Livre Tradução [Free Translation] presented works that in different ways employ procedures similar to those used in books, catalogs and encyclopedias, such as aphorisms, quotations, footnotes, translations and articles, such as Trianon (2010) from the Portuguese artist Gabriela Albergaria. The series is the result of researchs developed by Albergaria with the trees of Trianon Park. Located in the heart of São Paulo (Av. Paulista), the park is one of the very last venues inside town that preserved its original Atlantic Forest. Livre Tradução presented four polyptychs of the series, they are: Pau Ferro, Araribá Rosa, Jatobá and Jequitibá.

Maurice Ianês presented two works derived from his reflections on language employing literary and philosophical content. Ianês resumes on the works aphorisms published in Tractatus Logico-Philosophicus from Ludwig Wittgenstein, overwriting the original German version with its Portuguese one. The works depict a series of aphorisms which appear in the last pages of the book in a personal hierarchical order. Similar procedure appears in the series Marathon (2006) of Marilá Dardot that highlights sentences about forgiveness taken from books of Jorge Borges, TS Elliot and Ezra Pound. Dardot also presented the installation Glossary – to live in the big city (2008).

Livre Tradução also includeded works by Dora Longo Bahia, Leya Mira Brander, Chelpa Ferro, Detanico Lain, Odires Laszlo, João Loureiro, Fabio Morais, Rosângela Rennó, Dias & Riedweg, Marco Paulo Rolla, Daniel Senise, Ana Maria Tavares and Carla Zaccagnini.

Appropriation and intervention are key words in Sopa Nômade [Nomad Soup]. The show presents images from different sources, such as photographs, books, old documents, posters, files, maps and anonymous biographies, approaching the idea of a palimpsest where pictures and texts are support for new procedures and meanings created by Mlászho.


“Nomad Soup” is also the title of the series created with transferable letters that after being photographed and enlarged suggest fields of images that, although symmetrical, disrupts their linear hierarchy and meanings.

In “Contrapesos e Vasos Comunicantes” (Counterweights and Vessels), the artist appropriates from parts of the book Finnegans Wake by James Joyce, and creates a sculpture composed of 100 typographic wooden letters. With the same typography Mlászho also writes phrases, such as “Dedicated Enemy”, “Quiet Bone”, “Private Prisons” and “Tough love”. A French edition of Finnegan’s Wake is also the basis for two large collages. Of the original pages, however, Mlászho withdrew layers of paper and ink transforming the original content created by Joyce.



In “White Trash Stuff” Mlászho removes hundreds of labels of clothes and objects and presents its inside suggesting the impossibility of language to contain all its meanings.

Five sculptures entitled “Blind Books” complete the show.

The pieces were built with ten copies of the German encyclopedia Brokhaus. In this case, the action of the artist transforms issues from large book collections into single sculptures.

In “Nomad Soup”, Mlászho reaffirms his trajectory, prospecting and rearranging terms and procedures in disuse in our society.

According to Cinthia Marcelle, in the form of knives images of oceans, cypress, flames, smoke and deserts can be found. These images represented the original stimulus to create the installation that occupies hall 2.

The word Entretanto [However] was chosen by the collective Cia. de Foto as title of their first solo show at Vermelho as a way to depict procedures used systematically in their works that transform images through the incorporation of technical instruments.



This is what happens in “Carnival” series of six photographic images originally captured at the Carnival of Salvador (BA). After being digitally manipulated, the images point to sensations different of the surroundings they were originally withdrawn. With the collaboration of the DJ GUAB, Cia de Foto presents also a sound installation created with the binary code of the original files from “Carnival”, which combines four sound sources with sampled sounds of carnival in Bahia.



In addition, the group also presents “Long Exposure” series of portraits created for a video camera.

The body, its fluids, fragilities, rhythms and vibrations constitute the raw material and the terrain for Lia Chaia’s investigations. Marked by natural landscapes as well as urban situations, the body is simultaneously subject and predicate in the constant clashing between nature and culture.

In the solo show Anônimo, however, the relation between the natural architecture of the body and the fabricated architecture of the city no longer lies in the constant friction between these two materialities, a characteristic that pervaded Chaia’s previous works. In this solo show, the body arises already inserted in, incorporated and adapted to the urban space, thus confirming its permeability and ability to adjust to new situations.

The rigidity of the bones, the flexibility of the muscles and skin, the stable structure of the skeleton versus the dynamics of movement, along with the hiding of the organs and bones were some of the questions dealt with in Chaia’s researches, which are materialized in the format of videos, photographs, drawings and collages, as well as in the installation Fachadeira (2010) that occupies the Galeria Vermelho’s façade. In this work, created on nylon screen like that used to cover buildings under construction or being remodeled throughout the city, Chaia prints the configuration of the vertebra of a spinal cord on the façade’s 15-by-9-meter surface.

Músculo Pena [Feather Muscle] (2010) uses two images – one from the front, the other from the back – to present the figure of a human body taken from an anatomy book. Chaia completes the image by gluing red feathers over the drawing, resulting in an aspect similar to common images of body tissues and muscles. In Esqueleto Vegetal [Vegetal Skeleton], the artist dissects the body, removing its flexible parts. In the series of collages, what we see are bones of a skeleton presented individually as the result of an archaeological research that seeks to understand the structure of the body.

Views of the entire human skeleton appear in the series of drawings Fusão [Fusion] (2010), made on voile screens, which create transparencies while serving as partitions, creating different forms of displacement in space. In the video Skeleton Dance (2010), Chaia appears behind these screens adding flesh to the forms of the anatomy manual that appear in Fusão.

In Anônimo, the body is presented as an immediate presence and profound refuge, either fragmented or as a whole composed of millions of parts.