Buffet da Alice is the title of Maíra Voltolini´s facade for the group show “Modos de Uso”, curated by Lisette Lagnado.

Based on texts by the Italian author Toni Negri, the concepts of “immaterial labor” and “economy of attention” were used as starting points for a discussion about the idea of participation in contemporary artistic practices.

Using the gallery facade as background, Fabio Morais installed a backlight in the corridor that gives access to the gallery’s patio. On both sides of the box, a photograph of São Paulo’s fading sky.

“I think the central theme of this exhibition is the desire to register moments in life and retain them, through words or images, in order to be able to remember them later. To make the retention of the moment a fetish, an amulet, a reliquary, a bridge back.” – Fabio Morais

Fabio Morais records personal stories through the appropriation of photographs from family and friends. These images compose a documentation of small events, relationships, people and moments forgotten in time.

Based on a photograph of a work by Leonilson, made at Paula Alzugaray’s house, the artists occupied the facade of Vermelho with a poster-glued collage.

The entire facade of the gallery was covered with insulating tape normally used for protecting electrical systems.

Text by Maurício Ianês:

“Apophase: feminine noun. Rhetoric (oratory): refutation made to what has just been said; denial.

Etymology (according to the Houaiss Dictionary):
Gr. apophasis, eos ‘denial, rejection of a belief, doctrine or theory’, der. from apóphémi ‘to say no, deny’, by lat.imp. apophasis ‘denial’; f.histo. 1871 apophase”

The term apophase was widely used in the context of negative theology (Christian theological movement that began in the Middle Ages), where the idea of ​​God was approached through denial, that is, by defining what He is not, in addition to assume an insurmountable distance between God and Man, denying any possibility of relationship or direct communication between the two. Negative theology also had its oriental side, as in some Buddhist schools. ‘Apófase 2’ is a work for a specific place – Galeria Vermelho – and was conceived after the work ‘Apófase 1’, a performance, in an attempt to broaden the concept of the previous work, moving from a more intimate relationship to a more comprehensive one. If in ‘Apophase 1’ the artist-spectator relationship was questioned through its negation, here I tried to work on the relationship that the spectator has with architecture and, in this case, the architecture of a gallery, taking into account the socio-cultural context. cultural and architectural exterior of an exhibition space dedicated to the visual arts”.

Acrylic paint intervention.

“Andrezza Valentin painted the external walls, benches and table outside Vermelho in black, subtracting the white that delimited the building’s chape and separated it from the objects in its surroundings. The black mass that hid the larger form “inside” the external environment highlights and invites the public to the interior, creating the scenario for the theatrical redeployment of the gallery” – Mara Gama, curator

“On the gallery’s outer wall, a photograph of a landscape devastated by a bombing in Palestine is digitally worked and, in the foreground, Felipe González stands with his gun. The walls of the buildings are full of holes. Felipe holds his drill. The image becomes a painting, the size of a Polaroid. The invitation is done. “Here, I’m in charge”, the artist seems to say, without embarrassment and with tasty malice” – Mara Gama, curator.