In the solo show Insustentável Paraíso, André Komatsu (36) lends continuity to his recent research that resorts to errors, accidents and conflicts as a basis for presenting possible alternatives to systems widely inserted in contemporaneity.
This is what takes place in Esquadria Disciplinar 2, which employs a set of rules taken from logical systems such as mathematics, architecture and geometry, aiming to reveal the ambivalence of these systems and to question their effectiveness.
In the series (Re)forma Real, consisting of groups of old postcards, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these buildings represent. The solo show also includes the series Falha Estrutural.
Also in the show is “Falha Estrutural” (Structural Failure) where the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
In the solo show Insustentável Paraíso, André Komatsu (36) lends continuity to his recent research that resorts to errors, accidents and conflicts as a basis for presenting possible alternatives to systems widely inserted in contemporaneity.
This is what takes place in Esquadria Disciplinar 2, which employs a set of rules taken from logical systems such as mathematics, architecture and geometry, aiming to reveal the ambivalence of these systems and to question their effectiveness.
In the series (Re)forma Real, consisting of groups of old postcards, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these buildings represent. The solo show also includes the series Falha Estrutural.
Also in the show is “Falha Estrutural” (Structural Failure) where the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
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Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Concrete, branch, steel and machete.
Photo Edouard Fraipont
200 x 18 x 188 cm
Concrete, branch, steel and machete.
Photo Edouard FraipontConcrete and branch.
Photo Galeria Vermelho
33 x 146 x 8 cm
Concrete and branch.
Photo Galeria VermelhoCutted steel grid.
Photo Edouard Fraipont
The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
Variable dimentions
Cutted steel grid.
Photo Edouard FraipontThe sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
Photo Edouard Fraipont
Bricks, branches, glue, wood and spray paint.
Photo Edouard Fraipont
30 x 51 x 34 cm (each part of 9)
Bricks, branches, glue, wood and spray paint.
Photo Edouard FraipontPhoto Edouard Fraipont
Photo Edouard Fraipont
Cutted steel grid.
Photo Edouard Fraipont
The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
Variable dimentions
Cutted steel grid.
Photo Edouard FraipontThe sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
Photo Edouard Fraipont
Photo Edouard Fraipont
Iron, cement, steel cable and plastic bags.
Photo Edouard Fraipont
Variable dimentions
Iron, cement, steel cable and plastic bags.
Photo Edouard FraipontPhoto Edouard Fraipont
Concrete and branches.
Photo Edouard Fraipont
12 x 83 x 93 cm
Concrete and branches.
Photo Edouard FraipontDrywall, wood and spray paint.
Photo Edouard Fraipont
Anexo 1 is an installation where, from the local wall, an extension that protrudes into space is built up, an internal marquee. This element without function is supported by a structure of wooden rods, marked with letters and numbers, believing on the assumption that this temporary skeleton can be reassembled. The ambivalent relationship between the two opposing elements – the temporary structure and the seemingly concrete marquee – simulates a symbiosis and apparent reversal of what could be seen as an annex of the local architecture. An extension that does not have function creates both aesthetic and physical discomfort, since it does not support its own weight and needs to be supported by a structure of wooden rods, commonly used to provide temporary support to the construction.
Variable dimentions
Drywall, wood and spray paint.
Photo Edouard FraipontAnexo 1 is an installation where, from the local wall, an extension that protrudes into space is built up, an internal marquee. This element without function is supported by a structure of wooden rods, marked with letters and numbers, believing on the assumption that this temporary skeleton can be reassembled. The ambivalent relationship between the two opposing elements – the temporary structure and the seemingly concrete marquee – simulates a symbiosis and apparent reversal of what could be seen as an annex of the local architecture. An extension that does not have function creates both aesthetic and physical discomfort, since it does not support its own weight and needs to be supported by a structure of wooden rods, commonly used to provide temporary support to the construction.
Postcards and concrete.
Photo Edouard Fraipont
In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
22 x 100 x 15 cm
Postcards and concrete.
Photo Edouard FraipontIn the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
Postcards and concrete.
Photo Edouard Fraipont
In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
22 x 100 x 15 cm
Postcards and concrete.
Photo Edouard FraipontIn the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
Print on paper, wood and glue.
Photo Edouard Fraipont
In “Falha Estrutural” (Structural Failure) the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
32 x 220 x 33,5 cm
Print on paper, wood and glue.
Photo Edouard FraipontIn “Falha Estrutural” (Structural Failure) the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
Wood box and cement block.
Photo Edouard Fraipont
A bird trap, typical from childrens games, is made with a box for exportation of Brazilian products. The bait is a piece of wire mesh concrete, typical from the architectural model of the modernist project.
45 x 30 x 46 cm
Wood box and cement block.
Photo Edouard FraipontA bird trap, typical from childrens games, is made with a box for exportation of Brazilian products. The bait is a piece of wire mesh concrete, typical from the architectural model of the modernist project.