Maurício Dias (Rio de Janeiro, 1964) and Walter Riedweg (Lucerne, 1955) work together as an artistic collective investigating how private psychologies affect public space and vice versa, since 1993. The second solo show of Dias & Riedweg at Galeria Vermelho features a selection of works that reflect eight decades of our recent history.
The video installation Cold Stories (2011), features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work refers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev, and TV monitors featuring the videos of these puppets’ animation with excerpts from their most iconic speeches.
As in the slot of a nikkel-hunter machine, another fourchannel video installation, called “Chapa Quente” (Hot Coals, 2014), screens objects used by police, such as helmets, batons, pistols and tear gas among archive images of the protests that shook Brazil in June and July 2013, as well as records of the Brazilian dictatorship years, among diverse images of natural phenomena of great intensity, such as volcanic eruptions and geysers, landslides and tsunamis. Acompainning the video installation Hot Coals, there is a series of nine new back-light photographs mixing archive pictures of these 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.
In “Sob pressão” (Under Pressure, 2014), thirty barometers, lined up on the wall, scientifically show the atmospheric pression of the exhibition space but viewers may notice a discrete graphic intervention with the name of Rio’s favelas, such as Maré, Mangueira, Rocinha, Alemão, Fogueteiro, Cidade de Deus, among the scales that normally just reveal the weather conditions for navigation.
In “Evidência” (Evidence, 2014), a three-meter-long thermometer equally marks the ambient temperature, but in its range between minus 40 degrees Celsius and 40 degrees above zero, viewers also see the years from1944 through 2024, attesting how temperature may subjectively arise throughout the decades.
Created in 2004, the video “Throw” was originally commissioned for the collection of Kiasma, Museum of Contemporary Art in Helsinki. Dias & Riedweg invited passers-by to directly throw a diversity of objects into the eye of the camera. The gesture of people throwing items such as eggs, paint, stones, books, shoes, dig shit and flowers into the camera gained greater power in the effect of slow motion and the inclusion of images of political events that happened in Finland during the 20th century.
Another installation called “Blocão” (Big Bloc), which was created in 2014 in collaboration with art critic Gloria Ferreira and artist Juliana Ferreira, will occupy the frontal facade of the gallery. It features a selection of 80 different phrases said or published by politicians and media personalities repeated on a 30’000-sheet notebook. The public will be invited to choose a sentence to take away.
A last group of works created between 2010 and 2012, and gathered by the artists under the title “Pequenas histórias de modéstia e dúvida” (Little stories of Modesty and Doubt) complete the exhibition. Three synchronized back-projections fall over three big glass surfaces that hang free from the ceilings of the upper floor gallery space, to reveal daily scenes of life in the favelas of Rio de Janeiro, the artists’ hometown. The elegant and unique process of edition by Dias & Riedweg for these series of videos fully contradict the current expectations of vulgarity and violence created by the news about these communities and surprise viewers with a genuine atmosphere of joy and freedom, that deprive from the modest, but sincere, context of life in the slums.
offset paper on wall
Photo Edouard Fraipont
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Photo Edouard Fraipont
Video
Photo Video still
Created in 2004, the video Throw was originally commissioned for the collection of Kiasma, Museum of Contemporary Art in Helsinki. Dias & Riedweg invited passersby to directly throw a diversity of objects into the camera. People’s gestures gain greater power with the effect of slow motion and the inclusion of images of political events that happened in Finland during the 20th century.
Created in 2004, the video Throw was originally commissioned for the collection of Kiasma, Museum of Contemporary Art in Helsinki. Dias & Riedweg invited passersby to directly throw a diversity of objects into the camera. People’s gestures gain greater power with the effect of slow motion and the inclusion of images of political events that happened in Finland during the 20th century.
Three-channel HDV video installation
Photo Edouard Fraipont
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
Three-channel HDV video installation
Photo Edouard Fraipont
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
Three-channel HDV video installation
Photo Edouard Fraipont
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
Three-channel HDV video installation
Photo Edouard Fraipont
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
This series started in 2010, as a collection of first–hand accounts accumulated in video, photographs, drawings and music. These are works that laud doubt and modesty as supreme virtues of subjectivity, at the same time as they record the social and economic transformations that people go through. To optimize the visualization of their recent investigations on the synchronism and multiplicity of all things, the video–installations in this series present a device with three superimposed channels showing images filmed at the same time and in the same place but from different angles and at different speeds, thus materializing the existence of a more complex reality. For each Small Story there is a video, a series of photographs and a piano composition by Walter Riedweg.
Photo Edouard Fraipont
Thermometer with graphic intervention
Photo Galeria Vermelho
In Evidência (Evidence), a three-meter-long thermometer that, in its range between minus 40 degrees Celsius and 40 degrees above zero, viewers also see the years from 1944 through 2024, attesting how temperature may subjectively arise throughout the decades.
In Evidência (Evidence), a three-meter-long thermometer that, in its range between minus 40 degrees Celsius and 40 degrees above zero, viewers also see the years from 1944 through 2024, attesting how temperature may subjectively arise throughout the decades.
Four channel videoinstallation, no sound
Photo Galeria Vermelho
Photo Edouard Fraipont
30 barometers with graphic intervention
Photo Galeria Vermelho
In Sob pressão (Under Pressure), thirty barometers, lined up on the wall, scientifically show the atmospheric pression of the exhibition space but viewers may notice a discrete graphic intervention with the name of Rio’s communities, such as Maré, Mangueira, Rocinha, Alemão, Fogueteiro, Cidade de Deus, among others.
In Sob pressão (Under Pressure), thirty barometers, lined up on the wall, scientifically show the atmospheric pression of the exhibition space but viewers may notice a discrete graphic intervention with the name of Rio’s communities, such as Maré, Mangueira, Rocinha, Alemão, Fogueteiro, Cidade de Deus, among others.
Backlight – Duratrans + LED
Photo Edouard Fraipont
“Chapa Quente” (Hot Coals) is a series of nine back-light photographs that mix archive pictures of Brazilian 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.
“Chapa Quente” (Hot Coals) is a series of nine back-light photographs that mix archive pictures of Brazilian 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.
Backlight – Duratrans + LED
Photo Reproduction
“Chapa Quente” (Hot Coals) is a series of nine back-light photographs that mix archive pictures of Brazilian 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.
“Chapa Quente” (Hot Coals) is a series of nine back-light photographs that mix archive pictures of Brazilian 2013 riots with Dias & Riedweg’s own x-ray shots altered by engraving drawings done by Mauricio Dias.
Eight channel video installation and four travel chests, each containing a marionette and a 21,5” video monitor with its scenes, nine audio channels
Photo Edouard Fraipont
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
Cold Stories, features over 600 video files taken from the internet that feature images from the Cold War years, 1944 up to the present day. The work reffers to the fragmented memories of the artists growing up in front of TV during the 60s and 70s. The dizzying edition of the video includes images of TV series and advertisement that propagated the invention of domestic comfort in addition to speeches, political and historical events, images of conflict and war. These images appear in colored circles that grow and explode like soap bubbles. The video installation also introduces four old travel chests, each one containing a marionette of a notorious character of the Cold War years, such as Che Guevara, Mao Tse-Tung, John F. Kennedy and Nikita Khrushchev.
offset paper on wall – wheatpaste
Photo Edouard Fraipont
“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.
Conducted based on the invitation to represent the city of São Paulo at the 9th Biennial of Shanghai (China) in 2012, this drawing replicates at 1: 1 all the paved area of Shangai Street located in the Penha neighborhood in São Paulo. The street, one of the four named in reference to the Chinese city in the greater São Paulo, measures 5 m wide by 35 m long.
“Shangai em São Paulo em Shanghai” is a frottage, a decal, a technique that relies on a tangible referent to create a document image, a proof of the existence of that street. The resulting drawing is, however, abstract, due to the uniform appearance of the entire paved surface. Compleating the installation is a set of thirteen photographic images made by Zaccagnini in different streets Shanghai / Shanghai / Changai the greater São Paulo.
Collaborators: Ana Luiza Fonseca, Belinda da Cunha, Estela Miazzi, Felipe Cidade, Fernando Sala, Gabriela Godoi, Giorgia Mesquita, Henrique César de Oliveira, Jaime Lauriano, Janaina Wagner, Leonardo Araujo, Mariana Abasolo, Milena Edelstein, Pipa, Runo Lagomarsino.
frottage, graphite on paper
Photo Edouard Fraipont
Conducted based on the invitation to represent the city of São Paulo at the 9th Biennial of Shanghai (China) in 2012, this drawing replicates at 1: 1 all the paved area of Shangai Street located in the Penha neighborhood in São Paulo. The street, one of the four named in reference to the Chinese city in the greater São Paulo, measures 5 m wide by 35 m long.
“Shangai em São Paulo em Shanghai” is a frottage, a decal, a technique that relies on a tangible referent to create a document image, a proof of the existence of that street. The resulting drawing is, however, abstract, due to the uniform appearance of the entire paved surface.
Conducted based on the invitation to represent the city of São Paulo at the 9th Biennial of Shanghai (China) in 2012, this drawing replicates at 1: 1 all the paved area of Shangai Street located in the Penha neighborhood in São Paulo. The street, one of the four named in reference to the Chinese city in the greater São Paulo, measures 5 m wide by 35 m long.
“Shangai em São Paulo em Shanghai” is a frottage, a decal, a technique that relies on a tangible referent to create a document image, a proof of the existence of that street. The resulting drawing is, however, abstract, due to the uniform appearance of the entire paved surface.
Collaborators: Ana Luiza Fonseca, Belinda da Cunha, Estela Miazzi, Felipe Cidade, Fernando Sala, Gabriela Godoi, Giorgia Mesquita, Henrique César de Oliveira, Jaime Lauriano, Janaina Wagner, Leonardo Araujo, Mariana Abasolo, Milena Edelstein, Pipa, Runo Lagomarsino.
Collaborators: Ana Luiza Fonseca, Belinda da Cunha, Estela Miazzi, Felipe Cidade, Fernando Sala, Gabriela Godoi, Giorgia Mesquita, Henrique César de Oliveira, Jaime Lauriano, Janaina Wagner, Leonardo Araujo, Mariana Abasolo, Milena Edelstein, Pipa, Runo Lagomarsino.
Collaborators: Ana Luiza Fonseca, Belinda da Cunha, Estela Miazzi, Felipe Cidade, Fernando Sala, Gabriela Godoi, Giorgia Mesquita, Henrique César de Oliveira, Jaime Lauriano, Janaina Wagner, Leonardo Araujo, Mariana Abasolo, Milena Edelstein, Pipa, Runo Lagomarsino.
Photo Edouard Fraipont
Photo Edouard Fraipont
lightjet printing on matte Kodak Professional Endura paper, applied to ACM board with lamination on welded aluminum frame
Photo reproduction
lightjet printing on matte Kodak Professional Endura paper, applied to ACM board with lamination on welded aluminum frame
Photo reproduction
lightjet printing on matte Kodak Professional Endura paper, applied to ACM board with lamination on welded aluminum frame
Photo reproduction
frottage, graphite on paper
Conducted based on the invitation to represent the city of São Paulo at the 9th Biennial of Shanghai (China) in 2012, this drawing replicates at 1: 1 all the paved area of Shangai Street located in the Penha neighborhood in São Paulo. The street, one of the four named in reference to the Chinese city in the greater São Paulo, measures 5 m wide by 35 m long.
“Shangai em São Paulo em Shanghai” is a frottage, a decal, a technique that relies on a tangible referent to create a document image, a proof of the existence of that street. The resulting drawing is, however, abstract, due to the uniform appearance of the entire paved surface.
Conducted based on the invitation to represent the city of São Paulo at the 9th Biennial of Shanghai (China) in 2012, this drawing replicates at 1: 1 all the paved area of Shangai Street located in the Penha neighborhood in São Paulo. The street, one of the four named in reference to the Chinese city in the greater São Paulo, measures 5 m wide by 35 m long.
“Shangai em São Paulo em Shanghai” is a frottage, a decal, a technique that relies on a tangible referent to create a document image, a proof of the existence of that street. The resulting drawing is, however, abstract, due to the uniform appearance of the entire paved surface.
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.
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.
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.
Slide projectors, iron tables, acrylic plates and sound (International Socialist, from a music box)
Photo Edouard Fraipont
A obra criada para a exposição individual de Rennó no Centro de Fotografia (CdF), de Montevidéu (Uruguai), em 2011, intitulada Río-Montevideo apresenta, em 14 projetores de slide, imagens de fotográfo Aurelio Gonzalez, entre 1957 e 1973.
Em 1973, com a eminente chegada do Golpe Militar, no Uruguai, Gonzalez escondeu mais de 40.000 negativos fotográficos criados por ele para o Jornal El Popular, entre as lajes de um edificio de Montevideo.
Por mais de 33 anos esse material ficou escondido até que foram encontrados e, finalmente recuperados pelo mesmo fotógrafo, em 2006. Submetidos a um longo processo de restauro, classificação e digitalização pelo Núcleo de Fotografia de Montevidéu, esses negativos revelam uma certa “amnésia construída” que permeia a história recente de vários países da América Latina. Rennó optou por apresentar uma pequena seleção dessas imagens por meio das objetivas dos projetores de slides antigos, que acrescentam uma suavidade cálida, enevoada às imagens. Nesse caso, os projetores são usados de forma a reintroduzir estas imagens na atualidade de uma maneira mais lúdica pois estabelecem uma ligação direta com o passado, mantendo seu significado simbólico, sem, no entanto, amarrá-las à tradição do documentário.
Além das projeções, ativadas pelo próprio observador, a instalação é ambientada com o som da famosa composição da Internacional Socialista.
A obra criada para a exposição individual de Rennó no Centro de Fotografia (CdF), de Montevidéu (Uruguai), em 2011, intitulada Río-Montevideo apresenta, em 14 projetores de slide, imagens de fotográfo Aurelio Gonzalez, entre 1957 e 1973.
Em 1973, com a eminente chegada do Golpe Militar, no Uruguai, Gonzalez escondeu mais de 40.000 negativos fotográficos criados por ele para o Jornal El Popular, entre as lajes de um edificio de Montevideo.
Por mais de 33 anos esse material ficou escondido até que foram encontrados e, finalmente recuperados pelo mesmo fotógrafo, em 2006. Submetidos a um longo processo de restauro, classificação e digitalização pelo Núcleo de Fotografia de Montevidéu, esses negativos revelam uma certa “amnésia construída” que permeia a história recente de vários países da América Latina. Rennó optou por apresentar uma pequena seleção dessas imagens por meio das objetivas dos projetores de slides antigos, que acrescentam uma suavidade cálida, enevoada às imagens. Nesse caso, os projetores são usados de forma a reintroduzir estas imagens na atualidade de uma maneira mais lúdica pois estabelecem uma ligação direta com o passado, mantendo seu significado simbólico, sem, no entanto, amarrá-las à tradição do documentário.
Além das projeções, ativadas pelo próprio observador, a instalação é ambientada com o som da famosa composição da Internacional Socialista.
Slide projectors, iron tables, acrylic plates and sound (International Socialist, from a music box)
Photo Edouard Fraipont
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.
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.
Photo Edouard Fraipont
Slide projectors, iron tables, acrylic plates and sound (International Socialist, from a music box)
Photo Edouard Fraipont
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.
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.
COLORS, NAMES
The series explores verses in which poets define colors. The verses are scanned while maintaining its original typology, enlarged and printed on cotton paper. Each verse is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
THINGS ARE IN THE WORLD
1 ton of offset printing test paper, used in printing houses to adjust color and print registration for art books, form 20 stacks on the floor. In each one is carved a letter, writing the phrase ”As coisas estão no mundo” (Things are in the world).
SILENCE
Stille, Ruhe, Schweigen, Stillschweigen and Schweigsamkeit are five German words meaning “silence”. The different words were written with old wood types that printed reliefs on paper.
MY GERMAN LIBRARY
My German Library is a collection of german books covers organized by color and size, generating a scale of geometric color. An operation of ressignification by a non-German-speaking artist.
Gouache and mineral print on Matt Cotton Smooth paper, frame and wall.
Photo Galeria Vermelho
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
Mineral pigment print on paper, gouache on paper and wall.
Photo Edouard Fraipont
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
Marilá Dardot : “I began the series Cores, Nomes in 2013 by gathering verses in which Brazilian poets define colors. In 2014, I included verses from the English poets Gertrude Stein, William Carlos Williams, Wallace Stevens, Richard Price and Katherine Mansfield.
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
Marilá Dardot : “I began the series Cores, Nomes in 2013 by gathering verses in which Brazilian poets define colors. In 2014, I included verses from the English poets Gertrude Stein, William Carlos Williams, Wallace Stevens, Richard Price and Katherine Mansfield.
Mineral pigment print on paper, gouache on paper and wall.
Photo Edouard Fraipont
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
Gouache and mineral print on Matt Cotton Smooth paper, frame and wall.
Photo Mario Grissoli
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
The series gathers verses in which poets define colors. The verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
Mineral print on cotton paper and Talens Light Green 601 gouache paint on paper, passepartout, frame and wall.
Photo Vermelho
“Colors, Names” series gathers verses in which Brazilian poets define colors. Found in books João Cabral de Melo Neto, Manoel de Barros, Paulo Murilo Mendes and Leminski, the verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
“Colors, Names” series gathers verses in which Brazilian poets define colors. Found in books João Cabral de Melo Neto, Manoel de Barros, Paulo Murilo Mendes and Leminski, the verses were scanned while maintaining its original typology, enlarged and printed on cotton paper. Each sheet is painted with the described color. The gouache ink overflows from the paper until reaching the wall.
Test papers from offset printing distributed in 20 stacks carved on site.
Photo Edouard Fraipont
Test papers from offset printing distributed in 20 stacks carved on site.
Photo Edouard Fraipont
Test papers from offset printing distributed in 20 stacks carved on site.
Photo Edouard Fraipont
Test papers from offset printing distributed in 20 stacks carved on site.
Photo Edouard Fraipont
Low relief from typographical woodblocks on recycled paper.
Photo Edouard Fraipont
Stille, Ruhe, Schweigen, Stillschweigen and Schweigsamkeit are five German words meaning “silence”. The different words were written with old wood types that printed reliefs on paper.
Stille, Ruhe, Schweigen, Stillschweigen and Schweigsamkeit are five German words meaning “silence”. The different words were written with old wood types that printed reliefs on paper.
Low relief from typographical woodblocks on recycled paper.
Photo Edouard Fraipont
Stille, Ruhe, Schweigen, Stillschweigen and Schweigsamkeit are five German words meaning “silence”. The different words were written with old wood types that printed reliefs on paper.
Stille, Ruhe, Schweigen, Stillschweigen and Schweigsamkeit are five German words meaning “silence”. The different words were written with old wood types that printed reliefs on paper.
Low relief from typographical woodblocks on recycled paper.
Photo Edouard Fraipont
Book covers.
Photo Edouard Fraipont
My German Library is a collection of german books covers organized by color and size, generating a scale of geometric color. An operation of ressignification by a non-German-speaking artist.
My German Library is a collection of german books covers organized by color and size, generating a scale of geometric color. An operation of ressignification by a non-German-speaking artist.
Hardcovers of books glued with ph-neutral glue fixed with velcro on the wall.
Photo Edouard Fraipont
In the My Library series, Dardot presents collections of book covers organized by color and size, creating new meanings, through abstraction, for books in languages not mastered by her.
In the My Library series, Dardot presents collections of book covers organized by color and size, creating new meanings, through abstraction, for books in languages not mastered by her.
Hardcovers of books glued with ph-neutral glue fixed with velcro on the wall.
Photo Edouard Fraipont
In the My Library series, Dardot presents collections of book covers organized by color and size, creating new meanings, through abstraction, for books in languages not mastered by her.
In the My Library series, Dardot presents collections of book covers organized by color and size, creating new meanings, through abstraction, for books in languages not mastered by her.
From June 3 to July 5, 2014, Galeria Vermelho is presenting the solo show Ponto Final [Full Stop] by Maurício Ianês.
The research that guides the work of Maurício Ianês raises questions about the verbal and artistic languages, their possibilities and expressive limits, their political and social functions, in some cases proposing the public’s participation through actions aimed at creating situations of exchange where language and its unfoldings come into play.
Although it is pervaded by the cultural context in which the artist is inserted, Ianês’s work takes on universal characteristics through the use of the word, suggesting multiple auditory and visual signifying elements that are systematized and presented in the form of video, photography, drawing and installation.
Of all the elements that compose Ianês’s current research, revealed by the set of works featured in Ponto Final, the Fraktur typographical family, considering its current and historical use, constitutes one of the central elements in the exhibition.
The Fraktur fonts are the most important representative of the group of so-called Gothic letters. In the Netherlands, the United Kingdom, and especially in Germany, this typographic family was the predominant font used up to the middle of the 20th century. Nowadays it continues to be widely used in tattoos, logotypes of newspapers and alcoholic beverages, bands and Gothic groups.
The Fraktur font appears in various works of Ponto Final in different contexts, such as those linked to the construction of the national identity of a people, group or ghetto, or as a form of exclusion and racism. On the gallery’s façade, the Tennenbaum font, a member of the Fraktur family, was used to rewrite the phrase “Ordem e Progresso” of the Brazilian flag.
It also reappears in the Ponto Final series, which lends the exhibition its title, consisting of ten drawings of full stops carved on the walls of the exhibition space.
Composed of 14 groups of low-quality images obtained from the Internet, the Fratura [Fracture] series (from the German Fraktur) combines current uses of the Fraktur font with its use in old manuscripts and books, and in the strategies of propaganda and internal communication of the German National Socialist party of the 1930s and ’40s.
In Império, Ianês cites Austrian philosopher Ludwig Wittgenstein and constructs a large wooden sculpture that repeats one of the phrases he excerpted from “Tractatus logico-philosophicus,” published by Wittgenstein in 1921. In the context of this exhibition, “Die Grenzen meiner Sprache bedeuten die Grenzen meiner Welt” [The limits of my language signify the limits of my world] suggest that the limit of art is restricted to what can be expressed through language, that is, to what can be imagined.
Besides Wittgenstein, Ianês also appropriates elements from Faulkner’s literature, more specifically the book The Sound and the Fury. In the homonymous artwork, the artist removed most of the words from the first page of the book, keeping only “fence” and “flag,” once again suggesting the limits of language.
The foremost symbol of countries and regions, the flag is used by Ianês in several of the works in the exhibition. This is seen in (The Sound) and the Fury, a work in which the artist embroiderers the words “Fence” and “Flag” on white flags, and in And the Fury, composed of nine black banners whose installation refers to the limits given by a fence.
The solo show is capped off by the works Wor(L)d, Discurso Ltda, Via Negativa, Broken language, Cinzas and Incisão.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
An instrument used to simultaneously record the temperature and relative humidity of the air, the thermohygrograph is commonly used in museums and exhibition spaces to measure the humidity of the air, as a means of controlling the natural deterioration from climatic variations on paintings, papers or sculptures. By way of a system that involves a clock, mechanical sensors and pens, the machine creates a graph for each 24- hour cycle.
Temperature and humidity are properties of a phenomenon and can be expressed quantitatively. In “O Informante” [The Informant], Henrique Cesar uses the thermohygrograph as a tool for materializing the invisible and the intangible. During the 26 days of the installation’s exhibition, in Vermelho’s hall 2, the information transcribed by the thermohygrograph on sheets of graph paper will be presented side-by-side on the walls of the exhibition space, creating a large graphic.
With every exchange of graphical table, the artist Intervene in the machine’s report with drawings and notes, pointing conditions that may have contributed to the result of reading.
By making the atmospheric circumstances and conditions of the environment visible, “O Informante” [The Informant] aims to reveal the invisible mass of the exhibition space, essentially transforming it into an artwork.
Photo Edouard Fraipont
An instrument used to simultaneously record the temperature and relative humidity of the air, the thermohygrograph is commonly used in museums and exhibition spaces to measure the humidity of the air, as a means of controlling the natural deterioration from climatic variations on paintings, papers or sculptures. By way of a system that involves a clock, mechanical sensors and pens, the machine creates a graph for each 24- hour cycle. Temperature and humidity are properties of a phenomenon and can be expressed quantitatively. In “O Informante” [The Informant], Henrique Cesar uses the thermohygrograph as a tool for materializing the invisible and the intangible. During the 26 days of the installation’s exhibition, in Vermelho’s hall 2, the information transcribed by the thermohygrograph on sheets of graph paper will be presented side-by-side on the walls of the exhibition space, creating a large graphic. With every exchange of graphical table, the artist Intervene in the machine’s report with drawings and notes, pointing conditions that may have contributed to the result of reading. By making the atmospheric circumstances and conditions of the environment visible, “O Informante” [The Informant] aims to reveal the invisible mass of the exhibition space, essentially transforming it into an artwork.
An instrument used to simultaneously record the temperature and relative humidity of the air, the thermohygrograph is commonly used in museums and exhibition spaces to measure the humidity of the air, as a means of controlling the natural deterioration from climatic variations on paintings, papers or sculptures. By way of a system that involves a clock, mechanical sensors and pens, the machine creates a graph for each 24- hour cycle. Temperature and humidity are properties of a phenomenon and can be expressed quantitatively. In “O Informante” [The Informant], Henrique Cesar uses the thermohygrograph as a tool for materializing the invisible and the intangible. During the 26 days of the installation’s exhibition, in Vermelho’s hall 2, the information transcribed by the thermohygrograph on sheets of graph paper will be presented side-by-side on the walls of the exhibition space, creating a large graphic. With every exchange of graphical table, the artist Intervene in the machine’s report with drawings and notes, pointing conditions that may have contributed to the result of reading. By making the atmospheric circumstances and conditions of the environment visible, “O Informante” [The Informant] aims to reveal the invisible mass of the exhibition space, essentially transforming it into an artwork.
Photo Edouard Fraipont
Photo Edouard Fraipont
Aquário Suave Sonora [Smooth Sound-Making Aquarium] combines experimental music with sculptures, installations and performance. For Vermelho’s hall 1, the artist collective created a recording studio consisting of two booths and a large room with acoustic treatment.
Created in 1995 by the artists Barrão, Sergio Mekler and Luiz Zerbini, Chelpa Ferro works with the investigation of acoustic and electronic sound sources, through the construction of unconventional sound-producing devices combined with traditional musical instruments. Their work uses technology to explore the multidisciplinary possibilities of dialogue with cinema, video and performance, creating partnerships with artists such as Debora Colker, for whom the collective created, in 2002, the installation Mesa [Table], part of the choreographer’s piece 4 x 4.
For the 25th Bienal de São Paulo, in 2002, the collective sparked controversy with the performance Auto-Bang, presented at the event’s opening. In it, a Maverick car decorated with marks and signs referring to the artists, was completely destroyed. The parts of the car were later transformed into sound-producing sculptures. The collective also participated in the 8th Bienal de Havana, in 2003, the 26th Bienal de São Paulo, in 2004, and the 51st Venice Biennale, in 2005.
Chelpa Ferro’s solo shows and concerts provide the observer with unique experiences. This is the case of Jungle Jam, a commissioned work presented in 2006 at FACT (Foundation for Art and Creative Technology), in Liverpool. Jungle Jam is an installation made up of thirty motors arranged in a horizontal line on the walls of the exhibition space. Each motor is connected to a shaft, which spins a plastic bag. When activated by a synchronizer, the motors rotate the shafts, thus moving the plastic bags, which in turn produce rhythmic sounds.
The collective has also held solo shows at the Museu de Arte da Pampulha, at the Museu de Arte Moderna da Bahia (2008), at the Pinacoteca do Estado de São Paulo (2009), and at the Aldrich Contemporary Art Museum (2011).
The proposal of a state of curiosity and contemplative willingness for listening and discussing the relations between sound and space provides the basis for Chelpa Ferro’s works, suggesting a shuffling of the senses through different procedures.
Paint on wall.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
The architecture of the spaces of daily life feeds the conception and production of Daniel Senise’s artworks, constituting the poetics that pervades his oeuvre as a whole. The set of works featured in the solo show Neste Lugar maintain this characteristic in their genesis and resume an important conceptual element used previously by Senise at the beginning of the 2000s. In them, the artist returns to reveal the interior of large exhibition spaces, as in the collages National Gallery, Gemäldegalerie and Musée D’Orsay.
The result of Senise’s interest in the architecture, history and dynamics employed in these large public collections was presented in the installation Eva, shown at Centro Cultural São Paulo, in 2009. In the work, composed of blocks similar to bricks made of papier-mâché, based on the recycling of catalogs, art books and exhibition invitations, Senise points to the extinguishment that various public collections are undergoing. In 2009, Senise literally concealed the sculpture Eva, by Brecheret, behind four walls made out of scraps of paper from these institutions.
The same support was used by Senise in the installation presented at the 29th Bienal de São Paulo, in 2010. In that case, the blocks of recycled paper containing thousands of pieces of information about painting were used not only in the construction of the exhibition space but also became a work in their own right, leading the observer, as stated by Marco Silveira Mello, “to observe the surfaces and see, in the small vestiges of the blocks,… happenings that are pictorial or evocative of the complexion of painting.”
In the installation Parede com 5 buracos, created by Senise for the project Travessias 2 – Arte Contemporânea na Maré, in the Maré Favela in Rio de Janeiro, in 2013, the reference to these large institutions is literal. The work was presented on a wall located at the entrance to the exhibition space, with five holes through which one could see scale models identical to the rooms of museums, such as the Musée D’Orsay (Paris), MoMA (New York), the National Gallery (London), and MAM RJ (Rio de Janeiro). In the last hole, the observer could see the space where he/ she was located. According to the artist, the work reveals a common condition nowadays, which is the substitution of real presence due to the democratization of information.
Neste Lugar will feature two scale models. One of them will be mounted on Vermelho’s façade, and will reproduce the gallery’s entrance hall, suggesting a metalinguistic game between physical experience and pictorial representation.
In the works Musée du Louvre, Museo del Prado, Galleria degli Uffizi and National Gallery of the series Museu, all from 2013, Senise fragments the reproductions published by these museums concerning their collections, and packages all of this content within transparent acrylic boxes, creating an idea analogous to that of collection, the genesis of every museum.
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. La Pintura Española, an artist’s book that Senise is releasing on the day the solo show opens, materializes this procedure by means of an interplay of lights and mirrors.
Anamorphic model hidden in a hole on the facade wall.
Photo Edouard Fraipont
View of the mockup visible through the hole in the gallery façade.
Photo Edouard Fraipont
Cut and pasted book covers on aluminum.
Photo Edouard Fraipont
Fragmented reproduction of works from the National Gallery in acrylic box.
Photo Edouard Fraipont
In the “Museu” series, Senise fragments the reproductions published by these museums concerning their collections, and packages all of this content within transparent acrylic boxes, creating an idea analogous to that of collection, the genesis of every museum.
In the “Museu” series, Senise fragments the reproductions published by these museums concerning their collections, and packages all of this content within transparent acrylic boxes, creating an idea analogous to that of collection, the genesis of every museum.
Art book paper on aluminum.
Photo Edouard Fraipont
Art book paper on aluminum.
Photo Edouard Fraipont
Object-book, mirror, digital print and wiring.
Photo Edouard Fraipont
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. “La Pintura Española”, an artist’s book that Senise released on the show. opening, materializes this procedure by means of an interplay of lights and mirrors.
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. “La Pintura Española”, an artist’s book that Senise released on the show. opening, materializes this procedure by means of an interplay of lights and mirrors.
Object-book, mirror, digital print and wiring.
Photo Edouard Fraipont
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. “La Pintura Española”, an artist’s book that Senise released on the show. opening, materializes this procedure by means of an interplay of lights and mirrors.
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. “La Pintura Española”, an artist’s book that Senise released on the show. opening, materializes this procedure by means of an interplay of lights and mirrors.
Anamorphic model hidden in a hole on the facade wall.
Photo Edouard Fraipont
Book cover glued on aluminum.
Photo Edouard Fraipont
Acrylic medium and residues on fabric glued on aluminum.
Photo Edouard Fraipont
The solo show “Repetição da ordem” by Nicolás Robbio was constructed based on three symbols that represent Power: the flag, the iron grating and the coin.
The symbol of sovereign states, clans or societies of people ruled by law or by tradition, the flag appears in the installation “Sem Título” [2014], represented only by the shadow it reproduces. Its matrix, in this case absent, would give us clues about its provenance. Robbio’s interest, however, is in the symbology of Bandeira.
“Los de arriba, los de abajo. Los buenos, los malos”, a video created by Robbio in 2011, resorts to images of iron gratings used in houses and buildings to weave a commentary about the impossibility of permanence or the reconciling of opposites.
The accumulation of acquisitive power takes place through money. In “Todos os caminhos levam a Roma”, two coins from different countries, England and Colombia, are related in a balanced way in a system of gears, as though the value they represent could be equivalent.
In “Repetição da ordem”, Robbio creates a representation about current society, by means of symbols of power that drive it.
Photo Edouard Fraipont
Vídeo loop
Photo Video still
“Los de arriba, los de abajo. Los buenos, los malos”, a video created by Robbio in 2011, resorts to images of iron gratings used in houses and buildings to weave a commentary about the impossibility of permanence or the reconciling of opposites.
“Los de arriba, los de abajo. Los buenos, los malos”, a video created by Robbio in 2011, resorts to images of iron gratings used in houses and buildings to weave a commentary about the impossibility of permanence or the reconciling of opposites.
Photo Edouard Fraipont
Vídeo Loop
Photo Video still
The accumulation of acquisitive power takes place through money. In Todos os caminhos levam a Roma, two coins from different countries, England and Colombia, are related in a balanced way in a system of gears, as though the value they represent could be equivalent.
The accumulation of acquisitive power takes place through money. In Todos os caminhos levam a Roma, two coins from different countries, England and Colombia, are related in a balanced way in a system of gears, as though the value they represent could be equivalent.
Video and wooden parts
Photo Edouard Fraipont
The symbol of sovereign states, clans or societies of people ruled by law or by tradition, the flag appears in the installation Sem Título, represented only by the shadow it reproduces. Its matrix, in this case absent, would give us clues about its provenance. Robbio’s interest, however, is in the symbology of Bandeira.
The symbol of sovereign states, clans or societies of people ruled by law or by tradition, the flag appears in the installation Sem Título, represented only by the shadow it reproduces. Its matrix, in this case absent, would give us clues about its provenance. Robbio’s interest, however, is in the symbology of Bandeira.
“Espectro do Vermelho”, by Maurício Ianês, appropriates and distorts the form and the meaning of flags, weaving a critique in regard to patriotism and the abstract idea of nationhood, society, and the representation of the community by way of a symbol. Ianês compares this strategy to that of using a single word to describe unequal or contradictory objects. The flags of the 26 Brazilian states, along with that of the Federal District, were reproduced with red fabric, and their emblems were also embroidered in red, thus distorting and decharacterizing their political content.
27 flags manufactured in red fabric, 78% polyester and 22% viscose, embroided with red thread, with polyester ropes.
Photo Edouard Fraipont
“Espectro do Vermelho” appropriates and distorts the form and the meaning of flags, weaving a critique in regard to patriotism and the abstract idea of nationhood, society, and the representation of the community by way of a symbol. Ianês compares this strategy to that of using a single word to describe unequal or contradictory objects. The flags of the 26 Brazilian states, along with that of the Federal District, were reproduced with red fabric, and their emblems were also embroidered in red, thus distorting and decharacterizing their political content.
“Espectro do Vermelho” appropriates and distorts the form and the meaning of flags, weaving a critique in regard to patriotism and the abstract idea of nationhood, society, and the representation of the community by way of a symbol. Ianês compares this strategy to that of using a single word to describe unequal or contradictory objects. The flags of the 26 Brazilian states, along with that of the Federal District, were reproduced with red fabric, and their emblems were also embroidered in red, thus distorting and decharacterizing their political content.
27 flags manufactured in red fabric, 78% polyester and 22% viscose, embroided with red thread, with polyester ropes.27 flags manufactured in red fabric, 78% polyester and 22% viscose, embroided with red thread, with polyester ropes
Photo Edouard Fraipont
“Espectro do Vermelho” appropriates and distorts the form and the meaning of flags, weaving a critique in regard to patriotism and the abstract idea of nationhood, society, and the representation of the community by way of a symbol. Ianês compares this strategy to that of using a single word to describe unequal or contradictory objects. The flags of the 26 Brazilian states, along with that of the Federal District, were reproduced with red fabric, and their emblems were also embroidered in red, thus distorting and decharacterizing their political content.
“Espectro do Vermelho” appropriates and distorts the form and the meaning of flags, weaving a critique in regard to patriotism and the abstract idea of nationhood, society, and the representation of the community by way of a symbol. Ianês compares this strategy to that of using a single word to describe unequal or contradictory objects. The flags of the 26 Brazilian states, along with that of the Federal District, were reproduced with red fabric, and their emblems were also embroidered in red, thus distorting and decharacterizing their political content.
UV printing on glass, mirror and rubber
Photo Flávio Lamenha
For eclipses, which are studies on the Oca, the artist designs the structure of the architecture of Oca at their exterior transforming it into a body of light and shadow through the printing of images directly on glass and mirror projection.
For eclipses, which are studies on the Oca, the artist designs the structure of the architecture of Oca at their exterior transforming it into a body of light and shadow through the printing of images directly on glass and mirror projection.
Photo Edouard Fraipont
Video loop
Photo Video still
Inkjet on paper
Photo Edouard Fraipont
Fogarasi’s work deals with themes such as architecture, the economization of cities and the culturalization of public spaces, resorting to various procedures to (de)construct the idea of the city in the European countries. His works reveal different expectations superimposed socially and politically on the urban space, pointing to the artist’s commitment to the architecture of space.
According to the show’s curator, the transformations that took place in cities around the globe from the 1990s onward, including in São Paulo’s urban space, point not only to the phenomenon of gentrification, but also to the practice of the appropriation of urban space as a tool of citizenship, opposed to the capitalist logic. Fogarasi deconstructs this logic and asks, “How should we understand the streets, public squares, houses, cities, the construction and materiality of everyday life? How is the subjectivity of this realm constructed? What is the future of the great architectural projects in opposition to the icons of late modernity, such as Lina Bo Bardi’s Casa de Vidro (in São Paulo), or Luis Barragán’s Casa Barragán (in Mexico City)?”
The exhibition title that Andreas Fogarasi proposed to Vermelho, 1988, alludes to the various political changes that took place in the late 1980s, as well as to other less visible urban manifestations that have occurred throughout the last decades. His first solo show in Brazil, 1988 presents Mirrors (2014) photo series, created especially for the exhibition, and also includes the installations North American International Auto Show (2012), Postcards (Verde Guatemala / Untitled) (2012/2014), as well as the film Folkemuseum (2010).
Folkemuseum, which borrows its title from the name of the Norwegian museum located in Oslo, visitors to the institution share the projection with questions proposed by the artist, such as, “Should I bring my own actor?” The film includes images of the history of the Norwegian museum, the urban landscape that surrounds it, and the Norwegian city by way of a collection of 155 buildings that occupy a 140,000 m² area in Oslo.
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deteriorization. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
Like no other city in the world, Detroit represents the end of an economic era. At the same time, it also presents an alternative for life in the big cities that goes beyond calculated economic efficiency, such as new forms of communication and self-generated projects.
The show 1988 suggests various questions to the visitor, most of them point to what characterizes the identity of the city nowadays – the cityscape or the architecture? How can/should we perceive it?”
Latex on painting
Photo Edouard Fraipont
Video
Photo Edouard Fraipont
“Folkemuseum”, which borrows its title from the name of the Norwegian museum located in Oslo, visitors to the institution share the projection with questions proposed by the artist, such as, “Should I bring my own actor?” The film includes images of the history of the Norwegian museum, the urban landscape that surrounds it, and the Norwegian city by way of a collection of 155 buildings that occupy a 140,000 m² area in Oslo.
“Folkemuseum”, which borrows its title from the name of the Norwegian museum located in Oslo, visitors to the institution share the projection with questions proposed by the artist, such as, “Should I bring my own actor?” The film includes images of the history of the Norwegian museum, the urban landscape that surrounds it, and the Norwegian city by way of a collection of 155 buildings that occupy a 140,000 m² area in Oslo.
Steel, iron and marble.
Photo Edouard Fraipont
Photography, plywood and mirrored polystyrene.
Photo Edouard Fraipont
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
Photography, plywood and mirrored polystyrene.
Photo Edouard Fraipont
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
Photography, plywood and mirrored polystyrene.
Photo Edouard Fraipont
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
Photography, plywood and mirrored polystyrene.
Photo Edouard Fraipont
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
Photography, plywood and mirrored polystyrene.
Photo Edouard Fraipont
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.
In Mirrors and North American International Auto Show, Fogarasi presents images of important architectural projects that are unfinished or in a process of deterioration. Through an interplay of mirrors, the images create interrelations with conventional architectural photography, in which the car, the symbol of capitalism in the 20th century, appears as an antihero, pointing to the failure of the Fordist economic model that led to the decadence of cities whose economies were based on the automobile industry, such as Detroit.