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.

Avant-Gard is not dead, the title chosen by Marcelo Cidade for his third solo show at Vermelho, refers to the literal meaning of the expression avant-gard, in French. Originally, the expression denoted the row of soldiers that precedes a regiment moving forward in battle. The phrase Is not dead, which completes the title, refers to the punk movement and the widespread statement that the movement has not died – punk is not dead.

Together in a single phrase, these two references summarize the content of the works featured in this solo show, which aim to question the modernist ideals imported in large part from the 20th-century European vanguards and applied in a disordered way in various sectors of Brazilian culture.

in the beginning of 1960s, modernism – although still underway in this country, especially in the field of architecture – was considered dead. Avant-Gard is not dead provides a non-nostalgic view of this period, appropriating some of the icons – such as Helio Oiticica’s Projeto Ambiental [Environmental Project] and Lina Bo Bardi’s architecture – to suggest not a resumption but rather a revision of the ideals that pervaded the field of the arts at that time.

In the sculpture Despropriação [Disappropriation], Cidade refers to the Frei Egídio chair created by Lina Bo Bardi in partnership with Marcelo Ferraz and Marcelo Suzuki, and reconstructs it using pink Maderite, a material typically used in the fencing around large construction projects. However, Cidade removes any functionality from the object by fastening its joints together with fragile pins that will not bear a person’s weight, creating a trap for the “participative” public. A similar dynamic appears in the sculpture Abuso de Poder [Abuse of Power], created originally for the XIV Sculpture Biennial of Carrara (Italy). Abuso de Poder is a mousetrap made from Carrara marble, a trap which, like Despropriação, questions the idea of the viewer’s participation and intervention in the artistic object.

The concrete typically used in modernist buildings and which appears in various of Cidade’s previous works is also present in the installation Triste Tropicália [Sad Topicalia], created with concrete tubes like those used as the support of samambaia ferns in various Brazilian middle-class residences in the 1980s. Concrete blocks are also used as the basis for the photo installation Modelo de Superfície [Surface Model], in the series of drawings Condomínio [Condominium], and in the concrete of the ticket windows that are part of the six photographs of the polyptych Espaço Cego [Blind Space].

By means of different aesthetic operations, Avant-Gard is not dead suggests a revision of modernism based on the lexicon imported from Europe and applied in Brazil. With these procedures, Cidade reinvents forms of language constituting new spaces and giving rise to possible heterotopias that bring art and life closer together.

In the solo show FF (Portuguese abbreviation for “fundo falso” [false bottom] among other things), Matheus Rocha Pitta presents a series of new works result of his research on the relation among art, value and crime.

Since 2007, Rocha Pitta has been collecting images of objects and substances confiscated by the police in different crime scenes. By different procedures, the images of illegal goods are introduced into a new circulation dynamic. Therefore, the photographic document acts as a element of conversion among substance, image and the meanings they generate inside consumption society in our days.

On his first solo exhibition at Vermelho, the artist took money bills, main symbols of commodity, as object of seizure. The sculpture Oratório (Oratory) installed in the lobby of Vermelho suggests a prologue of the show. A TV set cabinet is turned into a sort of mini cave. Its cement walls depict images collect-ed in newspapers of seized illegal money, reais and US dollars seizure in the scandal of Mensalão, in 2008.

The photograph series Canais (Channels) depict the same TV set. The photo enters here as a descriptive tool revealing each one of the six false bottoms carved on the monitor. Each single image of the series presents the relation between the circulation of images in the media and a sub circulation of prohibited goods.

The video installation Fundos Reais (Real Funds), 2008-2009 takes the design of the seven different bills of Real (Brazilian currency) as object of analysis. Seven monitors show 100 different images of details of the notes. Almost abstract, this collection of images evokes senses beyond the regular significance money bills in our society.

Fake Bottom # 1 (fountain) is a false bottom created for the main hall of Vermelho. Behind the fake wall, a stair case which steps are filled with Real money bills leads to a fountain. On the top of the staircase the observer is invited to throw coins in exchange for a wish.

Héctor´s work is part of a research that the artist has been doing with different types of ceramics from different parts of the world (the series potentialidades Brazil / Colombia, 2009 and Swisse Modul Tropicalitsei, Basel, Switzerland, 2010). In H20 the technique used for carving pieces is inspired on mason’s procedures used to adapt brick to different projects. With bricks, blocks, tiles, basic materials made of earth that shape slums, as well as, high standard properties, Zamora explores the analytical possibilities of sculpting and creating new forms of ceramic elements. Parallel to this, the artist also focuses on another line of research that is based on the use of finished ceramic elements, taking the geometric and the variations of each manufacturer, exploiting the flexibility and allowing configure playful compositions, that occurs in the series circunferência (Brazil, 2009) using tiles and now in U with ceramic bricks.

André Komatsu presents a set of works that refers to the representation of the construction processes. Using inter-related elements, in order to destabilize patterns and shapes, the show reveals the failure of ambiguous structures created to support the discussion of contradictories systems. The disorganization of recognizable patterns demonstrates the transformation of systems in a kind of self-sabotage creator.

Trajeto (Route) of Rogério Canella presents new images of the photographic series Linha # 4 (Line#4), named after the new subway line in São Paulo. To create these images, mostly in large format, Canella has visited over a dozen construction sites (stations and ventilation tunnels) located under large avenues of São Paulo. As in previous series, Canella photographs spaces in transition, devoid of human presence. In Linha # 4 (Line # 4) the artist reveals to the eye the gigantic transformation the city is going through and is not visible for most people.

Mauricio Ianês presents the solo show Salvo o Nome (Sauf Le Nom [On the Name]) with works that explore the limits of language in a radical way, focusing once more in the written discourse. Weak and insufficient, language is and unable to perform its function, it gets closed in itself and disappears, leaving room for the emergence of other forms of communication.

Although Salvo o Nome (Sauf Le Nom [On the Name]) refers to the homonymous book of the post-structuralist philosopher Jacques Derrida, who died in 2004, it was in L’Écriture du Désastre by Maurice Blanchot where Ianês found resonance and support for his ideas about language. These ideas become materialized in the unprecedented photographic series BLANCHOT, Maurice, L’Écriture du Désastre (Gallimard, 1980).

Pages of Blanchot’s book were covered by different pictorial procedures and later photographed. The outcome is of darkened landscapes loaded with subjective content leveled by the digital image of the photographic camera. In BLANCHOT, Maurice, L’Écriture du Désastre (Gallimard, 1980) the word remains saturated with meanings. However, these meanings are weak and open to the inclusion of the other.

Solipsistas (Solipsists) (2010) is composed of four sentences that refer to the first meaning of the term, in a sense that they shut on themselves. These four sentences were mounted individually in a non-linear way pointing to the subjective nature of reality. In this case the “private” language prevails, it emanates from the communicator assuming its tragic and weak aspect and leaving an open gap to the receiver. The structured language collapses and what is left is the nameless void.

This solo show also includes a sculpture series Advérbios (Adverbs) (2009-2010), which is composed of wooden sculptures and O Nome/ O Inominável (Name/The Unnamable) (2009), a serigraphy piece.

by Kiki Mazzucchelli

Jonathas de Andrade’s first solo show at Vermelho, Ressaca Tropical [Tropical Hangover] presents five recent works of this young artist from the northeastern city of Maceió who will participate in the next São Paulo Biennial, in September (2010).

Including 5 recent works, the show borrows its title from the photo-installation of the same name, in which Jonathas appropriates a love diary that are illustrated by a set of photographic images from personal archives, public collections, and also new photographs created by the artist. These images are organized and presented in a non-hierarchical manner, in order to create a fictitious visual narrative in which the past and the present are shown simultaneously.

Here the artist continues to develop a type of work that he calls “pretext photography”, in which he appropriates existing texts, sometimes not identified as such, which serve as a pretext for a certain organization of images. In this case, he appropriated a diary kept in the second half of the 1970s, a record of the activities of an author-personage who narrates his adventures (generally of a sexual nature) against the backdrop of the city, at a time when a certain urban provincialism still reigned, as in the buildings that until then were identified by their names. It was also a time of transition, which would culminate in the great construction works of the late 1970s and early 1980s, such as the Paulo Guerra Bridge and the Recife Shopping Mall, representative of a new lifestyle that would come to predominate in Brazilian metropolises, in which private interests prevailed over public ones.

The text of the diary was edited and combined with photographic images produced at different times and from the collections of the photographer Alcir Lacerda, from Fundação Joaquim Nabuco, and from personal archives, as well as recent photographs taken by the artist himself, thus creating a kind of fictitious documentation of the city. This fiction is constituted from a simultaneity of the present and the past that re-enacts various types of documents, both those that circumscribe a private existence (such as the diary or snapshots) and those that record the urban, public environment (Lacerda and Fundaj), evoking an undefined, post-utopian time, where modernist buildings in ruins or under construction, the luxuriant nature that takes over the concrete corroding its precise lines, and the everyday personal situations, sometimes more intimate, predominate. But despite its apparent emphasis on the constructive force of the project of modernizing urban architecture, the city-fiction of Tropical Hangover, the backdrop for the sexual adventures of the anonymous author of the diary, reveals a dissident force as present as the constructive vocation, and which I designate here as “destructive impetus.

One of Ressaca Tropical (Tropical Hangover)’s goals is to discuss the modernist legacy in Latin America and its possibilities in the present through architecture, recognizing in the ruin a post-utopian possibility. This issue reappears in Projeto de abertura de uma casa, como convém (Project for the opening of a house, as befits) (2009), where photographic images of the pillaging and destruction of a modernist house in Recife are shown along with a model of the destroyed house, pointing the ruin as a possible trigger for reconstruction.

Recenseamento moral da cidade do Recife (Moral census of Recife city) (2007) is a photo-survey that gathers documentation of an action by Andrade which is composed of interviews based on a book of manners published in the 80’s, in Recife. The work combines worksheets, maps, forms and context photographs. First time shown, the photo series O Clube (The Club) (2010) presents images of an old yatch club frequented by the elite Maceió City. The building goes into the sea and creates an underground environment that is appealing to marginal activities. The text-titles of each photograph in the series give clues about the relationship between what is official and marginal in contrast with the bucolic images.

The video 4.000 disparos (4.000 gunshots) (2010) completes the show. Here, a roll of Super8 is composed, frame-by-frame, by random men faces on the streets, constituting an atmosphere of urgency and past, memory and present.

reated from the classic Alice’s Adventures in Wonderland, by Lewis Carrol, Alices (2009) by Marilá Dardot, explores the character’s changes in size to reflect on the viewer’s own transformations throughout the exhibition.

Some extracts of Carrol’s book were reproduced in this work, and the size of their images vary according to Alice’s size in the referred passage, as if the visitor would increase or decrease in size along with her.

In the first 13 images, the cover sheet is reproduced according to the book’s real size and a mirror surface margin reflects the viewer onto the piece. The second image, which refers to Alice’s first shift (Alice is reduced to “about twenty-five centimeters tall”), is proportionally enlarged so that the visitor feels diminished like Alice, and so on.

“In all the narratives in each chapter of the book I found an element that structures the development of the story, allowing Alice to interact in the spaces and with the other characters in different ways: the magical effect of changing size.

Alice changes size 12 times, always generating a series of new circumstances. Besides, the `size issue’ is an element the triggers’ identity crisis: Alice is always asking herself about the events around her, about her decisions, but mostly about who she is: ‘Have I been exchanged during the night? Let me think: was I the same when I got up this morning? (…) But, if I’m not myself, the next question is: After all, who am I? Ah, this is the great puzzle!’.

With ‘Alices’ I want to play with these crises and make the visitor realize him/herself in constant changing, in a changing world as well” says Marilá Dardot.

The group show Vão (Gap) presents works of thirteen art students who attend Dora Longo Bahia’s studies group in her studio. the show brings up some contemporary issues in art, such as the art market and authorship. the artists are: Keity Alaver, Henrique Cesar, Clara Crocodilo, Renata Flamejante, Gabriela Godoi, Luiz Maia, Renato Maretti, Guilherme Peters, Fernando Pirata, Felipe Salem, Bruno Storni and Gabriel Zimbardi. As a teacher at FAAP’s Art School, Dora Longo Bahia’s artistic practice is tangled with educational issues.

Trash Metal is Dora Longo Bahia’s first solo show at Vermelho. There are five groups of new works presented, all dated 2010, with videos, installations, paintings and photographs.

In Trash Metal, Dora Longo Bahia continues her research on violence, a theme that is present in the most part of her career. Here the artist approaches mankind’s self-inflicted violence with idyllic landscapes contrasting with garbage produced by consumer society along with images of war. Her famous Scalps – acrylic paintings removed from their original frames that were seen in many exhibitions in Brazil and abroad – point out to the artist’s intention of revealing what is inside things, and not only what is inside them.

The installation Call of Duty presented in the gallery’s ground floor was created in collaboration with Rodolfo Ferrari. All the walls in the white cube were entirely covered with one scalp composed by geometric figures. The scalp works as a niche for Call of Duty, video images of a teenager playing a videogame based on a World War II setting.

While the teenager’s face is preserved in Call of Duty, in Tese IX faces occupy three monitors composing the installation based on Walter Benjamin’s Thesis IX studies.

In Escalpo Ferrado (Iron Scalp), the installation presented in hall 2, Longo Bahia covers the walls with one ton of metal plaques from a junkyard. The artist then creates a series of landscapes with acrylic paint. Once they are dry, they are removed and transferred to the metal surface. Four photographs of the Metaaal series complete the installation. They suggest exit or escape ways to the claustrophobic and heavy ambient generated by the metal on the walls.

One last work concludes Trash Metal, Vermes (Worms) is an artist book created from a school catalogue on bacteria and germ, Longo Bahia recreates situations associated to war over the original images in the catalogue.

Running in parallel with Trash Metal, Dora Longo Bahia’s solo exhibition, the group show Who’s afraid of? presents works of several established contemporary artists who have studied with her. In their works we find resonances of Longo Bahia’s oeuvre. Artists are: Keila Alaver, Rafael Assef, Chiara Banfi, Leya Mira Brander, Lia Chaia, Marcelo Cidade, Leandro da Costa, Marcius Galan, Maurício Ianês, André Komatsu, Motta & Lima and Nicolás Robbio.

MIC is a sound installation that was originally developed for the 7th Bienal do Mercosul, Porto Alegre (RS), in 2009. MIC is composed of a motor, a rail, a microphone, a guitar amplifier and 28 glass vases. The different vases are placed side by side next to a wall. The rail runs along the wall, three meters high, with the motor that drives the microphone that is hanging in its own cable. A route for the microphone is created over the vases. The microphone captures the vibrations of the reverberance inside each vase. An amplified microphonism is then heard and different frequencies and notes appear as the microphone passes upon the vases. The sound composition is part programmed and part random. The exhibition viewers must activate the industrial pedal to start the motor that moves the microphone. The motor will stay on for a time that was previously set, and then it will have to be started over again.

The video installation awarded on the 13th Prêmio Cultura Inglesa Festival in 2009, Disque M para matar [Dial M for Murder] (2009), by the duo Leandro Lima and Gisela Motta, is composed of fragments of Alfred Hitchcock’s 1954 feature film, with Grace Kelly playing Margot.

The artists have bought the rights to employ the famous sequence just before Margot’s murder attempt. In their version, Margot’s husband isn’t the one who makes the phone ring anymore. Now it is the exhibition visitor who, through his/her own mobile phone, makes the call. People will be able to become an accomplice by calling the black phone in the screen to wake up the beautiful Grace Kelly.

Disque M para matar [Dial M for Murder] by Lima and Motta is licenced by Warner Bros. Entertainment Inc. and was developed with the collaboration of Superuber.

Rosângela Rennó presents three projects in which photography – both as medium as theme – works as a kind of a two-way road where images, concepts and materials transit between analogical and digital universes while they bring and take experiences about human beings and their faith in photographic image. 2005-510117385-5 (2009) is an artist book about the 751 stolen photos from the Fundação Biblioteca Nacional in 2005; Carrazeda + Cariri (2009) is composed of five portrait groups made by “photopainters” from the Cariri region in Northeastern Brazil; Matéria de Poesia (Poetry Matter, 2008-2010). As a contrast to this last piece, the artist also shows the video Bouk [Ring/loop] (2006 – 2009), developed on a residency period at the Reunion Island in 2006.

Fabio Morais presents in Te Iludo (I illude you) a series of new works approaching the illusory and fictional aspect of the work of art.

The solo show Koto is the result of a time Banfi spent in Japan. Koto is the most popular of the traditional Japanese musical instruments. It is similar to a harp and it has a variable number of strings and a resonance box. Banfi employed on the drawings and serigraphys of her solo show various Japanese papers with diverse colored patterns along with cut musical score papers to create layers and add depth to them.

Nicolás Robbio presents, for the first time in Brazil, a series of works resulting from a residency period in Porto (Portugal). This residency was the first edition of the program Emissores Reunidos, created by the Fundação Serralves and curated by Ricardo Nicolau.

The works grouped in his solo show reinforce the complexity of the representational system developed by Robbio, who uses diagrams, technical drawings or isolated architecture elements, altogether or recombined, in order to suggest different possibilities for perception and reading of these systems, which are commonly used in today’s world.

Angela Detanico & Rafael Lain, who live in Paris since 2002, return to Vermelho with the solo show Léxico (Lexicon). Detanico Lain new works suggest new forms to interpret texts, words and incorporate elements of sound or graphic design. With this procedure, they indicate updated ways to read or observe the Modernist heritage.

In the 17th century German astronomer Johann Bayer created a classification for each star of each constellation in the solar system, according to their magnitude order. To the brightest stars were attributed the Greek letter Alpha, decreasing on until the Omega letter. Detanico Lain appropriated Bayer’s system to create three of this show’s works.

Constelações do Alfabeto (Alphabetical Constellations) comprises 24 drawings where stars of a same magnitude, according to Bayer, are joined together forming constellations. Similar procedure is found in Léxico (Lexicon). In this case, however, words appear upon Bayers’ Greek letters sky, such as: hypothesis, harmony and idea. Those words are all of ordinary use in Portuguese and of Greek origin.

Estrelas do Sul (Southern Stars) is composed of one animation and sound. Here, constellations patterns were used as score for the sound elements and drawings. To each letter was given a sound rate. Then, the duo measured the distances between the “alphas”, “betas”, etc. The gap between sounds is of 1 cm per second.

In astronomy, an analemma is an image resulting from a photographic documentation of the sun’s movement in the sky throughout a year, always regarding a specific time of the day. Analema also the title of the installation where Detanico Lain repeat the trace of the sun and replace it for a sentence formed by 365 letters applied upon one the walls.

For the Univers installation, Detanico Lain employed the Univers type font, which was developed by Swiss typographer Adrian Frutiger in 1954. According to the artists, the Univers font inflects functionalist ideas present in graphic design production of the first half of the 20th century. It was believed at the time that simplicity in typography would determine a more efficient access to the message. To those elements Detanico Lain added the Big Bang theory or the constant expansion of the universe. By gathering the typographic font and the constant expanding universe, the Univers wall painting rose, where fragments of words are painted on a black surface of one of the walls in Vermelho’s hall 1. At the opposite wall, the artists present the word correctly configured, what suggests the constant movement of the expanding universe.

Twelve hours long sound piece Jardim das horas (The Hours’ Garden) is an open icosahedron. Each of its 32 faces corresponds to a 5 seconds sound, recorded in a loop. Here, the icosahedron shape works as a clock where the clock hands determine the combination of the sound elements.

Portuguese artist Gabriela Albergaria continues her investigation on nature and proposes new approaches on the concept of landscape and its relation to culture in her second solo show at Vermelho. Albergaria explores multiple perspectives and media, some of which are close to scientific research. She collects samples of the local flora and documents them with photographs and drawings

Ana Maria Tavares presents the installation Paisagens Perdidas (Lost Landscapes). The work consists of three displays of stainless steel and glass. Paisagens Perdidas originates from the recognition of Lina Bo Bardi’s architecture, its relation to landscape and the Modernist context. Tavares makes use of poetic and conceptual articulations existent in her own body of work to reveal nature as a construction and architecture as a machine of seeing the world. This work continues Tavares’ investigation that dialogues with historical and authorial architectures, in order to build a critical thinking upon Brazilian Modernist legacy.