One Hundred Years, on the gallery façade, is a celebration of lasting marriages. Traditionally, in Western culture, the gift given to the couple in the celebration of each year lived in a marriage must be made with a specific material. Initiated in medieval Germany, the tradition of celebrating a union provided that on the 25th wedding anniversary the bride and groom were presented with a silver crown and, at 50, with a gold crown. Over time, other symbols were created for each year celebrated. A list of one hundred words is what can be seen and read in the installation that Rosângela Rennó proposes, in collaboration with Daniela Seixas, for the gallery’s façade. On a silver background, the one hundred weddings and their respective materials are listed, in a cataloging exercise that represents the timeline that goes from the first year of matrimony to the centennial.
The façade by Laercio Redondo evokes a phrase attributed to the architect Paulo Mendes da Rocha, author of the gallery project: Architecture was not made to decorate disaster.Redondo´s work is often motivated by the interpretation of specific events related to the city, architecture and historical representations.
SOMOS is the facade of the second solo show at Vermelho by the Colombian artist living in Paris, Iván Argote.
The artist refuses geopolitical and emotional boundaries to reflect on the physical and mental barriers that separate us as human beings due to issues related to beliefs, traditions, principles and myths. SOMOS becomes a monument to rapprochement.
Monumento [Monument] is a series formed by linear drawings made with pins and elastics -the closed elastic line rests on each of the pins previously fixed to the wall, creating an outline of rectilinear segments: buildings of desire, edges of tangible cliffs, boundaries in suspension, unstable limits of form. Clouds. With different materialities, this sets present a drawing operation that re-signify the space through the folds and the flexibility of the line: with the elastic-line and minimum points of support, the monument rises in its fragile verticality.
In her sixth solo show at Vermelho, Dora Longo Bahia paints a large painting on the facade using for the background the same gray paint used by the Municipal Government of the City of São Paulo to cover some paintings of urban art.
The intervention gains another layer of reading when reminded of the more than 90 interventions by different artists that have already graced the 109m² wall of the gallery’s facade.