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

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.

• Happenings

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

• 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