In Onde cabe o olho, Nicolás Robbio exercises an intimate manipulation and spatial occupation in Vermelho’s main building. This mastery of the space is the result of his 20 years of representation by the gallery, with 8 solo exhibitions (this is his 9th) at the gallery and more than 20 participations in group exhibitions.
Robbio subverts the circulation of the three exhibition rooms he occupies, establishing an immersive experience through new paths and ways of contemplating the works. In Onde cabe o olho, the body must offer the eye enough maneuvers to circulate in the gallery. As curator Clarisa Appendino writes in her exhibition text: “Bottle caps, rubber bands, fancy pearls, confetti, pins, washers, benches, matches… where do these elements come from that, like coins on the floor, we pick up with our eyes during our path through the exhibit? While this is a valid question, the answer is obvious. So, what interests us is not only the origin of these objects, but their trajectory and the displacement that destined these small elements to be suspended from their daily craft and noticed within an accidental stain of varnish.”
For Robbio, the exhibition space is never neutral, it is, therefore, a terrain of affections and conventions determined by what the individual gaze by each visitor allows to assimilate. It is through this poetic approach that the artist seeks to encourage the observer to imagine and transcend limits, both material and subjective.
In Onde cabe o olho, Nicolás Robbio exercises an intimate manipulation and spatial occupation in Vermelho’s main building. This mastery of the space is the result of his 20 years of representation by the gallery, with 8 solo exhibitions (this is his 9th) at the gallery and more than 20 participations in group exhibitions.
Robbio subverts the circulation of the three exhibition rooms he occupies, establishing an immersive experience through new paths and ways of contemplating the works. In Onde cabe o olho, the body must offer the eye enough maneuvers to circulate in the gallery. As curator Clarisa Appendino writes in her exhibition text: “Bottle caps, rubber bands, fancy pearls, confetti, pins, washers, benches, matches… where do these elements come from that, like coins on the floor, we pick up with our eyes during our path through the exhibit? While this is a valid question, the answer is obvious. So, what interests us is not only the origin of these objects, but their trajectory and the displacement that destined these small elements to be suspended from their daily craft and noticed within an accidental stain of varnish.”
For Robbio, the exhibition space is never neutral, it is, therefore, a terrain of affections and conventions determined by what the individual gaze by each visitor allows to assimilate. It is through this poetic approach that the artist seeks to encourage the observer to imagine and transcend limits, both material and subjective.
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Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Photo Vermelho
Photo Filipe Berndt
Photo Filipe Berndt
30 x 40 cm
Acrylic, varnish, pin and thread on canvas Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
40 x 27 x 27 cm + 27 x 25 x 25 cm + 38 x 27 x 24 cm
Newsprint, glue and latex paint Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
Variable dimentions
White plastic stools and ornamental plants Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
Photo Vermelho
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
10 x 18 x 7 cm
Plastic and metal on brush Photo Filipe BerndtPhoto Filipe Berndt
156 x 180 cm
Coins on cut and painted ACM Photo Filipe BerndtPhoto Filipe Berndt
Acrylic paint on eucatex
Photo Filipe Berndt
Ø 26,5 cm
Acrylic paint on eucatex
Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
30 x 40 cm
Acrylic, varnish, wire and paper on canvas Photo Filipe BerndtPhoto Filipe Berndt
47,5 x 32,5 cm
Latex elastic and wire on perforated eucatex Photo Filipe BerndtPhoto Filipe Berndt
42,5 x 35 cm
Candle and pins on glass and white perforated Eucatex plate Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
30 x 40 cm
Fake pearls, metal washer, grafite and varnish on canvas Photo Filipe BerndtPhoto Filipe Berndt
30 x 40 cm
Varnish, metal washers, googly eyes and metalic thread on canvas Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Variable dimentions
Arame e placa de eucatex branco perfurado Photo Filipe BerndtPhoto Filipe Berndt
Metal spring and coins on glass and white perforated Eucatext plate
Photo Filipe Berndt
52 x 40 cm
Metal spring and coins on glass and white perforated Eucatext plate
Photo Filipe BerndtPhoto Filipe Berndt
80 x 57 cm
White perforated Eucatex on White perforated Eucatex Photo Filipe BerndtPhoto Filipe Berndt
30 x 40 cm
Acrylic, varnish, pins, key and metallic paper on canvas Photo Filipe BerndtPhoto Filipe Berndt
White plastic table and sand
Photo Filipe Berndt
Partido de la Costa is one of the 135 partidos (districts) that make up the Province of Buenos Aires. It is a coastal region, whose geographical layout favors life on the shore. The busiest beaches are filled with popular molded plastic furniture, sharing space with the sand. By displacing and juxtaposing the two elements, Robbio configures a new landscape. “It’s like a geographical accident caused by two elements that belong to the same place,” says the artist. Robbio’s practice often relies on overlays that bring new meanings to the structure of common objects.
70 x 70 x 70 cm
White plastic table and sand
Photo Filipe BerndtPartido de la Costa is one of the 135 partidos (districts) that make up the Province of Buenos Aires. It is a coastal region, whose geographical layout favors life on the shore. The busiest beaches are filled with popular molded plastic furniture, sharing space with the sand. By displacing and juxtaposing the two elements, Robbio configures a new landscape. “It’s like a geographical accident caused by two elements that belong to the same place,” says the artist. Robbio’s practice often relies on overlays that bring new meanings to the structure of common objects.
Photo Vermelho
Photo Filipe Berndt
30 x 40 cm
Acrylic, varnish, paper and metallic arrows on canvas Photo Filipe BerndtPhoto Filipe Berndt
72 x 25 cm
Cement and marbles on glass and white perforated Eucatex board Photo Filipe BerndtPhoto Vermelho
55 x 40 cm
Plastic plant, plastic straw and threaded bar in white perforated eucatex Photo VermelhoPhoto Filipe Berndt
Variable dimentions
White plastic stools and ornamental plants Photo Filipe Berndt