Vermelho presents, from August 13 to September 10, Sobre a terra, sob o céu [Over the earth, under the sky], a new solo show by Detanico Lain. This is their eighth solo show at the gallery.
Detanico Lain’s works suggest, through different writing systems, ideograms, and maps, ways and strategies of perceiving nature and the human body pointing to new cartographies. Imbued with scientific, mathematical and literary references, their works deal with themes related to time, space, memory, language and history.
The artists address issues connected to the landscape, whether cultural or natural. Right on the gallery’s façade, the work from which the exhibition is named creates a vertical horizon, where “over the earth” and “under the sky” are written from the bottom to the top and from the top to the bottom, respectively. At the meeting of the two sentences, a division that inverts the meaning of the reading creates a horizontal cut that imposes itself as a border guiding the field of linguistic investigation at the exhibition.
Vermelho presents, from August 13 to September 10, Sobre a terra, sob o céu [Over the earth, under the sky], a new solo show by Detanico Lain. This is their eighth solo show at the gallery.
Detanico Lain’s works suggest, through different writing systems, ideograms, and maps, ways and strategies of perceiving nature and the human body pointing to new cartographies. Imbued with scientific, mathematical and literary references, their works deal with themes related to time, space, memory, language and history.
The artists address issues connected to the landscape, whether cultural or natural. Right on the gallery’s façade, the work from which the exhibition is named creates a vertical horizon, where “over the earth” and “under the sky” are written from the bottom to the top and from the top to the bottom, respectively. At the meeting of the two sentences, a division that inverts the meaning of the reading creates a horizontal cut that imposes itself as a border guiding the field of linguistic investigation at the exhibition.
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Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
23 x 16 cm each part of 10
digital printing on 170 gr olin blanc naturel paper Photo Filipe Berndt [:pt]Ao entrar na galeria, o trabalho Horizonte do Sertão (2018) mostra uma linha horizontal organizada a partir da presença da palavra horizonte no livro Grande sertão: veredas, de João Guimarães Rosa. Nessa série de trabalhos, Angela Detanico e Rafael Lain procuram pela palavra horizonte em determinado livro, escaneiam suas páginas e apagam todas as linhas de texto, deixando apenas aquelas em que a palavra horizonte está escrita. Depois de reimprimir as páginas em tamanho natural, os artistas organizam a montagem perfilando as linhas de texto e criando um horizonte de palavras. o número de partes que compõe cada trabalho é dado pelo número de linhas com a palavra horizonte em cada livro.[:en]Upon entering the gallery, the work Horizonte do Sertão [Wilderness’ horizon] (2018) shows a horizontal line emanating from the presence of the word ‘horizon’ in the book Grande sertão: veredas, by João Guimarães Rosa. In this series of works, Angela Detanico and Rafael Lain search for the word ‘horizon’ in a particular book, scan its pages and erase all the lines of text, leaving only those in which ‘horizon’ is written. After reprinting the full-size pages, the artists organize the montage by profiling the lines of text and creating a horizon of words. The number of parts that make up each work is given by the number of lines with the word ‘horizon’ in each book.[:]Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
Photo Filipe Berndt
330 x 307 cm
charcoal on wall Photo Filipe Berndt [:pt]Na série Metamorfoses, Detanico e Lain baseiam-se na obra de mesmo título do poeta latino Ovídio, que narra episódios vividos por personagens da mitologia grega e as transformações que dão nome ao livro: homens que se transformam em rios, em flores e em rochas; ninfas que são transformadas em sons; deuses que se transformam em pássaros. Cada obra da série narra uma dessas transformações e é construída como árvores de texto feitas de carvão sobre a parede.[:en]In the series Metamorphoses, Detanico and Lain create from the work of the same title by the Latin poet Ovid, narrating episodes lived by characters from Greek mythology and the transformations that give the book its name: men who transform themselves into rivers, flowers and rocks; nymphs that are transformed into sounds; gods that transform themselves into birds. Each work in the series narrates one of these transformations.[:]Photo Vermelho
Photo Filipe Berndt
270 x 275 cm
charcoal on wall Photo Filipe Berndt [:pt]Na série Metamorfoses, Detanico e Lain baseiam-se na obra de mesmo título do poeta latino Ovídio, que narra episódios vividos por personagens da mitologia grega e as transformações que dão nome ao livro: homens que se transformam em rios, em flores e em rochas; ninfas que são transformadas em sons; deuses que se transformam em pássaros. Cada obra da série narra uma dessas transformações e é construída como árvores de texto feitas de carvão sobre a parede.[:en]In the series Metamorphoses, Detanico and Lain create from the work of the same title by the Latin poet Ovid, narrating episodes lived by characters from Greek mythology and the transformations that give the book its name: men who transform themselves into rivers, flowers and rocks; nymphs that are transformed into sounds; gods that transform themselves into birds. Each work in the series narrates one of these transformations.[:]Photo Vermelho
Photo Filipe Berndt
Photo Filipe Berndt
150 x 83 cm each
pigment print on kozo awagami paper 110g Photo Filipe Berndt [:pt]Corpos verdes (2022), é um poema em 14 imagens escrito em Biotipo, um sistema de escrita baseado em imagens dos corpos dos artistas. Detanico e Lain se fotografaram e recortaram partes dos seus corpos para designar com imagens cada uma das letras do alfabeto. O sistema se divide em diferentes tons de verde, que definem a ordem em que as palavras sobrepostas devem ser lidas, do mais escuro para o mais claro. As deformações desses segmentos de corpos fazem lembrar imagens de folhagens. O poema fala de um corpo em metamorfose constante entre o mundo, a palavra e a natureza.[:en]Corpos verdes (2022) [Green bodies] is a poem in 14 images written in Biotipo, a writing system based on images of the artists’ bodies. Detanico and Lain photographed themselves and cut out parts of their bodies to designate with images each of the letters in the alphabet. The system is divided into different shades of green, defining the order in which the overlapping words should be read, from darkest to lightest. The deformations of these body segments are reminiscent of images of foliage. The poem speaks of a body in constant metamorphosis between the world, the word and nature.[:]Photo Filipe Berndt
150 x 83 cm
pigment print on kozo awagami paper 110g Photo Filipe Berndt [:pt]Corpos verdes (2022), é um poema em 14 imagens escrito em Biotipo, um sistema de escrita baseado em imagens dos corpos dos artistas. Detanico e Lain se fotografaram e recortaram partes dos seus corpos para designar com imagens cada uma das letras do alfabeto. O sistema se divide em diferentes tons de verde, que definem a ordem em que as palavras sobrepostas devem ser lidas, do mais escuro para o mais claro. As deformações desses segmentos de corpos fazem lembrar imagens de folhagens. O poema fala de um corpo em metamorfose constante entre o mundo, a palavra e a natureza.[:en]Corpos verdes (2022) [Green bodies] is a poem in 14 images written in Biotipo, a writing system based on images of the artists’ bodies. Detanico and Lain photographed themselves and cut out parts of their bodies to designate with images each of the letters in the alphabet. The system is divided into different shades of green, defining the order in which the overlapping words should be read, from darkest to lightest. The deformations of these body segments are reminiscent of images of foliage. The poem speaks of a body in constant metamorphosis between the world, the word and nature.[:]Photo Filipe Berndt
Photo Vermelho
Photo Filipe Berndt
Variable dimensions
4 glass vases and 36 flowers Photo Filipe Berndt [:pt]Na saída da sala, em direção ao segundo andar da galeria, encontra-se uma obra da série Vanitas (2018). Nessa série, palavras que se referem à passagem do tempo são escritas com o sistema de escrita Vanitas, em que cada letra do alfabeto é designada por uma determinada quantidade de flores dentro de vasos. Um vaso com uma flor corresponde à letra A, um vaso com duas flores, à letra B, e assim por diante. Na exposição estão presentes duas obras da série Vanitas, Vida, escrita com antúrios vermelhos, e Tempo, escrita com cravos brancos. Aqui, natureza real (flores) e natureza convencionada (tempo) se encontram sob uma única perspectiva. Esse cruzamento ainda deixa a dúvida: qual o momento certo de trocar as flores dos vasos[:en]Exiting the room toward the second floor of the gallery, there are works from the series Vanitas (2018). In this series, words that refer to the passage of time are written with the Vanitas writing system, in which each letter of the alphabet is designated by a certain number of flowers within vases. A vase with one flower corresponds to the letter A, a vase with two flowers to the letter B, and so on. The exhibition features two works from the Vanitas series: Vida, written with red anthuriums, and Tempo, written with white carnations. Here, real nature (flowers) and conventional nature (time) meet under a single perspective. This crossing still leaves the doubt: when is the right time to change the flowers in the vases?[:]Photo Vermelho
Dimensões variáveis
4 glass vases and 36 flowers Photo Vermelho [:pt]Na saída da sala, em direção ao segundo andar da galeria, encontra-se uma obra da série Vanitas (2018). Nessa série, palavras que se referem à passagem do tempo são escritas com o sistema de escrita Vanitas, em que cada letra do alfabeto é designada por uma determinada quantidade de flores dentro de vasos. Um vaso com uma flor corresponde à letra A, um vaso com duas flores, à letra B, e assim por diante. Na exposição estão presentes duas obras da série Vanitas, Vida, escrita com antúrios vermelhos, e Tempo, escrita com cravos brancos. Aqui, natureza real (flores) e natureza convencionada (tempo) se encontram sob uma única perspectiva. Esse cruzamento ainda deixa a dúvida: qual o momento certo de trocar as flores dos vasos[:en]Exiting the room toward the second floor of the gallery, there are works from the series Vanitas (2018). In this series, words that refer to the passage of time are written with the Vanitas writing system, in which each letter of the alphabet is designated by a certain number of flowers within vases. A vase with one flower corresponds to the letter A, a vase with two flowers to the letter B, and so on. The exhibition features two works from the Vanitas series: Vida, written with red anthuriums, and Tempo, written with white carnations. Here, real nature (flowers) and conventional nature (time) meet under a single perspective. This crossing still leaves the doubt: when is the right time to change the flowers in the vases?[:]Photo Filipe Berndt
Pigment print on kozo awagami paper 110g
Photo Filipe Berndt
In the series Clouds (2022), Detanico Lain created a set of 15 images of white clouds on a blue background. From a distance, the observer can, as in a game, look for shapes in the clouds, but when getting closer, he sees that, in fact, the clouds are made of letters that form words. The letters scattered across the images also require some investigation to uncover the word that is there.
105 x 190 cm
Pigment print on kozo awagami paper 110g
Photo Filipe BerndtIn the series Clouds (2022), Detanico Lain created a set of 15 images of white clouds on a blue background. From a distance, the observer can, as in a game, look for shapes in the clouds, but when getting closer, he sees that, in fact, the clouds are made of letters that form words. The letters scattered across the images also require some investigation to uncover the word that is there.
Photo Filipe Berndt
pigment print on kozo awagami paper 110g
Photo Filipe Berndt
In the series Clouds (2022), Detanico Lain created a set of 15 images of white clouds on a blue background. From a distance, the observer can, as in a game, look for shapes in the clouds, but when getting closer, he sees that, in fact, the clouds are made of letters that form words. The letters scattered across the images also require some investigation to uncover the word that is there.
65 x 90 cm
pigment print on kozo awagami paper 110g
Photo Filipe BerndtIn the series Clouds (2022), Detanico Lain created a set of 15 images of white clouds on a blue background. From a distance, the observer can, as in a game, look for shapes in the clouds, but when getting closer, he sees that, in fact, the clouds are made of letters that form words. The letters scattered across the images also require some investigation to uncover the word that is there.
Photo Filipe Berndt
35 X 42 cm
pigment print on kozo awagami paper 110g Photo Filipe Berndt [:pt]Na série Nuvens (2022), Detanico Lain criam um conjunto de 15 imagens de nuvens brancas sobre fundo azul. À distância, o observador pode, como em um jogo, procurar formas nas nuvens, mas, ao se aproximar, vê que, na verdade, as nuvens são feitas de letras que formam palavras. As letras espalhadas pelas manchas, também exigem alguma investigação para desvelar a palavra que lá está.[:en]In the series Clouds (2022), Detanico Lain created a set of 15 images of white clouds on a blue background. From a distance, the observer can, as in a game, look for shapes in the clouds, but when getting closer, he sees that, in fact, the clouds are made of letters that form words. The letters scattered across the images also require some investigation to uncover the word that is there.[:]Photo Filipe Berndt
Photo Filipe Berndt
Mural drawing
Photo Filipe Berndt
Looking beyond the clouds, there is Atlas (southern hemisphere) (2022), a carbon pencil drawing on a wall that represents the constellation of stars visible to the naked eye and connected by straight lines, as on a map.
Variable dimensions
Mural drawing
Photo Filipe BerndtLooking beyond the clouds, there is Atlas (southern hemisphere) (2022), a carbon pencil drawing on a wall that represents the constellation of stars visible to the naked eye and connected by straight lines, as on a map.
Wall drawing
Photo Filipe Berndt
Looking beyond the clouds, there is Atlas (southern hemisphere) (2022), a carbon pencil drawing on a wall that represents a constellation of stars visible to the naked eye and connected by straight lines, as on a map.
Variable dimensions
Wall drawing
Photo Filipe BerndtLooking beyond the clouds, there is Atlas (southern hemisphere) (2022), a carbon pencil drawing on a wall that represents a constellation of stars visible to the naked eye and connected by straight lines, as on a map.
Photo Vermelho
Photo Filipe Berndt
Photo Filipe Berndt
Variable dimensions
5 glass vases and 69 flowers Photo Filipe Berndt [:pt]Na saída da sala, em direção ao segundo andar da galeria, encontra-se uma obra da série Vanitas (2018). Nessa série, palavras que se referem à passagem do tempo são escritas com o sistema de escrita Vanitas, em que cada letra do alfabeto é designada por uma determinada quantidade de flores dentro de vasos. Um vaso com uma flor corresponde à letra A, um vaso com duas flores, à letra B, e assim por diante. Na exposição estão presentes duas obras da série Vanitas, Vida, escrita com antúrios vermelhos, e Tempo, escrita com cravos brancos. Aqui, natureza real (flores) e natureza convencionada (tempo) se encontram sob uma única perspectiva. Esse cruzamento ainda deixa a dúvida: qual o momento certo de trocar as flores dos vasos[:en]Exiting the room toward the second floor of the gallery, there are works from the series Vanitas (2018). In this series, words that refer to the passage of time are written with the Vanitas writing system, in which each letter of the alphabet is designated by a certain number of flowers within vases. A vase with one flower corresponds to the letter A, a vase with two flowers to the letter B, and so on. The exhibition features two works from the Vanitas series: Vida, written with red anthuriums, and Tempo, written with white carnations. Here, real nature (flowers) and conventional nature (time) meet under a single perspective. This crossing still leaves the doubt: when is the right time to change the flowers in the vases?[:]Photo Vermelho
Dimensões variáveis
5 glass vases and 69 flowers Photo Vermelho [:pt]Na saída da sala, em direção ao segundo andar da galeria, encontra-se uma obra da série Vanitas (2018). Nessa série, palavras que se referem à passagem do tempo são escritas com o sistema de escrita Vanitas, em que cada letra do alfabeto é designada por uma determinada quantidade de flores dentro de vasos. Um vaso com uma flor corresponde à letra A, um vaso com duas flores, à letra B, e assim por diante. Na exposição estão presentes duas obras da série Vanitas, Vida, escrita com antúrios vermelhos, e Tempo, escrita com cravos brancos. Aqui, natureza real (flores) e natureza convencionada (tempo) se encontram sob uma única perspectiva. Esse cruzamento ainda deixa a dúvida: qual o momento certo de trocar as flores dos vasos[:en]Exiting the room toward the second floor of the gallery, there are works from the series Vanitas (2018). In this series, words that refer to the passage of time are written with the Vanitas writing system, in which each letter of the alphabet is designated by a certain number of flowers within vases. A vase with one flower corresponds to the letter A, a vase with two flowers to the letter B, and so on. The exhibition features two works from the Vanitas series: Vida, written with red anthuriums, and Tempo, written with white carnations. Here, real nature (flowers) and conventional nature (time) meet under a single perspective. This crossing still leaves the doubt: when is the right time to change the flowers in the vases?[:]Photo Filipe Berndt
acrylic varnish, acrylic plaster on raw linen
Photo Filipe Berndt
In Terra Incognita (2022), the title of the work appears written in acrylic over linen canvas, using the Timezonetype system, developed by Detanico Lain. Timezonetype is a typography created from the relationship between time zones and the letters of the alphabet. Portions of the map cut by the time zone are used to designate letters. By this way, words are written with pieces of maps, creating arrangements that break the cartographic order and propose new readings of the world based on the written word.
150 x 250 cm
acrylic varnish, acrylic plaster on raw linen
Photo Filipe BerndtIn Terra Incognita (2022), the title of the work appears written in acrylic over linen canvas, using the Timezonetype system, developed by Detanico Lain. Timezonetype is a typography created from the relationship between time zones and the letters of the alphabet. Portions of the map cut by the time zone are used to designate letters. By this way, words are written with pieces of maps, creating arrangements that break the cartographic order and propose new readings of the world based on the written word.
Typographic font created from the equivalence between time zones and letters of the alphabet proposed in 1802 by astronomer, mathematician and navigator Nathaniel Bowditch.
Typographic font created from the equivalence between time zones and letters of the alphabet proposed in 1802 by astronomer, mathematician and navigator Nathaniel Bowditch.
Photo Filipe Berndt
Dimensões variáveis [variable dimensions]
tiles Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt