In DOCUMENT-MONUMENT | MONUMENT-DOCUMET, her 7th solo show at Vermelho, Rosângela Rennó presents new works which investigate the nature of image and the place for photographic image in contemporaneity from an iconoclastic point of view around the memorialist perpetuation of signs, symbols and icons.
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
In the Sala Antonio projection room, Vermelho exhibits Monumentos efímeros [Ephemeral monuments], by Tania Candiani. Developed for the 13th Havana Biennial (2019), the work investigates the Cuban Revolutionary Project through the point of view of sport as a political tool.
Monumentos efímeros is based on a series of works developed from a performance carried out by professional Cuban athletes at the José Martí Sports Center (Havana). From the series’ works, Vermelho exhibits now a set of photographs and drawings and a video at the Sala Antonio projection room. The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses.
The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
Monumentos efímeros (Ephemeral monuments) is a project that points out the correspondences between the physical and emotional resistance of athletes to the collapse of their environment.
Photo Edouard Fraipont
Mineral pigmented Epson Ultrachrome inkjet print on Hahnemühle Photo Rag 308g paper; Chinese ink on 95g vellum paper
Photo Vermelho
Ephemeral Monuments, originally presented at the 13th Havana Biennial, is based on a series of performances carried out by professional Cuban athletes at the José Martí Sports Center (Havana). The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses. The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
Ephemeral Monuments, originally presented at the 13th Havana Biennial, is based on a series of performances carried out by professional Cuban athletes at the José Martí Sports Center (Havana). The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses. The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
Video, color and sound
Photo Video still
Ephemeral Monuments, originally presented at the 13th Havana Biennial, is based on a series of performances carried out by professional Cuban athletes at the José Martí Sports Center (Havana). The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses. The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
Ephemeral Monuments, originally presented at the 13th Havana Biennial, is based on a series of performances carried out by professional Cuban athletes at the José Martí Sports Center (Havana). The action was orchestrated around building and sustaining ephemeral bodily constructions which explores ideas of solidarity, union and resilience. The constructions symbolize an exercise of trust and collective effort: if one of the participants fails, everything collapses. The deteriorated sports facilities in the city of Havana, Cuba, are the starting point of this visual essay in which some ideas about the modern architectural movement, sports as an ideological flag and the abandonment of public infrastructure interwoven.
Photo Video still
Photo Edouard Fraipont
Vermelho presents CARLOS MOTTA: WE THE ENEMY, the artist’s first solo exhibition in Brazil.
Through video, photographs, sculptures, and installations, Carlos Motta critically engages and documents the social conditions and the historical and present-day political struggles of sexual, gender and ethnic minorities in order to challenge dominant and normative discourses through visibility and self-representation.
Among the main features of Carlos Motta’s work is the narration of historically suppressed stories of sexual-and-gender different individuals and communities, in an attempt to produce counter-narratives that acknowledge non-hegemonic accounts of history. In WE THE ENEMY, Motta contrasts stories of historical and contemporary sexual and gender repression to defy conventions of story-telling, its terms and forms of representation, and the writing of history.
Wall mural and newsprint publication
Photo Edouard Fraipont
In its eighth presentation, this mural piece on the façade of the gallery, examines the political developments of sexual and gender activism. Shapes of Freedom revisits the history of the pink triangle and other sexual diversity symbols. To highlight the importance of collective organizing to achieve social freedom. The mural is accompanied by a historical timeline listing important moments of LGBTQI + history in Brazil and abroad, developed in collaboration with Guilherme Altmayer.
In its eighth presentation, this mural piece on the façade of the gallery, examines the political developments of sexual and gender activism. Shapes of Freedom revisits the history of the pink triangle and other sexual diversity symbols. To highlight the importance of collective organizing to achieve social freedom. The mural is accompanied by a historical timeline listing important moments of LGBTQI + history in Brazil and abroad, developed in collaboration with Guilherme Altmayer.
Video HD. 16:9. color and sound
Photo Carlos Motta
This video presents an interview with Paulo Pascoal, the actor who plays José Francisco Pereira in Corpo Fechado: The Devils Work. Pascoal is a well-known actor in his home country of Angola, who after coming out as a gay during a TEDxLuanda talk, endured death threats, which lead him to migrate to Portugal. In Lisbon, where he currently resides, Pascoal finds himself trapped in a sort of immigration limbo, unable to re-enter Portugal should he ever leave. As Jack McGrath wrote, “the biography of the actor therefore resonates with the life of his character, mutatis mutandis, crisscrossing oceans of both water and time in spectral fulfillment of Benjamin’s historical method”.
This video presents an interview with Paulo Pascoal, the actor who plays José Francisco Pereira in Corpo Fechado: The Devils Work. Pascoal is a well-known actor in his home country of Angola, who after coming out as a gay during a TEDxLuanda talk, endured death threats, which lead him to migrate to Portugal. In Lisbon, where he currently resides, Pascoal finds himself trapped in a sort of immigration limbo, unable to re-enter Portugal should he ever leave. As Jack McGrath wrote, “the biography of the actor therefore resonates with the life of his character, mutatis mutandis, crisscrossing oceans of both water and time in spectral fulfillment of Benjamin’s historical method”.
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
The diptych of portraits of José Francisco Pedroso (2019) – an African enslaved man who, along with José Francisco Pereira, crafted and distributed bolsas de mandinga – is part of the series of contextual works to Corpo Fechado: The Devil’s Work. Carlos Motta collaborated with Portuguese-Guinean actor Welket Bungué to create this portrait, where Bungué’s wears a bolsa de mandiga offered to him by his own mother.
The diptych of portraits of José Francisco Pedroso (2019) – an African enslaved man who, along with José Francisco Pereira, crafted and distributed bolsas de mandinga – is part of the series of contextual works to Corpo Fechado: The Devil’s Work. Carlos Motta collaborated with Portuguese-Guinean actor Welket Bungué to create this portrait, where Bungué’s wears a bolsa de mandiga offered to him by his own mother.
Framed whip
Photo Vermelho
HD video, 16:9, sound, color
Photo Still do vídeo
This 2018 film tells the story of José Francisco Pereira, a man who was kidnapped and sold into enslavement in the 18th Century. Pereira was taken from Uidá (now Benin, in West Africa) to Pernambuco, Brazil, where he performed syncretic practices in order to survive. Sold to a slaveholder in Portugal, Pereira was caught making amulets –bolsas de mandinga – for his fellows enslaved men and women. In 1731 Pereira was tried by the Lisbon Inquisition for sorcery. In addition, Pereira confessed to having made pacts and copulating with a male demon, and was thus also sentenced for sodomy. José Francisco Pereira was then condemned to be an enslaved rower on a galley ship, sent into exile, and was forever banned from Lisbon.
The film’s script draws from Pereira’s trial documents, Saint Peter Damian’s Letter 31 – The Book of Gomorrah, and Walter Benjamin’s On the Concept of History, in order to tell the story. Written by the Italian reformist monk Saint Peter Damian in the 11th century, Letter 31 includes the earliest and most extensive damning treatment on pederasty and homoerotic practices. As art historian Jack McGrath writes in his essay for Conatus, a 2019 solo exhibition by Motta in New York, “the discourse of the sodomite also played a central role in European colonialism, a theme Motta has extensively explored in earlier video works such as Nefandus Trilogy (2013) and the installation Towards a Homoerotic Historiography (2014), among others.”
On the Concept of History is comprised of 18 theses in which Walter Benjamin critically exposes the conventions of historicism. Benjamin proposes an open-ended approach to history, proposing the construction of different outcomes for the future through the action of the defeated, therefore opposing the idea that the future is the result of both historical evolution and economic and scientific progress. According to McGrath, “in Corpo Fechado, Pereira incarnates Benjamin’s Angel of History, a seraph caught in a storm blowing from Paradise, propelled inexorably into the future yet facing backward, doomed to see only the wreckage of the past. […] Motta’s film brings together little-known figures like Pereira and Damian, retrieved from archives of a distant past, for a story of migration, race, sexuality, law, and belief, whose contemporary urgency reframes conditions of the present.”
This 2018 film tells the story of José Francisco Pereira, a man who was kidnapped and sold into enslavement in the 18th Century. Pereira was taken from Uidá (now Benin, in West Africa) to Pernambuco, Brazil, where he performed syncretic practices in order to survive. Sold to a slaveholder in Portugal, Pereira was caught making amulets –bolsas de mandinga – for his fellows enslaved men and women. In 1731 Pereira was tried by the Lisbon Inquisition for sorcery. In addition, Pereira confessed to having made pacts and copulating with a male demon, and was thus also sentenced for sodomy. José Francisco Pereira was then condemned to be an enslaved rower on a galley ship, sent into exile, and was forever banned from Lisbon.
The film’s script draws from Pereira’s trial documents, Saint Peter Damian’s Letter 31 – The Book of Gomorrah, and Walter Benjamin’s On the Concept of History, in order to tell the story. Written by the Italian reformist monk Saint Peter Damian in the 11th century, Letter 31 includes the earliest and most extensive damning treatment on pederasty and homoerotic practices. As art historian Jack McGrath writes in his essay for Conatus, a 2019 solo exhibition by Motta in New York, “the discourse of the sodomite also played a central role in European colonialism, a theme Motta has extensively explored in earlier video works such as Nefandus Trilogy (2013) and the installation Towards a Homoerotic Historiography (2014), among others.”
On the Concept of History is comprised of 18 theses in which Walter Benjamin critically exposes the conventions of historicism. Benjamin proposes an open-ended approach to history, proposing the construction of different outcomes for the future through the action of the defeated, therefore opposing the idea that the future is the result of both historical evolution and economic and scientific progress. According to McGrath, “in Corpo Fechado, Pereira incarnates Benjamin’s Angel of History, a seraph caught in a storm blowing from Paradise, propelled inexorably into the future yet facing backward, doomed to see only the wreckage of the past. […] Motta’s film brings together little-known figures like Pereira and Damian, retrieved from archives of a distant past, for a story of migration, race, sexuality, law, and belief, whose contemporary urgency reframes conditions of the present.”
16:9 HD video, sound, color
Photo Video still
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Bronze, plexiglass, water and cement
Photo Vermelho
Motta created the bronze effigy in the image of an 18th century wooden sculpture in São Paulo, an ecclesiastical object crafted by artisans working in colonial subjection. As an artifact of exploitation, the piece indicts the art and religion that assisted the colonial system. As Benjamin wrote in On the Concept of History, ‘There is no document of civilization that is not at the same time a document of barbarism’.”
Motta created the bronze effigy in the image of an 18th century wooden sculpture in São Paulo, an ecclesiastical object crafted by artisans working in colonial subjection. As an artifact of exploitation, the piece indicts the art and religion that assisted the colonial system. As Benjamin wrote in On the Concept of History, ‘There is no document of civilization that is not at the same time a document of barbarism’.”
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Carlos Motta
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
This series of photographs present a hooded figure handling snakes. The images refer to gay fetish practices associated with “sexual deviance.”
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Bronze
Photo Vermelho
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.
Video – color, sound
Photo video still
This video piece presents a 30-minute endurance performance made by Carlos Motta for the camera. Legacy shows the artist looking straight at the camera as he wears a dental gag and tries to read out a timeline of HIV/AIDS, from 1908 to 2019, dictated to him by American radio broadcaster Ari Shapiro. Unable to speak clearly, struggling to remember the lines and in pain, the artist gradually and visibly exhausts himself.
directed and performed by: Carlos Motta
research: Ted Kerr, Carlos Motta
voice over: Ari Shapiro
camera: Tyler Haft
drawing: Luca Cruz Salvati, Carlos Motta
This video piece presents a 30-minute endurance performance made by Carlos Motta for the camera. Legacy shows the artist looking straight at the camera as he wears a dental gag and tries to read out a timeline of HIV/AIDS, from 1908 to 2019, dictated to him by American radio broadcaster Ari Shapiro. Unable to speak clearly, struggling to remember the lines and in pain, the artist gradually and visibly exhausts himself.
directed and performed by: Carlos Motta
research: Ted Kerr, Carlos Motta
voice over: Ari Shapiro
camera: Tyler Haft
drawing: Luca Cruz Salvati, Carlos Motta
HD video, 16:9, color, sound
Photo Video still
SPIT! (Sodomite, Inverts, Perverts Together!) is a collective formed in 2017 by Carlos Motta, writer John Arthur Peetz, and artist Carlos Maria Romero. SPIT! wrote a series of queer manifestos that were initially performed at Frieze projects, London. In the 2019 video, Greek artist Despina Zacharopoulos performs WE THE ENEMY, a summary of derogatory slangs and insults to queer people. Spoken by Zacharopoulos with defiant pride, these terms are re-appropriated becoming watchwords or a kind of summoning of the powerless.
SPIT! (Sodomite, Inverts, Perverts Together!) is a collective formed in 2017 by Carlos Motta, writer John Arthur Peetz, and artist Carlos Maria Romero. SPIT! wrote a series of queer manifestos that were initially performed at Frieze projects, London. In the 2019 video, Greek artist Despina Zacharopoulos performs WE THE ENEMY, a summary of derogatory slangs and insults to queer people. Spoken by Zacharopoulos with defiant pride, these terms are re-appropriated becoming watchwords or a kind of summoning of the powerless.
Bronze, concrete, iron and wooden inner structure
Photo Edouard Fraipont
WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
Bronze
Photo Edouard Fraipont
WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: historical paintings that portray Satan in hell, drawings, illustrations, and sculptures that represent evil embodied. Each figure defies normative moral standards of beauty, respectability, and behavior. Among this army of demons, there are characters who suggest sexual perversion – as typified by traditional catholic imagery.
Pigmented mineral inkjet print on Hahnemühle Photo Luster 260g paper
Photo Edouard Fraipont
In Untitled Self-Portrait # 3,is a photograph where Motta depicts himself simultaneously mournful and resolute, showing a clenched resilient fist, and resting his wistful head on a mirrored surface. As Jack McGrath warns: “Sometimes to gaze into a mirror is to see the malefactors of history leering back out, and real progress requires the courage to criticize even oneself.”
In Untitled Self-Portrait # 3,is a photograph where Motta depicts himself simultaneously mournful and resolute, showing a clenched resilient fist, and resting his wistful head on a mirrored surface. As Jack McGrath warns: “Sometimes to gaze into a mirror is to see the malefactors of history leering back out, and real progress requires the courage to criticize even oneself.”
The body inserted in both natural and urban environments is one of Lia Chaia’s main research themes and guides Feverish, her new solo exhibition at Vermelho. Chaia points to the influence of the current social and political conjuncture on the development of the exhibition: “The title is linked to body temperature. Fever works as a defense mechanism. It points to a time to be alert. The body in question is the human body, the social body”. Lia makes references to ancestral knowledges and to ritualistic ceremonies that provokes mind alterations in new videos, objects, drawings and photographs.
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 Video still
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
]Video – 16:9, color, sound
Photo video still
Thousand Eyes integrates Chaia’s set of performances made for the camcorder. The static and sequential plan reinforces the experience lived in the situation registered as the main data of the work. According to Chaia, the video is the capture of an action of “insistent, repetitive and delusional movements of the head. Therein lies the potent refusal – the ‘no’ – and the feverish state. It is an activation of the concepts that are in Masks”.
Thousand Eyes integrates Chaia’s set of performances made for the camcorder. The static and sequential plan reinforces the experience lived in the situation registered as the main data of the work. According to Chaia, the video is the capture of an action of “insistent, repetitive and delusional movements of the head. Therein lies the potent refusal – the ‘no’ – and the feverish state. It is an activation of the concepts that are in Masks”.
Vermelho presents Ka’rãi, Dora Longo Bahia’s ninth solo exhibition at the gallery. Longo Bahia presents objects, drawings, paintings and works using Augmented Reality. The title of the exhibition comes from expression in the Tupi language meaning to “tear with claws” or “scratch”; the expression is also the origin of the word Carcará, which designates the bird of prey that inhabits the center and south of South America.
Photo Edouard Fraipont
Photo Reprodução
Photo Edouard Fraipont
Photo Edouard Fraipont
As fugas são composições polifônicas, onde uma melodia se sobrepõe a outra. As fugas são estruturadas por um tema principal, o “sujeito” da composição, com o qual as “vozes” subsequentes estabelecem variações.
Em sua série de pinturas chamada Fuga, Longo Bahia trabalha com experiências de Realidade Aumentada, onde pinturas escondem conteúdos adicionais que são revelados através do uso de um aplicativo de telefone.
Fuga (Sujeito) é apresentada como uma pincelada vermelha que, através do aplicativo, é substituída por um vídeo da atriz Mayara Baptista gritando.
A Primeira voz mostra retratos de mulheres forçadas a deixar seus países devido a conflitos políticos ou desastres naturais.
A Segunda voz mostra pinturas ocultas de mulheres que pertencem aos grupos mais suscetíveis a tornarem-se vítimas de violência no Brasil.
A Terceira voz retrata mulheres vítimas das ditaduras latino-americanas.
Baixe o aplicativo Fuga – Dora Longo Bahia, disponível para Apple e Android.
As fugas são composições polifônicas, onde uma melodia se sobrepõe a outra. As fugas são estruturadas por um tema principal, o “sujeito” da composição, com o qual as “vozes” subsequentes estabelecem variações.
Em sua série de pinturas chamada Fuga, Longo Bahia trabalha com experiências de Realidade Aumentada, onde pinturas escondem conteúdos adicionais que são revelados através do uso de um aplicativo de telefone.
Fuga (Sujeito) é apresentada como uma pincelada vermelha que, através do aplicativo, é substituída por um vídeo da atriz Mayara Baptista gritando.
A Primeira voz mostra retratos de mulheres forçadas a deixar seus países devido a conflitos políticos ou desastres naturais.
A Segunda voz mostra pinturas ocultas de mulheres que pertencem aos grupos mais suscetíveis a tornarem-se vítimas de violência no Brasil.
A Terceira voz retrata mulheres vítimas das ditaduras latino-americanas.
Baixe o aplicativo Fuga – Dora Longo Bahia, disponível para Apple e Android.
Photo Edouard Fraipont
As fugas são composições polifônicas, onde uma melodia se sobrepõe a outra. As fugas são estruturadas por um tema principal, o “sujeito” da composição, com o qual as “vozes” subsequentes estabelecem variações.
Em sua série de pinturas chamada Fuga, Longo Bahia trabalha com experiências de Realidade Aumentada, onde pinturas escondem conteúdos adicionais que são revelados através do uso de um aplicativo de telefone.
Fuga (Sujeito) é apresentada como uma pincelada vermelha que, através do aplicativo, é substituída por um vídeo da atriz Mayara Baptista gritando.
A Primeira voz mostra retratos de mulheres forçadas a deixar seus países devido a conflitos políticos ou desastres naturais.
A Segunda voz mostra pinturas ocultas de mulheres que pertencem aos grupos mais suscetíveis a tornarem-se vítimas de violência no Brasil.
A Terceira voz retrata mulheres vítimas das ditaduras latino-americanas.
Baixe o aplicativo Fuga – Dora Longo Bahia, disponível para Apple e Android.
As fugas são composições polifônicas, onde uma melodia se sobrepõe a outra. As fugas são estruturadas por um tema principal, o “sujeito” da composição, com o qual as “vozes” subsequentes estabelecem variações.
Em sua série de pinturas chamada Fuga, Longo Bahia trabalha com experiências de Realidade Aumentada, onde pinturas escondem conteúdos adicionais que são revelados através do uso de um aplicativo de telefone.
Fuga (Sujeito) é apresentada como uma pincelada vermelha que, através do aplicativo, é substituída por um vídeo da atriz Mayara Baptista gritando.
A Primeira voz mostra retratos de mulheres forçadas a deixar seus países devido a conflitos políticos ou desastres naturais.
A Segunda voz mostra pinturas ocultas de mulheres que pertencem aos grupos mais suscetíveis a tornarem-se vítimas de violência no Brasil.
A Terceira voz retrata mulheres vítimas das ditaduras latino-americanas.
Baixe o aplicativo Fuga – Dora Longo Bahia, disponível para Apple e Android.
Photo Edouard Fraipont
As fugas são composições polifônicas, onde uma melodia se sobrepõe a outra. As fugas são estruturadas por um tema principal, o “sujeito” da composição, com o qual as “vozes” subsequentes estabelecem variações.
Em sua série de pinturas chamada Fuga, Longo Bahia trabalha com experiências de Realidade Aumentada, onde pinturas escondem conteúdos adicionais que são revelados através do uso de um aplicativo de telefone.
Fuga (Sujeito) é apresentada como uma pincelada vermelha que, através do aplicativo, é substituída por um vídeo da atriz Mayara Baptista gritando.
A Primeira voz mostra retratos de mulheres forçadas a deixar seus países devido a conflitos políticos ou desastres naturais.
A Segunda voz mostra pinturas ocultas de mulheres que pertencem aos grupos mais suscetíveis a tornarem-se vítimas de violência no Brasil.
A Terceira voz retrata mulheres vítimas das ditaduras latino-americanas.
Baixe o aplicativo Fuga – Dora Longo Bahia, disponível para Apple e Android.
As fugas são composições polifônicas, onde uma melodia se sobrepõe a outra. As fugas são estruturadas por um tema principal, o “sujeito” da composição, com o qual as “vozes” subsequentes estabelecem variações.
Em sua série de pinturas chamada Fuga, Longo Bahia trabalha com experiências de Realidade Aumentada, onde pinturas escondem conteúdos adicionais que são revelados através do uso de um aplicativo de telefone.
Fuga (Sujeito) é apresentada como uma pincelada vermelha que, através do aplicativo, é substituída por um vídeo da atriz Mayara Baptista gritando.
A Primeira voz mostra retratos de mulheres forçadas a deixar seus países devido a conflitos políticos ou desastres naturais.
A Segunda voz mostra pinturas ocultas de mulheres que pertencem aos grupos mais suscetíveis a tornarem-se vítimas de violência no Brasil.
A Terceira voz retrata mulheres vítimas das ditaduras latino-americanas.
Baixe o aplicativo Fuga – Dora Longo Bahia, disponível para Apple e Android.
Photo Edouard Fraipont
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Photo Edouard Fraipont
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Newspapers do more than report facts and record opinions. They polarize, praise, irritate, protect fruits and wrap fish. In the group show presented her, Vermelho takes the opportunity to think about possible connections and dialogues between the selected works, all dealing with print media.
MONDAY, JUNE 4, 2019, presents works by 11 artists from the gallery’s roster and an intervention on the gallery’s facade made collectively by Fernanda Roriz, Julie Uszkurat, Marina Secaf and Pedro Feris, all of whom also worked on the graphic design for the exhibition.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Reprodução
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Photo Estúdio Rosângela Rennó
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Photo Edouard Fraipont
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Silkcreen printing on plywood
Photo Edouard Fraipont
In the A___________ social series, from 2015, Marcelo Cidade presents images gathered from the Internet showing household break-in attempts. In the images, haphazard burglars are seen stuck in bits of architecture such as windows, chimneys and fences. Along every serigraphed image, Cidade adds aphorisms from the Arquitectura social, três olhares críticos [Social architecture: three critical perspectives] paper, by Luís Santiago Baptista, Joaquim Moreno and Fredy Massad, in which the authors relate essential aspects of relationships and the implications of social architecture in a world fraught with crisis and conflict. Finally, Cidade removes the term “Arquitetura Social” from each axiom, replacing it with a continuous underline, as if waiting for the observer to fill in the gap.
In the A___________ social series, from 2015, Marcelo Cidade presents images gathered from the Internet showing household break-in attempts. In the images, haphazard burglars are seen stuck in bits of architecture such as windows, chimneys and fences. Along every serigraphed image, Cidade adds aphorisms from the Arquitectura social, três olhares críticos [Social architecture: three critical perspectives] paper, by Luís Santiago Baptista, Joaquim Moreno and Fredy Massad, in which the authors relate essential aspects of relationships and the implications of social architecture in a world fraught with crisis and conflict. Finally, Cidade removes the term “Arquitetura Social” from each axiom, replacing it with a continuous underline, as if waiting for the observer to fill in the gap.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Vermelho
Photo Edouard Fraipont
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Someone reads a newspaper with the first-page headline: “The Imbecil,” but otherwise totally blank. The performer reads throughout the entire time, sometimes aloof from his surroundings, sometimes interacting with the people, always with the newspaper highly visible to the public. The Imbecil can be acquired at the Tijuana bookstand as a souvenir of the performance, creating an induction mechanism where the performance itself is the advertisement for the newspaper, thus reproducing one of the structures of capital.
Photo Vermelho
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Acrylic paint on broken laminated glass
Photo Edouard Fraipont
The title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.
The title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.
Photo Reprodução
Mineral pigment ink on paper
Photo Reproduction
Body of soul is a series developed from photographs published in newspapers and digitally manipulated to look like halftone. Part of the images was engraved in stainless steel, part was cut into adhesive vinyl to be glued directly on the wall and part was printed in color on paper. The images show people holding portraits of missing relatives or political leaders during protests.
Body of soul is a series developed from photographs published in newspapers and digitally manipulated to look like halftone. Part of the images was engraved in stainless steel, part was cut into adhesive vinyl to be glued directly on the wall and part was printed in color on paper. The images show people holding portraits of missing relatives or political leaders during protests.
Photo Edouard Fraipont
Video. B&W, no sound
Photo Reprodução
Carmela Gross collected, from newspapers, images of conflicts and confrontations in various countries, as well as images of the fires that consumed Brazilian cultural institutions in this century, to compose the video Luz del Fuego II. The title of the work comes from the artistic name of Dora Vivacqua, who was a Brazilian dancer, naturist, actress and feminist who lived
Carmela Gross collected, from newspapers, images of conflicts and confrontations in various countries, as well as images of the fires that consumed Brazilian cultural institutions in this century, to compose the video Luz del Fuego II. The title of the work comes from the artistic name of Dora Vivacqua, who was a Brazilian dancer, naturist, actress and feminist who lived
Photo Vermelho
In his third solo exhibition in Vermelho, Guilherme Peters works around political episodes that have taken place in Brazil from 2013
and onwards until the arrival of presidents Michel Temer and Jair Bolsonaro to power. Peters presents 21 new watercolors that combine events from the two administrations with icons and events present in the historical paintings by Jean Baptiste Debret, Théodore Géricault, Jacques-Louis David and Joseph Albers. The watercolors also reference the first representations of Brazilian fauna and flora made by Dutch painters during the colonization of the territory. Episodes that fueled the political polarization faced by Brazilian society are combined with historical iconography in a dialogue echoing Karl Marx’s phrase “history repeats itself, the first time as a tragedy and the second as a farce.”
Referenced in the works are the historical relations with the most recent Brazilian governments and their connections with the two dictatorships that ruled Brazil in last century: the Vargas Era from 1930 to 1945; and, the Military Dictatorship from 1964-1985. Also, the works touch on slavery implemented with the colonizers from 1500 through 1815 and then the Imperial period from 1822-1889. The Vargas Era is pointed out by the presence of the character José Carioca, created by the Disney Studios in 1942, when it appeared in the animated film ‘Saludos Amigos”. The anthropomorphic parrot would represent the “typical Brazilian” from the American perspective: witty, friendly, receptive and slightly mischievous. The character, in the context of World War II, was instrumental in the policy of “good neighbors ” between the governments of Getúlio Vargas and Franklin Roosevelt. From these periods come the depictions of torture procedures and physical punishment.
The interpretation of a cyclical history echoes a statement by the current Brazilian president who has proclaimed his sympathy for torture practices. Some practices of obtaining confessions by means of physical or psychological pain employed during the Military Dictatorship of Brazil and during the enslavement appear next to historical icons form art and politics or representations of a Brazil of exuberant nature. Some watercolors bring QR Codes, leading to additional online content. The internet, and especially the smart phone applications, were vehicles for the narratives that permeated the last presidential elections in Brazil and are, for Peters, the terrain where the works are completed.
In addition to the historical connections present in the watercolors, Guilherme Peters reflects on the current friction between the executive, legislative and judiciary powers in two installations. On the façade of Vermelho, the artist presents ‘Three Powers’ (2019), a drawing made with barbed wire that overlays three empty cubes. In Room 1 of the gallery, ‘Penalty’ (2019) proposes a possible football game, with a goal painted on each of the walls in the room. The available ball, however, is made of solid cement.
The work ‘Negative of the act’ (2019) is divided between rooms 1 and 2 of the gallery. The title of the exhibition was engraved on an iron plate, using oxidation from acid baths. The plate was then used as a matrix to print, also with iron oxidation, a canvas with the “mirrored” phrase. “Forget the crises, go to work” was a phrase used by President Michel Temer when he assumed the presidency after the process of impeachment that removed Dilma Roussef from the executive’s command in the middle of her second term. Temer said he got the phrase from a billboard at a gas station and used it as an informal slogan for his government hoping the mantra would help reverse the country’s “climate of crisis”. A Brazilian journalist located the author of the billboard and owner of the gas station in the town of Guareí, in the state of São Paulo where he had been arrested and jailed for a murder conviction after killing a man. João Mauro de Toledo Piza was also accused of selling adulterated fuel at the gas station that inspired the president.
Photo Edouard Fraipont
Photo Edouard Fraipont
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Photo Edouard Fraipont
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Photo Edouard Fraipont
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In his seventh solo show at Vermelho, Marcelo Cidade presents two sets of new works that propose a reflection on the implicit aggressiveness of architectural and urbanistic projects, with strategies such as that of ‘Hostile Architecture’.
The term ‘Hostile Architecture’ was coined by Ben Quinn in a 2014 article in the British newspaper The Guardian. The article “Anti- homeless spikes are part of a broader phenomenon of ‘hostile architecture’ “ discussed how the influence of new design features used in urban centers promoting a sanitized occupation of cities is an attempt to exclude poor people.
Three overlapping used supports for air conditioning
Photo Edouard Fraipont
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15 modules – concrete blocks, PVC pipes, iron beam pipes (from 1950’s modernist building) and gray latex paint on walls
Photo Edouard Fraipont
Marcelo Cidade appropriated the pieces of corroded pipes from the replacement of the plumb line of the building where he lives and presents them in Refluxo estrutural [Structural Reflux], 2019, a comparative exercise with the theoretically more advanced PVC pipes.
On a concrete block structure, Cidade contrasts the two materials. Looking closer, one, notices the latches made by the mallets on the iron pipes carefully reproduced onto the pvc pipes. It is this gesture, which uses a series of traditional procedures from the arts, such as frottage (used to transfer the marks from the iron to the pvc) and carving (used in reproduction itself), which draws attention to the parallelism proposed by the work.
Marcelo Cidade appropriated the pieces of corroded pipes from the replacement of the plumb line of the building where he lives and presents them in Refluxo estrutural [Structural Reflux], 2019, a comparative exercise with the theoretically more advanced PVC pipes.
On a concrete block structure, Cidade contrasts the two materials. Looking closer, one, notices the latches made by the mallets on the iron pipes carefully reproduced onto the pvc pipes. It is this gesture, which uses a series of traditional procedures from the arts, such as frottage (used to transfer the marks from the iron to the pvc) and carving (used in reproduction itself), which draws attention to the parallelism proposed by the work.
15 modules – concrete blocks, PVC pipes, iron beam pipes (from 1950’s modernist building) and gray latex paint on walls
Photo Edouard Fraipont
Marcelo Cidade appropriated the pieces of corroded pipes from the replacement of the plumb line of the building where lives and presents them now in Refluxo estrutural [Structural Reflux], 2019, a comparative exercise with the theoretically more advanced PVC pipes. On a concrete block structure, Cidade contrasts the two materials. A careful glance, however, notices the latches made by the mallets in the iron pipes carefully reproduced onto the pvc pipes. It is this gesture, which uses a series of traditional procedures of the arts, such as frottage (used to transfer the marks from the iron to the pvc) and carving (used in reproduction itself), which draws attention to the parallelism proposed by the work.
Marcelo Cidade appropriated the pieces of corroded pipes from the replacement of the plumb line of the building where lives and presents them now in Refluxo estrutural [Structural Reflux], 2019, a comparative exercise with the theoretically more advanced PVC pipes. On a concrete block structure, Cidade contrasts the two materials. A careful glance, however, notices the latches made by the mallets in the iron pipes carefully reproduced onto the pvc pipes. It is this gesture, which uses a series of traditional procedures of the arts, such as frottage (used to transfer the marks from the iron to the pvc) and carving (used in reproduction itself), which draws attention to the parallelism proposed by the work.
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Water-based synthetic enamel paint on iron
Photo Edouard Fraipont
In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses the anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the human-scale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.
In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses the anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the human-scale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.
Photo Edouard Fraipont
Water-based synthetic enamel paint on iron
Photo Edouard Fraipont
In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses the anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the human-scale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.
In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses the anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the human-scale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.
Iron sculpture painted with water-based synthetic enamel
Photo Edouard Fraipont
In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the humanscale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.
In Escala disciplinar [Disciplinary Scale], 2019, Marcelo Cidade uses anti-homeless spikes as part of a typological research on the methods of ‘hostile architecture’. Departing from the average height of a Brazilian, Cidade organizes a collection of these devices with reference to the traditional cuts (or views) presented in architectural studies: frontal view, side view and detail. By uniting the humanscale design language with the ‘Hostile aArchitecture’ devices, Cidade return the human to the dysfunction caused by ‘Hostile Architecture’ devices.
“I have noticed the use of these elements in different cities and I am more and more intrigued by the duality between function and dysfunction in the main purpose of this architecture that generates the exclusion of the human body in relation to the public space,” says the artist.
In his new film, La Plaza del Chafleo, 2019, Iván Argote proposes an imaginary public square that would be named after the verb “chaflear”, which is also an imaginary verb, a neologism. Argote proposes this new verb as a monument for this square, a verb defined by the way people use the place; for example, if people came to kiss, “chaflear” would mean “kissing,” if people came to protest, “chaflear” would mean “protesting.” The film speculates on what might be “chaflear,” and raises different questions about how we use public spaces both symbolically and physically.
Photo Edouard Fraipont
Printing with mineral pigment ink on laser cut Canson Rag Photographique 310 gr paper
Photo Galeria Vermelho
The New Methods series shows fragments of copies of classical sculptures acquired by Argote in China. Over them the artist inserts texts that he himself created, which reveal his sociopolitical and artistic questionings.
The New Methods series shows fragments of copies of classical sculptures acquired by Argote in China. Over them the artist inserts texts that he himself created, which reveal his sociopolitical and artistic questionings.
Photo Edouard Fraipont
video, color and sound
Photo Still do vídeo
In his new film, La Plaza del Chafleo, 2019, Iván Argote proposes an imaginary public square that would be named after the verb “chaflear”, which is also an imaginary verb, a neologism. Argote proposes this new verb as a monument for this square, a verb defined by the way people use the place; for example, if people came to kiss, “chaflear” would mean “kissing,” if people came to protest, “chaflear” would mean “protesting.” The film speculates on what might be “chaflear,” and raises different questions about how we use public spaces both symbolically and physically. Through this speculation, La Plaza del Chafleo makes some leaps in time and space: part of its narrative takes place in a recording studio – in a kind or reconstituted garden – where actions with parts of bodies and objects take place. Another act takes place in a public square in Douala, Cameroon, and analyzes the way in which the word “Cameroon” has lost its meaning between different periods of colonization by different nations and languages. In another moment, the film records an intervention made in a public space of Buenos Aires. In the Argentine capital, Argote promoted the refueling of an emptied public fountain known as the Fountain of Poetry. The monument had been abandoned by the government eight years ago, after serving as a meeting point for poetry readings. During his action, Argote filled the fountain with 15,000 liters of water and resumed its functionality. La Plaza del Chafleo also registers a children’s protest that emerges from a workshop run by Argote at the MALBA museum (BsAs). This elastic nature of the film makes it a tool to debate ideas about public spaces and to promote collaborative interventions and experiences.
In his new film, La Plaza del Chafleo, 2019, Iván Argote proposes an imaginary public square that would be named after the verb “chaflear”, which is also an imaginary verb, a neologism. Argote proposes this new verb as a monument for this square, a verb defined by the way people use the place; for example, if people came to kiss, “chaflear” would mean “kissing,” if people came to protest, “chaflear” would mean “protesting.” The film speculates on what might be “chaflear,” and raises different questions about how we use public spaces both symbolically and physically. Through this speculation, La Plaza del Chafleo makes some leaps in time and space: part of its narrative takes place in a recording studio – in a kind or reconstituted garden – where actions with parts of bodies and objects take place. Another act takes place in a public square in Douala, Cameroon, and analyzes the way in which the word “Cameroon” has lost its meaning between different periods of colonization by different nations and languages. In another moment, the film records an intervention made in a public space of Buenos Aires. In the Argentine capital, Argote promoted the refueling of an emptied public fountain known as the Fountain of Poetry. The monument had been abandoned by the government eight years ago, after serving as a meeting point for poetry readings. During his action, Argote filled the fountain with 15,000 liters of water and resumed its functionality. La Plaza del Chafleo also registers a children’s protest that emerges from a workshop run by Argote at the MALBA museum (BsAs). This elastic nature of the film makes it a tool to debate ideas about public spaces and to promote collaborative interventions and experiences.
Renato Maretti occupies the front of the gallery with a site-specific painting that turns the 20-meter window of Vermelho into a closed pantograph gate. Maretti often uses painting in his work to simulate situations related to the circu- lation of people in urban spaces, or to reproduce ordinary objects of everyday use, such as cleaning and office supplies, in order to pay at- tention to them. In Mal-estar [Mal- aise], the artist adds to the emulated gate real estate “for sale” signboards that play both with the transitoriness of exhibition spaces and with the very logic of the art market.
Photo Galeria Vermelho
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I organized covers and records as a study of shapes with a few color scores and called them the “Albers Collection”, a reference to Josef Albers and his work that explores the chromatic interaction between overlapping squares.
I have arranged collections of absences with overlapping silences. These collections are made up of transparent records without sound, with a little color; and, some records with only the runout groove: a spiral groove that signals the end of the recording. It is not music, it is the memory of a sound no longer there.
Chiara Banfi, 2019
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Galeria Vermelho
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“I have made works built from pieces of books since 2014. It all started when I was doing a residency in Vienna. Sur- rounded by books written in a language I do not read, my attention turned to its parts, to the very matter of which they were made. Freed from its words, from those books I read their bodies: cov- ers, text blocks and endpapers; colors, shapes and drawings from different times and different origins. It was when i started the series Minha biblioteca (My Library) and Código deconhecido (Unknown Code) series. Over the years, parts of books have been accumulating in my atelier, and from these has come other works: Investigação (Research), Antologia de Inverno (Winter Anthology), Flyleaf, A pronúncia do mundo (The Naming of the World).
I’ve sometimes wondered why I, the book lover, dared destroy these books. I found that bibliophagy, like anthropoph- agy, could be liberating. I understood that, apart from the pleasure I enjoy from the formal practice of these ex- periments, these wordless works, mute at first glance, embodied other poten- tials and other readings. Their silences engender the dialogical construction of new narratives, a new naming of the world, an act of creation.”
Marilá Dardot, 2019
Photo Edouard Fraipont
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Photo Edouard Fraipont
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Photo Edouard Fraipont
In Timewaves, words appear and disappear over time. Clock-like movements break the syntax of a page from Virginia Woolf’s The Waves thus creating new readings. The work shows the hours of the place where it is displayed from the opening text of each of the 9 interludes from Woolf’s book, that occur from the dawn to dusk of a day.
Appropriating Woolf’s text, Angela Detanico and Rafael Lain provoke the viewer to decipher new codes coming from the verbal language. Form and meaning require time and attention from the observer, who becomes an accomplice in the construction of the work.
Photo Edouard Fraipont
Photo Still do vídeo
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