices and archival procedures. Throughout its workshops, lost archives and collections are being identified and mapped, offering a broad range of materials for commissioned artists (Eustáquio Neves, Gaio Matos, Rodrigo Matheus, Paulo Nazareth, Ícaro Lira, Gisele Beiguelman) to carry out artworks specially designed for the 3rd Biennale. The State Archives, located in a 16th-century building, displays the results of these works together with an exhibition of articles unearthed from the police archives—including Candomblé items confiscated throughout decades of repression of the Afro-Brazilian religion as well as mortuary masks and mummified corpses of cangaceiros(country bandits of the 1920s and 1930s).

The Imaginary Museum of the Northeast spreads its occupation of public spaces with exhibition sets designed to offer a critical alternative to the very concept of the museum: as a privileged space to reinvent and reorganize the past in order to tune it to the public. According to chief curator Marcelo Rezende, “we see the Northeast, the cradle of the ‘Brazilian civilization,’ as a place where actions, ideas and objects from all over the world have set foot, and now we collect the pieces of all this history in different spaces, each dedicated to a particular subject.” The I.M.N. brings together artists from different nationalities, such as Charbel-joseph Boutros (Lebanon), the works of Yves Klein or the German writer Arno Schmidt, interacting with the local production and the cultural heritage of Salvador. As a conceptual centrepiece of the Bienal, theNaturalisme Integral of Pierre Restany, Frans Krajcberg and Sepp Baendereck is regaled with a special exhibition dedicated to the pioneers and followers of environmental art.

The extensive research on a whole generation of Bahia artists working since the 1960s and 1970s brings comprehensive exhibitions of Bahian masters left in the fringes of the art circuit until now: Rogério Duarte, visual guru of Tropicalism; Juarez Paraíso and his cosmic-fiction universe on canvas and other dimensions; the environmental art of pioneer Juraci Dórea; and the psychedelic creations of Dicinho and Edinízio Primo. Borne out of an original research by chief curator Ayrson Heráclito, rare works, previously regarded as long lost, of the PEBA movement, from which some of the most important names of the Brazilian art scene of the last 40 years emerged (e.g Caetano Veloso and Gilberto Gil), have their first significant exposure since the heyday of the late 1960s/early 1970s.

Since May 29, the 3rd Bahia Biennial has offered a privileged ground for artists and creators from 22 countries and several states of Brazil to develop independent works and research, while also spreading contemporary issues and artistic experiences to communities dwelling in the margins of the art circuit. This is not a one-way movement as the actions have furthered the exchange of practices, issues and ideas from different, and sometimes opposite social spheres.

Churches, universities, cultural centres, libraries, Candomblé temples, schools and ateliers host exhibitions, workshops and artistic occupations, offering not only a broad range of visiting circuits but also an active dialogue about spaces and the artistic endeavours interacting within them. It is the process that matters, material or immaterial: Bahia closes a gap of 46 years since its last Biennale was closed by the military regime (1968), and the third edition is proud to bring back to life the spirit of an artistic élan long repressed.

The 3rd Bahia Biennale reaffirms the intentions of the original project: to establish a counter-discourse that is suitable for creating, promoting and establishing alternative routes in the art field, without the need to depend on legitimation from other national and international centres. The Biennale also updates the original project to the current Brazilian and international contexts, where the concepts of center and periphery are being redefined.

The 3rd Bahia Biennale is a project of Secretaria de Cultura do Estado da Bahia (State of Bahia’s Culture Department), organised by Bahia’s Museum of Modern Art (MAM-BA) through a joint venture between Hansen Bahia Foundation and Instituto do Patrimônio Artístico e Cultural (IPAC – Institute for the Cultural and Artistic Heritage). The Biennale curatorship is led by MAM-BA director Marcelo Rezende, assisted by Ana Pato and Ayrson Heráclito (chief curators), Fernando Oliva and Alejandra Muñoz (co-curators).

Image: Nuno Ramos, Iluminai os Terreiros (Set the Terrace Alight). Series of one-off interventions exploring inaccessible sites in Salvador. Photo: Alfredo Mascarenhas.

• Happenings

I intent to create using the minimal elements of the visual and sound languages, often disturbing the habits of our sensibility.

Many of my works were developed after laws or concepts from physics and use light to reveal some characteristics of space, present but usually invisible. I always try to explore in different ways the intervals, the emptiness that defines space.

My intention is to disturb our linguistic and sensible habits in order to decondition it and make possible the birth of different forms of thinking and feeling.

My works are created after recognizing a space empty of desire – they act inside of these empty spaces.

Traducido del inglés

Intento crear usando elementos mínimos de lenguajes visuales y sonoros, a menudo distorsionando hábitos de nuestra sensibilidad.

Muchas de mis obras fueron desarrolladas a partir de leyes o conceptos de la física y utilizan luz para revelar algunas características sobre el espacio, que están presentes pero usualmente invisibles. Siempre trato de explorar los intervalos, el vacío que define el espacio, de diferentes maneras.

Mi intención es interrumpir nuestros hábitos sensibles o lingüísticos para desacondicionarlos y hacer posible el nacimiento de diferentes formas de sentir y pensar.

Mis obras son creadas a partir del reconocimiento de un espacio libre de deseo. Ellas actúan dentro de estos espacios vacíos.

Selected Biographical Information

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• Artists

“Where is the time I have left in this space?”

Over recent years my artistic path has predominantly followed sculptural research. The researches focus on time and concomitant duration as decisive agents, elaborating and extending my ideas across a wide variety of materials. I experiment with both organic and/or industrially rendered materials, these include such materials as plastic, iron, glass, wood, copper, steel, cotton, plants, and rubber among others. Similarly, the active-positive and entropic role of water plays a significant part in my art practice. The works render imminent (and, perhaps immanent) the action of time as it forms a mnemonic record on matter in space.

As can be seen in the enclosed photos of my work, there is the presence of a poetic language which recalls interactions between internal organic fluid forms, incorporating chance and speculation and experiencing the abstraction that results from their experience with the material.  Nevertheless, no artistic activity is free from the artist’s subjective intention, regardless of purely physical and material conditions. Such assemblings combine materials that create new properties through these combinations, emphasizing on many occasions a vocabulary of physical terms like balance, density, materiality, capillarity, etc. These works, in which the physical characteristics are not virtual, symbolic or representational but where they literally exist, are nonetheless subjective emotional assemblages.

My aim is to continue the project, extend its development, while at the same time perfect some of the aesthetic and visual questions that arise from my experimental works. In short to move ahead in the sense of working with space in its continuity and extension anxiety, but simultaneously always making use of the various material confrontations that emerge. Within this aesthetic frame the paradox of disruption and temporal suspension play their part, evoke a sense of moveable perception, while also confronting contemporary mankind’s feelings as to the uncertain, unstable and fickle situation in which we live.

Traducido del inglés

“¿Dónde está el tiempo que tengo en este espacio?”

En los últimos años mi carrera artística ha seguido predominantemente una línea de investigación sobre la escultura. Las investigaciones se enfocan en el tiempo y la duración concurrente como agentes decisivos, elaborando y expandiendo mis ideas por una amplia variedad de materiales. Experimento con materiales orgánicos y/o hechos de manera industrial, los cuales incluyen materiales como plástico,  hierro, vidrio, madera, cobre, acero, algodón, plantas y caucho, entre otros. De igual forma, el rol entrópico y activo-positivo del agua juega un papel importante en mi práctica. Las obras representan la inminente (y quizá inmanente) acción del tiempo mientras que forma un récord nemónico de la materia en el espacio.

Como puede ser visto en las fotos de mi obra, existe la presencia de un lenguaje poético que evoca interacciones entre formas orgánicas fluidas internas, incorporando el azar y la especulación y la abstracción que resulta de experiencia con el material. No obstante, ninguna actividad artística es libre de la intención subjetiva del artista, sin importar las condiciones puramente físicas o materiales. Tales combinaciones mezclan materiales que crean nuevas propiedades por medio de estas combinaciones, enfatizando en ocasiones un vocabulario de términos físicos tales como balance, densidad, materialidad, capilaridad, etc. Estas obras en las que las características físicas no son virtuales, simbólicas o representacionales, sino que existen literalmente en ellas, son no obstante ensamblajes emocionales y subjetivos.

Mi intención es continuar el proyecto, extender su desarrollo mientras que perfecciono la estética y cuestionamientos visuales que originan de mis obras experimentales. En breve, seguir adelante en el sentido de trabajar con el espacio en su ansiedad continua y extensa, pero siempre usando las confrontaciones materiales que puedan surgir simultáneamente. Dentro de este marco estético la paradoja de la interrupción y suspensión temporal juegan su rol, evocan un sentido de percepción movible mientras que confrontan sentimientos humanos contemporáneos de la situación incierta, inestable y frágil en la que vivimos.

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• Artists

Selected Biographical Information

Solo Exhibitions

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• Artists

Artist: Clarissa Tossin

Transplanted (VW Brasilia)
July 3 – August 2, 2014
Galeria Luis Strina
Sao Paulo, Brazil

Transplanted (VW Brasilia), is a natural latex cast of a Volkswagen Brasilia car. The first model entirely designed and manufactured by Volkswagen in Brazil, and named after the city which urban design emphasizes the usage of the car. A popular car, the Brasilia soon became a national design icon. The car used for the latex cast in Transplanted (VW Brasilia), is the central piece in the installation Brasília, Cars, Pools and Other Modernities, which will be on view at the Hammer Museum’s Los Angeles Biennial, Made in L.A., from June 15 to September 7, 2014.

The skin-like imprint is evocative of mass production processes since casting mimics the idea of endless copies.Transplanted (VW Brasilia), approximates industry and its abstracted processes to the individual body by anthropomorphizing a car. Moreover, the sculpture’s skin-like formal quality provokes considerations about the pursuit of cars as a third skin in consumer society.

The sculpture uses latex as an art material while also considering its cultural and historical background as an industry commodity within the context of Brazil. The titled, Transplanted (VW Brasilia), was inspired by a passage in Brazil’s latex history: Henry Wickham’s successful quest to smuggle seeds from the rubber tree, Hevea brasiliensis, from the area of Santarém, in Brazil to Kew Gardens in London from where seedlings were dispatched to Malaysia thus dooming the Amazonian rubber boom. The word “transplanted” also further emphasizes the sculptural transformation of a hard car-body into a soft, malleable, cast/imprint of it.

Clarissa Tossin has a BFA by Fundação Armando Álvares Penteado, São Paulo, Brazil and a MFA in Art by the California Institute of the Arts (CalArts), Valencia, CA. Recent solo shows include: Museum of Latin American Art (MOLAA), Long Beach, EUA (2014); Brasília, Cars, Pools & Other Modernities, Artpace – San Antonio, Texas, EUA; Blind Spot, Blaffer Art Museum – University of Houston, Houston, Texas, EUA; Study for a Landscape, Sicardi Gallery, Houston, Texas (2013). Recent group shows include: Liberdade em Movimento, Fundação Iberê Camargo, Porto Alegre, BR (curated by Jacopo Crivelli); Bringing the World into the World, The Queens Museum, New York, NY (curated by Hitomi Iwasaki); Made in L.A. 2014, Hammer Museum, Los Angeles, CA – curated by Connie Butler and Michael Ned Holte; Dispositivos para um mundo (im)possível, Roesler Hotel, São Paulo, BR (curated by Luisa Duarte); Unsettled Landscapes, SITE Santa Fe, NM – curated by Lucía Sanromán and Candice Hopkin, 2014).

• Happenings

Artists: Martha Gofre, Túlio Pinto and Ío

Tohu Wa-Bohu
June 6 – July 11, 2014
Bolsa de Arte
SP / RS Brazil

Tohu wa-Bohu, surge de um termo hebraico que se refere, no Gênesis,  ao universo antes da criação. De difícil tradução, o espectro de sua interpretação ocupa desde a ideia de ruína até a de uma dimensão de infinita potência que nos permite aproximações com o Tao, por ser algo que não se pode expressar; e o Big Bang, por ser um paradoxal não-tempo que antecede o instante zero.

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Artists: Allora and Calzadilla, Andrei Monastyrski, André Severo, Ariel Orozco, Arthur Barrio, Christian Marclay, Cildo Meireles, Clarissa Tossin, Dennis Oppenheim, Emily Jacir, Francesco Arena, Francis Alÿs, Lygia Clark, Mario Garcia Torres, Meriç Algün Ringborg, Multiplicity, Richard Long, Runo Lagomarsino and Stanley Brouwn.

Liberdade em Movimento
Curator: Jacopo Crivelli Visconti
May 30 – August 10, 2014
Fundaçao Iberê Camargo
Porto Alegre, Brazil

Adotado esporadicamente desde a década de 1920, o caminhar se consolida e difunde como prática artística a partir do final dos anos 60, mais ou menos no mesmo período em que a Internacional Situacionista e seu mâitre a penser Guy Debord, autor do clássico Teoria da deriva, abandonam a atividade artísticaem favor de um engajamento político explícito e militante, motivado pelos acontecimentos de 1968. Próximas das derivas situacionistas, as ações dos artistas que, ao redor do mundo, se lançam a andar sem muito mais do que “uma câmera na mão e uma ideia na cabeça” (como diria em âmbito brasileiro e de uma perspectiva distinta, mas de certa maneira complementar, Glauber Rocha) buscavam consolidar a ideia de uma arte não comercializável, que pudesse minar as bases da sociedade capitalista recusando a obrigação de produzir obras tangíveis e vendáveis. Em alguns casos, essas ações se opunham diretamente ao clima político em que foram concebidas, mas logo o “campo expandido do movimento” se firmou em contextos menos conflituosos, resistindo como técnica artística até os dias de hoje, apesar das mudanças do clima político.

O conflito entre a unicidade e a efemeridade da ação, e o registro que, apesar de incompleto, é o que sobra dela e passa a ser conhecido pelo público constitui, sem dúvida, uma das idiossincrasias mais fascinantes e inegáveis do âmbito do movimento. Qualquer relato ou registro de uma ação é, por sua própria natureza, parcial, já que condensa algo muito maior: uma ação com uma determinada duração no tempo e extensão no espaço, um desenvolvimento, um acúmulo de experiências. Ao trabalhar frequentemente com materiais frágeis e em constante transformação (gelo, neve, areia, terraetc.), os artistas evidenciam essa condição, ao passo que apontam para a possibilidade de se criar laços mais duradouros, e uma noção de comunidade real e profunda, exatamente através do momento, do ato, do movimento que precisam ser vivenciados e experimentados. A disposição para entregar o aspecto final da obra ao acaso, pelo viés da intervenção mais ou menos direta dos outros,confirma o desinteresse dos artistas aqui reunidos para um objeto artístico convencional, perfeitamente acabado. Mesmo quando acontece em completa solidão, mais do que produzir algo novo essas ações visamà fusão do artista com o espaço,à simbiose com a sociedade. As trilhas espontâneas que se formam, em Brasília, em aberta contraposição e contravenção ao traço livre e poético, mas raramente prático, de quem desenhou a capital, sintetizam perfeitamente essas considerações: o movimento é o caminho para a liberdade.

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Artist: Nuno Ramos

Ensaio sobre a Dádiva
May 29 – August 10, 2014
Fundação Iberê Camargo
Brazil

De 29 de maio a 10 de agosto de 2014, a Fundação Iberê Camargo apresenta a mostra Nuno Ramos – Ensaio sobre a dádiva. Pensando o conceito antropológico de dádiva – troca entre dois objetos distintos com base em valores simbólicos, e não econômicos – o artista desenvolveu o trabalho especialmente para o espaço do 4º andar da Fundação, em diálogo com a arquitetura do edifício. Na exposição, que tem curadoria do crítico de arte e filósofo Alberto Tassinari, objetos se lançam no vão do espaço expositivo e ocupam o interior das salas, acompanhados por doiscurtas-metragens intitulados Dádiva 1 – copod’águaporvioloncelo e Dádiva 2 – cavaloporPierrô, desenvolvidos pelo artista e produzidos em Porto Alegre pela Tokyo Filmes.

Toda a instalação gira em torno dessas duas trocas, que se desdobram em três formas: escultura, vídeo e réplica da escultura. Na sala de Dádiva 1, um pedaço de barco – elemento recorrente na obra de Nuno – se projeta sobre o parapeito da sala, sustentando um violoncelo sobre o vão do átrio e fazendo a ligação entre ele e o copo d’água. Na parede oposta, é exibido o curta-metragem correspondente, que mostra uma mulher recolhendo o copo d’água na praia, trocando o objeto por um violoncelo em um bar e devolvendo o violoncelo para a água. No roteiro original de Nuno, um mar calmo remete à metáfora purificadora da água marinha, porém, durante a produção, o mar virou o Guaíba e a Lagoa dos Patos.

O espaço dedicado a Dádiva 2 recebe um trilho de montanha russa que lança um cavalo de carrossel no vazio e o liga a Pierrô, aqui representado por um aparelho de som que toca o samba Pierrô Apaixonado, de Noel Rosa e Heitor dos Prazeres. O curta apresenta a história de um Pierrô, interpretado pelo artista Eduardo Climachauska, que é sequestrado por motociclistas em Porto Alegre e preso em uma casa, sendo devolvido um cavalo em seu lugar. Segundo o curador, a personagem tradicional e carnavalesca da Commedia dell’Arte, que, pela mão de artistas do início do século XX,  vira Pierrô Lunar, encarnação do artista, repete sua transformação na mostra de Nuno.

Na sala central, são colocadas réplicas em tamanho real das duas esculturas das salas anteriores, uma em latão e outra em alumínio, interligadas por tubos de vidro em que circulam dois líquidos diferentes, representando o sono e a vigília. Além das esculturas, são expostas gravuras produzidas pelo artista no Ateliê de Gravura da Fundação, com auxílio técnico de Eduardo Haesbaert.

Nascido em 1960, Nuno Ramos tem formação em Filosofia pela USP e se debruça sobre diversas formas artísticas, como pintura, desenho, escultura, vídeo, instalação, poesia, prosa e ensaio.  Na juventude, participou do ateliê Casa 7, integrando a Geração 80, responsável pela volta à pintura e fortemente influenciada por Iberê Camargo.

Em Ensaio Sobre a Dádiva, o público porto-alegrense terá a oportunidade de conferir de perto o trabalho de Nuno Ramos. A mostra será aberta no dia 29 de maio de 2014, às 19h.

• Happenings

Image: Ali se Vê – Objeto I”, 2013, Madeira, aço inox, alumínio, espelho, 9 x 9 x 31 cm, Ed. 2/2

Artist: Claudio Alvarez

Color, Light and Movement
May 30 – June 15, 2014
Ybakatu, Espaço de Arte
Curitiba PR, Brazil

Argentinean artist residente in Brazil will present the 3 pieces: “Isto não é uma lâmpada “This is not a Lamp”, “Ali se Vê – Objeto I” and “Sem Título”.

The exhibition “Color, Light and Movement” begins the project “Art and Industry”, which will accompany Marcantonio Vilaça Award for future editions . This initiative will enhance the relationships between the processes of artistic creation and industrial production. In the special edition , there will be a special room dedicated to Abraham Palatnik , pioneer of kinetic art in Brazil In this environment , will also be exposed productions of artists who provide provocative points of contact with the work of Palatnik.

Image: “S’título”, 2014, Stainless Steel and Acrylic, 110 x 24 x 17cm, Ed. 5/5

Image: “Isto não é uma Lâmpada” This is not a Lamp, 2013, Wood, stainnless steel, super led and eletric motor, 40 x 17 x 26cm.

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Artist: Ricardo Alcaide

Settlements
April 5 – June 6, 2014
Baró Galeria
Sao Paulo, Brazil

The exhibition proposes a “settlement” of objects and situations that take ownership of the gallery space in an almost invasive way to freely occupy the metal structures presented as a symbol of imposing rationalist architecture. “My main interest in this show is defined by sculptural, pictorial and questions the current values of art, chaos and uncontrolled progress”, defines the artist.

For this exhibition, the artist presents a large installation of industrial steel shelves with groupings of works created in the studio and objects collected in the street -converting their vulnerable aspect into something solid and permanent, a series of sculptures made of bronze, developed from the same objects and other objects made of different materials and also paintings. That way, Alcaide evidences the “disposable” and its vulnerable, susceptible to destruction and disappearance nature and that requires an exercise of observation and rediscovery.

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Artist: Rodrigo Sassi

Tenho um bom conhecimento sobre bolhas e respingo, porém informal
January 19 – March 30, 2014
Praça Victor Civita
Sao Paulo, Brazil

A obra “Não tão grande quanto o respingo original” tem formas de concreto armado e carrinho de mão e as medidas de A 2,10 x L 2,05 x P 1,70 m. Já ”Entre o céu e a terra, bolhas!”, é feita de madeira, concreto e cabos de aço e  as dimensões A 3,00 x L 4,50 x P 4,50 m.

As esculturas de Rodrigo Sassi surgem da relação entre uma pesquisa arquitetônica e urbanista aplicada à tridimensionalidade no campo das artes plásticas. Tendo como ponto de partida o grande e descontrolado crescimento das cidades, Sassi cria por meio do uso imaginativo de técnicas da construção civil, fôrmas de concreto armado que se compõe de maneira aleatória e independente de funcionalidades, trazendo à tona uma composição final que contrasta elementos brutos a uma falsa sensação de leveza.

Fruto do reaproveitamento de madeiras usadas anteriormente em construções, suas esculturas, ao contrario da convencional intenção das fôrmas que são descartadas após o enrijecimento do cimento em seu interior, permanecem como parte integrante da obra, apresentando sinais de uso e desgaste consequentes de sua utilização anterior, explicitando assim a ideia de surgimento e processo de criação.

Nascido em São Paulo em 1981 e graduado em Artes Plásticas pela FAAP, Rodrigo tem obras em coleções no MAB (Museu de Arte de Blumenau – SC), SENAC (Piracicaba – SP) e Centro Cultural Dannemann (Recôncavo – BA) e recebeu o prêmio do 3° Salão dos Artistas sem Galeria (São Paulo – SP/2012) e o Prêmio Funarte de Arte Contemporânea 2013 – Atos Visuais Funarte Brasília. O artista participou também de diversas exposições coletivas e entre suas dez exposições individuais realizadas entre 2008 e 2013, estão “Desdobramentos Infiltrórios” (Galeria Fayga Ostrower – Brasília/2013), “Daquele Que Se Reproduz” (Galeria Pilar – São Paulo/2012) e “Pinturas Infiltrórias e suas Ramificações Tubulares” (UNESC – SC/2011).

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Artist: Casari & PPPP

Todo está interconectado
April 2 – May 10, 2014
Galeria Pilar
Sao Paulo, Brazil

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Artist: Célio Braga

Multicoloridos
April 2 – May 10, 2014
Galeria Pilar
Sao Paulo, Brazil

“Multicoloridos”, a exposição se compõem por duas séries inéditas de desenhos e esculturas, que dão continuidade à sua pesquisa plástica e poética.

A produção de Célio Braga é marcada por processos elaborados, nos quais ele confecciona superficies e estruturas que pulsam com delicadeza e vigor, revelando obras que se nutrem não apenas de tempo, mas também de afetividade. Seja nos desenhos intitulados como “Ladainhas” ou nas esculturas maleáveis nomeadas de “Lengalengas”, títulos que relacionam sua produção com memórias afetivas e histórias da sua infância, pontuando uma obra construída através da repetição de gestos artesanais que revelam formas e processos de uma intensa pesquisa de interação entre a cor e a linha.

Nos desenhos da série “Ladainhas”, o artista inscreve com lápis de cor linhas coloridas de maneira obsessiva sobre o papel, que sofre sucessivas dobraduras para ser dividido em centenas de quadrados e retângulos, criando uma grade estriada em que as dobras são como cicatrizes. A cor é apresentada como se estivesse a ponto de desaparecer ou surgir, nunca completamente pousada sobre o papel, mas flutuando sobre ele, em graduações suaves de tons esverdeados, OU amarelados, rosados e avermelhados, expressando a delicadeza e a fragilidade do tempo.

Ora objetos, ora esculturas, os maleáveis “Lengalengas” de Celio Braga transformam linhas coloridas em estruturas elásticas, que se movimentam em configurações variadas. Utilizando caninhos de metal que ele recobre com fitinhas do Senhor do Bonfim e fragmentos de roupas de amigos e familiares, o artista constrói e tece ritmos, cortando, amarrando, unindo, cobrindo, dobrando e desdobrando. Dispostas no chão, no teto, nas peredes, em quinas e cantos, as esculturas são criadas com elementos impregnados de histórias pessoais, memorias, fé, superstição, desejos e esperança.

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Artist: Marcius Galan

Como dobrar uma bandeira como desdobrar
March 20 – April 26 2014
Silvia Cintra + Box 4
Rio de Janeiro, Brazil

“The movement back and forth (fold and unfold) appears in the construction of the title as well as the assembly work on the wall, where the sequence can be read as expansion or contraction. This circular motion suggests a place suspended between a position taken (unfold a flag) and a sense of powerlessness and apathy facing a dark socio-political landscape (fold a flag),” says Galan. And yet, the work deals with the paradox of infinite geometric division of a plane, in other words, with the premise that we can theoretically divide the area into two equal parts infinitely.

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Artist: Sandra Gamarra

What Made us Modern / Crisp Images in a Humid Environment
March 22 – May 3, 2014
Galería Leme
São Paulo, Brazil

The Madrid-based Peruvian artist, founder of the fictitious and virtual museum LiMac, will present at Galeria Leme What Made us Modern / Crisp Images in a Humid Environment, her fourth solo exhibition in São Paulo.

Given the current promise of modernization in Peru, to be understood as the real presence of the state in the country and therefore as a right to citizenship for each individual, this exhibition reflects on what happened in Peru during the first era of the uncompleted modernity and on what signified its posterior lack of concretization.

“An attempt to make crisp images in a humid environment” is how the sociologist Aníbal Quijano describes the impossibility to do vanguard poetry in Lima, which can also be extrapolated to the field of visual arts. The crisp images to which Quijano speaks of refer to machines, to the industry and to the new ideas that, in a city like Lima, without nearby industries and without technical development, were impossible to create and disseminate. This moist environment not only refers to the real humid climate of Lima but also to the “social humidity” that is the product of the yet ongoing effervescence of an imposed nationalism, the vapors of a slowly cooked multiculturalism and the permanent oxidation of the social processes.

However, as the state had not been capable to concretize its proper modernization, its unfulfilled promise became the breeding ground so that years later terrorists groups began to emerge in the country during the 1980´s and 90´s. This violence was necessary, so that Peruvians began to see themselves as a multicultural and a plural society.

Utilizing the iconic “Homage to the Square” paintings by the artist Joseph Albers as a starting point, images of the terrorist violence of the 80´s in Peru has been included in an almost invisible manner. To reveal themselves, it is necessary to get close to the painting, a contrary movement to what modern paintings proposed. Similarly, the series that is named after the exhibition title, What Made us Moderns, consists of 10 paintings that creates a gradient of grey and have the exact same measurements of the concrete blocks of which the gallery is made of. In such a way, the works surrender themselves to the architecture and, in the artist’s vision, live with it in a fully modern act. If we look at them from far away, this gradient made out of a Kodak scale of grey coexists without friction with the architecture. But in each corner of the paused, measured and clinic monochromes, a set of pictures appear and break this transition. These images tell us about a constant that is of capital and latent permanence.

The videos entitled “Abstractions”, “Natural Landscape” and “Ashes to Ashes” are three reflections on the delicate relation between the pre-Columbian heritage, the rural present and Western culture in the light of the promises of development and modernization.

Sandra Gamarra was born in Lima, Peru, in 1972. She lives and works in Madrid. Her work has been featured in numerous exhibitions, including the shows Setting the Scene, Tate Modern, London, UK (2012); At the Same Time, Bass Museum of Art, Miami, USA (2011); XI Bienal de Cuenca, Cuenca, Ecuador (2011); Fiction and Reality, MMOMA, Moscow, Russia (2011); Arte al Paso, Colleción Contemporanea del  Museo Arte  de Lima, Estação Pinacoteca, São Paulo, Brazil (2011);  29ª Bienal Internacional de São Paulo, Fundação Bienal, São Paulo, Brazil (2010); 53ª Biennale di Venezia, Venice, Italy (2009). Her work is in private and public collections such as MUSAC, León, Spain; MoMA, New York, USA and Tate Modern, London, UK.

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Artists: Lenora de Barros, Marcelo Cidade, Cláudio Tozzi, Laura Lima, Alair Gomes, Márcia Xavier, Carlos Zílio, Marcius Galan, Cildo Meireles, Antonio Henrique Amaral, Rubens Gerchman, Marcello Nitsche, Anna Bella Geiger, Nazareth Pacheco, and Paulo Bruscky.

140 Caracteres
January 28 – March 16, 2014
Museu de Arte Moderna de Sao Paulo
Sao Paulo, Brazil

The political mobilization through virtual communication is shaking forms of constituted power. The language used for mobilization through social networks is also new: short phrases, addresses of manifestation, very synthetic themes. The slogans adapt to the shape of social networks, taking advantage of existing communication virtual platforms. The social network Twitter is more synthetic, which accepts a maximum of 140 characters per message. Thus, the scale of language on Twitter becomes the thread of this exhibition.

140 works from the collection of MAM were selected to develop the theme of political mobilization. In the Great Room of the museum, the works are organized as an urban landscape, indicating the circumstances of the events and placing recent events. On the other hand, in the Paul Figueiredo exhibition room, the show generates a contrast to previous forms of political protest in Brazil during the military dictatorship, which began with the coup of 64.

140 characters is the result of the first Laboratório de Curadoria conducted by the Educational sector of MAM. Curation is shared by twenty students of the course, which also shared the authorship of the 140 commented tags of the exhibition. The exhibition is the result of a year of discussions between people of different backgrounds, who identified as a common interest, the new forms of political action. Thus, the authorship of the exhibition also diluted in a collective, assuming the force of mobilization without leaders.

• Happenings

My process of working is always about the development of one idea that starts first from little annotations, observations, and drawings, and then sometimes suggests a series, a sequence of a thought, using the same elements in different ways—sometimes concerned with the use of color or just in black and white, showing the strength and balance of the forms. I always need to be connected to music… because music is one of the most important things to me. In order to develop ideas, to think about colors, and even to define the compositions; music is essential all the time, as I work or think about new possibilities.

The artist is thinking all the time… trying to solve problems. First, it’s a mental process, I need to solve or to look for the better way to solve it before I start working, using different supports such as paper, hardboard, wood, or metal.

Traducido del inglés

Mi proceso de trabajo siempre consiste en el desarrollo de una idea que comienza primero desde pequeñas anotaciones, observaciones y dibujos y luego sugiere una serie, una secuencia de pensamiento, usando los mismos elementos de maneras diferentes, algunas veces preocupado por el uso de color o sólo en blanco y negro, mostrando la fuerza y el balance de las formas. Siempre tengo que estar conectado con la música… porque la música es una de las cosas más importantes para mí. Para poder desarrollar ideas, pensar en colores y hasta para definir composiciones, la música es esencial todo el tiempo, mientras que pienso o trabajo en nuevas posibilidades.

El artista está pensando todo el tiempo… tratando de solucionar problemas. Primero es un proceso mental; necesito solucionar o buscar la mejor manera de solucionar antes de comenzar a trabajar, utilizando diferentes soportes como el papel, aglomerado, madera, o metal.

Selected Biographical Information

Education / Training

• Self-taught

Solo Exhibitions

• 2012: Arevalo Gallery, Miami, USA.
• 2011: Galerie Denise René, Paris, France.
• 2010: Jorge Mara La Ruche, Buenos Aires, Argentina.
• 2010: Dan Galerie, Sao Paulo, SP, Brazil.
• 2009: Galerie Cayon, Madrid, Spain.
• 2007: Dan Galerie, Sao Paulo, Brazil.
• 2004: “Dessins et objets”, Galerie Arte em Dobro, Rio de Janeiro, RJ, Brazil.
• 2004: “Culture et peinture”, Dan Galerie, Sao Paulo, SP, Brazil.
• 2000: Dan Galerie, Sao Paulo, SP, Brazil.
• 1994: Pinacothèque de l’état de Sao Paulo, Sao Paulo, SP, Brazil.

Group Exhibitions

• 2011: Jorge Mara La Ruche, Buenos Aires, Argentina.
• 2010: “Foire de Bâle”, Galerie Denise René, Paris, France.
• 2010: Jorge Mara La Ruche, Buenos Aires, Argentina.
• 2009: “Matière grise”, Galerie Cayon, Madrid, Spain.
• 2009: “Dessins et sculptures”, Galerie A34 Barcelone, Spain.
• 2008: ARCO, Dan Galerie, Madrid, Spain.
• 2007: ARCO, Dan Galerie, Madrid, Spain.
• 2006: “Contrastes, collection du MASP”, Sao Paulo, SP, Brazil.
• 2006: “Le goût d’un collectionneur, collection de la fondation Nemirovsky”, Estaçao, Pinacothèque, Sao Paulo, SP, Brazil.
• 2005: “Anthologie de la collection MAM”, Sao Paulo, SP, Brazil.
• 2005: “L’art dans la ville”, musée Oscar Niemeyer, Curitiba, PR, Brazil.
• 2005: “Metropolis”, Institut Tomie Ohtake, Sao paulo, SP, Brazil.
• 2004: “Brésilien, brésiliens”, musée Afrobrésil, Sao Paulo, SP, Brazil.
• 2004: “Collection du MAC”, Sao Paulo, Brazil.
• 2004: “Quelques aspects de l’abstraction”, MASP, Sao Paulo, SP, Brazil.
• 2003: “Le Brésil des années 20 à 90”, MAC, Sao Paulo, SP, Brazil.
• 2003: “Artistes brésiliens”, Espace Virgilio, Sao Paulo, SP, Brazil.

• Artists

Translated from Portuguese

My artistic trajectory is characterized by the developing and practice of urban interventions, where I experienced and used the city as support of action, analysis, and inspiration in my work. After this experience, I began a new body of work in which all my research on urban intervention transformed into an aesthetic and conceptual reference for a work developed at my studio, which is currently dedicated to tridimensional work.

My works are made from the repurposing of discarded materials by construction companies, and through the creative use of techniques from construction as well, I recreate forms of reinforced concrete that lose their structural function to create architectural drawings in space, contrasting the rigidity and rawness of their materials to give a false sense of lightness through its curves and turns. Apart from emphasizing contrasts between materiality and flexibility, the work brings forth the marks from past lives of the materials, thus the traces of a city that is in constant motion.

Minha trajetória artística é marcada pelo desenvolvimento e prática de intervenções urbanas, onde vivenciei e utilizei da cidade como suporte de atuação, reflexão e inspiração para meus trabalhos. Após esta experiência, iniciei uma nova produção, onde toda minha pesquisa até então realizada sobre intervenção urbana se transformou em referência estética e conceitual para um trabalho desenvolvido em atelier, atualmente dedicado à área tridimensional.

Minhas obras são feitas apartir do reaproveitamento de materiais descartados por construtoras e, através do uso imaginativo de técnicas também provenientes da construção civil, recrio formas de concreto armado que perdem sua usual função estrutural para criar desenhos arquitetônicos no espaço, contrapondo à rigidez e brutalidade de seus materiais a uma falsa sensação de leveza criada por suas curvas e balanços. Além de se caracterizar pelos contrapontos entre sua matéria e a flexibilidade adquirida, o trabalho traz consigo marcas das vidas passadas de seus materiais, consequentemente rastros de uma cidade que se encontra em constante movimento.

Selected Biographical Information

Education / Training

• 2006-2008: Research group – Arts and technological resources, FASM -Faculdade Santa Marcelica, São Paulo, Brazil.
• 2000-2006: Bachelor’s degree in visual arts, FAAP university – Fundação Armando Alvares Penteado, São Paulo, Brazil.

Prizes / Fellowships

• 2013: Program of exhibition, Paço das Artes, São Paulo, Brazil.
• 2013: FUNARTE Prize 2013, FUNARTE, Brasília – DF, Brazil.
• 2013: Espaço Galeria -SESI, SESI, São Paulo, Brazil.
• 2011: Salão dos artistas sem galeria, , São Paulo, Brazil.
• 2012: Artistc residence, MAMAM – Museun Aloisio Magalhaes de Arte Moderna, Recife – PE, Brazil.

Solo Exhibitions

• 2013: “Tenho um bom conhecimento sobre bolhas e respingo, porém informal”, Museu da Sustentabilidade (Museun), São Paulo, Brazil.
• 2013: “Desdobramentos Infiltrórios”, FUNARTE – Brasília (Museun), Brasília – DF, Brazil.
• 2013: “Ramificações do objeto como contrapartida”, SESI (institution), São Paulo, Brazil.
• 2013: “Entre o céu e a terra, bolhas!”, Paço das Artes (Museun), São Paulo, Brazil.
• 2013: “Interiorização”, SESC ( institution), Niterói – RJ, Brazil.
• 2013: “Daquele que se reproduz”, Galeria Pilar (gallery), São Paulo, Brazil.
• 2012: “Mirante”, MAG (Museun), Goiânia -GO, Brazil.
• 2012: “Ponto pra fuga”, MAMAM no Pátio, Recife – PE, Brazil.
• 2011: “Exame de solo laboratorial”, Fundação Cultural Criciúma (institution), Criciúma – SC, Brazil.
• 2011: “Pinturas Infiltrórias e suas ramificações tubulares”, UNESC (institution), Criciúma – SC, Brazil.

Group Exhibitions

• 2014: “2013_ 18th International Festival of Contemporary Art –Videobrasil “, SESC Pompeia (institution), São Paulo, Brazil.
• 2014: “XI Biennial of Visual Arts of Recôncavo”.
• 2013: “Artistas da galeria”, Galeria Pilar (gallery), São Paulo, Brazil.

• Artists

About the Artist

I always thought of sound, volume and rhythm breaking through boundaries and barriers in search for a place by looking for ways in which to visualize how this sound could be “seen” if it were traveling in a room, a body, or a garden.

My present work is about exploring sound structures in a sensorial manner, where I feel that music and nature come together in a type of code.  In my earlier work I would attempt to ‘draw’ sound as it traveled through an architectural space. Visually it could be compared to a plant or bindweed traveling through space as it searches for its direction.

Presently, I am working on deconstructing that what produces sound by separating its parts. For instance, as in a musical instrument: I separated the body of the guitar from the neck, the cords and the pick guard.

By expanding the body of the instrument to the proportion of our bodies I want to express the explosion of sound through color and form.  Through my extensive research of instruments and its components, I arrived at the LPs, and the beauty and meaning of its covers and sleeves.  My generation received the last drop of the LP’s industry and the memory of listening to my parent’s records while looking at the covers reminded me how the visual part was so important.

Thirty by thirty cm cover is a huge area to represent the sound that is there, and to me the LP was always an object of awe and desire.  In my most recent work, I presented the records and sleeves in frames to relate them to the golden age of the music industry—now found in Music Museums with their walls covered with the platinum and golden records suggesting the completion of an anachronistic ritual of our days of MP3, which involved a different relation between the body (hearing) and sound.

—

Siempre pensé en cómo el sonido, volumen y ritmo cortan los límites y las barreras en busca de un lugar; buscando maneras de visualizar cómo este sonido podría ser “visto” si viajase en un cuarto, un cuerpo, o un jardín.

Mi obra reciente aborda la exploración de estructuras de sonido de una manera sensorial, desde la que siento que la música y la naturaleza se unen en un tipo de código. En mi obra más temprana intenté “dibujar” el sonido a medida que avanzaba en el espacio y buscaba su dirección.

Hoy en día estoy trabajando en deconstruir aquello que produce sonido, separando sus partes. Por ejemplo, en un instrumento musical separé el cuerpo de la guitarra del mástil, las cuerdas y la caja protectora.

Al expandir el cuerpo del instrumento a la proporción de nuestros cuerpos, quiero expresar la explosión de sonido por medio del color y la forma. Mediante mi extensa investigación sobre los instrumentos y sus componentes, llegué a los LPs y la belleza y significado de sus portadas y cubiertas. Mi generación recibió la última gota de la industria de los LPs y la memoria de escuchar los álbumes de mis padres mientras que las portadas me recordaban la importancia de la parte visual.

Una portada de treinta por treinta centímetros es un área muy amplia para representar el sonido que está dentro y para mí el LP siempre fue un objeto de asombro y deseo. En mi obra más reciente presento los discos y carátulas en cuadros, para relacionarlos con la época de oro de la industria musical que ahora se encuentra en museos de música y sus muros cubiertos de los discos de platino y oro, sugiriendo el fin del ritual anacrónico de nuestros días del MP3, los cuales significaron una relación diferente entre el cuerpo (la acción de escuchar) y el sonido.

Selected Biographical Information

Education / Training

• 1999-2003: Fine Arts, Fundação Armando AAlvares Penteado FAAP, Aão Paulo, Brazil.

Prizes / Fellowships

• 2003: Bolsa-Prêmio – 35° Anual de Arte , FAAP Fundação Armando Alvares Penteado, São Paulo, Brazil.
• 2004: Art in Residency Programme at Gasworks Gallery – 1° lugar Prêmio Chamex de Arte Jovem, Chamex, London, England.
• 2008: Mountain School of Arts Residency, Mountain School of Arts, Los Angeles, ESA.

Solo Exhibitions

• 2013: “gravações perdidas [lost recordings]“, Galeria Vermelho, São Paulo, Brazil.
• 2013: “no no yes please“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
• 2012: “sunburst“, Galeria Vermelho, São Paulo, Brazil.
• 2011: “O papel do jardim [the role of the garden]”, Galeria Silvia Cintra + Box4, Rio de Janeiro, Brazil.
• 2010: “KOTO “, Galeria Vermelho, São Paulo, Brazil.
• 2010: “Place to Be”, GaleryRio, Nantes, France.
• 2009: “LUGAR”, Camara de Comércio de Bogotá, Bogotá, Colombia.
• 2007: “Mirante”, Galeria Lunara, Porto Alegre, Brazil.
• 2007: “Pausa [pause]“, Galeria Vemelho, São Paulo, Brazil.
• 2006: “Cruzamentos – Caminhos  [crossings – paths]”, DRCLAS – Harvard, Cambridge, USA.
• 2006: “Cruzamentos – Encontros [crossings – encounters]”, Boston Arts Academy, Boston, USA.
• 2006: “Sweet Melody“, LABF15, Lyon, France.
• 2005: “Firehouse“, De Vleeshal, Middelburg, Holland.
• 2005: “Viga Mestra [main beam]“, Galeria Vermelho, São Paulo, Brazil.

Group Exhibitions

• 2013: “Imagine Brazil“, Astrup Fearnley Museet, Oslo, Norway.
• 2013: “Prospect 1“, Museum of Contemporary Art San Dieg, San Diego, USA.
• 2013: “Tomie Ohtake Correspondências“, Instituto Tomie Ohtake, São Paulo, Brazil.
• 2011: “Contra a Parede [against the wall]“, Galeria Vermelho, São Paulo, Brazil.
• 2011: “32º Panorama da arte Brasileira“, Museu de Arte Moderna [MAM SP] , São Paulo, Brazil.
• 2010: “Quem tem medo?”, Galeria Vermelho, São Paulo, Brazil.
• 2008: “Blooming Brasil-Japão – O seu lugar – [Blooming Brasil-Japan – Your Place]“, Toyota Municipal Museum of Art , Province of Aichi, Japan.
• 2008: “Exposição de Verão”,  Galeria Silvia Cintra-Box 4, Rio de Janeiro, Brazil.
• 2007: “Futuro do Presente [the future of the present]”,  Instituto Itaú Cultural, São Paulo, Brazil.
• 2006: “10 anos + 1 – Os anos recentes da arte brasileira –  [10 years + 1 – the recent years of brazilian art]“, Instituto Tomie Othake, São Paulo, Brazil.
• 2006: “Urban Spaces“, DNA Galerie, Berlin, Germany.
• 2006: “Rumos Itaú Cultural 2005/2006 Artes Visuais”, Instituto Itaú Cultural, São Paulo, Brazil.
• 2005: “Panorama  “, Museu de Arte de São Paulo [MAM SP], São Paulo, Brazil.
• 2005: “J’en Rêve“, Fondation Cartier, Paris, France.
• 2004: “udo Aquilo que Escapa – 46° Salão Pernambucano de Artes Plásticas“, Espaço Cícero Dias do Museu do Estado, Recife, Brazil.

Publications

• Luiz Camillo Osorio, Coleção Gilberto Chauteaubriand (Rio de Janeiro: Barléu Edições LTDA.), 133.

Collections

• Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
• De Vleeshal, Middelburg, Holland.
• Harvard University, Cambridge, USA.
• Museum of Contemporary Art San Diego, San Diego, USA.
• Coleção Gilberto Chateaubriand -Museu de Arte Moderna [MAM RJ], Rio de Janeiro, Brazil.

• Artists

https://abstractioninaction.com/happenings/dario-escobar-slide/

Artists and collectors: Alair Gomes, Alex Carvalho, Alexandre da Cunha, Alexandre Maïa, André Renaud, Angelo Venosa, Artur Kjá, Ayrson Heráclito, Beatriz Pimenta, Bete Esteves, Chico Fernandes, Chinese Cookie Poets, Claudia Hersz, Coletivo Praça XV, Crocco + Ogro, Daniela Seixas, Danielle Fonseca, Dario Escobar, Dea Lellis, Demian Jacob, Coleção Eduardo Yndyo Tassara, Eugênio Latour, Fabiano Rodrigues, Fábio Birita, Fabio Flaks, Fábio Tremonte, Gary Hill, Guga Ferraz e Marcio Arqueiro, Guilherme Peters, Guilherme Teixeira, Hannes Heinrich e Raquel Schembri, Igor Vidor, James Oatway, Jeffrey Vallance, Jonas Arrabal, Laura Andreato, Marcos Bonisson, Nelson Leirner, Nena Balthar, Olafur Eliasson, Oriana Duarte, Raphael Zarka, Coleção Ricardo Fainziliber, Coleção Rico de Souza, Russell Crotty, Sesper, Shaun Gladwell, Silvana Mello, SKATEISTAN / Rhianon Bader, Steve Miller, Tiago Carneiro da Cunha, Tito Rosemberg, Tracey Moffatt, Virgilio Lopes Neto, Wilbor, Zanini de Zanine

Slide <Surf Skate>
Curator: Raphael Fonseca
Januray 14 – April 27, 2014
Museu de Arte do Rio
Rio de Janeiro, Brazil

In a 1971 newspaper one sees a man with legs flexed and trunk bent forward. Under his body, a surfboard and sea foam. “In sliding, a sensation of vertigo”, reads the caption that accompanies the photo. The title of the piece? “And the waves were mastered.” If we leaf through the pages of other publications from the same period, we’ll also come across attempts to master the geometry of concrete. Skateboarding on the handrails of commercial buildings, in private condominiums and in empty pools, seen as potential spaces for new moves.

Surfing and skating are the North and South of this exhibit. Both sports are viewed from a historical perspective, but without the pretense of being exhaustive. Information and images were selected from a temporal arch that goes from 1778, when the first drawings were made of native Hawaiians surfing, to public discussions in Brazil on the role of these activities.

It’s worth reflecting on the artistic dimension raised by these different ways of exploring space. Would it be possible to affirm that some artists have such a strong existential relation with surfing or skating to the point of making them central elements in their artistic language? It certainly looks that way.

Aside from situations in which the dance of movements appears in its literalness, other artistic propositions treat visuality in a more oblique manner; board and deck can be seen as sculptural forms, just as the waves of the sea and the waiting are flanked by the loud spread of papers pasted over the surfaces of the cities. The gaze can also be cast on the one who rides: who are these skaters and surfers? Is there space for the multicultural representation of archetypes? How to interpret the many self-portraits in dialogue here?

It’s importante to recall, in conclusion, a few words spoken by the skater and collector Eduardo Yndyo: “Everything that slides mesmerizes. If the sliding can be controlled, there’s passion.” Let’s be fascinated, therefore, by these stories and try to control them in our memories until we experience the only certainty of the slide: the wipeout.

• Happenings

February 6, 2014 Túlio Pinto: Atelier Subterrânea https://abstractioninaction.com/happenings/tulio-pinto-atelier-subterranea/

Túlio Pinto and AIA is reviewed by Atelier Subterrânea
Atelier Subterrânea
Av. Independência, n° 745, Subsolo
Porto Alegre, RS, Brazil

The Cultural Association Subterranea Studio is an independent art space that hosts exhibitions, workshops, chats, film and book launches, performances, and other activities related to contemporary art. The goal is to gather and provide dialogue between different audiences that have interest in the visual art scene.

It reviews the Abstraction in Action project in the article “Por onde andamos: Túlio Pinto integra a plataforma Abstract in Action” (Where to walk: Abstract in Action platform integrates Túlio Pinto).

“With the initial goal of producing an exhibition that illustrates the experimental and innovative nature of contemporary abstraction in Latin America, the developers of the Abstract in Action project soon discovered such a rich setting of this production that expanded their goals. Through the partnership between Cecilia Fajardo-Hill, curator of Abstract in Action, and Sayago & Pardon Collection, which focuses on contemporary Latin American abstraction, the virtual platform has been developed, which today serves as a reference for research and promotion of abstract art in Latin America.

Abstract in Action is defined as an area of ​​ongoing collaboration that seeks to incorporate multiple voices of artists, curators, writers and researchers. Among the members of this network is Tulio Pinto, who composes the platform with information and pictures of various projects developed over the years. Besides the network of artists, the project has a collection of various texts and articles on the subject, and specific space for disclosure of events related to the theme.”

• Happenings

January 12, 2014 Túlio Pinto: Acquisition Award at the 13th SNAI https://abstractioninaction.com/happenings/tulio-pinto-acquisition-award-13th-snai/

Tulio Pinto wins Acquisition Award at the 13th SNAI
XIII Salão Nacional de Artes de Itajaí
November 16th – December 15th, 2013
Fundação Cultural de Itajaí / Rua Lauro Müler, 53, Brazil
Casa da Cultura Dide Brandão / Rua Hercilio Luz, 681, Brazil

From November 16 to December 16, 2013, Itajai presented in its space the 13 SNAI – National Arts Hall of Itajaí. This year, the Hall brought to Itajaí 114 artists from virtually every state in Brazil.

The works were presented in several areas of the city (cultural centers, parks, harbor wall, beach). The research center was composed by Caue Alves curator, artist Divine Sobral and general curator of the 13th SNAI Joshua Mattos. The choice of the three winning works was made by Ane Fernandes (Director of Art of Itajai Cultural Foundation), and Divine Caue Alves Sobral.

Acquisition prizes were awarded to artists Pink Bunchaft (Salvador), Philip Steinberg (Campinas) and Túlio Pinto (Brasília, DF – lives and works in London) with Nadir# 2 installation.

Click here to see video

• Happenings

January 12, 2014 Nuno Ramos: Anjo e Boneco https://abstractioninaction.com/happenings/nuno-ramos-anjo-e-boneco/

Nuno Ramos: Anjo e Boneco
December 7, 2013 – March 30, 2014
Museu Oscar Niemeyer
Curitiba, PR, Brazil

The title of the exhibition is a fragment extracted from “Elegias de Duíno” by Rainer Maria Rilke – “Anjo e boneco: haverá espetáculo”. Unlike previous designs, the artist now works with few elements and materials. The compositions are all done with gouache and charcoal pastels. There are geometric shapes combined with gestural lines, and the play between the lines and shapes always seem to be on the limit of imbalance. There is an expectation of the future and the compositions are never static.

• Happenings

January 12, 2014 Lucia Koch https://abstractioninaction.com/artists/lucia-koch/

The first works I made that I consider founded my practice, were interventions on domestic spaces, but always having the public space in the horizon. That’s why I work mostly on the skin of the buildings, on windows, doors, and skylights that allow air and light – that are the vital substances of places – to circulate and put in contact the interior and exterior. This practice later was extended to institutional spaces and I was always driven to be assimilated by the environment, in mimetic strategies that made me study the architectural elements and the specific contexts I worked on. My works interact with architecture, creating altered states of the places by using filters that operate on the ambient light, affecting also people who visit them, regularly or for the first time. Printing color gradients on translucent materials or perforating surfaces that are later installed on windows or skylights, or even building freestanding walls, I think of the materials I use as devices for communication between inside and outside or two people placed in both sides of them. Mathematical logic was my mother language, as a child participating in experimental pedagogic studies in the early seventies. And this influence appears in my works called Concrete Materials, presented at “Matemática Moderna” exhibition in 2005. They were combinatory exercises with sets of photographs of facade tiles, open to different configurations that presume other people playing and reorganizing them constantly. But later I could see that I was in fact more interested in a reaction to the universalism of Modern Mathematics brought by a new approach to knowledge in the field of Ethnoscience. My works are actually more connected to the practice than the theory of sets. The surfaces where I draw and cut patterns inspired in elements of popular architecture like cobogós and lattices are pieces that I call sets of spontaneous mathematics. Though my understanding of space is more topological than geometrical, more experienced than represented, still geometry plays an important role in my practice: cut out patterns geometrically generated organize the surfaces, and being transparent (in different degrees) they are a sort of matrix to the experience of seeing through them, and also interfere with the light coming through them and projected in the interior, creating a pattern of vibration different than the usual one. The works in the series Matematica Espontânea (Conjunto A, Conjunto Ecletico, Conjunto B, Conjunto Nacional, etc.), reuse patterns found in domestic or public spaces in the cities, inspired in ornamental elements used to provide ventilation and shade. These breeze blocks are called COBOGÓS and have a great importance in modernist architecture in Brazil, and because they were spread beyond the buildings designed by authors – found in every city – through them we can identify the singularity of Brazilian modernity and also the aspect of it that became popular and was assimilated by everybody. The social practices that deal with the cobogós surfaces as communication devices justify its existence and we can recognize also a sort of taste for patterns (it happens with tiles too), for surfaces that are organized with a mathematical logic, therefore an intelligent composition, that is conceived despite of the lack of formal education in that area that is also spread in Brazilian cities. So, it’s an architecture made by non-architects, mathematics made by non-mathematicians, a proof of the creative intelligence of the population, that relate to abstract compositions to make the permeable surface that put in contact inside and outside, private and public. These “screens” are also a kind of filter when you see the other side of the walls, and interfere in the visual perception of the world. Color is also an important thing, initially seen as an attribute of things, again in a very logical way of displaying and classifying, but gradually converted into a key to recreate atmospheres, by altering light with color filters. From the color “sentences” to the gradients where almost all colors are compressed, my works are sort of extracts (according to the dictionary: noun |ˈekˌstrakt| 2 a preparation containing the active ingredient of a substance in concentrated form) of color and light experienced in specific landscapes. In the Degradês, the image is reduced to a color transition printed with pigment on a translucent canvas, to be stretched and attached to an existent architectural structure, and backlit by a natural or artificial light source. The gradients are inserted in the landscape they refer too, in a strategy that would be mimetic if they were not so different in nature of the environment. They are also hard to be explained for the viewer that “bumps” into them since they are images that have no obvious function comparing to the other screens installed in the city: there are no signal, text or advertising. It’s more like something filling a gap that wasn’t evident before. And in some cases it becomes similar to an intervention made with Photoshop, which makes us see (and think of) the world as image again…

 

Traducido del inglés

Las primeras obras que produje, las cuales considero fundaron mi práctica, fueron intervenciones en espacios domésticos, pero siempre teniendo el espacio público en el horizonte. Es por eso  que casi siempre trabajo con la piel de los edificios, sobre ventanas, puertas y claraboyas que permiten entrar aire y luz, las substancias vitales de un lugar, para circular y poner en contacto el interior y el exterior. Esta práctica luego se extendió a los espacios institucionales y siempre procuré que mi obra fuera asimilada por el ambiente, en estrategias de mimetismo que me hicieron estudiar los elementos arquitectónicos y los contextos específicos en los cuales trabajaba. Mis obras interactúan con la arquitectura, creando estados alterados de los lugares al usar filtros que funcionan con la luz ambiental, afectando también a la gente que los vistita, regularmente o por primera vez. Imprimo degradaciones de color sobre materiales translúcidos o perforo superficies que son después montadas sobre ventanas o tragaluces, o hasta en muros independientes de edificios, y pienso en los materiales que utilizo como recursos de comunicación entre adentro y afuera o entre dos personas situadas en ambos lados de ellos. La lógica matemática fue mi lengua madre, como niña participé en estudios de pedagogía experimental a principios de los años setenta. Esta influencia aparece en mis obras tituladas Materiales concretos, presentadas en la exposición Matemática Moderna en 2005. Fueron ejercicios de combinación con agrupaciones de fotografías en azulejos de fachadas, abiertos a configuraciones diferentes que asumen que otra gente jugará con ellos y los reorganizará constantemente. Después me percaté de que estaba más interesada en la reacción al universalismo de la matemática moderna llevado a un nuevo acercamiento al conocimiento en el campo de la etnociencia. Mi trabajo está más ligado a la práctica que a la teoría de conjuntos. Las superficies donde dibujo y corto patrones inspirados en elementos de arquitectura popular como cobogós y celosías, son piezas que llamo agrupaciones de matemáticas espontáneas. A pesar de que mi conocimiento del espacio es más topológico que geométrico, más vivido que representado, la geometría aún juega un papel importante en mi práctica: patrones recortados generados geométricamente, organizan las superficies, y al ser transparentes en diferentes grados, son un tipo de matriz de la experiencia de ver a través de ellos y también interfieren con la luz que sale de ellos y se proyecta al interior, creando un patrón de vibración diferente del común. Las obras en la serie Matemática espontánea (Conjunto A, Conjunto Eclético, Conjunto B, Conjunto Nacional, etc.), reutilizan patrones encontrados en espacios domésticos o espacios públicos en las ciudades, inspirados en elementos ornamentales que se usan para ventilar o dar sombra. Estos bloques son llamados cobogós y son muy importantes dentro de la arquitectura moderna en Brasil, y puesto que fueron distribuidos más allá de los edificios diseñados por autores (presentes en todas las ciudades), por medio de ellos podemos identificar la singularidad de la modernidad brasileña y el aspecto que los hizo populares y ser asimilados por todo el mundo. Las prácticas sociales que consideran las superficies de los cobogós como dispositivos de comunicación justifican su existencia, y podemos reconocer también un tipo de gusto por los patrones (sucede con los azulejos también); por superficies que son organizadas con una lógica matemática, por lo tanto en una composición inteligente, que fue concebida a pesar de la carencia de educación formal en esta área tan diseminada en las ciudades de Brasil. Entonces esta es una arquitectura hecha no por arquitectos, matemáticas por no matemáticos, una prueba de la inteligencia creativa de la población que se relaciona con composiciones abstractas para hacer las superficies permeables que ponen en contacto lo interior con lo exterior, lo privado y lo público, Estas “rejillas” son también una especie de filtro cuando ves los otros lados de los muros e interfieren con la percepción visual del mundo. El color también es un elemento importante, inicialmente visto como un atributo, de nuevo en una manera lógica de desplegar y clasificar, pero gradualmente convertido en una llave para recrear atmósferas, al alterar la luz con filtros de colores. De los “enunciados” de color a los gradientes donde casi todos los colores son comprimidos, mis obras son como extractos (de acuerdo al diccionario: una preparación que contiene el ingrediente activo de una sustancia de forma concentrada) de color y luz percibida en paisajes específicos. En los Degradês, la imagen es reducida a una transición de color impresa con pigmento sobre un lienzo translúcido, que es tensada  y puesta sobre una estructura arquitectónica existente e iluminada por detrás por luz artificial o natural. Los gradientes son insertados en el paisaje al que hacen referencia, como estrategia de mimetización si no fueran tan diferentes del ambiente. También es difícil explicar al espectador que se encuentra con ellos, ya que son imágenes que no tienen obvia función comparados con las otras rejillas de la ciudad: no hay señales, texto o anuncios. Es más como una cosa que llena un vacío que no era antes visible. En algunos casos se vuelve similar a una intervención hecha con Photoshop, lo que nos hace ver (y pensar sobre) el mundo como una imagen de nueva cuenta…

Selected Biographical Information

Education / Training

• 2006-2008: Doctorate in Visual Arts, USP/Universidade de São Paulo, Brazil.
• 1998-2000: Master in Visual Arts, Art Institute – UFRGS, Porto Alegre, Brazil.
• 1984-1988: Bachelor in Fine Arts, Universidade do Rio Grande do Sul, Porto Alegre, Brazil.

Prizes / Fellowships

• 2014: Residence Flora Ars Natura, Flora Ars Natura, Bogotá, Colombia.
• 2010: Premio Marc Ferrez, FUNARTE.
• 2004: Premio Marcantonio Vilaça.

Solo Exhibitions

• 2013: “a small show with a lot of space in it”, Christopher Grimes Gallery, Santa Monica, CA, USA.
• 2012: Materiais de Construção”, Galeria Nara Roesler, São Paulo, Brazil.
• 2012: “Cromotheism”, Capela do Morumbi, São Paulo, Brazil.
• 2011: “Un Tour”, Galeria Lucia de la Puente, Lima, Peru.
• 2009: “Conjunto Nacional”, Galeria Vitrine Paulista, São Paulo, Brazil.
• 2008: “Casa Acesa”, La Casa Encendida, Madrid, Spain.
• 2007: “Correções de Luz”, Centro Universitario Mariantonia, São Paulo, Brazil.
• 2006: “Matemática Espontânea”, Torre Malakoff, Recife, Brazil.
• 2005: “Matemática Moderna”, Galeria Casa Triângulo, São Paulo, Brazil.

Group Exhibitions

• 2013: “Re:emerge”, 11th Sharjah Biennial, United Arab Emirates.
• 2011: “A terrible beauty is born”, 11 Biennale de Lyon, France.
• 2011: 8th Mercosul Biennial, Porto Alegre, Brazil.
• 2010: “Arts and Cities”, Aichi Triennale Choja-Machi, Nagoya, Japan.
• 2010: “Nature of Things”, Biennial of the Americas Denver, USA.
• 2009: “When Lives Become Form”, Yerba Buena Center For Arts, San Francisco, USA.
• 2008: MOT – Contemporary Art Museum, Tokyo, Japan.
• 2007: “Contraditorio”, Panorama da Arte Brasileira MAM/SP, São Paulo, Brazil.
• 2006: “Como Viver Junto”, 27ª Bienal de São Paulo, São Paulo, Brazil.
• 2005: “More Than This! Negotiating Realities” 3rd Gothenburg Biennial, Sweden.
• 2004: “Poetic Justice”, 8th Istanbul Biennial Turkey.

Publications

• Art in America # september 2013.
• ArtNexus # 90 september 2013.
• Frieze # 143 november 2011(11th Biennale de Lyon) and #107 may 2009 (focus).
• Dardo magazine # 3 january 2006 Barro, David. “Acuarela inexistente. Tempos de luz,” : 76-77, 88-89, 99, 2006.
• BOMB #102 March, 2008 Ramiro, Mario. “Mario Ramiro on Lucia Koch,”: 30-31, Artists on Artists.
• Lucia Koch – ARTEBRA collection Rio de Janeiro: Automática, 2009.
• Desdobramentos da Pintura Brasileira Séc.XXI, Editora Cobogó, Rio de Janeiro, 2012.
• Contemporary Art Brazil, Transglobe publishing, London, 2012.
• Duarte, Paulo Sergio. Arte brasileira contemporânea: um prelúdio. Rio de Janeiro, 2008.
• Barro, David. “La realidad topológica de Lucia Koch,” in Parangolé: Fragmentos desde los 90 en Brasil, Portugal y España, España, 2008.
• Interlengui, Luiza. “Lucia Koch: the space inside out,” in Shift. New York: Center for Curatorial Studies; Bard College, Annandale on Hudson, 2002.

Collections

• Musé d’Art Contemporain MAC Lyon, France.
• Pinacoteca do Estado de São Paulo, Brazil.
• University of Warwick, UK.
• Museu de Arte Moderna/MAM SP São Paulo, Brazil.
• Museu de Arte Moderna/MAM Rio de Janeiro, Brazil.
• Museu de Arte Moderna Aloisio Magalhães/MAMAM – Recife, Brazil.
• MAC RS Porto Alegre, Brazil.
• MAC PR, Curitiba, Brazil.
• ARCO Foundation, Madrid, Spain.

Links

• Vídeo Guerrilha- Arte e espaço
• Artist to Artist
• Art in America Magazine
• Frieze Magazine
• 11th Biennale de Lyon
• 27th Sao Paulo Biennial
• Universes in Universe
• 11th Bienalle de Lyon
• Interview with the artist
• Galeria Nara Roesler, video interviews

Lucia Koch, “Conversion”, 2013, Metal structure with color filters and plexiglas, Site specific project. Location: 11th Sharjah Biennial, Sharjah, United Arab Emirates. Image courtesy of the artist

Lucia Koch, “Conversion”, 2013, Metal structure with color filters and plexiglas, Site specific project. Location: 11th Sharjah Biennial, Sharjah, United Arab Emirates. Image courtesy of the artist

Lucia Koch, “Conversion”, 2013, Metal structure with color filters and plexiglas, Site specific project. Location: 11th Sharjah Biennial, Sharjah, United Arab Emirates. Image courtesy of the artist

Lucia Koch, “Conjunto A”, 2008, Series: Matemática Espontânea, Laser cut on MDF, Site specific project. Location: SESC Pinheiros, São Paulo, Brazil. Image courtesy of the artist

Lucia Koch, “Conjunto A”, 2008, Series: Matemática Espontânea, Laser cut on MDF, Site specific project. Location: SESC Pinheiros, São Paulo, Brazil. Image courtesy of the artist

Lucia Koch, “Material Concreto (números)”, 2005, Series: Matemática Moderna, Photography mounted on wood, 100 x 400 cm (variable dimensions). Image courtesy of the artist

Lucia Koch, Installation view, 2012, Series: Materiais de Construção. Image courtesy of the artist

Lucia Koch, “Mostruário Espelhos”, 2012, Series: Mostruário Espelhos, 250 x 215 x 100 cm. Image courtesy of the artist

Lucia Koch, “Degradê SP”, 2004, inkjet print on vinyl canvas, 3 x 15 m, Site specific project. Location: Paço das Artes, São Paulo, Brazil. Image courtesy of the artist

Lucia Koch, “Degradê SP”, 2004, inkjet print on vinyl canvas, 3 x 15 m, Site specific project. Location: Paço das Artes, São Paulo, Brazil. Image courtesy of the artist

Lucia Koch, “Wave off Choja-Machi”, 2010, Pigment print on paper, fabric, and umbrellas. Image courtesy of the artist

Lucia Koch, “Wave off Choja-Machi”, 2010, Pigment print on vinyl canvas, Site specific project. Location: Aichi Triennale, Nagoya, Japan. Image courtesy of the artist

Lucia Koch, “Wave off Choja-Machi”, 2010, Umbrellas fabricated with pigment print. Location: Aichi Triennale, Nagoya, Japan. Image courtesy of the artist

Lucia Koch, “Matemática Espontânea”, 2006, Laser cut on mirrored plexiglas, Site specific project. Location: Torre Malakoff, Recife, Brazil. Image courtesy of the artist

Lucia Koch, “Matemática Espontânea”, 2006, Laser cut on plexiglas, Site specific project. Location: Torre Malakoff, Recife, Brazil. Image courtesy of the artist

• Artists

November 6, 2013 Marcius Galan https://abstractioninaction.com/artists/marcius-galan/

Most part of my work explores the metaphorical capacities of space and our relation to it through his wide- ranging practice which includes installation, sculpture, photography and video. Using abstract geometry to delineate the political and social implications of his chosen environments, deconstructing the codes of objects established through everyday use. Whilst these configurations are always executed with graphic simplicity, the works are in fact complex material experiments that interrogate the functions, limits and frontiers of space and by extension, the socio-political systems which reside therein.

 

Traducido del inglés

La mayor parte de mi obra explora las capacidades metafóricas el espacio y nuestra relación con él mediante la amplia práctica que incluye instalación, escultura, fotografía y video. Utilizando geometría abstracta para delinear las implicaciones sociales y políticas de ambientes elegidos, deconstruyendo los códigos de los objetos establecidos mediante el uso cotidiano. Pese a que estas configuraciones son siempre ejecutadas con gran simplicidad, estas obras son de hecho complejos experimentos materiales que interrogan las funciones, límites y fronteras del espacio, y por ende, los sistemas socio-políticos en los que residen.

Selected Biographical Information

Education / Training

• Fundação Armando Álvares Penteado – FAAP.

Prizes / Fellowships

• 2012: Gasworks International Residency Programme, London, UK.
• 2012: Pipa (Prêmio Investidor Profissional de Arte), Rio de Janeiro, Brazil.
• 2011: Cifo – Cisneros Fontanals comission Prize, Miami, USA.
• 2009: Prêmio aquisição SP-Arte/Iguatemi – aquisição para Pinacoteca do Estado, São Paulo, Brazil.
• 2004: Bolsa Instituto Iberê Camargo/Visiting Artists Program – School of the Art Institute of Chicago, Chicago, US.
• 2003: Bolsa Faap/Cité Internationale des Arts, Paris, France.
• 1995: Prêmio Michelangelo de Pintura, São Paulo, Brazil.

Solo Exhibitions

• 2013: “Diagrama”, NC-Arte, Bogotá, Colombia.
• 2013: “Geometric Progression”, Inside the White Cube, White Cube, London, UK.
• 2011: “Imóvel/Instável”, Galeria Luisa Strina, São Paulo, Brazil.
• 2010: “Area útil: área comum”, Galeria Silvia Cintra + Box 4 – Rio de Janeiro, Brazil.
• 2009: “Seção Diagonal [Diagonal Section]”,Galeria Box 4, Rio de Janeiro, Brazil.
• 2008: “Geometria Informal”, Galeria Pedro Cera, Lisbon, Portugal.
• 2008: “Área Comum”, Galeria Luisa Strina, São Paulo, Brazil.
• 2005: “Arquipélago”, Galeria Luisa Strina, São Paulo, Brazil.
• 2004: “Fundo Falso”, Galeria Luisa Strina, São Paulo, Brazil.
• 2001: “Sem Título”, Temporada de Projetos Paço das Artes, São Paulo, Brazil.

Group Exhibitions

• 2013: “My third Country”, Frankdael , Amsterdam, Netherlands.
• 2012: “Planos de fuga”, Uma exposição em obras – Centro Cultural Banco do Brasil, São Paulo, Brazil.
• 2011: “An Other Place”, Galerie Lelong, New York, US.
• 2011: “Viewpoint”, Cisneros Fontanals Art Foundation 2011 Grants and Comissions Program, Miami, US.
• 2011: “8^a Bienal do Mercosul”, Ensaios de Geopoética, Porto Alegre, Brazil.
• 2010: “29ª Bienal Internacional de São Paulo, “Todo homem tem um copo de mar para navegar”, São Paulo, Brazil.
• 2010: “Para ser Construidos”, Laboratório 987, MUSAC, Leon, Spain.
• 2010: “Pontos de Vista”, Instituto Inhotim, Brumadinho, MG.
• 2008: “Color into light”, Selections from the MFAH Permanent Collection, Museum of Fine Arts Huston, US.
• 2008: “Soziale Diagramme. Planing Reconsidered”, Künstlerhaus Stuttgart, Germany.

Publications

• Marcius Galan – Inside the White Cube, White Cube, London, 2013.
• Art Cities of the Future – 21st-Century Avant-Gardes, Phaidon press , London, 2013.
• Desenhos [Drawings]: A -Z: Coleção Madeira Corporate Services / Adriano Pedrosa (edição e org.); Soartes, Lisboa, 2006.
• Publicado pela Coleção Madeira Corporate Services.
• Contemporary Art Brazil TransGlobe Publishing Ltd, london, 2012.
• Desdobramentos da Pintura do séc. XXI – Editora Cobogó – Rio de Janeiro, 2013.
• 8a Bienal do Mercosul: Ensaios de Geopoética: catálogo / José Rocca (curadoria Geral).
• Porto Alegre: Fundação Bienal do Mercosul, 2011.
• Catálogo da 29a Bienal de São Paulo: Há sempre um copo de mar para um homem navegar / Curadores: Agnaldo Farias, Moacir dos Anjos. São Paulo: Fundação Bienal de São Paulo, 2010.
• Panorama da Arte Brasileira 2007: Contraditório / Moacir dos Anjos (curadoria); Museu de Arte Moderna de São Paulo, São Paulo, 2007.

Collections

• Museu Serralves, Porto, Portugal.
• Pinacoteca do Estado de São Paulo, Brazil.
• Museu de Arte Moderna de São Paulo – MAM, SP, Brazil.
• Museu de Arte Moderna do Rio de Janeiro – MAM Rio, Brazil.
• Museum of Fine Arts, Houston, USA.
• Coleção JUMEX, México DF, Mexico.
• The Zabludowicz Collection, London, UK.
• Coleção Madeira Corporate Services, Ilha da Madeira, Portugal.
• Centro de Arte Contemporânea Inhotim, Brumadinho, Minas Gerais, Brazil.
• Cifo, Cisneros Fontanals, Miami, USA.
• Instituto Figuereido Ferraz, Ribeirão Preto, São Paulo, Brazil.

Marcius Galan, “Diagonal section”, 2008, Wood, wax and paint on wall, Variable dimensions, Location: Inhotim. Photo credit: Pedro Motta (courtesy Galeria Luisa Strina and Instituto Inhotim)

Marcius Galan, “Uma linha contem infinitos pontos”, 2011, Enamel paint on wood and map pins, 200 x 300 cm (board), 400 x 800 cm (installation). Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)

Marcius Galan, “Bandeirinhas”, 2013, Painted iron and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)

Marcius Galan, “Bandeirinhas”, 2013, Painted iron and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)

Marcius Galan, “Abstração Instável”, 2011, Wood, glass, graphite and rubber. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)

Marcius Galan, “Isolante (repouso)”, 2008, Painted iron and nails, 163 x 9 x 5 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)

Marcius Galan, “Isolante (tenso)”, 2011, Iron, wood and cement, 160 x 80 x 40 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)

Marcius Galan, “Inert #2”, 2011, Painted iron and nails, 175 x 135 x 65 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)

Marcius Galan, “Desenhos (2002 to 2005)”, 2005, Rubber, graphite, paper, glass and wood, 22.2 x 17.1 x 10 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina and MCS Collection)

Marcius Galan, “Immobile”, 2013, Wood, coin, cables and iron, 12.8 x 370 x 932 cm. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)

Marcius Galan, “Immobile”, 2013, Wood, coin, cables and iron, 12.8 x 370 x 932 cm. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)

Marcius Galan, “Bandeirinha (Bunting)”, 2013, Polyurethane paint on iron, nails and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)

Marcius Galan, “Bandeirinha (Bunting)” (Detail), 2013, Polyurethane paint on iron, nails and string, Variable dimensions. Photo credit: Ben Westoby (courtesy Galeria Luisa Strina and White Cube Gallery)

Marcius Galan, “Cartografia Abstrata (Segmento de Reta V)”, 2012, Enamel paint on wood and map pins, 75 x 148 cm. Photo credit: Edouard Fraipont (courtesy Galeria Luisa Strina)

• Artists

November 6, 2013 Túlio Pinto https://abstractioninaction.com/artists/tulio-pinto/

Over the past five years, I have developed a research work in sculpture and installation with industrial materials which denote, in the constitution and the way they are presented, my intention to hold encounters of different strengths and temperaments; of oppositions that support each other at their possible limits. In my visual speech that I seek to generate, I establish the dialogue through the laws of the world, metaphors that point to the “being’s” existence; where transformation and impermanence, from the subtlety of possible balance, translate into a place of experience and reflection.

 

Traducido del inglés

En los últimos cinco años he desarrollado un trabajo de investigación en la escultura e instalación con materiales industriales que denotan, en su constitución y la forma que son presentados, mi intención de contener encuentros de diferentes fuerzas y temperamentos; de oposiciones que se apoyan unas a las otras dentro de sus límites posibles. En mi discurso visual busco generar, estableciendo el diálogo por medio de las leyes del mundo, metáforas que apuntan a la existencia del ser, donde la transformación e impermanencia, desde lo sutil del posible balance, se traducen a un lugar de experiencia y reflexión.

Selected Biographical Information

Education / Training

• 2009: UFRGS, Visual Arts, specialization in sculpture.

Prizes / Fellowships

• 2014: Artist Residence, Izolyatsia, Ukraine.
• 2013: Acquisition Award at the 13th SNAI, XIII Salão Nacional de Artes de Itajaí, Brazil.
• 2013: Sala Taller III residency program, EAC – Espacio de Arte Contemporáneo, Montevideo.
• 2013: 9° Rede Nacional Funarte, project CEP: body, space and route, Brasil, Natal, Porto Alegre.
• 2011-2012: Energisa Prize for Visual Arts, Brazil, João Pessoa.
• 2011: Acquisition Prize, Art Salon of Mato Grosso do Sul 2011, Campo Grande, MS, Brazil.
• 2011: FAAP residency program, Lutetia Building, São Paulo, Brazil.
• 2010: Leonello Berti Acquisition Award 35º SARP, Ribeirão Preto, Brazil.
• 2009: lV Açorianos Arts Awards, Sculpture 2009, Porto Alegre, Brazil.

Solo Exhibitions

• 2013: “From Territories”, Abysses and Intentions, Santader Cultural, Porto Alegre, Brazil.
• 2013: “Ground”, Baró Gallery, São Paulo, Brazil.
• 2013: “CEP: body, space and route”, IFRN Gallery, Natal, Brazil.
• 2012: “Recognition practices and some approximations”, Museum of sustainability – Victor Civita Square, São Paulo, Brazil.
• 2012: “Transposition”, Augusto Meyer Gallery – Mario Quintana Culture House, Porto Alegre, Brazil.
• 2011: “Diagonal”, MARP – Museum of Art of Ribeirao Preto, Ribeirao Preto SP, Brazil.
• 2009: “Orthogonal Trajectories”, Goethe Institut, Porto Alegre, Brazil.
• 2009: “Two Magnitudes”, Iberê Camargo Gallery Usina do Gasômetro, Porto Alegre, Brazil.

Group Exhibitions

• 2013: “Here we are from here we go”, Arróniz Gallery, Mexico DF, Mexico.
• 2012: “Salvajes Digesting Europe Piece by Piece”, Traneudstillingen Exhibition Space, Copenhagen, Denmark.
• 2012: “Drawing Instances”, Logo Gallery, São Paulo, Brazil.
• 2012: “Drawing Instances”, School of Visual Arts of Parque Lage, Rio de Janeiro RJ, Brazil.
• 2011: “New Brazilian Sculpture”, Caixa Cultural Rio de Janeiro, Rio de Janeiro, RJ, Brazil.
• 2011: “72 Hours”, MAC – RS, Porto Alegre RS, Brazil.
• 2011: “Rastros de Aserrín”, Centro Cultural del Parque de España, Rosario, Argentina.
• 2011: “From the Studio to The White Cube”, MARGS Art Museum of Rio Grande do Sul, Porto Alegre, Brazil.
• 2011: “Hollow Horizon: Latin-American artists at the edge”, Instituto Cervantes, São Paulo, Brazil.
• 2010: “Tripod Project Parallel 30”, Sesc Pompéia, São Paulo, Brazil.

Publications

• 2013: De territórios, abismos e intenções, Imago art office.
• 2013: CEP: corpo, espaço e percurso, publishing house Panorama Crítico.
• 2012: Transposição: 30°01’52.56’’S – 51°14’04.03’’O, publishing house Panorama Crítico.
• 2011: Nova Escultura Brasileira, Gala Art Editions.
• 2010: Subterrânea, publishing house Panorama Crítico.
• 2009: Entre Séculos, Brasília National Museum.

Collections

• Figueiredo Ferraz Institute, Ribeirão Preto SP, Brazil.
• MAC-RS, Museum of Contemporary Art of Rio Grande do Sul, Porto Alegre, Brazil.
• Marco – Museum of Contemporary Art of Mato Grosso do Sul, Campo Grande , MS, Brazil.
• Brasília National Museum, Brasília, Brazil.
• Ribeirão Preto Arts Museum, Ribeirão Preto, Brazil.
• Aldo Locatelli Municipal Art Gallery, Porto Alegre, Brazil.

Links

• Pregnanciadaforma
• Ground | From Matter to Mind by Flávio Gonçalves [PDF] 
  

Túlio Pinto, “Nadir”, 2013, Series: 1/3, Installation, glass slide (200x50x0.6 cm), stones and steel cable, Variable dimensions. EAC – Espacio de Arte Contemporáneo | Montevideo – Uruguay, Photo credit: Courtesy of the artist.

Túlio Pinto, “Territories”, 2013, Series: 1/3, Sculpture, chairs, table, glass slide, concrete blocks and steel cable, 131 x 100 x 200 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Diego Santovito.

Túlio Pinto, “Abysses”, 2013, Series: 1/3, Sculpture, table, glass slide, granite cube and steel cable, 200 x 100 x 356 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Diego Santovito.

Túlio Pinto, “Complicity # 2”, 2013, Series: 1/3, Sculpture, beam steel and blown glass, 160 x 37 x 60 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist and FelipeCensi.

Túlio Pinto, “Consensus”, 2013, Series: 1/3, Installation, shelf 30x20cm, glass slide 120x30x0,6 cm, granite cube 20x20x20, shelf 20x20cm and steel cable, Variable dimensions. Baró Gallery – São Paulo – Brazil, Photo credit: FelipeCensi.

Túlio Pinto, “Land Line # 3”, 2013, Series: 1/1, Sculpture, Corten steel cube and glass slide, 275 x 300 x 275 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist.

Túlio Pinto, “Compensation # 3”, 2013, Series: 1/1, Sculpture, 02 cubes of steel and glass slide, 210 x 110 x 230 cm, Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist.

Túlio Pinto, “Meeting Situation”, 2013, Series: 1/1, Sculpture, 6 m³ of sand and glass slide (160x160x0, 8cm), Variable dimensions. Baró Gallery – São Paulo – Brazil, Photo credit: Courtesy of the artist.

Túlio Pinto, “Confidents # 1”, 2012, Series: 1/3, Sculpture, 05 wood cubes (50 x 50 x 50 cm each) and fabric, Variable dimensions. Traneudstillingen Exhibition Space – Copenhagen, Denmark, Photo credit: Courtesy of the artist.

Túlio Pinto, “Lines, 2012”, Series: 1/1, Installation, balloons and helium, Variable dimensions. Oeregaads Parken – Hellerup, Denmark, Photo credit: Courtesy of the artist.

Túlio Pinto, “Diagonal, 2011”, Series: 1/3, Installation, concrete blocks (150 x 30 x 10 cm each) and fabric, 146 x 900 x 30 cm, Art Museum of Ribeirão Preto. SP – Brazil, Photo credit: Courtesy of the artist.

Túlio Pinto, “Time – 31 day cycle”, 2010, Series: 1/3, Sculpture, concrete block (150 x 30 x1 0 cm) and balloon, 170 x 50 x 80cm, Art Museum of Piracicaba – SP – Braszil, Photo credit: Courtesy of the artist and Julio Garbellini.

Túlio Pinto, “4.5 horizontal meters”, 2009, Series: 1/3, Installation, mirror (100 x 100 cm) and 15 wooden cubes (15x15x15 cm each), 100 x 100 x 225 cm, Art Museum of Ribeirão Preto. SP – Brazil, Photo credit: Maurício Froldi.

Túlio Pinto, “Two Magnitudes”, 2009, Series: 1/1, Installation, fabric (300 x 300cm), steel plate (100 x 100 x 1.5 cm) and steel cable, Variable dimensions. Iberê Camargo Gallery – Gasômetro Usina – Porto Alegre – Brazil, Photo credit: Anderson Astor.

Túlio Pinto, “Orthogonal Trajectories”, 2009, Series: 1/1, Installation, concrete blocks and wooden cubes, 500x25x425cm, Subterrânea Atelier – Porto Alegre – Brazil, Photo credit: Courtesy of the artist

Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.

Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.

Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.

Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.

Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.

Túlio Pinto, “Nadir # 2”, 2013, Series: 1/3, Installation, glass slide, stones and steel cable, Variable dimensions. Acquisition Award at the 13th SNAI, Brazil. Photo credit: Courtesy of the artist.

• Artists

October 16, 2013 Montez Magno https://abstractioninaction.com/artists/montez-magno/

Translated from Portuguese

A great deal of my current work is based on things from here, from Recife, in the Northeast, but the Recifenses themselves do not realize it. I’m doing a survey or study of a forgotten and omitted side from Brazilian popular art: the abstractionist side. It is incredible what people do in terms of geometric abstraction. I am documenting with slides the diverse modalities of abstract geometric expression: party tents and blankets, patchwork, ice cream carts, popcorn, etc.; garage doors and other things that show up. It is fantastic, and you will sometimes find things of op-art, constructivism and concretism, all of this done in the most holly ignorance and naivety, but with a keen and intuitive sense of color and construction. These are the things from which I currently extract material for my work.

 

[…] Grande parte do meu trabalho atual é baseado em coisas daqui mesmo, do Recife, do Nordeste, mas os próprios recifenses não percebem isso. Estou fazendo uma pesquisa ou estudo do lado esquecido e omitido da arte popular brasileira: o lado abstracionista.

É incrível o que o povo faz em termos de abstração geométrica. Estou documentando com slides as diversas modalidades de expressão abstrato-geometrica: barracas de festa e de feira cobertas de retalhos, carroças de sorvete, de pipocas, etc; portões de garagem e outras coisas que vão aparecendo. É fantastico e voce encontra as vezes coisas de op-art, de concretismo e de construtivismo, tudo isso feito na mais santa ignorância e ingenuidade, mas com um agudo e intuitivo senso de cor e de construção. É dessas coisas que atualmente extraio material para meu trabalho.

Selected Biographical Information

Education / Training

• 1953-1957: Drawing and painting.
• 1963-1964: Fellow at Institute of Hispanic Culture, Madrid, Spain.

Prizes / Fellowships

• 1958: XVIII Salão de Pintura do Estado de Pernambuco, Recife, Brazil.
• 1962: IX Salão Paulista de Arte Moderna – Galeria Prestes Maia, São Paulo, SP, Brazil.
• 1963: Fellowship – Instituto de Cultura Hispânica de Madrid.
• 1967: XVI Salão Nacional de Arte Moderna do Rio de Janeiro, IX Bienal Internacional de Artes de São Paulo (Itamaraty Prize Acquisition), I Bienal Nacional de Artes Plásticas da Bahia (Salvador, Bahia) Incentive Prize.
• 1971: I Salão de Arte da Eletrobrás, Museu de Arte Moderna do Rio de Janeiro.

Solo Exhibitions

• 2012: “Galáxia”, Galeria Pilar, São Paulo, Brazil.
• 2011: “Retrospectiva Montez Magno: 55 Anos de Arte”, Museu de Arte Moderna Aloísio Magalhães, MAMAM, Recife, Brazil.
• 2010: “Thânatos”, Instituto de Arte Contemporânea da Universidade Federal de Pernambuco, UFPE, Recife, Brazil.
• 2006: Museu do Estado de Pernambuco, Recife, Brazil.
• 2000: Museu de Arte Moderna Aloísio Magalhães, MAMAM, Recife, Brazil.

Group Exhibitions

• 2013: “Imagine Brazil”, Astrup Fearnley, Oslo, Norway.
• 2013: “33o Panorama da Arte Brasileira”, MAM, São Paulo, Brazil.
• 1998: “Collective of Pernambuco Artists”, Fundação Júlio Resende, Oporto, Portugal.
• 1997: “International Exhibition of Visual Poetry”, Melbourne, Australia.
• 1996: “5th Biennial of Visual and Experimental Poetry”, Mexico City, Mexico.

Publications

• 2005: A véspera metálica. Recife: M&M Editor.
• 2002: Câmara Escura. Poesias 1988–2001. Recife: M&M Editor.
• 2002: As invenções de Cambroque. Poesia burlesca e satírica. Recife: M&M Editor.
• 1993: Notassons. Notações musicais e visuais aleatórias. 1970–1992. Coleção Belos & Raros. Recife: M&M Editor.
• 1992: O Diwân de Casa Forte. Recife: M&M Editor.

Collections

• MAMAM – Recife – Pernambuco.

Montez Magno, “Fragmentações Series”, 1963, Dry oil on paper, 100 x 71 cm

Montez Magno, “Bachianas Series”, 1966, Felt pen on cardboard duplex, 111 x 76,5 cm

Montez Magno, “Collage”, 1962, Oil paint and collage on canvas, 34 x 35 cm

Montez Magno, “Nano Sculpture Museum”, 2009, Scale model in wood and various objects, 30 x 39 cm

Montez Magno, “Caixa”, 1968, Paint on wood, 39 X 22 cm

Montez Magno, “Esquema”, 1972, Pencil on paper, 21,5 x 30cm

Montez Magno, “Mondrian”, 1984, Tempera on tablets ceramics, 122 x 124 cm

Montez Magno, “Estudo IV Ciclo da Série Barracas do Nordeste”, 1994, oil on canvas, 100 x 80 cm

Montez Magno, “Cromossons Series (Album consists of 30 drawings)”, 1994, Felt-tip pen on paper, 30 x 36 cm

Montez Magno, “Fachadas do Nordeste Series”, 1999, Acrylic on card, 40 x 50 cm

Montez Magno, “Madrigais Series”, 2009, Stamp and felt pen on paper, 77 x 56 cm

Montez Magno, “Morandi Series”, 1964, industrial paint on wood, 26.7 x 29.8 cm

Montez Magno, “Notassons Series” 1970 – 1992, off set print on paper, 33 x 24 cm

Montez Magno, “Traça/Traço”, 1992-2010, felt pen and ballpoint pen on paper

Montez Magno, “Crepúsculo”, 2002, Pen, stamp and collage on paper, 20 x 5 cm

• Artists

October 16, 2013 Carmela Gross https://abstractioninaction.com/artists/carmela-gross/

[…] Similarly in the project, the initial drawing is mixed with the method of working that will constitute the work. It’s not the abstract condition of the work, just an idea. It contains all the stages, through which the work should pass — technical, specific, real work — all this is noted down in the drawing, just as the stages of the work. At the slaughterhouse, for example, the map of the BURACOS (HOLES) to be made on the ground was the result of an expansion in minor schematic notes, done as a resource of thought, and carried out during a meeting with a group of artists from the Arte/Cidade project. It is this expanded drawing that serves as a guide to place the holes.

 

Traducido del inglés

De manera similar en el proyecto, el dibujo inicial se combina con el método de trabajo que constituirá la obra. No es la condición abstracta de la obra sino sólo una idea. Contiene todas las fases por las que una obra debe pasar: lo técnico, lo específico, la obra real. Todas ellas consideradas en el dibujo, como fases de la obra. En el matadero, por ejemplo, el mapa de los Buracos que se debe hacer sobre el suelo, fue el resultado de la extensión de pequeñas notas esquemáticas, realizadas como recurso de pensamiento y llevadas a cabo durante una reunión con un grupo de artistas del proyecto Arte/Cidade. Es este dibujo expandido lo que sirve como guía para colocar los orificios.

Selected Biographical Information

Education / Training

• PhD. In Arts at Art Department in School of Communications and Arts, University of São Paulo (USP).

Prizes / Fellowships

• 1991: Fellowship Vitae of Arts, São Paulo, Brazil.
• 1990: Prize Brasília of Arts, Brasília, DF, Brazil.

Solo Exhibitions

• 2013: “Escadas (Ladders)”, Casa França Brasil, Rio de Janeiro, Brazil.
• 2012: “Serpentes (Serpents)”, Galeria Vermelho, São Paulo, Brazil.
• 2012: “La Carga (The Load)”, Museo Experimental El Eco, Mexico City, Mexico.
• 2010: “Carmela Gross- Um Corpo de Idéias (Carmela Gross-A body of Works)”, Pinacoteca do Estado de São Paulo, Brazil.
• 2008: “SE VENDE (For Sale)”, Matadero Madrid, Spain.
• 2006: “SUL (South)”, Instituto Tomie Ohtake, São Paulo, Brazil.
• 2004: “Bleujaunerougerouge (Blueyellowredred)”, Permanent Architectural Intervention – École René Binet, Paris, France.
• 1994: “Facas (Knives)”, European Ceramics Work Centre, s’Hertogenbosch, Holland.
• 1993: “Hélices (Propellers)”, Museu de Arte Moderna do Rio de Janeiro, Brazil.
• 1992: “Desenhos-Solo(Drawings-Floors)”, Museu de Arte de São Paulo, Brazil.

Group Exhibitions

• 2012: “Arte de contradicciones. Pop, realismos y política. Brasil-Argentina 1960”, Fundación Proa, Buenos Aires, Argentina.
• 2008: SCAPE 2008 Christchurch Biennal of Art in Public Space, New Zealand.
• 2007: “2th Moscow Biennale of Contemporary Art“, Moscow, Russia.
• 2005: “Karakoy Pedestrian Exhibition 2”, Istanbul, Turkey.
• 2005: 5ª Bienal do Mercosul, Porto Alegre, Brasil – Permanent Architectural Intervention CASCATA.
• 2002: “ArteCidadeZonaLeste”, SESC Belenzinho, São Paulo, Brazil.
• 2002: “XXV International Biennial of Sao Paulo“, Brazil.
• 2001: “Experiment Experiência/Art in Brazil 1958–2000”, Museum of Modern Art Oxford, UK.
• 1999: “Re-Aligning Vision-Alternative Currents in South American Drawing”, Miami Art Museum, U.S.A.
• 1996: “Beelden uit Brazilie”, Stedelijk Museum Schiedam, Holland.

Publications

• Art Nexus, n. 86, vol. 11, September- November 2012, p. 130-131
• Carmela Gross: um corpo de ideias (Carmela Gross: a body of works). Apresentação Marcelo Mattos Araújo; curadoria e texto Ivo Mesquita; textos Carla Zaccagnini, Marta Bogéa; cronologia Juliana Ripoli. São Paulo, Pinacoteca do Estado, 2010. Livro. São Paulo:Pinacoteca do Estado, 2011.
• Carmela Gross: Escadas (Carmela Gross: Ladders)/ Organização: Marta Bogéa. Rio de Janeiro: Fundação Casa França-Brasil, 2013.
• SALZSTEIN, Sônia e BANDEIRA, João (org.). Historicity and contemporary art – essays and talks, 1 ed., São Paulo: USP CEUMA, 2012.

Collections

• Museum of Modern Art, New York, USA.
• Museu de Arte Contemporânea da USP, São Paulo, Brazil.
• Museu de Arte Moderna de São Paulo, Brazil.
• Pinacoteca do Estado de São Paulo, Brazil.
• Museu de Arte de Brasília, DF, Brazil.
• Culturegest – Caixa Geral de Depósitos, Lisboa, Portugal.
• Museu de Arte Moderna Aloísio Magalhães, Recife, PE, Brazil.

Carmela Gross, “Minefield 01”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 02”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 03”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 04”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 05”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 06”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 07”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 08”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 09”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Minefield 10”, 1997, Ink on paper, 23,35cm x 35cm. Image courtesy of the artist.

Carmela Gross, “Holes 01”, 1994, Holes on the floor, 18m x 18m. Site specific project. Location: Ancient Municipal Slaughterhouse of São Paulo, Brazil. Photo credit: Rômulo Fialdini

Carmela Gross, “Holes 02”, 1994, Holes on the floor, 18m x 18m. Site specific project. Location: Ancient Municipal Slaughterhouse of São Paulo, Brazil. Photo credit: Rômulo Fialdini

Carmela Gross, “Two Holes 01”, 2012, Holes on the wall, 25cm x 25cm and 30cm x 30cm. Site specific project. Location: Vermelho Gallery, São Paulo, Brazil. Photo credit: João Nitsche

Carmela Gross, “Two Holes 02”, 2012, Holes on the wall, 25cm x 25cm and 30cm x 30cm. Site specific project. Location: Vermelho Gallery, São Paulo, Brazil. Photo credit: João Nitsche

Carmela Gross, “Two Holes 03”, 2012, Holes on the wall, 25cm x 25cm and 30cm x 30cm. Site specific project. Location: Vermelho Gallery, São Paulo, Brazil. Photo credit: João Nitsche

• Artists

October 15, 2013 Clarissa Tossin https://abstractioninaction.com/artists/clarissa-tossin/

The notion of gesture is the primary impulse behind my work. My videos, photographs, installations, sculptures and drawings are the result of subtle gestures that intend to reveal what goes unseen or unexamined, be it architectural similarities between a settlement in the Amazon forest and a small town in Michigan or the intensive labor required to clean a pristine modernist government building in Brasília. Architecture, as a manifestation of identity, ideology and economic power is of great interest to me, as it is to investigate the invisible supporting structures of modernity, urban life and capitalism. In dialogue with these concerns are my interest in indexical processes and the cultural and historical connotations of a given material. My investment in indexicality stems from its intrinsic relationship to our bodies and therefore proximity to the real. Not unlike what happens with history and its material evidences. My works on paper exist in a place between bi and tridimensionality, as they usually hold object-like qualities. Double-sided prints, ink and paper disintegrated into dust, crushed folds and creases are some examples on how I treat surfaces as material. This approach triggers a tension between representation and trace while combining body movements to the articulation of ideas.

 

Traducido del inglés

La noción del gesto es el primer impulse detrás de mi obra. Mis videos, fotografías, instalaciones, esculturas y dibujos son el resultado de sutiles gestos que intentan revelar lo que pasa desapercibido o sin estudiarse, ya sea similitudes arquitectónicas entre una aldea en la selva Amazónica con un pueblito de Michigan; o la intensa labor requerida para limpiar un edificio gubernamental prístino en Brasilia. La arquitectura como manifestación de la identidad, ideología y poder económico es de gran interés para mí, como lo es investigar las estructuras de soporte de la modernidad que son invisibles, la vida y el capitalismo. En diálogo con estas preocupaciones está mi interés en los procesos de indicio y las connotaciones culturales e históricas de un material. Mi dedicación al indicio parte de su relación intrínseca con nuestros cuerpos y por tanto a la proximidad con lo real, no muy alejado de lo que pasa con la historia y sus evidencias materiales. Mi obra en papel existe en un lugar entre la bi y tridimensionalidad, ya que por lo regular poseen cualidades de objeto. Grabados de dos caras, tinta y pape desintegrados en polvo y dobleces machucados, son ejemplos de cómo manejo las superficies como material. Este acercamiento provoca una tensión entre la representación y el trazo mientras combino movimientos corporales a la articulación de las ideas.

Selected Biographical Information

Education / Training

• 2013: Artpace, International Artist-in-Residence, San Antonio, USA. (guest curator: Hanru Hou)
• 2010-2012: Core Program, The Museum of Fine Arts, Houston, USA.
• 2011: SOMA summer, Mexico City, Mexico.
• 2010: Fundación Botín, Santander, Spain. (mentor: Mona Hatoum)
• 2009: Skowhegan School of Painting & Sculpture, Skowhegan, ME, USA.
• 2009: M.F.A., California Institute of the Arts, Valencia, CA, USA.
• 2000: B.F.A., Fundação Armando Álvares Penteado, São Paulo, Brazil.

Prizes / Fellowships

• 2013: ARC Grant, Center for Cultural Innovation.
• 2012: VI Concurso de Videoarte, Fundação Joaquim Nabuco.
• 2012: Artistic Innovation Grant, Center for Cultural Innovation.
• 2010-2012: Core Program Fellowship, The Museum of Fine Arts, Houston.
• 2009: Skowhegan School of Painting & Sculpture, Donald and Doris Fisher Fellowship / CalArts Matching Fellowship.
• 2009: CAA Los Angeles MFA Award, College Art Association.
• 2009: Deanʼs Grant, California Institute of the Arts.
• 2008: Interdisciplinary Grant, California Institute of the Arts.
• 2007-2009: Graduate Scholarship, California Institute of the Arts.

Solo Exhibitions

• 2013: “Brasília, Cars, Pools & Other Modernities”, Artpace, San Antonio, TX, USA.
• 2013: “Study for a Landscape”, Sicardi Gallery, Houston, TX, USA.
• 2012: “On Brasília”, Centre 3, Hamilton, Canada.
• 2011: “Gasto”, Luisa Strina Gallery, São Paulo, Brazil.
• 2009: “Real”, California Institute of the Arts, Valencia, CA (MFA Thesis).

Group Exhibitions

• 2013: “Panoramas do Sul – 18º Sesc_Videobrasil”, SESC Pompéia, São Paulo, Brazil.
• 2013: “Concreta Sonho”, Galerie Krinzinger, Vienna, Austria.
• 2013: “La Elipsis Arquitectónica”, Centro Cultural Universitario Tlatelolco, Mexico City, Mexico.
• 2013: “When Attitudes Became Form Become Attitudes”, Museum of Contemporary Art Detroit, MI, USA.
• 2012: “When Attitudes Became Form Become Attitudes”, CCA Wattis Institute, San Francisco, CA, USA.
• 2012: “Dallas Biennale”, Dallas Contemporary, Dallas, TX, USA.
• 2012 “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX, USA.
• 2011: “Building Arts”, Sicardi Gallery, Houston, TX, USA.
• 2011: “YLA 16: Thought Cloud”, Mexic-Arte Museum, Austin, TX, USA.
• 2011: “Nowhere Near Here”, Houston Center for Photography, Houston, TX, USA.
• 2011: “Core Exhibition”, Glassell School of Art, Museum of Fine Arts Houston, Houston, TX, USA.

Publications

• 2013: “La Elipsis Arquitectónica,” Centro Cultural Universitario Tlatelolco (exhibition publication).
• 2012: “When Attitudes Became Form Become Attitudes,” CCA Wattis Institute (exhibition catalogue).
• 2012: “Core Program,” Museum of Fine Arts Houston (exhibition catalogue).
• 2011: “Core Program,” Museum of Fine Arts Houston (exhibition catalogue).
• 2010: “Brasília by Foot,” Shifter 16: Pluripotential (April): 44-51.
• 2009: “Why Theory,” California Institute of the Arts M.F.A. 2009 (exhibition publication).

Collections

• The Museum of Fine Arts, Houston, USA.
• Kadist Art Foundation, France / USA.

Links

• Blaffer Art Museum
• Current Magazine
• Arquine
• Arttextum, Tejido de agentes culturales inspirados en Latinoamérica

Clarissa Tossin, “Mass Displacement (Detroit)”, 2013, Inkjet print dust and paper, 17 x 21 in. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Mass Displacement (Gaoyang Hubei Province)”, 2013, Inkjet print dust and paper, 17 x 21 in. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Mass Displacement (Chavez Ravine)”, 2013, Inkjet print dust, 17 x 21 in. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Unmapping the World”, 2011, Ink on tracing paper, 29 x 19 in. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Unmapping the World”, 2011, Ink on tracing paper, 29 x 19 in. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Unmapping the World”, 2011, Ink on tracing paper, 29 x 19 in. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Geographic Accident (9,468 miles collapsed)”, 2012, Double-sided archival inkjet print, 8 x 16 ft. (approx.). Photo credit: Courtesy of the artist.

Clarissa Tossin, “Geographic Accident (9,468 miles collapsed)”, 2012, Double-sided archival inkjet print, 8 x 16 ft. (approx.). Photo credit: Courtesy of the artist.

Clarissa Tossin, “Fordlândia Fieldwork”, 2012, Double-sided archival inkjet print, Dimensions variable. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Fordlândia Fieldwork”, 2012, Double-sided archival inkjet print, Dimensions variable. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Shared Napkin (Andrezza, Guilherme, Ludovic and I)”, 2007, Paper napkin, lipstick, grease, red wine, chocolate, tomato sauce and coffee, 42 x 30 cm. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Shared Napkin (Louisa, Lindsay and I)”, 2007, Paper napkin and pomegranate, 18 x 19 cm. Photo credit: Courtesy of the artist.

Clarissa Tossin, “Shared Napkin (Ludovic and I)”, 2007, Paper napkin, red wine, grease, lipstick and squid ink, 27 x 28 cm. Photo credit: Courtesy of the artist.

• Artists

October 9, 2013 Renata Tassinari https://abstractioninaction.com/artists/renata-tassinari/

Translated from Portuguese

I consider how a painting can inhabit the world and what its place in it is.

An idea that interests me is the limit between what a painting is and what a simple object is. Considering this, I utilize heterogeneous surfaces that are almost incompatible: paint, acrylic laminate and wood.

In the work “MAR E MONTE”, I used four identical rectangles but with contrasting materials and colors. The rectangles unify the painting while the materials introduce stark contrasts.

In “CONGO”, the contrast is subtler, and occurs through the painting method: partially glossy (painted from inside the box of acrylic material) and partially matte (paint painted over the frame, enhancing the work’s edges and limits).

 

Traducido del portugués

Pienso en cómo una pintura puede habitar el mundo y cuál es su lugar en él.

Un punto que me interesa es el límite entre lo qué es una pintura y  lo que un simple objeto es. Para eso empleo una superficie con partes heterogéneas, casi incompatibles: pintura, material acrílico y madera.

La obra “MAR E MONTE” utiliza cuatro rectángulos iguales, pero con materiales y colores contrastantes. Los rectángulos unifican la obra. Los materiales introducen grandes diferencias.

En “CONGO” el contraste es más sutil y se obtiene a través de técnicas de pintura: el brillo (en la pintura hecha dentro de la caja del material acrílico) y el mate (pintura hecha por encima del marco, enfatizando así los límites y fronteras).

 

Penso em como uma quadro pode habitar o mundo, em qual é o seu lugar.

Um ponto  que me interessa é o limite entre o que é um quadro e o que é um simples objeto. Para isso emprego uma superfície com partes heterogêneas, quase incompatíveis: pintura, material acrílico e madeira.

Na obra “MAR E MONTE” utilizei quatro retângulos iguais, mas com materiais e cores são contrastantes. Os retângulos unificam a obra. Os materiais introduzem fortes diferenças.

Em “CONGO”, o contraste é mais sutil e se dá através das tintas da pintura: o brilho (na pintura feita por dentro da caixa com material acrílico) e o fosco, na pintura feita por cima da moldura, realçando assim a bordas e seus limites).

Selected Biographical Information

Education / Training

• 1980: Graduated in visual arts from Armando Álvares Penteado Foundation (FAAP).
• 1980s: studies in drawing and painting at the studio of artists Carlos Alberto Fajardo and Dudi Maia Rosa.

Solo Exhibitions

• 2012: “A Pintura na Caixa”, Galeria Pilar, São Paulo, Brazil.
• 2011: “A Pintura na Caixa”, Lurixs Arte Contemporânea, São Paulo, Brazil.
• 2009: “Entre Cores”, Lurixs Arte Contemporânea, São Paulo, Brazil.
• 2009: “Estúdio Buck”, São Paulo, Brazil.
• 2007: Galeria Virgilio, São Paulo, Brazil.
• 2007: Galeria Matias Brotas, Vitória, Spain.
• 2005: Galeria Virgilio, São Paulo, Brazil.
• 2003: Centro Universitário Maria Antonia, São Paulo, Brazil.
• 2002: Galeria Barô Senna, São Paulo, Brazil.
• 1998: Valú Oria Galeria de Arte, São Paulo, Brazil.

Group Exhibitions

• 2013: SP Arte, Galeria Pilar, São Paulo, Brazil.
• 2013: SP Arte, Lurixs Arte Contemporânea, São Paulo, Brazil.
• 2012: SP Arte, Lurixs Arte Contemporânea, São Paulo, Brazil.
• 2012: ArtRio, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
• 2011: SP Arte, Lurixs Arte Contemporânea, São Paulo, SP, Brazil.
• 2011: ArtRio, Lurixs Arte Contemporânea, Rio de Janeiro, Brazil.
• 2010: SP Arte, Lurixs Arte Contemporânea, São Paulo, Brazil.
• 2008: SP Arte, Anita Schwartz, Rio de Janeiro, Brazil.
• 2008: SP Arte, Galeria Virgilio, São Paulo, Brazil.
• 2007: Pinta Art Fair, Galeria Virgilio, Nova York, USA.

Publications

• Renata Tassinari – A Pintura na Caixa, Catalog, Galeria Lurix, 2011/2012.
• Renata Tassinari – Rio de Janeiro, Francisco Alves, 2009.

Renata Tassinari, “Untitled”, 1990, Oil, wax, paper on wood, 230 X 170 cm. Photo credit: Tutu Cardoso de Almeida

Renata Tassinari, “Untitled”, 1990, Oil, wax, paper on wood, 230 X 170 cm. Photo credit: Tutu Cardoso de Almeida

Renata Tassinari, “Untitled”, 1993, Oil, wax and synthetic enamel and paper on wood. Photo credit: Valéria Feres Collection

Renata Tassinari, “Untitled”, 1995, Oil and wax on canvas, 230 x 140 cm. Photo credit: Eduardo Ortega

Renata Tassinari, “Untitled”, 2002, Oil and wax on frame, 150 x 300 cm. Photo credit: Nelson Kon

Renata Tassinari, “Untitled”, 2003, Oil and wax on canvas, 100 x 200 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Jequitibá amarelo”, 2007, Oil, wax, acrylic frame and wood, 200 x 60 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Fachada Roxa”, 2007, Oil acrylic frame and wood, 55 X 80 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Quadrado turquesa”, 2008, Acrylic, oil on acrylic frame and wood, 100 x 100 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Nogueira amarelo e cinza”, 2008, Oil, wax, acrylic frame and wood, 40 x 200 cm (3 parts). Photo credit: Romulo Fialdini

Renata Tassinari, “Xadrez”, 2009, Acrylic, oil, wax, acrylic frame, 120 x 120 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Peroba Turquesa”, 2011, Acrylic, oil, wax, acrylic frame and wood, 80 x 240 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Jequitibá de Vermelhos”, 2012, Acrylic, oil, wax, acrylic frame and wood, 200 x 50 cm. Photo credit: Romulo Fialdini

Renata Tassinari, “Amarelo e laranja vertical”, 2009, Acrylic and oil on acrylic frame, 221 x 56 cm

Renata Tassinari, “Quadrado de três”, 2012, Oil on acrylic frame, 100 x 300 cm. Photo credit: Romulo Fialdini

• Artists

October 9, 2013 Tatiana Stropp https://abstractioninaction.com/artists/tatiana-stropp/

Translated from Spanish

Color is a prominent aspect in these works. To value and explore different tones, opacity and transparency, the artist uses the technique of glazing. The clutters of ink are soft, mixed with aluminum, and creating effects of opacity and ambience light reflections on the surface of the painting. Tatiana Stropp’s work invites to observe and discover a universe of tonalities, formed by apparently easy streaks, which maintain a complexity of reflections.

 

El color es un aspecto notable en estas obras. Para valorar y explorar los diferentes tonos, la opacidad y la transparencia, la artista utiliza la técnica de veladura. Las camadas de tinta son tenues, proporcionando su mezcla en el aluminio, creando efectos de opacidad y de reflejos de la luz ambiente en la propia superficie de la pintura. Las obras de Tatiana Stropp invitan a observar y a descubrir un universo de tonalidades, formado por pinceladas aparentemente sencillas, pero que conservan una complejidad de reflejos.

Selected Biographical Information

Education / Training

• 2000-2004: Escuela de Música y Bellas Artes de Paraná, 4 años, licenciatura en pintura, Curitiba, PR, Brazil.
• 2004-2005: Escuela de Música y Bellas Artes de Paraná, 2 años, posgrado en Historia de Arte Moderno y Contemporáneo, Curitiba, PR, Brazil.

Prizes / Fellowships

• 2013: Indicación, Prêmio Investidor Profissional de Arte – PIPA, Rio de Janeiro, Brazil.
• 2012: Indicación, Prêmio Investidor Profissional de Arte – PIPA, Rio de Janeiro, Brazil.
• 2008: Prêmio Aquisição, Fundação Rômulo Maiorana, Arte Pará 27ª edición, Belém, Brazil.
• 2008: Comentarios sobre pintura, Proyecto Beca Produción, Fundação Cultural de Curitiba. 2ª edición, Curitiba, Brazil.

Solo Exhibitions

• 2013: Bienal Internacional de Curitiba, Curitiba, PR, Brazil.
• 2012: Galería Vertente, Campinas, SP, Brazil.
• 2007: Galería Ybakatu Espaço de Arte, Curitiba, PR, Brazil.
• 2007: Casa Andrade Muricy, Curitiba, PR, Brazil.
• 2005: Sala Adalice Araujo, Universidad de Tuiuti, Curitiba, PR, Brazil.

Group Exhibitions

• 2013: ARCO Madrid, Galería Ybakatu Espaço de Arte 32ª edición, Madrid, Spain.
• 2013: “Colección MON, Adquisiciones 2011/2012”, Museo Oscar Niemeyer, Curitiba, PR, Brazil.
• 2012: ARCO Madrid, Galería Ybakatu Espaço de Arte, n° 31, Madrid, Spain.
• 2012: Galería Ybakatu Espaço de Arte, SP Arte, Feria Internacional de Arte de São Paulo, 8ª edición, São Paulo, Brazil.
• 2011: Galería Ybakatu Espaço de Arte, SP Arte, Feria Internacional de Arte de São Paulo, 7ª edición, São Paulo, Brazil.
• 2011: ARCO Madrid, Galería Ybakatu Espaço de Arte 30ª edición, Madrid, Spain.
• 2011: “Estado da Arte: 40 anos de Arte Contemporánea en Paraná (1970-2010)”, Curators Artur Freitas y María José Justino, Oscar Niemeyer Museo, Curitiba, PR, Brazil.
• 2010: “Também, Memorial de Curitiba”, Fundación Cultural de Curitiba, Curitiba, PR, Brazil
• 2010: “Novos Encontros com o Acervo, Musa, Museo de Arte da UFPR”, Universidad del Estado de Paraná, Curitiba, PR, Brazil.
• 2009: 27ª Edición Arte Pará, Prêmio Adquisición, Fundación Rômulo Maiorana Belem, PA, Brazil.

Collections

• Fundación Rômulo Maiorana, Belém, Brazil.
• MON – Museo Oscar Niemeyer, Curitiba, Brazil.
• MusA – Museo de Arte da UFPR, Universidad del Estado de Paraná, Curitiba, Brazil.

Links

• PIPA 2013
• Artist’s portfolio

Tatiana Stropp, “06.08”, 2013, Oil on aluminum, 150 x 220 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “12.08”, 2013, Oil on aluminum, 150 x 220 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “03.06”, 2013, Oil on aluminum, 135 x 100 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “28.11”, 2012, Oil on aluminum, 74 x 125 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “10.07”, 2012, Oil on aluminum, 57 x 125 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “06.06”, 2012, Oil on aluminum, 43 x 125 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “29.05”, 2012, Oil on aluminum, 35 x 62 cm.

Tatiana Stropp, “21.05”, 2012, Oil on aluminum, 52 x 200 cm.

Tatiana Stropp, “09.05”, 2012, Oil on aluminum, 135 x 120 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “03.11”, 2011, Oil on aluminum, 170 x 150 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “22.10”, 2011, Oil on aluminum, 170 x 150 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “23.03”, 2011, Oil on aluminum, 64 x 60 cm.

Tatiana Stropp, “26.10”, 2009, Oil on aluminum, 60 x 125 cm.

Tatiana Stropp, “18.06”, 2009, Oil on aluminum, 42 x 49 cm. Photo credit: Courtesy of the artist.

Tatiana Stropp, “23.02”, 2008, Oil on aluminum, 54 x 51 cm. Photo credit: Courtesy of the artist.

• Artists

October 9, 2013 Nuno Ramos https://abstractioninaction.com/artists/nuno-ramos/

Translated from Portuguese

I think that there is no art without something that doesn’t fit neither in life nor in time. You look at an ancient work and it seems as if it was done yesterday. The blue color in chapel Scrovegni, by Giotto (14th century), is as current as the blue color used by Yves Klein (1928-62). At the end, all art is contemporary.

 

Traducido del portugués

Pienso que no hay arte sin aquello que no tiene cabida ni en la vida ni en el tiempo. Al mirar un trabajo de la antigüedad, éste pareciera que fue hecho ayer. El color azul de la capilla Scrovegni, de Giotto (siglo XIV), es tan reciente como el azul de Yves Klein (1928-62). Al final, todo el arte es contemporáneo.

  

Acho que não há arte sem alguma coisa que não caiba na vida nem no tempo. Você olha uma coisa antiga e parece que ela foi feita ontem. O azul da capela Scrovegni, de Giotto [do século 14], é tão recente quanto o azul de Yves Klein [1928-62]. No fundo, toda arte é contemporânea.

Selected Biographical Information

Education / Training

• 1982: USP (University of São Paulo), philosophy.

Prizes / Fellowships

• 2009: Portugal Telecom Prize for Literature, São Paulo, Brazil.
• 2009: Bravo Award! – Best exhibition of the year, São Paulo, Brazil.
• 2007: Grand Prize Award – Barnett Newman Foundation, New York, USA.
• 2006: Bravo Award! – Arts / Best Solo Exhibition, São Paulo, Brazil.

Solo Exhibitions

• 2013: “Lime 87”, University Center Maria Antonia, Sao Paulo, Brazil.
• 2013: “Nuno Ramos, Angel and Doll”, Fortes Vilaca Gallery, São Paulo, Brazil.
• 2012: “3 Muds (They seemed eternal!)”, Celma Albuquerque Gallery, Belo Horizonte, Minas Gerais, Brazil.
• 2012: “The globe of death of all”, with Eduardo Climachauska, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
• 2010: “Strange Fruit”, Museum of Modern Art in Rio de Janeiro, Brazil.
• 2009: “Dead Sea”, Anita Schwartz Gallery, Rio de Janeiro, Brazil.
• 2004: “Nuno Ramos and Frank Stella”, Nave 5 Gallery, São Paulo, Brazil.

Group Exhibitions

• 2013: “Moving”, Norman Foster on Art, Carré d’Art Museum, Nîmes, France.
• 2013: “30x Biennial”, Biennial of São Paulo Foundation, São Paulo, Brazil.
• 2012: “Subverted”, Ivory Press, Madrid, Spain.
• 2011: “Europalia”, FODASEFOICE, performance at Atelier Sidnei Tendler, Brussels.
• 2010: “XXIX International Biennial of São Paulo“, São Paulo, Brazil.

Publications

• 2011: Junco, Iluminuras Publishing House, São Paulo, Brazil.
• 2010: O Mau Vidraceiro, Globo Publishing House, São Paulo, Brazil.
• 2010: Nuno Ramos, Cobogó Publishing House, São Paulo and Rio de Janeiro, Brazil.
• 2009: O, Iluminuras Publishing House, São Paulo, Brazil.
• 2008: Ensaio geral, Globo Publishing House, São Paulo, Brazil.
• 2004: Morte das Casas, House of Image and Bank of Brazil Cultural Center, Curitiba e São Paulo, Brazil.
• 2002: Noites Brancas, House of Image Publishing House, Curitiba, Brazil.
• 2001: O Pão do Corvo, 34 Publishing House, São Paulo, Brazil.
• 1997: Nuno Ramos, Ática Publishing House, São Paulo, Brazil.

Links

• TVCULTURA
• nunoramos.com

Nuno Ramos, “Untitled”, 2006, Brass, copper, aluminum, plush, plastics, fabrics, mirror, acrylic, oil paint and stainless steel pipes, 157,5 x 315 x 70,9 in. Image courtesy of the artist

Nuno Ramos, “Untitled”, 1989, Vaseline, paraffin, linseed oil, turpentine, pigment, fabrics, nylon screen, felt, blankets, rubber, gold leaf and metals on wood, 133,9 x 110,2 in. Image courtesy of the artist

Nuno Ramos, “Untitled”, 2005, Plush, aluminum, mirror, acrylic, Vaseline and oil paint, 90,5 x 43,3 in. Image courtesy of the artist

Nuno Ramos, “Untitled”, 2009, Series: Plato, Gold leaf, silver leaf, graphite, charcoal and oil paint on paper, 6.3 x 11.4 in. Image courtesy of the artist

Nuno Ramos, “Untitled”, 2009, Series: Plato with Sun, Gold leaf, silver leaf, graphite, charcoal and plastics on paper, 11.4 x 16.5 in. Image courtesy of the artist

Nuno Ramos, “Schreber 18”, 2012, Series: Schreber, Silver leaf, graphite, charcoal and oil paint on paper, 84.65 x 59.84 in. Image courtesy of the artist

Nuno Ramos, “Angel and Doll 13”, 2013, Series: Angel and Doll, Gouache and charcoal on paper, 59.84 x 84.65 in. Image courtesy of the artist

Nuno Ramos, “White Flag”, 2010, Three sculptures and three posts, all made of granite and pressed burnt sand, three vultures and three glass loudspeakers. Protection mesh, Variable dimensions, Site-specific project. Location: XXIX International Biennial of São Paulo. Image courtesy of the artist and Fortes Vilaça Gallery

Nuno Ramos, “Black Cry”, 2004, Marble, tar, electrical resistance, 63 x 43.3 x 96.9 in. Image courtesy of the artist

Nuno Ramos, “What are hours?”, 2003, Compressed burnt sand, burnt oil and clocks, 70.9 x 157.5 x 157.5 in. Image courtesy of the artist

Nuno Ramos, “Black Manorá”, 1999, Polished marble, vaseline and ashes, 67 x 61 x 11.8 in. Image courtesy of the artist

Nuno Ramos, “Drop”, 1998, Marble, blown glass and vaseline. / Marble, blown glass and liquid vaseline, 39,4 x 106,3 x 39,4 in / 39,4 x 118,1 x 39,4 in. Image courtesy of the artist

Nuno Ramos, “Untitled”, 1998, Marble and, vaseline, 82.7 x 74.8 x 55.1 in. Image courtesy of the artist

Nuno Ramos, “Fungus”, 1998, Ceramics, Variable dimensions. Image courtesy of the artist

Nuno Ramos, “Go, go”, 2006, Donkeys, hay, salt, water, steel barrels, loudspeakers, plywood, sawdust and splinter, Variable dimensions. Image courtesy of the artist

• Artists

October 8, 2013 Célio Braga https://abstractioninaction.com/artists/celio-braga/

The inspiration for my recent work lies in Brazilian popular culture: its rituals and colours, and processes of patient making that are often based on repetition. This is a culture where materials become infused with beliefs and desires, ritually suffused with the promise of future realisation. Aware of this permeability between the everyday and the spiritual, between concrete matter and intangible memories and wishes, I employ objects as materials that reflect the way desires are ritualized through matter: medical information leaflets and containers, Bonfim wish ribbons and textile fragments become the ground that supports the work, both materially and symbolically. Ingesting medicine and tying knots on Bonfim ribbons are a way of making wishes, and of anxiously awaiting for blessings; fragments of textiles speak of the desire to remember and to be close. In common, these material elements point to the desire of a body that wishes for health, intimacy, love and prosperity; a fragile body that fears mortality.

Influenced by practices of weaving, knotting, tying, cutting, mending, darning, sewing, embroidering and covering, I interweave gestures, rhythms and improvisations based on the repetition of lines and colours. In the Doloridos series, I cover medical leaflets with white gouache, hushing them, and trace horizontal or vertical lines in blue, red, green or yellow. This series is predominantly white, and silent. Ladainhas, on the other hand, is a colourful and vibrant series, in which I use cut paper, Bonfim wish ribbons, textile fragments and colour pencils. It reflects the simple popular geometry of rag rugs and patchwork quilts, but contains voids, around which the lines form grids that resonate as voices in ecstasy or supplication.

These are abstractions where visual perception and bodily pulsation merge. They draw the gaze and invite the viewer to come closer, attracted by what is apparently a rigorous minimalist grid or a rich profusion of colours. As a reward to the attentive and unhurried gaze, the work unveils a surprise – its own materiality and traces of texts from the ribbons and leaflets, now illegible, offer other readings. The work is the white hush that silences words, the interval between voices. It is the colourful voices that cannot be silenced, and intone other words, words that convey belief and desire. The work relates to rituals of cure, purification and protection, and is intended as a materialization of songs of joy and pain.

These works are lamentations and litanies presented as white or colourful geometry.

 

Traducido del inglés

La inspiración en mi obra más reciente yace en la cultura popular de Brasil: sus rituales, colores y pacientes procesos de elaboración que a menudo se basan en la repetición. Esta es una cultura donde los materiales se funden con las creencias y los anhelos, ritualmente cubiertos con la promesa de realización futura. Al tanto de esta permeabilidad entre lo cotidiano y lo espiritual, entre la materia concreta y las memorias y deseos intangibles, uso objetos como materiales que reflejan la forma en la que los deseos son ritualizados por medio de la materia: folletos y contenedores de información médica, listones de deseos de Bonfim y fragmentos de textiles, se vuelven la base que soporta la obra, de manera material y simbólica. Ingerir medicina y hacer nudos en listones de Bonfim son ambas maneras de tener un deseo y de esperar ansiosamente por bendiciones. Piezas de textiles hablan del deseo de recordar y permanecer cercano. En común, estos elementos materiales apuntan al deseo de un cuerpo que anhela salud, intimidad, amor y prosperidad; un cuerpo frágil que teme a la mortalidad.

Influido por prácticas de tejido, anudado, amarrado, cortado, reparado, zurcido, costura, bordado y recubrimiento, entrelazo gestos, ritmos e improvisaciones basadas en la repetición de líneas y colores. En la serie Doloridos, cubro folletos médicos con gouache, silenciándolos y trazando líneas horizontales o verticales en azul, rojo, verde o amarillo. Esta serie es predominantemente blanca y silenciosa. Ladainhas, por otro lado, es una serie colorida y vibrante, en la que uso papel cortado, listones de deseos de Bonfim, fragmentos de textil y lápices de colores. La serie refleja la simple geometría popular de tapetes de trapo y colchas de retazos, pero contiene vacíos alrededor de los cuales las líneas forman retículas que resuenan como voces en éxtasis o suplicio.

Estas son abstracciones donde la percepción visual y la pulsación corporal se unen. Atraen la mirada e invitan al espectador a acercarse, intrigado por lo que aparenta ser una rigurosa cuadrícula minimalista o una rica abundancia de colores. Como recompensa a la mirada atenta y parsimoniosa, la obra revela una sorpresa: su propia materialidad y huellas de textos de los listones y folletos, ahora legibles, producen otras lecturas. La obra es el blanco silencio que calla las palabras, el intervalo entre voces. Son las voces coloridas que no pueden ser silenciadas y entonan otras palabras; palabras que transmiten creencia y deseo. La obra se relaciona con rituales de sanación, purificación y protección y es concebida como una materialización de canciones de alegría y dolor.

Estas obras son lamentos y letanías presentadas como geometría blanca o de colores.

Selected Biographical Information

Education / Training

• 1996-2001: Bachelor Degree, Gerrit Rietveld Academie, Amsterdam, The Netherlands.

Prizes / Fellowships

• 2002: StartsStipendia – Fonds BKVB-Amsterdam, The Netherlands.
• 2004: BasisStipendia – Fonds BKVB-Amsterdam, The Netherlands.
• 2006: WerkSubsidie – Fonds BKVB-Amsterdam, The Netherlands.

Solo Exhibitions

• 2012: “Pharmacia Deluxe”, Galeria Amparo 60, Recife, Brazil.
• 2010: “Doloridos-Coloridos”, Galeria PILAR, São Paulo, Brazil.
• 2010: “Abstractions to Die For”, Galeria da FAV, Goiânia, Brazil.
• 2009: “Unveil”, TETO Projects, Amsterdam, The Netherlands.
• 2008: “Caio, Felix, Perforations and Cuts”, Galeria VERMELHO, São Paulo, Brazil.
• 2007: Galerie Hein Elferink, Staphorst, The Netherlands.
• 2006: “B.L.U.E”, BalinHouseProjects, London, United Kingdom.
• 2005: Galerie van der Mieden, Antwerpen, Belgium.
• 2003: “White Shirts”, HUISRECHTS, Amsterdam, The Netherlands.
• 2000: “Objeto desejado (e para sempre) ausente – Drawings”, Museu de Arte Contemporânea-MAC Goiânia, Brazil.

Group Exhibitions

• 2012: “Beyond the Body”, WELKUNSTZIMMER Dusseldorf, Germany.
• 2011: “EMBRACED”, GustavsBergs Konsthall, Sweden.
• 2009: “Paper Under the Knife”, Museum of Arts and Design-MAD New York, USA.
• 2008: “SOFT-Autonomous Textiles”, Lands Museum, Linz, Austria.
• 2007: “Hard Candies”, MOTIVE Gallery, Amsterdam, The Netherlands.
• 2007: “2MOVE: Double Movement”, Sala Verónicas/Centro Párraga, Murcia, Spain.
• 2006: “G.E.B.O.R.D.U.U.R.D.”, Textil Museum Tilburg, The Netherlands.
• 2005: “Bock mit Inhalt“, Stedelijk Museum CS, Amsterdam, The Netherlands.
• 2004: “LOSS”,Célio Braga, Iris Einchenber, Suska Macket- Stedelijk Museum Bureau Amsterdam-SMBA, Amsterdam, The Netherlands.
• 2003: “B.L.U.R.”, Stedelijk Museum, Amsterdam, The Netherlands.
• 2002: “Hair Stories”, Adam Baumgold Gallery, New York, USA.
• 2002: “DISPLAY”, Stedelijk Museum, Amsterdam, The Netherlands.

Publications

• Drawing Now (Galerie Hein Elferink, 2011).
• Manifesta Journal – Journal of Contemporary Curatorship- Nr 7 2009/2010 (Mieke Bal).
• Cutting Edges-Contemporary Collage (Gestalten – Berlin) 2011.
• Jenseits Beyond the Body (Weltkunst Zimmer, Dusseldorf – 2009).
• Slash-Paper Under the Knife (Museum of Arts and Design-MAD NY, 2009).
• Exit32 – Estéticas Migratorias – Mieke Bal (Madrid, 2008).
• Célio Braga ‘Deliriously’, Ernst van Alphen, Sharing a common Skin (Staphorst, 2006).
• G.E.B.O.R.D.U.U.R.D (2006 ISBN 90 70680 750) Louise Schouwenberg ‘LOSS’ Braga/Eichenberg/Mackert, ISBN 90-809189-1-1, 2004.
• Stedelijk Museum Bulletim (Nr.06 2004) Loss (Marjan Boot).
• DISPLAY – A proposal for Municipal Art Acquisitions 2000/2001 – Stedelijk Museum Amsterdam.
• Felt/Filz- Arnoldsche Art Publishers, 2000 (peter Schmitt).

Collections

• Textile Museum Tilburg, The Netherlands MAC Goiás.
• Goiânia, Brazil.
• CODA Musem Apeldoorn, The Netherlands.
• Colecão da FAV-UFG-Go, Goiânia, Brazil.
• Marzee Collection, Nijmegen, The Netherlands.
• Fundação Jaime Camâra, Goiânia, Brazil.
• Rotasa Trust Collection, USA.
• Armando Andrade Collection, Peru.
• Chantal van Erven Dorens Collection, Amsterdam/London.
• Collectie Pieter en Marieke Sanders, Aerdenhout, The Netherlands.
• Collectie Sepp Bader, The Netherlands.
• Stedelijk Musem Amsterdam, The Netherlands.

Links

• ‘Slash: Paper Under the Knife’ overview with Chief Curator David McFadden
• ‘Full Blown’, 2004
• SMBA Amsterdam Stedelijk Museum      

  

  Célio Braga, ‘Purple’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil

  

  Célio Braga, ‘Yellow’ (Doloridos), 2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil

  

  Célio Braga, ‘Vermelho’ (Doloridos), 2010/2011, Fragments of textiles, photography and gouache on medicine leaflets, 125 cm x 125 cm. Private Collection

  
  

  

  Célio Braga, ‘Blue’ (Coloridos), 2010, Wishing ribbons, fragments of textiles and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Amparo 60, Recife, Brazil.

  

  Célio Braga, ‘Grey’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil

  

  Célio Braga, ‘Black’ (Coloridos), 2011, Wishing ribbons, fragments of textiles, fragments of photography and oil on canvas, 100 cm x 100 cm. Image courtesy of Elisio Yamada Collection.

  
  

  

  Célio Braga, ‘Untitled’ (Litanies), 2010, Cuts and color pencil on paper, 70 cm x 65 cm. Image courtesy of Galeria Amparo 60, Recife Brazil.

  

  Célio Braga, ‘Blue’ (Litanies), Blue paper, fragments of textiles, fragments of photography and wishing ribbons on medicine leaflets, 50 cm x 65 cm (irregular). Image courtesy of Galeria Pilar, São Paulo, Brazi

  

  Célio Braga, ‘Green’ (Litanies), 2012, Color pencil and oil color on cut paper, 120 cm x 120 cm. Image courtesy of the artist.

  
  

  

  Célio Braga, ‘Untitled’ (Litanies), 2011, Wishing ribbons, color pencil and oil color on cut paper, 125 cm x 125 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil

  

  Célio Braga, ‘Untitled’ (Litanies), 2011, Fragments of textiles and color pencil on paper, 120 cm x 120 cm. Image courtesy of Galeria Amparo 60, Recife, Brasil

  

  Célio Braga, ‘Untitled’ (Litanies), 2012/2013, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist

  
  

  

  Célio Braga, ‘Untitled’ (Litanies), 2012, Color pencil and oil color on paper, 150 cm x 125 cm. Image courtesy of the artist.

  

  Célio Braga,’Untitled’ (Litanies), 2012, Color pencil on paper, 150 cm x 125 cm. Image courtesy of the artist

  

  Célio Braga, ‘Untitled’ (Litanies), 2013, Wishing ribbons, fragments of textiles, fragments of photography and color pencil on cut paper, 150 cm x 125 cm. Image courtesy of Galeria Pilar, São Paulo, Brazil.

  
  

• Artists

October 4, 2013 Ricardo Alcaide https://abstractioninaction.com/artists/ricardo-alcaide/

My projects engage both poetically and politically within a discourse of multicultural exchange. How do people in different environments cope with economic and social exclusion? The physical and psychological correspondences between individuals and temporary precarious architecture are my primary preoccupations. My practice is increasingly focused on the architectural solutions to social situations. I am particularly interested in the Latin American Modernist Movement’s often un-acknowledged debt to vernacular world architecture. I have spent many years living and working in four capital cities – Caracas, my home city, London, Madrid and Sao Paulo – and my experiences of these extremely different economies have given me insights which deeply inform my practice. I engage directly, initially with photography, with specific locations, which are then combined and abstracted to various degrees to allow more universal human conditions to become evident.

 

Traducido del inglés

Mis proyectos se relacionan, de manera poética y política, dentro de un discurso de intercambio multicultural. ¿Cómo es que gente en diferentes ambientes sobrelleva la exclusión económica y social? Mis preocupaciones primordiales son los intercambios físicos y psicológicos entre individuos y la arquitectura temporal precaria. Mi práctica se enfoca cada vez más en las soluciones arquitectónicas de situaciones sociales. Estoy particularmente interesado en la a menudo no reconocida deuda del movimiento modernista latinoamericano a la arquitectura mundial vernácula. He pasado muchos años viviendo y trabajando en cuatro ciudades capitales: Caracas, mi ciudad de origen, Londres, Madrid y Sao Paulo, y mis experiencias con estas economías extremadamente distintas me han otorgado conocimientos que informan profundamente mi práctica. Me involucro directamente, inicialmente con la fotografía, con lugares específicos, que son después combinados y abstraídos a diferentes niveles para permitir que condiciones humanas universales se hagan evidentes.

Selected Biographical Information

Solo Exhibitions

• 2013: “Una Forma De Desorden Invasivo”, Galería Lucia de la Puente, Lima.
• 2013: “Intrusiones”, Galería Tajamar, Santiago de Chile.
• 2012: “Prototipo Vernacular”, Galería Oficina nº1, Caracas.
• 2012: “Modelo de Observação”, Espaço Cultural Instituto Cervantes, Sao Paulo.
• 2011: “Solo Project”, Curated by Pablo Leon De La Barra, Pinta Art Fair, London.

Group Exhibitions

• 2013: “Visao Do Paraiso: Pensamento Selvagem. ArtRio”, Curated by Julieta Gonzales-Pablo Leon de la Barra, Rio de Janeiro.
• 2013: “Tomar Medidas”, Espacio OTR, Madrid.
• 2012: “Optimismo Radical”, Josée Bienvenu Gallery, New York.
• 2012: “Lejos De Casa”, masART Galería, Curated by Virginia Torrente, Barcelona.
• 2011: “Album: fotografía contemporânea”, Baró Galería, Sao Paulo.

Publications

• Artealdia International, Ricardo Alcaide: The Space Between Two Worlds, Jacopo Crivelli Visconti, February 2012.
• HotShoe International, Ricardo Alcaide: The Necessities Of Verticality, Becky Beasley, London, October 2008.
• HotShoe International, Ricardo Alcaide: The Skin That Walks, Becky Beasley, London, February 2007.

Collections

• Zabludowicz Collection, Londron.
• Colección Fundación Cisneros, Caracas.
• Pinacoteca do Estado de Sao Paulo.
• Museo de Arte Contemporáneo Sofía Imber, Caracas.
• GAN, Galeria de Arte Nacional, Caracas.

Links

• Arte Al Dia Internacional.
• Crítica de Arte Contemporáneo.

Ricardo Alcaide, “Untitled with elements (nº5)”, 2013, Series: Intrusions, Mixed media, 21.5x28cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled with elements (nº1)”, 2013, Series: Intrusions, Mixed media, 21.5x28cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled with elements (nº2)”, 2013, Series: Intrusions, Mixed media, 21.5x28cm. Image courtesy of the artist.

Ricardo Alcaide, “Intrusion nº1”, 2013, Series: Intrusions, Acrylic paint on Inkjet print-cotton paper, 120x80cm. Image courtesy of the artist.

Ricardo Alcaide, “Intrusion nº5”, 2013, Series: Intrusions, Acrylic paint on Inkjet print-cotton paper, 21.5×28.5cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled”, 2012, Series: Observation Model, Mixed media, 26x33cm. Image courtesy of the artist.

Ricardo Alcaide, “Plastic Model”, 2012, Series: Observation Model, Mixed media, 21.5×28.5cm. Image courtesy of the artist.

Ricardo Alcaide, “Prototype nº5”, 2012, Series: Vernacular Prototype, Acrylic paint on Inkjet print-cotton paper, 21.5×28.5cm. Image courtesy of the artist.

Ricardo Alcaide, “Observation Model nº1”, 2012, Series: Vernacular Prototype, C-Type print, 30x30cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled (Installation)”, 2013, Mixed media, 300x300x240cm. Site specific project, Espacio de Arte OTR, Madrid. Image courtesy of the artist.

Ricardo Alcaide, “Hide nº75”, 2013, Series: Hide, Acrylic on canvas, 19x24cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled”, 2011, Cardboard and mdf, 25x43x18cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled nº42”, 2011, Series: Hide, Acrylic on mdf, 60x43cm. Image courtesy of the artist.

Ricardo Alcaide, “Untitled nº9”, 2009, Series: Hide, Acrylic on canvas, 35x27cm. Image courtesy of the artist.

Ricardo Alcaide, “Hide nº15”, 2009, Series: Hide, Acrylic on canvas, 24x33cm. Image courtesy of the artist.

• Artists

October 1, 2013