In his second solo exhibition at Vermelho, Carlos Motta occupies the gallery’s facade with one of his Gravidade drawings, a two-part project consisting of a fragmented graphite drawing and a 14-minute video, commissioned by Vermelho and produced in São Paulo. The drawing depicts humans urgently caring for one another. The figures hold, carry, and drag each other carefully, visibly struggling with the weight of the bodies, yet determined to help one another persist in the midst of a barren desert where only a few patches of green grass suggest the hope of survival.
wheatpaste on wall
Photo Filipe Berndt
In his second solo exhibition at Vermelho, Carlos Motta occupies the gallery’s facade with one of his Gravidade drawings, a two-part project consisting of a fragmented graphite drawing and a 14-minute video, commissioned by Vermelho and produced in São Paulo. The drawing depicts humans urgently caring for one another. The figures hold, carry, and drag each other carefully, visibly struggling with the weight of the bodies, yet determined to help one another persist in the midst of a barren desert where only a few patches of green grass suggest the hope of survival.
In his second solo exhibition at Vermelho, Carlos Motta occupies the gallery’s facade with one of his Gravidade drawings, a two-part project consisting of a fragmented graphite drawing and a 14-minute video, commissioned by Vermelho and produced in São Paulo. The drawing depicts humans urgently caring for one another. The figures hold, carry, and drag each other carefully, visibly struggling with the weight of the bodies, yet determined to help one another persist in the midst of a barren desert where only a few patches of green grass suggest the hope of survival.
wheatpaste on wall
Photo Filipe Berndt
In his second solo exhibition at Vermelho, Carlos Motta occupies the gallery’s facade with one of his Gravidade drawings, a two-part project consisting of a fragmented graphite drawing and a 14-minute video, commissioned by Vermelho and produced in São Paulo. The drawing depicts humans urgently caring for one another. The figures hold, carry, and drag each other carefully, visibly struggling with the weight of the bodies, yet determined to help one another persist in the midst of a barren desert where only a few patches of green grass suggest the hope of survival.
In his second solo exhibition at Vermelho, Carlos Motta occupies the gallery’s facade with one of his Gravidade drawings, a two-part project consisting of a fragmented graphite drawing and a 14-minute video, commissioned by Vermelho and produced in São Paulo. The drawing depicts humans urgently caring for one another. The figures hold, carry, and drag each other carefully, visibly struggling with the weight of the bodies, yet determined to help one another persist in the midst of a barren desert where only a few patches of green grass suggest the hope of survival.
Graphite and colored pencil on paper
Photo Filipe Berndt
Graphite and colored pencil on paper
Photo Filipe Berndt
Graphite and colored pencil on paper
Photo Filipe Berndt
Graphite and colored pencil on paper
Photo Filipe Berndt
Graphite and colored pencil on paper
Photo Filipe Berndt
Graphite and colored pencil on paper
Photo Filipe Berndt
4K video. Color and sound 5.1
Photo video still
Director of Photography and Camera Operator – Flora Dias
Camera Operator B – Mirrah da Silva
Sound capture, soundtrack, mix and master – Luisa Lemgruber
Performers/Artists – Alessandro Aguipe, Ana Musidora, Flow Kountouriotis, Karen Marçal, Mariana Taques, Tadzio Veiga, Vitor Martins Dias, Vulcanica Pokaropa
Production – Felipe Melo Franco
Studio – Zanella Creative Studio
Post-production – Angela Herr
Additional post-production – João Marcos de Almeida
Graphic design – Lauryn Siegel
Director of Photography and Camera Operator – Flora Dias
Camera Operator B – Mirrah da Silva
Sound capture, soundtrack, mix and master – Luisa Lemgruber
Performers/Artists – Alessandro Aguipe, Ana Musidora, Flow Kountouriotis, Karen Marçal, Mariana Taques, Tadzio Veiga, Vitor Martins Dias, Vulcanica Pokaropa
Production – Felipe Melo Franco
Studio – Zanella Creative Studio
Post-production – Angela Herr
Additional post-production – João Marcos de Almeida
Graphic design – Lauryn Siegel
4K video. Color and sound 5.1
Photo video still
Director of Photography and Camera Operator – Flora Dias
Camera Operator B – Mirrah da Silva
Sound capture, soundtrack, mix and master – Luisa Lemgruber
Performers/Artists – Alessandro Aguipe, Ana Musidora, Flow Kountouriotis, Karen Marçal, Mariana Taques, Tadzio Veiga, Vitor Martins Dias, Vulcanica Pokaropa
Production – Felipe Melo Franco
Studio – Zanella Creative Studio
Post-production – Angela Herr
Additional post-production – João Marcos de Almeida
Graphic design – Lauryn Siegel
Director of Photography and Camera Operator – Flora Dias
Camera Operator B – Mirrah da Silva
Sound capture, soundtrack, mix and master – Luisa Lemgruber
Performers/Artists – Alessandro Aguipe, Ana Musidora, Flow Kountouriotis, Karen Marçal, Mariana Taques, Tadzio Veiga, Vitor Martins Dias, Vulcanica Pokaropa
Production – Felipe Melo Franco
Studio – Zanella Creative Studio
Post-production – Angela Herr
Additional post-production – João Marcos de Almeida
Graphic design – Lauryn Siegel
Apocalipse Invertido [Inverted Apocalypse] shows an image found in an evangelization book that reads “Brazil and the Apocalypse”. Applied upside down to the façade, the image appears incomplete, as if the job of assembling the work had been abandoned halfway. Ianni dug away the large wall at the entrance to Vermelho, where hundreds of projects had been carried out, looking for thepictorial construction of the inverted image. The work plays with the end of the world as an instrument of blocking the imagination, through fear, and as a possibility of reinvention.
incisions and wear on wall
Photo Filipe Berndt
The mural shows an image found in an evangelization book where it reads “Brazil and the Apocalypse.” Applied upside down to the facade, the image will be gradually constructed throughout the exhibition period through the performance Work after 6 PM, where Ianni will chisel away at the large entrance wall of Vermelho, through which hundreds of projects have passed, in pursuit of the pictorial construction of the inverted image. The work plays with the end of the world as a tool to block imagination, through fear, and as a possibility of reinvention. The work is then completed at the end of the exhibition. Or not.
The mural shows an image found in an evangelization book where it reads “Brazil and the Apocalypse.” Applied upside down to the facade, the image will be gradually constructed throughout the exhibition period through the performance Work after 6 PM, where Ianni will chisel away at the large entrance wall of Vermelho, through which hundreds of projects have passed, in pursuit of the pictorial construction of the inverted image. The work plays with the end of the world as a tool to block imagination, through fear, and as a possibility of reinvention. The work is then completed at the end of the exhibition. Or not.
Photo Filipe Berndt
Photo Vermelho
Photo Filipe Berndt
Photo Daniel Mello
Pagode na Lata performed in the gallery´s courtyard on opening day. The collective is comprised of former workers from social assistance and healthcare services in Cracolândia (São Paulo´s skid row) who view samba as a tool for harm reduction and solidarity economy as a practice of autonomy.
Pagode na Lata, in its current lineup, consists of Raphael Escobar, Leonardo Lindolfo, Jair Junior “Racionais”, Marquinho Maia, Robson Correia “Favela”, Gustavo Luizon, Marcos Cesário “Pirata”, Raul Zito, Átila Fragozo, Caca Pinheiro, and Jurandir Emídio.
Pagode na Lata performed in the gallery´s courtyard on opening day. The collective is comprised of former workers from social assistance and healthcare services in Cracolândia (São Paulo´s skid row) who view samba as a tool for harm reduction and solidarity economy as a practice of autonomy.
Pagode na Lata, in its current lineup, consists of Raphael Escobar, Leonardo Lindolfo, Jair Junior “Racionais”, Marquinho Maia, Robson Correia “Favela”, Gustavo Luizon, Marcos Cesário “Pirata”, Raul Zito, Átila Fragozo, Caca Pinheiro, and Jurandir Emídio.
Photo Daniel Mello
transforming facade
Photo Vermelho
Sorry, this entry is only available in Português.
Durante a abertura da exposição Organoide de Lia Chaia, o vídeo “Desenhos Articulados” foi projetado na fachada da galeria. Nele, a artista manipula diversos desenhos que, além de fazerem parte da exposição, também aparecem em sua outra obra, “Desenho Dançante”, onde o mesmo vídeo é sobreposto sobre seu tronco nu. Ao ser exibido na fachada, o trabalho adquire uma nova camada, a relação entre corpo e arquitetura.
Agradecimentos: Studio Curva
video – color and sound
Photo video still
video – color and sound
Photo video still
The facade of the exhibition It’s the way home that moves us away consists of inflatable sculptures floating in the sky, each displaying the text “Geometry is Hope Geometry is Fear.” The dancing sculptures seem to come to life as they move through the air, evoking a sense of movement and vitality. The contrast between the geometric text and the organic form of the sculptures creates an intriguing dynamic. The concept of “Geometry is Fear” was introduced by the British art historian Herbert Read in 1952, in a text for the British pavilion at the Venice Biennale. The artwork reflects the influence of this concept on contemporary art, exploring the interactions between form, text, and meaning.
2 advertising inflatable air dancer with text
Photo Filipe Berndt
2 advertising inflatable air dancer with text
Photo Filipe Berndt
Performance with Runo Lagomarsino
Photo Vermelho
2 advertising inflatable air dancer with text
Photo Filipe Berndt
2 advertising inflatable air dancer with text
Photo Filipe Berndt
2 advertising inflatable air dancer with text
Photo Vermelho