Vermelho presents, from August 14th to September 6th, 2007, the exhibition 30 M by Rogério Canella.
In 30 M Rogério Canella presents 11 images from his series of photographs Linha 4, titled after the new São Paulo subway line, which will connect Estação da Luz to Vila Sônia, in the southwest region of the city, and whose route, according to the Company of the São Paulo Metropolitan (Metro), it will all be done underground.
To create the images, mostly large formats, Canella visited more than twelve construction sites (stations and ventilation tunnels), located under major avenues in the city of São Paulo. The artist focused only on the first of the three stages that, according to Metrô, divide the work of these large constructions. There, the soil is prepared and structures are created for the entry of SHIELD, an excavator that drills into the earth and creates tunnels that connect one station to another. As in previous series, Canella photographs these spaces in transition, devoid of human presence. In the case of Line 4, the artist reveals by looking at the gigantic transformation the city is undergoing, but which, as it occurs underground, escapes vision.
Vermelho presents, from August 14th to September 6th, 2007, the exhibition 30 M by Rogério Canella.
In 30 M Rogério Canella presents 11 images from his series of photographs Linha 4, titled after the new São Paulo subway line, which will connect Estação da Luz to Vila Sônia, in the southwest region of the city, and whose route, according to the Company of the São Paulo Metropolitan (Metro), it will all be done underground.
To create the images, mostly large formats, Canella visited more than twelve construction sites (stations and ventilation tunnels), located under major avenues in the city of São Paulo. The artist focused only on the first of the three stages that, according to Metrô, divide the work of these large constructions. There, the soil is prepared and structures are created for the entry of SHIELD, an excavator that drills into the earth and creates tunnels that connect one station to another. As in previous series, Canella photographs these spaces in transition, devoid of human presence. In the case of Line 4, the artist reveals by looking at the gigantic transformation the city is undergoing, but which, as it occurs underground, escapes vision.