Abstraction in Action Laercio Redondo https://abstractioninaction.com/artists/laercio-redondo/

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

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions

Publications

Collections

January 10, 2017 Chiara Banfi & Marcius Galan: Exposição de Acervo 2015 https://abstractioninaction.com/happenings/chiara-banfi-marcius-galan-exposicao-de-acervo-2015/

acervo-2015

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.

August 19, 2015 Chiara Banfi: Fiume achates https://abstractioninaction.com/happenings/chiara-banfi-fiume-achates/

Chiara_Banfi_-_Fiume_11_da_s_rie_Achates_-_48x64x5cm_-_Agata__papel_pautado_e_freij__-_2015_-_Ed.__nica

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.
May 20, 2015 Carla Guagliardi https://abstractioninaction.com/artists/carla-guagliardi/

“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.

Selected Biographical Information

Education

  • 1990-1991: Post-graduation in History of Art and Architecture in Brazil, Pontifícia Universidade Católica do Rio de Janeiro, Rio de Janeiro, Brazil.
  • 1989-1987: Escola de Ates Visuais do Parque Lage/Rio de Janeiro, Brazil.

Prizes / Fellowships

  • 2010: Mostras de artistas no exterior/ Brasil Arte Contemporânea, Fundação Bienal de São Paulo e Ministério da Cultura, São Paulo/Brasília, Brazil.
  • 2008: Edital Artes Visuais, Secretaria de Cultura do Estado do Rio de Janeiro, Rio de Janeiro, Brazil.
  • 2007: Grant Guest artist in residence, Villa Aurora, Los Angeles, USA.
  • 2002: Grant workshop-exhibition in residence program, KHOJ , Mysore/Bangalore, India.
  • 2001: Grant Bolsa de Artes RIOARTE, RIOARTE, Prefeitura da Cidade do Rio de Janeiro, Rio de Janeiro, Brazil.
  • 2001: Grant Helsinki International Artist-in-residence Programme,, HIAP/ Cable Factory, Helsinki, Finland.
  • 1999-2000: Bolsa Virtuose, Ministério da Cultura do Brasil , Atelier Programm 1999  Kunstlerhaus Bethanien, Berlin, Germany.
  • 1996: Award Best show of the year, Galerias IBEU / Instituto Cultural Brasil-Estados Unidos, Rio de Janeiro, Brazil.
  • 1995: II Salão de Arte da Bahia , Museu de Arte Moderna da Bahia, Salvador, Brazil.

Solo Exhibitions

Group Exhibitions

Publications

Collections

Links

September 5, 2014 Marcius Galan: Como dobrar uma bandeira como desdobrar https://abstractioninaction.com/happenings/marcius-galan-como-dobrar-uma-bandeira-como-desdobrar/

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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.

March 27, 2014 Chiara Banfi https://abstractioninaction.com/artists/chiara-banfi/

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.

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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

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions

Publications

Collections

February 19, 2014 Dario Escobar: Slide https://abstractioninaction.com/happenings/dario-escobar-slide/

museu-de-arte-do-rio

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.

February 6, 2014