“Escalpo Islâmico” [Islamic scalp], by Dora Longo Bahia, uses Islamic motifs on a red acrylic paint background. The work was presented as “Escalpo 5063”, during the 28th Bienal de São Paulo, in 2008, where it covered the entire floor of the 2nd floor of the Ciccillo Matarazzo Pavilion.
Acrylic paint and wheatpaste post
Photo Vermelho
Acrylic paint and wheatpaste poster
Photo Vermelho
Acrylic paint and wheatpaste poster
Photo Vermelho
Acrylic paint and wheatpaste poster
Photo Vermelho
In O Balanço da Árvore Exagera a Tempestade, Gabriela Albergaria presents a set of independent artworks whose interrelation gives rise to a reflection about the taming of the Landscape by Man.
Resorting to elements extracted from nature, Albergaria creates sculptures, paintings, drawings and photographs which, according to the artist, are like exercises of attention and reflection between Nature and Culture.
A sculpture created with earth, tree branches and tree leaves, Couche Sourde (2014) borrows its title from a technique of germinating tropical plant seeds in European soil. It was discovered that when the seeds are embedded in layers of soil interspersed by tree leaves and branches, enough heat is generated in this arrangement to provide for the seeds’ germination. Before this discovery, the plants used to travel from the New World to Europe in the form of seedlings, since the seeds did not find the right soil and climate to germinate in the Old World. Couche Sourde refers to this discovery and to this technique which allowed for the migration and proliferation of tropical plants on European soil. To construct the sculpture, Albergaria used an outer removable framework/mold, which she filled with local wood, soil, tree branches and tree leaves. The sculpture, measuring 600 cm x 120 cm x 90 cm, installed by the artist in Vermelho’s Room 1, dialogues not only with the main themes dealt with by Albergaria in her oeuvre, that is, the cultural transfer brought about by the migration of plants and trees, but also with questions related to perspective as well as biand tridimensionality.
In Quatro Estações [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
On Vermelho’s façade, Albergaria has created a grid of steel cables based on the additive sequence created by Fibonacci. The Fibonacci sequence is intrinsically linked to nature. These numbers are easily found in the arrangement of leaves on plant stems, in treetops, or even in the number of petals of some flowers. The sequence gave rise to the Golden Ratio used by architects and artists in the creation of the so-called correct and harmonic proportions.
Based on the Fibonacci sequence, Albergaria also created Leaf Arrangement. Installed inside the gallery, the work involves the application of Fibonacci’s sequence to the natural world, in this case, to the growth of leaves around a plant stem.
Steel cables and tensioners.
Photo Edouard Fraipont
On Vermelho’s façade, Albergaria has created a grid of steel cables based on the additive sequence created by Fibonacci. The Fibonacci sequence is intrinsically linked to nature. These numbers are easily found in the arrangement of leaves on plant stems, in treetops, or even in the number of petals of some flowers. The sequence gave rise to the Golden Ratio used by architects and artists in the creation of the so-called correct and harmonic proportions.
On Vermelho’s façade, Albergaria has created a grid of steel cables based on the additive sequence created by Fibonacci. The Fibonacci sequence is intrinsically linked to nature. These numbers are easily found in the arrangement of leaves on plant stems, in treetops, or even in the number of petals of some flowers. The sequence gave rise to the Golden Ratio used by architects and artists in the creation of the so-called correct and harmonic proportions.
Photo Edouard Fraipont
Colored pencil on paper.
Photo Edouard Fraipont
Colored pencil on paper.
Photo Edouard Fraipont
Colored pencil on paper.
Photo Edouard Fraipont
Photo Edouard Fraipont
Colored pencil on paper.
Photo Edouard Fraipont
Photo Edouard Fraipont
Colored pencil on paper.
Photo Edouard Fraipont
Soil, truncks and leaves.
Photo Edouard Fraipont
A sculpture created with earth, tree branches and tree leaves, Couche Sourde (2014) borrows its title from a technique of germinating tropical plant seeds in European soil. It was discovered that when the seeds are embedded in layers of soil interspersed by tree leaves and branches, enough heat is generated in this arrangement to provide for the seeds’ germination. Before this discovery, the plants used to travel from the New World to Europe in the form of seedlings, since the seeds did not find the right soil and climate to germinate in the Old World. Couche Sourde refers to this discovery and to this technique which allowed for the migration and proliferation of tropical plants on European soil. To construct the sculpture, Albergaria used an outer removable framework/mold, which she filled with local wood, soil, tree branches and tree leaves. The sculpture, installed by the artist in Vermelho’s Room 1, dialogues not only with the main themes dealt with by Albergaria in her oeuvre, that is, the cultural transfer brought about by the migration of plants and trees, but also with questions related to perspective as well as bi and tridimensionality.
A sculpture created with earth, tree branches and tree leaves, Couche Sourde (2014) borrows its title from a technique of germinating tropical plant seeds in European soil. It was discovered that when the seeds are embedded in layers of soil interspersed by tree leaves and branches, enough heat is generated in this arrangement to provide for the seeds’ germination. Before this discovery, the plants used to travel from the New World to Europe in the form of seedlings, since the seeds did not find the right soil and climate to germinate in the Old World. Couche Sourde refers to this discovery and to this technique which allowed for the migration and proliferation of tropical plants on European soil. To construct the sculpture, Albergaria used an outer removable framework/mold, which she filled with local wood, soil, tree branches and tree leaves. The sculpture, installed by the artist in Vermelho’s Room 1, dialogues not only with the main themes dealt with by Albergaria in her oeuvre, that is, the cultural transfer brought about by the migration of plants and trees, but also with questions related to perspective as well as bi and tridimensionality.
Soil, truncks and leaves.
Photo Edouard Fraipont
A sculpture created with earth, tree branches and tree leaves, Couche Sourde (2014) borrows its title from a technique of germinating tropical plant seeds in European soil. It was discovered that when the seeds are embedded in layers of soil interspersed by tree leaves and branches, enough heat is generated in this arrangement to provide for the seeds’ germination. Before this discovery, the plants used to travel from the New World to Europe in the form of seedlings, since the seeds did not find the right soil and climate to germinate in the Old World. Couche Sourde refers to this discovery and to this technique which allowed for the migration and proliferation of tropical plants on European soil. To construct the sculpture, Albergaria used an outer removable framework/mold, which she filled with local wood, soil, tree branches and tree leaves. The sculpture, installed by the artist in Vermelho’s Room 1, dialogues not only with the main themes dealt with by Albergaria in her oeuvre, that is, the cultural transfer brought about by the migration of plants and trees, but also with questions related to perspective as well as bi and tridimensionality.
A sculpture created with earth, tree branches and tree leaves, Couche Sourde (2014) borrows its title from a technique of germinating tropical plant seeds in European soil. It was discovered that when the seeds are embedded in layers of soil interspersed by tree leaves and branches, enough heat is generated in this arrangement to provide for the seeds’ germination. Before this discovery, the plants used to travel from the New World to Europe in the form of seedlings, since the seeds did not find the right soil and climate to germinate in the Old World. Couche Sourde refers to this discovery and to this technique which allowed for the migration and proliferation of tropical plants on European soil. To construct the sculpture, Albergaria used an outer removable framework/mold, which she filled with local wood, soil, tree branches and tree leaves. The sculpture, installed by the artist in Vermelho’s Room 1, dialogues not only with the main themes dealt with by Albergaria in her oeuvre, that is, the cultural transfer brought about by the migration of plants and trees, but also with questions related to perspective as well as bi and tridimensionality.
Photo Edouard Fraipont
Patinated bronze and acrylic paint.
Photo Edouard Fraipont
Photo Edouard Fraipont
Local tree trunk, brazilian rosewood, and paper roll locally produced in Brazil (debret paper).
Photo Edouard Fraipont
42 drawing with colored pencils on paper
Photo Edouard Fraipont
From an international list of endangered trees, Albergaria created a kind of xylotheque with monocromatic drawings
of each of the wood from the trees that are in the list.
From an international list of endangered trees, Albergaria created a kind of xylotheque with monocromatic drawings
of each of the wood from the trees that are in the list.
Colored pencil on paper.
Photo Edouard Fraipont
In “Quatro Estações” [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
In “Quatro Estações” [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
Colored pencils on Stonehenge paper
Photo Edouard Fraipont
In “Quatro Estações” [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
In “Quatro Estações” [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
Colored pencils on Stonehenge paper
Photo Edouard Fraipont
In “Quatro Estações” [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
In “Quatro Estações” [Four Seasons] (2014), Albergaria creates a sort of catalog of colors of the seasons of the year. On her trips, the artist gathered leaves from different places around the globe. Spring is represented by tree leaves gathered in Narrowsburg (USA); the colors that represent summer are in leaves from Portugal and Connecticut (USA); the autumn colors come from Brooklyn (USA); while those of winter were gathered in São Paulo. Beyond an intense exercise concerning color, Quatro Estações is also a semi-informal poetic representation about the passage of time.
Photo Edouard Fraipont
Natural clay and cardboard box with rubber bands.
Photo Edouard Fraipont
“Planificações de 5 Madeiras Encontradas no Canal Gowanus, Brooklyn (NY)” borrows its title from the most polluted canal in the United States, located near the artist’s studio in Brooklyn, New York. To create it, Albergaria planned 5 different types of wood found near the canal using a moldable material in order to obtain a mold of wood contaminated by toxic products. A mold that allows its preservation, or rather, the preservation of its image, of its representation.
“Planificações de 5 Madeiras Encontradas no Canal Gowanus, Brooklyn (NY)” borrows its title from the most polluted canal in the United States, located near the artist’s studio in Brooklyn, New York. To create it, Albergaria planned 5 different types of wood found near the canal using a moldable material in order to obtain a mold of wood contaminated by toxic products. A mold that allows its preservation, or rather, the preservation of its image, of its representation.
Glass, green colored pencil on wall, metal and silicone.
Photo Edouard Fraipont
The Fibonacci sequence is intrinsically linked to nature. These numbers are easily found in the arrangement of leaves on plant stems, in treetops, or even in the number of petals of some flowers. The sequence gave rise to the Golden Ratio used by architects and artists in the creation of the so-called correct and harmonic proportions. Based on the Fibonacci sequence, Albergaria created Leaf Arrangement. Installed inside the gallery, the work involves the application of Fibonacci’s sequence to the natural world, in this case, to the growth of leaves around a plant stem.
The Fibonacci sequence is intrinsically linked to nature. These numbers are easily found in the arrangement of leaves on plant stems, in treetops, or even in the number of petals of some flowers. The sequence gave rise to the Golden Ratio used by architects and artists in the creation of the so-called correct and harmonic proportions. Based on the Fibonacci sequence, Albergaria created Leaf Arrangement. Installed inside the gallery, the work involves the application of Fibonacci’s sequence to the natural world, in this case, to the growth of leaves around a plant stem.
A Colombian artist who lives and works in Paris, Iván Argote (30) deals with the way that man relates with the myriad changesthat take place daily in the historical, economic, political and moral realms. His aim is to question the role of subjectivity in the revision of these concepts. Argote involves the body, and its feelings actively in the construction of the his thinking, and develops methods to generate reflexion about the way we construct certainty in relation with politics and history. By creating interventions and performances for the public space, which are sometimes further developed in the format of videos and photos, the artist explores the city as a space of transformation.
In 2013, Argote began the project The Messengers, a film made in collaboration with American political activists Blaine O’Neal and Gabriela Van Auken. With footage shot in small villages in Colombia and Spain, The Messengers uses text, images, electronic and |Folk Music to foster discussion about colonialism, concisely revealing the conceptual content of the solo show at Vermelho.
On Vermelho’s façade, Argote writes the phrase Let’s Write a History of Hopes (2014), which involves various ideas that pervade the solo show. Unlike previous projects presented on this 8×15-meter canvas, which holds concepts and ideas of other artists, Let’s Write a History of Hopes takes the opposite path. The idea is not one of accumulation, but of subtraction, since to write this phrase Argote removes layers of the wall’s surface, revealing the vestiges of previous projects.
This procedure with archaeological characteristics employed by Argote to investigate history based on its icons, representations, images, etc., reemerges in the set consisting of five sculptures of the Excerpts (2014) series. In it, phrases like “Dancing is the only way I can forget” and “We are happy with our problems, and tired of your solutions” are written on pieces of walls.
A similar strategy also appears in the 3-D animation Blind Kittens and in the video Barcelona, both from 2014. In the former, the artist uses images of iconographic sculptures that represent power. In this work, Argote presents blind icons playing with a simple little ball. In the latter, a performance created in 2013 for a video camera, Argote carries out a ritual in partnership with an 18th-century sculpture depicting an indigenous person, located in a public square in the city of Barcelona.
Fingers Crossed Destiny (2014) reproduces images from fragments of copies of classical sculptures acquired by Argote in China. Over them, however, the artist inserts texts that he himself created, which reveal his sociopolitical and artistic questionings.
Here Eating Dirt Mom… (2014), an installation composed of more than 1,500 clay bricks made by Argote in Brazil, winds through the exhibition’s entire ground-floor. Each brick was handmade by Argote and bears the mark of the artist’s bite. The work reaffirms the phrase written on Vermelho’s façade, using the symbolism of the brick as a central element in the construction, and especially reconstruction, of history pervaded by hope.
Dug sentence on the gallery wall
Photo Edouard Fraipont
On Vermelho’s façade, Argote writes the phrase Let’s Write a History of Hopes (2014), which involves various ideas that pervade the solo show. Unlike previous projects presented on this 8×15-meter canvas, which holds concepts and ideas of other artists, Let’s Write a History of Hopes takes the opposite path. The idea is not one of accumulation, but of subtraction, since to write this phrase Argote removes layers of the wall’s surface, revealing the vestiges of previous projects.
On Vermelho’s façade, Argote writes the phrase Let’s Write a History of Hopes (2014), which involves various ideas that pervade the solo show. Unlike previous projects presented on this 8×15-meter canvas, which holds concepts and ideas of other artists, Let’s Write a History of Hopes takes the opposite path. The idea is not one of accumulation, but of subtraction, since to write this phrase Argote removes layers of the wall’s surface, revealing the vestiges of previous projects.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Video 5´55´´
Photo Video still
In colombia there is a large Indian reserve that can not be exploited. However, this reserve is cut by a cargo train that carries the entire production of coal removed, by an English company, from one of the largest mines in the genre that is adjacent to the reserve. Daily, the train cuts the reservation carrying hundreds of tons of coal that will be used for energy production. The reserve is deprived of electricity services and its residents buy fuel from the neighboring country Venezuela for their generators. Every day, the inhabitants of the reserve, passing trough their territory, have to wait for the train to run down the tracks in order to follow their path.
In colombia there is a large Indian reserve that can not be exploited. However, this reserve is cut by a cargo train that carries the entire production of coal removed, by an English company, from one of the largest mines in the genre that is adjacent to the reserve. Daily, the train cuts the reservation carrying hundreds of tons of coal that will be used for energy production. The reserve is deprived of electricity services and its residents buy fuel from the neighboring country Venezuela for their generators. Every day, the inhabitants of the reserve, passing trough their territory, have to wait for the train to run down the tracks in order to follow their path.
1.100 clay bricks molded and bitten by the artist.
Photo Edouard Fraipont
1.100 clay bricks molded and bitten by the artist.
Photo Edouard Fraipont
1.100 clay bricks molded and bitten by the artist.
Photo Edouard Fraipont
Photo Edouard Fraipont
Cement, wood, steel, paint and gold leafs.
Photo Edouard Fraipont
Procedures with archaeological characteristics remerge in Excerpts, where Argote investigates history based on its icons, representations, images, etc. Within the series, phrases like “Dancing is the only way I can forget” and “We are happy with our problems, and tired of your solutions” are written on pieces of walls.
Procedures with archaeological characteristics remerge in Excerpts, where Argote investigates history based on its icons, representations, images, etc. Within the series, phrases like “Dancing is the only way I can forget” and “We are happy with our problems, and tired of your solutions” are written on pieces of walls.
Photo Edouard Fraipont
Video 5´5´´
In Blind Kittens, the artist uses images of iconographic sculptures that represent lions and that composes pieces that symbolizes power: A lion from the Forbiden City (China), a Babylon Lion (Iraq) and a Medici Lion (Rome). Argote presents blind lions playing with balls like harmless cats.
In Blind Kittens, the artist uses images of iconographic sculptures that represent lions and that composes pieces that symbolizes power: A lion from the Forbiden City (China), a Babylon Lion (Iraq) and a Medici Lion (Rome). Argote presents blind lions playing with balls like harmless cats.
Photo Edouard Fraipont
Photo Edouard Fraipont
Cement, wood, steel, paint and gold leafs.
Photo Edouard Fraipont
Procedures with archaeological characteristics remerge in Excerpts, where Argote investigates history based on its icons, representations, images, etc. Within the series, phrases like “Dancing is the only way I can forget” and “We are happy with our problems, and tired of your solutions” are written on pieces of walls.
Procedures with archaeological characteristics remerge in Excerpts, where Argote investigates history based on its icons, representations, images, etc. Within the series, phrases like “Dancing is the only way I can forget” and “We are happy with our problems, and tired of your solutions” are written on pieces of walls.
In the solo show Insustentável Paraíso, André Komatsu (36) lends continuity to his recent research that resorts to errors, accidents and conflicts as a basis for presenting possible alternatives to systems widely inserted in contemporaneity.
This is what takes place in Esquadria Disciplinar 2, which employs a set of rules taken from logical systems such as mathematics, architecture and geometry, aiming to reveal the ambivalence of these systems and to question their effectiveness.
In the series (Re)forma Real, consisting of groups of old postcards, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these buildings represent. The solo show also includes the series Falha Estrutural.
Also in the show is “Falha Estrutural” (Structural Failure) where the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Concrete, branch, steel and machete.
Photo Edouard Fraipont
Concrete and branch.
Photo Galeria Vermelho
Cutted steel grid.
Photo Edouard Fraipont
The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
Photo Edouard Fraipont
Bricks, branches, glue, wood and spray paint.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Cutted steel grid.
Photo Edouard Fraipont
The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
The sentences of the series were chosen from a reflection on the irony or dubious senses that those can generate, often having as reference proverbs. The letters are made of metal grids, material commonly used for construction, structure or protection. To be displaced from their own context, these maxims that often contain thoughts or moral value, generate a distortion of hierarchy and can recreate ironic senses.
Photo Edouard Fraipont
Photo Edouard Fraipont
Iron, cement, steel cable and plastic bags.
Photo Edouard Fraipont
Photo Edouard Fraipont
Concrete and branches.
Photo Edouard Fraipont
Drywall, wood and spray paint.
Photo Edouard Fraipont
Anexo 1 is an installation where, from the local wall, an extension that protrudes into space is built up, an internal marquee. This element without function is supported by a structure of wooden rods, marked with letters and numbers, believing on the assumption that this temporary skeleton can be reassembled. The ambivalent relationship between the two opposing elements – the temporary structure and the seemingly concrete marquee – simulates a symbiosis and apparent reversal of what could be seen as an annex of the local architecture. An extension that does not have function creates both aesthetic and physical discomfort, since it does not support its own weight and needs to be supported by a structure of wooden rods, commonly used to provide temporary support to the construction.
Anexo 1 is an installation where, from the local wall, an extension that protrudes into space is built up, an internal marquee. This element without function is supported by a structure of wooden rods, marked with letters and numbers, believing on the assumption that this temporary skeleton can be reassembled. The ambivalent relationship between the two opposing elements – the temporary structure and the seemingly concrete marquee – simulates a symbiosis and apparent reversal of what could be seen as an annex of the local architecture. An extension that does not have function creates both aesthetic and physical discomfort, since it does not support its own weight and needs to be supported by a structure of wooden rods, commonly used to provide temporary support to the construction.
Postcards and concrete.
Photo Edouard Fraipont
In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
Postcards and concrete.
Photo Edouard Fraipont
In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
In the series (Re)forma Real, consisting of groups of old postcards on cement structures, Komatsu interferes on the image of old and theoretically solid buildings, adding structural elements to them that point to the failure of the ideals that these constructions represent.
Print on paper, wood and glue.
Photo Edouard Fraipont
In “Falha Estrutural” (Structural Failure) the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
In “Falha Estrutural” (Structural Failure) the error becomes protagonist and appears in images of modernist buildings, creating a visual narrative about the bankruptcy, according to the artist, that permeates the modernist project in Brazil.
Wood box and cement block.
Photo Edouard Fraipont
A bird trap, typical from childrens games, is made with a box for exportation of Brazilian products. The bait is a piece of wire mesh concrete, typical from the architectural model of the modernist project.
A bird trap, typical from childrens games, is made with a box for exportation of Brazilian products. The bait is a piece of wire mesh concrete, typical from the architectural model of the modernist project.
In her solo show, Rosângela Rennó is presenting three new works being shown for the first time in Brazil.
Consisting of six digital prints on pure silk organza, the series Insólidos [Unsolid] (2014) was created on the basis of four images. In the series, Rennó lends continuity to her research into the uncommon aspect of family photographs (which in 2005 gave rise to the series Frutos Estranhos), emphasizing the notion of how the perception of the images is altered when they are displayed on different and unusual supports. Insólidos reveals images of mysterious places or of curious actions printed on various layers of pure silk organza, giving rise to a three-dimensional effect through superposition. The artist creates an interplay between transparency and opaqueness, between the flat surface of the traditional/ analog photographs and the “photographic body,” which nowadays, in the digital era, is bereft of volume.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
The work created for Rennó’s solo show at the Centro de Fotografia (CdF), of Montevideo (Uruguay), in 2011, entitled Río-Montevideo uses 14 slide projectors to present images made by photographer Aurelio Gonzalez between 1957 and 1973. In 1973, with the imminence of the military coup arrival of the military coup in Uruguay, Gonzalez gathered more than 40.000 photographic negatives he had made for the newspaper El Popular and hid them between the floors of a building in Montevideo. This material remained hidden for more than 33 years until it was found and finally recovered by the same photographer, in 2006. Submitted to a long process of restoration, classification and digitizing by the Núcleo de Fotografia de Montevidéu, these negatives reveal a certain “constructed amnesia” that pervades the recent history of various countries of Latin America. Rennó chose to present a small selection of these images through the lenses of the old slide projectors, which lend them a warm, foggy smoothness. In this case, the projectors are used in order to reintroduce these images into the present day in a more playful manner since they establish a direct link with the past, maintaining their symbolic value without, however, tying them to the tradition of the documentary. Besides the projections, activated by the observer, the context of the installation is enriched with the sound of the famous composition of the Socialist International.
Digital print, acrylic and lens
Photo Edouard Fraipont
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
Digital print, acrylic and lens.
Photo Edouard Fraipont
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
Digital print, acrylic and lens
Photo Edouard Fraipont
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
Digital print, acrylic and lens
Photo Edouard Fraipont
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
Digital print, acrylic and lens
Photo Edouard Fraipont
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
Digital print, acrylic and lens
Photo Edouard Fraipont
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
In the series Operação Aranhas/Arapongas/Arapucas, triptychs are formed based on the association of images made by three different photographers, at specific times and events. Twelve photographs were made by José Inacio Parente during the protest march known as the Passeata dos Cem mil, in Rio de Janeiro, on June 26, 1968. Rennó participates with twelve images made during the demonstration known as the Comício das Diretas Já, in Belo Horizonte, on February 24, 1984. The last twelve were made by Cia de Foto, at the protest called Movimento Passe Livre, in São Paulo, from June 17 through 20, 2013. Based on three historic moments – the Passeata dos Cem mil (1968) along with the Diretas Já (1984) and Movimento Passe Livre (2013) movements – the new series deals with questions related to mass events. For instance, what makes a crowd change the world, or, at least, part of its histories? What transforms it into a flood that carries and drags everything, without measuring its intrinsic power that turns it into an unavoidable force, able to torment even the most unscrupulous executioner? The masses are made up of hundreds, thousands or millions of individuals who, generally, do not represent a great danger to the system when isolated. However, luckily or unluckily for us, each of them carries an important fragment of the monster’s chain of DNA, which is lost or recovered at another point of the chain, perpetuating the monster’s dynamics and maintaining it at its prime. Terrible and marvelous. Each photo will be covered by a sheet of embossed tissue paper – as in the traditional interpages of old photograph albums and associated to two other images, realized in the two other events involved in the series. Camera lenses and filters will provide a look at faces in the crowd.
Digital print on silk and aluminum
Photo Edouard Fraipont
Consisting of six digital prints on pure silk organza, the series Insólidos [Unsolid] (2014) was created on the basis of four images. In the series, Rennó lends continuity to her research into the uncommon aspect of family photographs (which in 2005 gave rise to the series Frutos Estranhos), emphasizing the notion of how the perception of the images is altered when they are displayed on different and unusual supports. Insólidos reveals images of mysterious places or of curious actions printed on various layers of pure silk organza, giving rise to a three-dimensional effect through superposition. The artist creates an interplay between transparency and opaqueness, between the flat surface of the traditional/ analog photographs and the “photographic body,” which nowadays, in the digital era, is bereft of volume.
Consisting of six digital prints on pure silk organza, the series Insólidos [Unsolid] (2014) was created on the basis of four images. In the series, Rennó lends continuity to her research into the uncommon aspect of family photographs (which in 2005 gave rise to the series Frutos Estranhos), emphasizing the notion of how the perception of the images is altered when they are displayed on different and unusual supports. Insólidos reveals images of mysterious places or of curious actions printed on various layers of pure silk organza, giving rise to a three-dimensional effect through superposition. The artist creates an interplay between transparency and opaqueness, between the flat surface of the traditional/ analog photographs and the “photographic body,” which nowadays, in the digital era, is bereft of volume.