Galeria Vermelho presents the group exhibition Vol., curated by José Augusto Ribeiro and Fernando Oliva.
The exhibition Vol. consists of works by artists and musicians in which the sound phenomenon is processed as concrete matter, as something endowed with volume also in the sense attributed to sculpture or, even, painting.
The selection, made by Fernando Oliva and José Augusto Ribeiro, brings together music, videos, objects and actions around the idea of “structure in movement”, a concept that borrows notions from art and science to designate complex systems whose constituent elements are mobile, interchangeable, relative or relational.
Sounds, images, texts and actions jointly investigate possibilities of altering the apprehension of time and space, promoting a confrontation between artists directly linked to the visual issue and/or inserted in the contemporary art system and those situated more specifically in the field of studies of music and sounds – mainly electroacoustic, due to its possibility of a spatial conception of sound, experimentalism and freedom in the choice and use of sounds.
Participating in Vol.: Amilcar Packer, Angela Detanico and Rafael Lain, Chelpa Ferro, Eloi Silvestre, Fabiano Marques, Fernando Iazzetta, Guto Lacaz, Laura Belém, Lia Chaia, Marssares, Mauricio Ayer, Nicolás Robbio, Patrícia Osses, Paulo Nenflídio, Paulo von Zuben, Pedro Perez, Renata Lucas, Ricardo Basbaum, Rodolfo Caesar, Sérgio Kafejian and Trio Akronon (Rogério Costa, Silvio Ferraz and Edson Ezequiel).
The title of the exhibition, an abbreviation for “volume”, also refers to the volumes of a collection.
Galeria Vermelho presents the White Box exhibition, solo by Ricardo Carioba, from October 1st to 23rd.
White Box is composed of photographs, video, drawing and an installation. Ricardo Carioba’s research deals with the environment behind interfaces, which is normally not accessible to the user of electronic equipment.
Photographs are produced from stimuli that the photographic enlargement machine is not programmed to receive. The machine then produces shapes and colors independent of the original file sent to it. They are photographs that do not represent reality, without references or memory normally attributed to the photographic image.
Ricardo Carioba deals with aspects of light, such as its parts, speed and propagation. They are fundamental elements for the functioning of electronic media. On the ground floor of the gallery, there will be an installation where the structure of the computer screen is poetically transposed to the ceiling of the gallery. The work is composed of the diffusion of light in space. The lamps are colored, but when the light reaches the observers it will be white, as white is the sum of red, green and blue lights.
Galeria Vermelho presents How far view reaches by Carla Zaccagnini.
How far view reaches by Carla Zaccagnini proposes an investigation of the limits of visual perception and esthetics to apprehend contemporary art. One central issue is the relation between observer and the object of art. Among the presented works are Museum of Views, a work in progress that intends to be a collection of drawings of views/scapes described by pedestrians and visitors and registered by police portrayers in several locations worldwide; and Card Game, a transparent card game that excludes secrecy and the possibility of bluff??, transforming the rules of the game empathizing the power of chance and luck.
Two texts are part of the show: the first, written by a climber about climbing mountains and panoramic view, brings to the art context what is hidden by the effort of reaching the highest point; the second will be written by a scientist or a philosopher, about the role of observation in the history of scientific discoveries.
Carla Zaccagnini was part of the Panorama de Arte Brasileira at the Museu de Arte Moderna de São Paulo in 2001, and had solo shows at the Museu de Arte da Pampulha and at Centro Cultural São Paulo. Abroad, she presented works at MALBA of Buenos Aires, at the Munich Kunstverein, among others.
Galeria Vermelho presents Hora Aberta [Open Hour] by Manuela Marques, from August 10 to September 4.
At the gallery’s mezzanine, the exhibition Hora aberta [Open Hour] articulates the work of French photographer Manuela Marques and the design office OVO. This is the first solo show of Manuela Marques in Brazil, who has been to Sao Paulo, Rio de Janeiro and Brasilia last year for a residency programme supported by AFAA and the French Consulate in Sao Paulo.
Curated by Lisette Lagnado, the show presents six large scale photographs and three videos. Open Hour is literally the moment of dusk, but Open Hour here intends also to point that Manuela Marques’ research is inserted in this perception of a suspended moment. Her photographs bring a notion of frozen places and lives. The videos, some made during her residency in Brazil, bring the issue of movement with a velocity next to immobility.
The images of Manuela Marques are combined with seats of modular foam, specially developed by designer Gerson de Oliveira for this show. One of OVO’s intentions is to stretch the design field by working in several projects not exclusively related to furniture design. He was to develop a place for the visitor to stay as long as Marques’ videos require. The result is an ambient opposition to the dryness of the images, where the seats offer comfort and warmth.
Manuela Marques has exhibited at National Center of Photography in Paris, at Gallery Schroeder/
Romero in Nova York, at Galerie Anne Barrault in Paris, at Museum of Canadian Photography in Ottawa – Canada, at Galerie Imago Lucis at Porto – Portugal, among others.
OVO is a design Office by Luciana Martins and Gerson de Oliveira. The partnership comes from 1992, but the name OVO was created in 2000. From the beginning, they have been developing several projects, mostly working with furniture design, but they also participate in exhibitions in institutions and art galleries. They have a shop since 2002.
A Galeria Vermelho apresenta a exposição coletiva Grátis, de 07 a 31 de julho.
Esta coletiva vem discutir a relação entre arte e mercado, tiragem, industrialização, valor. Estas questões surgem constantemente em conversas entre artistas, curadores e galeristas, e influenciam o processo do fazer artístico. Grátis aponta o mercado como um agente presente na reflexão do artista.
Para acentuar estas questões, será criado um paralelo entre a galeria comercial e um shopping center. Tanto na montagem do espaço expositivo, que contará com um totem de sinalização das obras como nos shoppings, como nas comparações entre seus produtos, visitantes e consumidores.
O grupo de participantes é composto por artistas e designers que encontraram em sua produção algumas das questões acima. O resultado é uma mostra com trabalhos que discutem mercado, meios de produção em série, desejo, escolha, função da obra de arte, e apresentação da obra/produto.
Dentre os trabalhos apresentados, estarão: “As Desaparecidas”, de Rosana Monnerat, onde a artista destrói as matrizes de cobre usadas em sua última exposição, dando-lhes polimento, para então vendê-las ao preço do quilo do metal vigente no mercado; “Lembranças”, de Edilaine Cunha, um disco de vinil branco onde em suas faixas foi gravado o silêncio; “ Artista Vende-se”, de Leandro da Costa, que consiste na venda de todos os objetos pessoais do artista ao invés de suas obras e “Privado”, de Maurício Ianês, uma série de performances de pequena duração, feitas sob encomenda do público, privadas, com hora marcada e pagamento antecipado. O público poderá escolher entre ‘cinco minutos de alegria’, ‘trinta minutos de decepção’ e ‘dez minutos de tristeza’.
Marco Paulo Rolla, best known for his paintings and ceramics, presents an exhibition characterized by the exploration of various mediums: painting, drawing, ceramics, video, digital image, performance, and installation. The artist will showcase how influences from music, dance, and theater, which permeate his career, culminate in a diverse body of work.
The exhibition features new pieces, such as the video-performance “Analog Deformer,” and reinterpretations of older works, like the performance “Comfortable,” which was presented in his last solo exhibition as a video recording and will now be performed live at Vermelho Gallery.
Exploring the theme of human existence and its relationship with desires and everyday objects, the artist creates connections and symbolisms that range from thematic archetypes of 17th and 18th-century paintings to contemporary topics like virtual technology, all linked by the realistic memory of our everyday lives reinterpreted symbolically through pictorial concepts.
Among the presented works are “Deconstructions” – drawings on wall plaster, “Vanitas” – pieces of raw ceramic meat replicating supermarket meat ads, and “Cannibal,” a blend of sculpture and performance.
The artists Cinthia Marcelle, Marilá Dardot, and Sara Ramo open the exhibition Solto,Cruzado e junto [Loose, Crossed, and Together] at Vermelho.
The exhibition features individual works by the three artists, who will also present, on the opening day, a collective piece that gives the title to the exhibition. “Loose, crossed, and together” are the three ways to dance the bolero. The work/proposition/entertainment uses the bolero, creating in the gallery an environment of a ballroom dance, a dance hall, with tables, lights, and a bar. The artists experiment with and propose the experience of this dance, a language that involves the relationship between pairs, the occupation of space, and the skill in dealing with timing and counter-timing, issues that permeate other works in this exhibition.
Among the works presented, “Capa Morada” by Cinthia Marcelle, a series of photographs that narrate a process of integration into another city. The work was carried out during the artist’s residency in the Very Real Time Program in Cape Town in 2003. Marilá Dardot shows, among others, “Midnight is also Noon,” an altered clock in which the hands move at half speed. The clock “opens” the exhibition, proposing to those entering the gallery a modified, slower time. Sara Ramo brings “Selva-me,” a video with the precise delineation of a rectangular visual field that is gradually occupied by an apparently random but carefully constructed composition, like a painting (the video is made backward).
The three artists, residents of Belo Horizonte, have worked together before, notably during the 2003 period when they were selected for the Bolsa Pampulha from the Pampulha Art Museum. The curation was done by the three artists, who also contribute a text about the exhibition.
Cinthia Marcelle and Marilá Dardot were selected for the Rumos Itaú Cultural in 2002, participated in the Saturday Performances, and Sara Ramo exhibited at the Panorama of Brazilian Art 2003 at the Museum of Modern Art in São Paulo, among other achievements.
Rosana Monnerat presents The World Doesn’t Need You. In this exhibition, Rosana creates an environment for the appreciation of her work, with E.V.A. mats and music developed by the duo Mínima. On the walls, a series of prints are interspersed with videos and photographs, where the artist unfolds concepts from her sculptures.
A large network of steel wires will partially cover the gallery’s facade, and in the hall, there will be a large piece made of steel wires and tourmaline. The process of creating the network will be documented and exhibited in the form of photographs that show the artist weaving the net, with phrases and words thought during the process written on her back, such as: Forget myself, Selfish, Reason is a dwarf, To do is to pray, No guarantee, Everyone suffers, Origin of suffering, Body thicket, Current, among others.
The exhibition 1, by Edouard Fraipont, will feature 8 large-format photographs and over 100 photos sized 20 x 30 cm. The photos have been adhered to magnetic sheets, allowing the audience to handle them. There will be a magnetic workspace on the wall, enabling the attachment and removal of images according to the visitor’s editing preferences. The images explore an individual’s desire to break away from unity. Corresponding to the realm of mathematics, this individual fragments, multiplies, negates, and transforms.
Derivas [Drifts] is an erratic stroll, a sidelong gaze at the city of São Paulo. It is about allowing oneself to get lost amid the flows, speed, and signs of the urban environment in an attempt to gain visibility beyond the surface opacity of the metropolis. Records of circulation and engagement with urban space, revealed by seven artists provoked by the restlessness of those who inhabit a city that cannot be fully grasped, a condition that leads us to reinvent a personal city within the given city.
Contemporary thinking about urban space requires a more complex and less romanticized counterpart to the iconography that represents cities. The pictorial tradition of broad-scope landscapes, modes, and customs of the population that underlie the photo documentation of cities seems no longer sufficient for the intricate web of meanings that emerges from major metropolises.
To find meaning beyond the banalization of codes, the shifting landscape, and the spectacularization of big cities, attention must be directed not to what presents itself as it is but to what does not manifest as an autonomous image. It is necessary to peel away the various layers of the city, discover the multiple cities overlaid in layers by time and the singular experience of spaces, to decipher some enigmas that lead us to better understand and attribute some meaning to the constructed territory we inhabit.
Living in a metropolis means navigating through instability, inconstancy, and multiplicity. Our “drifts” did not unfold as the situationalist exploration technique—popularized in the 1950s, advocating the participation of city inhabitants through “passionate circulation”—but they resonate with that form of contact with the city. Experiences that shape a particular cartography of São Paulo.
The seven artists invited for this undertaking formed a discussion group that, for three months, deliberated with the organizers on texts by thinkers such as Michael Sorkin, Paul Virilio, Marc Augé, and Italo Calvino, among others, as a starting point.
With this established field of reflection, the artists began to develop project proposals that, discussed within the group, generated new concepts and expanded the possibilities of the proposed theme. Thus, curation also occurred as a drift, not selecting works that fit the theme but provoking situations for them to be created, thereby configuring a record of the city.
Eder Chiodetto is a journalist, photography editor for the Folha de S.Paulo newspaper, and author of the book “O Lugar do Escritor” (Cosac & Naify, 2002).
Marta Bogéa is an architect, having designed the architecture for exhibitions such as “Arte Cidade 3” (São Paulo, 1997) and “Imagética” (Curitiba, 2003), among others. She is the author of the book “Two-way Street: The Paulista Avenue Flux and counter-flux of modernity (SDSU Press, 1995)