Keila Alaver, in hall 4, shows O Jardim da pele de pêssego (The peach skin garden), an installation composed of a series of objects made with frottage technique.

The works featured in the group show Por Aqui [This Way] make use of simple and familiar instruments for locating and dislocating in order to create metaphors for human relations. All selected pieces, the prints, collages, sculptures or installations, break up with the traditional bi-dimensional form of a map and create imaginary compositions. They refer to different ways of observing one’s surroundings.

Esfoliação – Mapas Fraturados Irlanda [Exfoliation – Fractured Irish Maps, 2008] by Odires Mlászho is a good example of this procedure: using the Ireland guidebook, published by Berlitz, the artist exfoliated six pages of the book to create an imaginary and implausible map of that country. Mlászho alludes to the constant conflicts of that area with this procedure. The book Planets, Stars and Space was used in the piece Planets, Stars and Space of the Flaps series of 2006. Here, Mlászho guillotined the publication in nine vertical parts of 2,5 cm each, and later glued them together in order to create unusual landscapes of outer space. 

Lia Chaia, on the other hand, made use of indication arrows system to create Setamanco. (‘Arrow-Sabot”)This piece was originally developed on the occasion of the Jornada Internacional na Cidade sem meu carro (International Journey in The City Without My Car), in Campinas (São Paulo) last September. The work is composed of 60 arrow-shaped wooden sabots. Visitors are allowed to wear some of them, and walk within the exhibition space.  

Leya Mira Brander shows the new print series Um Tango em Silêncio, [A Silent Tango] of 38 etching, aquatint and engraving prints. A couple moves along following a tango while creating an organic path of dissolving. Their moves disappear in space. Marilá Dardot shows Resolvi Partir, [I Decided to Leave] from the Céus [Skies] series, and Carla Zaccagnini presents her new series Desenhos Animáveis [Animationable’ Drawings]

In room 3, Lucia Mind Loeb presents her first solo show at Vermelho: O futuro das lembranças [The future of remembrance]. The show is composed of a new series of artist books, photographs and videos.

Ever since the beginning of his career, Marco Paulo Rolla’s main concern has been the search of a perception of the present time and to incorporate in his pieces the circumstances that surround his daily life in order to establish a direct dialogue with the viewer. The human being’s moods and actions, that become clichés when repeated, become matter and instrument of Rolla’s study. He sees these clichés as mannerisms created by society that standardize relations among individuals, and force subjectivity into a certain level.

Ever since the beginning of his career, Marco Paulo Rolla’s main concern has been the search of a perception of the present time and to incorporate in his pieces the circumstances that surround his daily life in order to establish a direct dialogue with the viewer. The human being’s moods and actions, that become clichés when repeated, become matter and instrument of Rolla’s study. He sees these clichés as mannerisms created by society that standardize relations among individuals, and force subjectivity into a certain level.

In this solo show, that will occupy halls 1 and 2 of Vermelho, the artist will present a series of works depicting common routines of daily life that question the possibility of finding a balance between the real world and subjectivity, and also reveal the contradiction between the desire for comfort and peace and today’s banality of violence. Six paintings of Objetos de Acúmulo [Accumulation Objects] series will be part of this solo show, as well as three others of Dysiquilibrio series. Rolla will also present drawings – Dissoluções em Manchas Acidentais [Dissolvings in Accidental Stains[ and Preciosidades [Precious] series, videos – Fio Condutor [Conductive Wire], Eu Desejo [I Desire] e Depois da Conquista [After Conquest], a sound installation Enganos [Mistakes] and a sculpture series.

Cadu presents in hall 4 the installation Avalanche (2009) which is composed of musical boxes, lottery tickets and drawings on paper,will be available for the viewers to create their own melodies.

Mega Sena, the most famous lottery in Brazil, reached 1000 drawings in August 2009. According to the artist, winning the lottery seems to be the image that better sums, for the western society, the idea of luck. From that, the artist has developed a comment on this issue by combining lottery tickets and the music score’s gauge of the musical box that coincidently have the same size. Each lottery ticket is pierced with the six winning numbers, when they pass through the gears of the musical box they generate a musical sentence. Each hole corresponds to the exact position of a note. One lottery ticket contains three bets, so there are 18 numbers in each, or 18 notes. By attaching several tickets into one only paper stripe, the artist created a melody of 6000 numbers, what he named as O Hino dos Vencedores (The Winners’ Hymn).

Corpo da Alma [Body of Soul] series by Rosângela Rennó will occupy hall 3. This group of images show people holding pictures of missing friends or relatives and was first published in newspapers’ articles. This series unfolded into many formats, such as aluminum boards, adhesive vinyl and ink jet prints. Here, photography becomes an instrument of rebellion against oblivion for those who had to live with the sudden absence of their dear ones, either because they were victims of disappearance or death (by acts of war, terrorism or urban violence). The portrayed people, here exhibited by their relatives, point out to a state of impotence. With this procedure, Rennó makes one of the main characteristics of photography – to freeze the instant – unstable. According to the critic Paulo Herkenhoff, Rennó wakes up the archive-dream of photography into mobility, thus making visible extra-imagetic facts.

Marcados

Since 1973 and throughout the “Brazilian miracle” years, the Yanomami territory in the Brazilian Amazon forest had been invaded due to the development of a highway in the region. Official and clandestine mining brought many outsiders to the area. Their presence intensely interfered in those indigenous tribes’ lives.

In the early 80s, the Health Ministry hired a group of doctors and the photographer Claudia Andujar to count and vaccine the people in these tribes. During this time, Andujar registered with her camera the existence of tiny communities, and revealed their inhabitants’ health situation.

Since the Yanomanis do not name their people, the team came up with the solution of numbering each one of the inhabitants, what created a strange community of families marked with numbers that were totally strange to their culture. From these numbered images, identity records of each Yanomani person were created.

The series Marcados was put together, in 2006. Composed of 14 polypthics, the work was presented for the first time at the 27ª Bienal de São Paulo (2006), and since then it has participated in many solo and group shows in Brazil and abroad.

Vermelho presents, from September 1st to October 4th 2009 Asimetrías y Convergencias (halls 1 and 2), group show of 19 young Colombian artists curated by Maria Iovino.

Some of these artists are already known in Brazil and abroad, such as Nicolás París, Milena Bonilla, Carlos Bonil, Gabriel Antolinez and Ícaro Zorbar, an artist who has participated in the performance art show VERBO 2009 last July.

The group show also includes artworks by María Isabel Arango, Natalia Castañeda, Pedro Gómez-Egaña, Andrés Ramírez Gaviria, Cesar González, Kevin Simón Mancera, Luis Hernández Mellizo, Mónica Naranjo, Luisa Roa, María Isabel Rueda, Adriana Salazar, Daniel Santiago Salguero, Diana Menestrey Schwieger and Angélica Teuta.

Asimetrías y Convergencias gathers artworks where drawing appears as a starting point and later unfolds into varied possibilities comprehending not only drafts or project illustrations, which is an instrument to visualize and organize ideas, but also those drawings that become tri-dimensional and appear as sculptures or installations.

In the artist’s hand, the act of drawing allows many side actions: to trace, to erase, to blot out, to note, to draft, to scribble or doodle. Either way, the drawing is intimately related to experience. More than any other medium, drawing represents a direct relation to the artist and witnesses his/hers affecting surroundings. Therefore, drawing creates a narrative on daily life and it’s materialized in a realistic or abstract way. Due to its fragility, concision and seemingly proximity to the viewer, the drawing has a great power of seduction towards the visitor.

The selection of pieces proposed by independent curator Maria Iovino to Asimetrías y Convergencias comprises many of the characteristics mentioned above. The show includes installations, videos, animations, drawings, artist books and sculptures that relate to drawing in many different ways, sometimes tangent to it as in the muralism of María Isabel Arango and of Luisa Roa. Even though muralism may be associated to a more ancestral drawing tradition (rupestral art), here it seems to deny the surface’s bi-dimensionality of the white cube walls by running down to the floor and to the corners of the space, what breaks the rigid aseptic architecture of these art spaces.

The attempt to rupture bi-dimensionality also appears on Gabriel Antolinez’ embroideries. They take over the architectural possibilities of the space but only to subvert it by creating unusual angles and corners, what suggests relations and connections that reveal the drawing’s structure, the format, or even what comes out from the back of the paper.

Idea Corriente by Carlos Bonil is an artwork that will be set on the Vermelho’s façade. Here, drawing is an electrical procedure: there are two poles, a positive one and negative one, all independent from each other. However, a simultaneous connection triggers an idea. Many analogies could come from such a simple machine that points out to the relation between trace and format. The same aspect could be seen on Máquinas Maleducadas created by Adriana Salazar. Both installations proposed by the artist repeat everyday life actions, such as tying a shoe or pouring wine on a glass through mechanical machines, which results are overcome by the action that these tiny robots develop in space.

In Hilando Vientos, an artist book by Natalia Castañeda, drawing appears as a graphic arts mechanical procedure. This piece, which is composed of only two drawings, intends to create a draft on the movement of the winds. Similar to the folding of an accordion, the book suggests the materialization onto the verger paper of what is immaterial, or of what cannot be taken or recovered. It reinforces the fragility and finitude of drawing, and of arts in general.

Drawing as representation of the visible world could be a plausible comment to the work of Mônica Naranjo. However, a more perceptive look will notice at the apparently linear narrative proposed by the artist an entanglement of visual enigmas, mirror reflections, shadows and appearances which compose Naranjo’s optical imagery repertoire. She associates drawing to digital processes just as Nicolás París and Andrés Ramírez Gaviria do, in which they suggest some invisibility before pointing out to what’s visible.
The historical idea of drawing as a transparent representation of what is visible reappears subverted at the installation Decoración para espacios Claustrofóbicos (2009) by Angélica Teuta. The artist creates urban scenarios using miniatures and acetate prints on a glass surface and also two rear projectors. With this procedure, Teuta reverts the search for tri-dimensionality since the miniature model created on the glass reappears in a transparency game projected on the white wall.

Kevin Simón Mancera presents a series of drawings created from stimuli suggested by the artist’s walking through São Paulo city. The strolling artist walks great distances on foot while allowing him to get affected. He creates a travel journal and indexes his surroundings in old books sheets, newspapers or magazines.

Asimetrías y Convergencias is a project created by Maria Iovino with the financial support of Fundación Gilberto Alzate Avendaño (Colombia). The 19 artists in this show were selected through an open call. The project also included artistic residencies in São Paulo and in Rio de Janeiro, what made possible for Andrés Ramírez Gaviria, Kevin Simón Mancera, Luisa Roa, Adriana Salazar, Angélica Teuta and Ícaro Zobar to come and stay Brazil for a month,

The installation Hortus Conclusus created by Teresa Berlinck will be presented at the same time as Asimetrías y Convergencias, This project in process will be set at Vermelho’s terrace for three months. Hortus Conclusus focuses on today’s life constant reorganizing and transforming.

Artérias e Capilares [Arteries and Capillaries] presents a selection from works of artists who make use of drawing. The group show reveals a critical relation among thinking and drawing and points out to a variety of possibilities employed to drawing in art today which may appear in an abstract form, figurative or even related to precise technical systems.

Some artists create high-precision technical appliances that engage their own dynamics and generate outcomes that escape the artist’s control after being set in the exhibition space, such as Equivalências (2003-2009) by Cadu. The work is composed by an electric motor, a presence sensor and an aluminum pole so it recognizes the viewer’s presence within the exhibition space and from that it starts a drawing that will only be finished when the show is over.

There are those who incorporate drawings to photography presenting, side-by-side, this two forms of documenting an instant. This procedure can be observed in Odires Mlászho’s scarifications and photos and in the drawings by Leandro da Costa.

In the works by Maurício Ianês, Nicolás Robbio and Chiara Banfi, drawing is employed as the first instrument for sketching and elaborating tri-dimensional installations.

With Pré-desenho (Pre-drawing 2009), Fabio Morais appropriates the gallery’s rooms 1 and 2 to create a continuous drawing, a graphite line that expands and contracts throughout the space. Here, the drawing appears as an effective instrument to transit from a bi-dimensional study to an object that ruptures frontality and generates tri-dimensional objects. Such procedure is also seen in Na Medida das Coisas (In Measure of Things 2009) by Cinthia Marcelle. There, an instrument with a very specific function in technical drawing: a 360 cm ruler, has its functions subverted. Therefore, by removing the precision that is normally associated to this object, a sculptural organic object is created in the space. Marcelle also presents Volver (Return 2009), a video where an excavator runs an infinite-shaped path while transporting earth from side to side as some kind of giant never-stopping hourglass.

In room 3, the Cassino collective, opened during the VERBO 2009 exhibition, brings together a set of works that appropriate the dynamics of the game to establish direct contact with the observer. CASSINO features works by Axel Straschnoy, Laerte Ramos, João Loureiro, Cris Bierrenbach, Elida Tessler, Carla Zaccagnini and Marilá Dardot.

Zootécnico [Zootechnics] is João Loureiro’s first solo show at Vermelho. It approaches the relations of architecture’s form and function both in private and public spaces. Loureiro’s installation is composed by a group of five animals made of sliced grey foam: a mouse, a wolf, a donkey, a rhino and an elephant. The 1:1 scale animals were distributed within the gallery according to their visual proportion to the space, preserving the variety suggested by the architecture as internal procedure.

Such procedures orient Loureiro’s most recent researches. They investigate Brazilian modern architecture legacy and the constructive logic of buildings and urban areas. In Zootécnico [Zootechnics] the material suggests an almost tactile approach. On the other hand, the memory it brings is not subjective. The issue is not to elaborate and implement a viable and functional project for life and work, rather it is a speculation on modern values and the failure of their implement.

Loureiro’s choice of form and the repeating of a unique theme are a comment on recurrent exhibition models in art spaces. The grey color refers to “naturalist” representation of animals and also to the white cube’s intended neutrality. When visiting the exhibition, the spectator will see all animals but will never actually see the whole group. The mouse, the wolf, the donkey, the rhino and the elephant, gradually placed in line on the viewer’s mind, eventually constitute a grey scale.

A recurrent theme on Angela Detanico e Rafael Lain’s work, language is once again approached at this exhibition. “Espaços de Tempo” (time spaces) works are presented for the first time in Sao Paulo.

Local time was first shown at the duo’s solo exhibition Um dado tempo um dado lugar (a given time a given space) at the Museu de Arte da Pampulha, in Belo Horizonte (MG). With this work, Detanico and Lain propose a correspondence between letters of the alphabet and global time zone system. In order to create it, the duo started from studies by North-American astronomist and mathematician Nathaniel Bowditch (1773-1838), who used alphabet letters to identify the 24 time zones on earth.

Wind Spelling (2008) is a sound piece in which names of south winds are spelled at a sound scale created from the speed decrease of a human blowing. The highest and shortest note stands for the letter A and the longest and lowest note stands for the letter Z. These sounds/letters are overlapped and combined to pronounce names such as Elephanta, Minuano and Sirocco.

Something Crossing (2008) shows a text composed in Ventania – an alphabet derived from a system for notation of wind intensity – that is animated according to wind directions observed everyday at some point in central Atlantic Ocean.

As in some of their prior works, Espaços de Tempo reaffirms the independency of art on the philosophical field, suggesting an intermediate zone in constant transit between the visible and the invisible, establishing proximities among art and language in the form of typographies, graphic design, video, architecture and sound.

It’s been 4 years since Marcelo Zocchio (45) presented his last solo, “Utilidades Domésticas”, at Vermelho. At  first sight, the two new series of images composing Lançamentos + Planetas [Launches/ Planets] do not resemble the 2005 series composed of pictures of spaces, furniture and objects that were around the artist at the  time. However, a sharper eye will notice similar propositions in both, such as the framing of the photographed  object in a way that isolates it from its surroundings as if foreground and background were not part of the same  universe, or the narrative among the images and their relation to the spectator.  

For instance, Planetas [Planets], 2009, depicts a tall man, dressed as if a character of a sci-fi film, standing still  and distant-looking at the spectator. The scenery is arid, desolate, and the man is alone. Planetas [Planets] is  similar to a spaceship log, as if a photographic record of this characters’ journey across many planets. They are  nine metacrylate prints where the artist let himself be photographed frontally, thus establishing a confronting and  also distant relation to the spectator that seems enhanced because of the large space between the body and the  camera tripod.  

Lançamentos [Launches] is a series of computer-generated images and also a video at the ground floor of the  gallery where the positivist vision of science existing in Planets is totally shaken up. The video projection shows  an unusual line of production. Zocchio’s lonely character packs up several useless objects, remains of the  society of consumerism, such as computer monitors, CD and DVD players, cables and HDs. It’s a never-ending  procedure that drives us to a fritzlanguian character of Metropolis. In room 1, Lançamentos [Launches) (acrylic  objects with inkjet printed images) reveals the old-fashioned individuality of each object by overlapping layers of  the twelve objects.

In hall 4, Nicolás Robbio presents a new installation of 63 serigraph prints composing an imbricate system of roads and bridges that brings to evidence how man practices the space and generates a personal style from use. The crossing of paths answers to the artist’s need, and of art in general, of overcoming hurdles.

Another exhibition is presented in room 4, the solo show Soma Neutra [Neutral Addition] by artist André Komatsu, who is now taking part in the international residency programme at The Bronx Museum, in New York (USA).

According to the artist, these six new drawings on drywall boards indicate exit ways to the conventional everyday flow. They point out possibilities of escaping not only the dynamics found in the human relation to its environment, but also the technical support available. This malleable plaster boards (drywall) series combines drawing, painting, sculpture and print, since Komatsu not only carves the boards, but also applies acrylic paint on them, creating layers of interpretation through his technique.

Sob Controle is Leandro Lima & Gisela Motta’s second solo exhibition at Vermelho. It gathers eight new works, all developed in 2008 and 2009. The pieces suggest distinctive possibilities in disposing the body in relation to space and time. They also define new forms of relation, as being near or distant, open or closed to the other. According to sociologist Laymert Garcia dos Santos, in Lima & Motta’s works one finds elements that bring us to the “explosive and violent aspect of the contemporary condition”.

UNDER CONTROL (SOB CONTROLE) doesn’t intend to send a message, rather it suggests possibilities of reflection and of perspective taking upon the contradiction characterizing the current society of control. That’s due to the way Lima & Motta occupy the space with their works, which also reveals a world under total construction, where is up to the artist to edit, analyze and retell.

In Under Control (Sob Controle), video-installation that entitles the exhibition, many uniformed miniature officers look towards the same direction. With a computer and camera system, their bodies move pursuing the spectators’ steps within the exhibition space.

Printed Circuit (Circuito Impresso) is composed by computer printed circuit boards transformed by the duo into aerial maps of eleven major cities of the world. These images were collected from Google, in a hacker-like process using the standard programme available. The eleven cities are: Berlin, Brasilia, Cairo, Havana, Moscow, New York, Paris, Rome, Sao Paulo and Tijuana.

The Do Not installation consists of a backlight set of photographs, also extracted from internet, of anonymous people in actions of denial. They cover their faces and bodies with their hands, avoiding strange elements to approach. The images, all captured in very low definition, appear to the visitor only from a certain distance, which emphasizes that proximity is not always welcome, but is surely confusing and difficult to comprehend.

AMOAHIKI is a video-installation representing the only alternative escape shown at UNDER CONTROL (SOB CONTROLE). The images were captured in 2008 at a Yanomami indigenous village, in Amazon. They reveal an idyllic vanishing point among the “Amoahiki” trees from where the indigenous people listen to the spirit of knowledge – the “Xapiripe”. However, if we consider the eternal battle involving the tracing of the village’s territorial limits in the north of Brazil, we realize that it is actually impossible to escape from the current state of control inhabited by the contemporary man.

There is no escape or action that guarantees evading from the established power. The EXIT installation confirms this fact. A laser module along with frontal reflection mirrors draw upon the wall the word EXIT, as if indicating an escape possibility that actually leads to nowhere. The light generated by the laser, even though in constant move, remains stuck into the word’s shape. Similar idea is found in EJECT, an installation consisting on adhesive reflexive tapes on a wall that creates, from a specific spot in the room, a 3-D illusion in perspective as if the word was written on the space.

The sound installation Cicadas (Cigarras) was developed for the gallery façade. Ten pairs of buzzers (small alarm speakers) were programmed to simulate the sound of many cicadas. Every 30 minutes the buzz evolves until all the buzzers cry out at the same time, as if announcing something that is to come.

A similar sensation is caused by the Stray Bullet (Bala Perdida) installation. Small holes on the walls of the gallery’s entrance hall evoke to gunshots, thus suggesting a past event that is now only visible because of these marks.

UNDER CONTROL (SOB CONTROLE) continues Lima & Motta’s research started in 2007 as part of the creative process to develop the works to the 2008 edition of the CNI SESI Marcantonio Vilaça Award. The installations I.E.D. – Improvised Explosive Device, Alvo e Armas.OBJ were part of this group show, which was exhibited in many Brazilian cities.

Galeria Vermelho is pleased to announce two exhibitions, from January 27 to February 28: Ph Neutro (group exhibition, Hall 1 and 2) and PICNIC, Marco Paulo Rolla’s solo exhibition (Hall 4). 

Ph Neutro 

Ph Neutro (Ph Neutral) gathers works, mostly first time seen in Sao Paulo, by the artists Marcelo Cidade, Detanico Lain, Héctor Zamora, Rafael Assef, Odires Mlászho, Lia Chaia, Chiara Banfi and Fabio Morais.

Mercado Neutro (Neutral Market – 2008) is the title of the installation created by Marcelo Cidade (29) for the 2008 edition of the MiamiBasel Art Fair (Miami, EUA). With 375 gray molded plastic packages, disposed as if on a regular supermarket display, Cidade continues his sharp critic to the social and economical system confronting street culture elements to the modernist heritage, generating a pendular continuous flow between the social and subjective spheres. His works must be comprehended in this coming and going from the public to the private space. The cement, a recurrent element in his work, here reappears in the packages’ color of Mercado Neutro as a metaphor to the unrestrained growth of general consumption, but also and more specifically to the one related to the art world. Cidade’s Mercado Neutro reasserts his language based on experiment and appropriation of the social public sphere, changing distribution and devices of the architectonic place of capital and generating new perceptions and subjectivities.

The works of the Brazil-based Mexican artist Héctor Zamora (34) propose and materialize spatial experiences, which, according to the artist, must be run through or inhabited by the spectator. His pieces establish a dialogue between organic and geometric forms and also with its composing non-physical elements, what triggers experiences beyond the formalism of these structures and detonates poetical individual perceptions of the space. Topografias Simuladas (Simulated Topographies), Zamora’s work presented in the Ph Neutro exhibition, was developed with the support of Positions in Context: 2007, an exhibition programme by the Cisneros Fontanals Art Foundation (Miami, EUA). Zamora proposes a spatial exercise based upon common geometric techniques used by architects and engineers to develop surfaces. Both for architecture and engineering, these exercises simulate models to verify scales, in order to check if the developed forms are coherent or not with the physical compartments to be developed. In this work, Zamora used a random number (3) to even the pieces and its forms, generating an irregular and bumpy topography which volumes are enhanced according to light reflection. The 72 gray cardboard paper pieces composing Topografias Simuladas are installed on the gallery’s white cube floor, what creates a fictional scenario close to the ones found in sci-fi movies.

Rafael Assef (38) shows Escalas Técnicas (Technical Scales – 2008), a six-image piece created from a single digital file, captured in RAW, of a black tattoo called medium gray, which is also an expression used in photography as a reference of the tonal scale. The RAW in digital photography is the equivalent to the negative in analog photography, that is, raw material that hasn’t been treated yet. Because of the arrival and total implement of digital photography, many computer programs to treat images were developed. Capture One PRO is one among these programs that works as a photo lab where the raw image can be manipulated. This program basically consists of a number scale series based on analog photography such as Exposure Compensation (EC), Contrast Compensation (CC), Saturation Compensation (Sat), Color Temperature or Tint and Focus Tool. Each one of these scales plays a different role in manipulating digital images. From a specific medium gray, Assef created charts with all the functions described above. Each chart generated a unique gray scale, therefore establishing organized systems of digital image treatment. Thus, this work reflects upon photography itself. 

Caixa de Força (Power Box – 2009) is a new work by Lia Chaia (30) that may be considered an unfolding from the TEPMOAH installation (2007) initially presented at the 2008 edition of ARCO (Madrid, Spain). Lia Chaia reveals the inside of an electric power box attached with organic and color elements. With this procedure, the artist points out eventual cracks in closed systems and suggests some elastic and malleable ways to live with them.

Fabio Morais (34) shows Brasil x Brazil (2009). From a 70’s soccer team photograph, purchased at Bexiga antique fair, black and white colors were Photoshop removed by the artist and the original gray tones of this B&W image remained. Morais then applied, also using Photoshop tools, the reference index of the book “Arte Contemporânea – uma história concisa” (Contemporary Art –  a concise history, Martins Fontes publisher) where important historical artist’s names appear, such as Marcel Duchamp, George Baselitz and Jenny Holzer on the foreign team, and on the Brazilian one, Cildo Meirelles e Hélio Oiticica.

Odires Mlászho (48), presents Matrizes para Línguas Bifurcadas (Matrices to Bifurcated Languages – 2009). With a similar procedure to his previous works, Mlászho removes the paper surface from old German book covers, such as Das Bild der Erde and Revolution im Unsichtbaren leaving only the originally printed in low-relief titles. When applying acrylic paint onto theses surfaces, Mlászho reveals aspects of the employed typography and generates a discourse about the visible and invisible. 

At last, Chiara Banfi (29) brings two new works, Wish (2009), a pencil on paper drawing series and the installation Welcome (Trail) set upon the gallery façade

In room 3, Vermelho presents works by artists with shades of gray.