The circular drawing on the facade is a record of Edgard de Souza’s bodily reach. The drawing, like his series of Rabiscos [Scribbles], forms drawings made with great bodily effort. The drawing is delimited by the reach of the artist’s own arm and de Souza considers the drawing ready when he no longer has the strength to continue the movement.
In Nelson Leirner’s work, everything returns, renewed, digested: properly translated. A reader of others and of himself, Nelson always returns to canonical works, from the history of art or from more contemporary art, always giving them his own perspective, ironic, critical, affective, iconoclastic – always beautiful in the lines, materials and colors that he remakes, invent and add.
Keila Alaver was responsible for the façade, Guarda Chuvas [Umbrellas] for the group show Aprendendo a Viver com a Sujeira [Learning to Live with the Filth] The exhibition featured new works by André Komatsu, Keila Alaver, Lia Chaia, Marcelo Cidade and Nicolás Robbio.
Pintura que percorre o perímetro da galeria representando os 4,9% inferior do volume do prédio.
Entre 2014 e 2015 São Paulo viveu uma das maiores crises hídricas, o reservatório de água da Cantareira que abastece a cidade estava operando com apenas 4,9% de sua reserva de água. Diariamente essas porcentagens eram exibidas nos noticiários, e a população precisava repensar a forma como faz uso desse recurso natural.
Para a fachada da Galeria propusemos representar visualmente o que significa ter apenas 4,9% de algo disponível. Uma faixa azul foi pintada na parte inferior de toda a área externa do volume físico da galeria. – Motta & Lima
This project was created for the facade of the Impertinência Capital exhibition at Vermelho. Two electric signs signals the alert of high voltage: one reads Danger for Life, the other Deadly Danger.
These two points of view of a permanent tension present in our society also poses a risk, a danger to life, a fear that is the main strategic ingredient for the security industry.