“I started Manifestantes one week before the first march of the “revolución diamantina” (a march that protested the rape of a young woman by four police officers in the north of México City). I decided to sew the portraits as soon as I started thinking about a series of large scale sewn-paintings portraying women in different marches and protests around the globe. Privileging the moment of protest and unison – when the voice rises.

Sewing for me is a kind of loud drawing. These portraits are voices.”

Tania Candiani

In this series, words that refer to the passage of time are written with the Vanitas writing system, in which each letter of the alphabet is designated by a certain number of flowers within vases. A vase with one flower corresponds to the letter A, a vase with two flowers to the letter B, and so on.

Here, real nature (flowers) and conventional nature (time) meet under a single perspective.

This crossing still leaves the doubt: when is the right time to change the flowers in the vases?

In this series, words that refer to the passage of time are written with the Vanitas writing system, in which each letter of the alphabet is designated by a certain number of flowers within vases. A vase with one flower corresponds to the letter A, a vase with two flowers to the letter B, and so on.

Here, real nature (flowers) and conventional nature (time) meet under a single perspective.

This crossing still leaves the doubt: when is the right time to change the flowers in the vases?

Sí, from 2021, is part of Argote’s set of works that combine slogans with affective terms, articulating a militancy of afection. Built on pieces of cement that allow you to see parts of the writings, the pieces in this series evoke archaeological findings, as if calling for lost qualities that must be revitalized. Sí [yes], here, is both an affirmative word and a term of permission.

Via Láctea [Milky Way], from 1979, has its origin in the sonnet XIII from the poem Via Láctea – also known as “Ouvir Estrelas” {To Listen the Stars] –one of the most celebrated works by Brazilian poet Olavo Bilac, exponent of Parnassianism in Brazil.

The set of photocopies mounted in tilting frames bears, on one side of each part of the triptych, an image that refers to the galaxy of which the Solar System is part of and, on the other side of each part, excerpts from the sonnet by Bilac. The poem is placed on grids on the pages, creating a kind of word search puzzle.

Via Láctea [Milky Way], from 1979, has its origin in the sonnet XIII from the poem Via Láctea – also known as “Ouvir Estrelas” {To Listen the Stars] –one of the most celebrated works by Brazilian poet Olavo Bilac, exponent of Parnassianism in Brazil.

The set of photocopies mounted in tilting frames bears, on one side of each part of the triptych, an image that refers to the galaxy of which the Solar System is part of and, on the other side of each part, excerpts from the sonnet by Bilac. The poem is placed on grids on the pages, creating a kind of word search puzzle.

This photography was part of Andujar’s solo show at ICA Miami, between January and November 2021. The show, curated by Stephanie Seidel, presented a concise selection of artist and activist Claudia Andujar’s most experimental and expressive photographs from her earliest series of the Yanomami, dating from 1972 to 1976, during which Andujar became fully immersed in their complex culture.

For some fifty years, Claudia Andujar has photographed, worked with, and fought beside the Yanomami people living in the Amazonian rainforest of Northern Brazil. Andujar’s lifelong commitment to advocating for the interests of the Yanomami, whose land is threatened by development and the mining industry, began with a 1971 photo assignment for the Brazilian magazine Realidade. Andujar has continued to visit the community ever since, creating a unique record and a political campaign that helped to designate their homeland as a protected indigenous reserve in 1992. The images see Andujar creating her own documentary style, with a verve and dynamism that stands out in her long career. Seeking to reflect the shamanic culture of the Yanomami, Andujar distorts light or softens colors in her photographs through the use of infrared film, color filters, and the application of petroleum jelly to the camera lens. The resulting images are dramatic views of landscapes and intimate portraits.

Born in 1931 in Neuchâtel, Switzerland, Andujar lives in São Paulo. Growing up in Romania and Switzerland, she immigrated first to the United States in 1946, then to Brazil in 1955, where she started working as a photojournalist. Andujar’s works are held in the collections of the Museum of Modern Art, New York; Museum of Fine Arts, Houston; Museu de Arte de São Paulo; Museu de Arte Moderna de São Paulo; and Pinacoteca do Estado de São Paulo. Andujar received a two-year John Simon Guggenheim Memorial Foundation Fellowship (1971) and a Lannan Foundation Cultural Freedom Prize (2000). In 2020 her work was honored in the large-scale survey “The Yanomami Struggle” at the Fondation Cartier pour l’Art Contemporain, Paris.

This photography was part of Andujar’s solo show at ICA Miami, between January and November 2021. The show, curated by Stephanie Seidel, presented a concise selection of artist and activist Claudia Andujar’s most experimental and expressive photographs from her earliest series of the Yanomami, dating from 1972 to 1976, during which Andujar became fully immersed in their complex culture.

For some fifty years, Claudia Andujar has photographed, worked with, and fought beside the Yanomami people living in the Amazonian rainforest of Northern Brazil. Andujar’s lifelong commitment to advocating for the interests of the Yanomami, whose land is threatened by development and the mining industry, began with a 1971 photo assignment for the Brazilian magazine Realidade. Andujar has continued to visit the community ever since, creating a unique record and a political campaign that helped to designate their homeland as a protected indigenous reserve in 1992. The images see Andujar creating her own documentary style, with a verve and dynamism that stands out in her long career. Seeking to reflect the shamanic culture of the Yanomami, Andujar distorts light or softens colors in her photographs through the use of infrared film, color filters, and the application of petroleum jelly to the camera lens. The resulting images are dramatic views of landscapes and intimate portraits.

Born in 1931 in Neuchâtel, Switzerland, Andujar lives in São Paulo. Growing up in Romania and Switzerland, she immigrated first to the United States in 1946, then to Brazil in 1955, where she started working as a photojournalist. Andujar’s works are held in the collections of the Museum of Modern Art, New York; Museum of Fine Arts, Houston; Museu de Arte de São Paulo; Museu de Arte Moderna de São Paulo; and Pinacoteca do Estado de São Paulo. Andujar received a two-year John Simon Guggenheim Memorial Foundation Fellowship (1971) and a Lannan Foundation Cultural Freedom Prize (2000). In 2020 her work was honored in the large-scale survey “The Yanomami Struggle” at the Fondation Cartier pour l’Art Contemporain, Paris.

This photography was part of Andujar’s solo show at ICA Miami, between January and November 2021. The show, curated by Stephanie Seidel, presented a concise selection of artist and activist Claudia Andujar’s most experimental and expressive photographs from her earliest series of the Yanomami, dating from 1972 to 1976, during which Andujar became fully immersed in their complex culture.

For some fifty years, Claudia Andujar has photographed, worked with, and fought beside the Yanomami people living in the Amazonian rainforest of Northern Brazil. Andujar’s lifelong commitment to advocating for the interests of the Yanomami, whose land is threatened by development and the mining industry, began with a 1971 photo assignment for the Brazilian magazine Realidade. Andujar has continued to visit the community ever since, creating a unique record and a political campaign that helped to designate their homeland as a protected indigenous reserve in 1992. The images see Andujar creating her own documentary style, with a verve and dynamism that stands out in her long career. Seeking to reflect the shamanic culture of the Yanomami, Andujar distorts light or softens colors in her photographs through the use of infrared film, color filters, and the application of petroleum jelly to the camera lens. The resulting images are dramatic views of landscapes and intimate portraits.

Born in 1931 in Neuchâtel, Switzerland, Andujar lives in São Paulo. Growing up in Romania and Switzerland, she immigrated first to the United States in 1946, then to Brazil in 1955, where she started working as a photojournalist. Andujar’s works are held in the collections of the Museum of Modern Art, New York; Museum of Fine Arts, Houston; Museu de Arte de São Paulo; Museu de Arte Moderna de São Paulo; and Pinacoteca do Estado de São Paulo. Andujar received a two-year John Simon Guggenheim Memorial Foundation Fellowship (1971) and a Lannan Foundation Cultural Freedom Prize (2000). In 2020 her work was honored in the large-scale survey “The Yanomami Struggle” at the Fondation Cartier pour l’Art Contemporain, Paris.

This photography was part of Andujar’s solo show at ICA Miami, between January and November 2021. The show, curated by Stephanie Seidel, presented a concise selection of artist and activist Claudia Andujar’s most experimental and expressive photographs from her earliest series of the Yanomami, dating from 1972 to 1976, during which Andujar became fully immersed in their complex culture.

For some fifty years, Claudia Andujar has photographed, worked with, and fought beside the Yanomami people living in the Amazonian rainforest of Northern Brazil. Andujar’s lifelong commitment to advocating for the interests of the Yanomami, whose land is threatened by development and the mining industry, began with a 1971 photo assignment for the Brazilian magazine Realidade. Andujar has continued to visit the community ever since, creating a unique record and a political campaign that helped to designate their homeland as a protected indigenous reserve in 1992. The images see Andujar creating her own documentary style, with a verve and dynamism that stands out in her long career. Seeking to reflect the shamanic culture of the Yanomami, Andujar distorts light or softens colors in her photographs through the use of infrared film, color filters, and the application of petroleum jelly to the camera lens. The resulting images are dramatic views of landscapes and intimate portraits.

Born in 1931 in Neuchâtel, Switzerland, Andujar lives in São Paulo. Growing up in Romania and Switzerland, she immigrated first to the United States in 1946, then to Brazil in 1955, where she started working as a photojournalist. Andujar’s works are held in the collections of the Museum of Modern Art, New York; Museum of Fine Arts, Houston; Museu de Arte de São Paulo; Museu de Arte Moderna de São Paulo; and Pinacoteca do Estado de São Paulo. Andujar received a two-year John Simon Guggenheim Memorial Foundation Fellowship (1971) and a Lannan Foundation Cultural Freedom Prize (2000). In 2020 her work was honored in the large-scale survey “The Yanomami Struggle” at the Fondation Cartier pour l’Art Contemporain, Paris.

“I was always imagining the things that the open mouths of the characters in Heitor dos Prazeres’ paintings could be saying. The joy and jubilation of each scenario created by this master always invited me to sing.

Today I sing in color… All Hail Heitor dos Prazeres!”

André Vargas

“I was always imagining the things that the open mouths of the characters in Heitor dos Prazeres’ paintings could be saying. The joy and jubilation of each scenario created by this master always invited me to sing.

Today I sing in color… All Hail Heitor dos Prazeres!”

André Vargas

“I was always imagining the things that the open mouths of the characters in Heitor dos Prazeres’ paintings could be saying. The joy and jubilation of each scenario created by this master always invited me to sing.

Today I sing in color… All Hail Heitor dos Prazeres!”

André Vargas

Dora Longo Bahia produced the set of portraits mounted on alabaster light boxes for the Medusa series during a residency as a visiting professor in the The Valais School of Art, in Sierre, Switzerland. She photographed colleagues and students using a 35mm film and later enlarged the images and made Cibachrome prints. The title and the use of stone to frame the portraits were linked to a research regarding the the phantasmagorical and static (or changing) aspect of images in family albums.

“I started “Manifestantes” one week before the first march of the “revolución diamantina” (a march that protested the rape of a young woman by four police officers in the north of México City). I decided to sew the portraits as soon as I started thinking about a series of large scale sewn-paintings portraying women in different marches and protests around the globe. Privileging the moment of protest and unison – when the voice rises.

Sewing for me is a kind of loud drawing. These portraits are voices.”

Tania Candiani

The works from this series were conceived and developed through an investigation by Maurício Dias and Walter Riedweg on the archives, professional activity and personal life of the North American photographer, artist and activist, Charles Hovland (1954) that the pair met in the beginning of the 1990s.

In Arquivo fantasia [Fantasy Archive] (2017) Hovland’s black and white contact sheets were recreated into digital video animations. Each analog contact sheet was resized into a single sheet and transported onto a collective contact sheet with various models, showing the chemical process of the passage from negative to positive of each image on video. The result is presented in vertical videos where the audio reveals the photographer’s notes about his models read by himself. These notes, called “Log Book” by Hovland, catalog the date of the photo session, the sexual fantasy of each model and the value they paid for the execution of these images. This mixing of sound and vision makes for a new archival organization where the identity and gender of each model are substituted by each model’s fantasy.

The surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of wooden spoons the artist have been developing.

The objects were meticulously sculpted from rare wood logs – here in mahogany. In Colher lambe colher [Spoon licks spoon] the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously.

Work produced from a workshop held in Medellin, at the Museo de Antioquia, with/ by sex workers, in partnership with the secretary of social assistance.

To address a recurring discussion of the relationship between word and image, language and reality, the America series deals with the three main languages of American colonization – Portuguese, Spanish and English – from the fact that, if European languages were one of the instruments of colonization, today, with the American dominion over the continent, English assumes the role of recolonizing language.

In the works, strikethrough manuscripts – the greatest graphic violence that a writing can suffer – emphasize the text as an image, materializing it in order to punctuate that the language , and therefore language, is something physical, which establishes much more than just verbal speech.

In this work, the artist explores the limits of the perceptible and also the probabilities of making the invisible visible with the support of different forms of translation. This, in order to propose meanings that are always open to interpretation.

In Sources, the images represent the capture, possible to be made from Earth, of radio waves emitted millions of years ago by quasars in the remote cosmic space, which supposedly occurred in the moments when the universe was in its infancy.

The capture was carried out through wave telescopes that record the information moving in sums of light years that are inconceivable for the human notion of time. The sound cues were digitized and later converted into two-dimensional images with the support of Zsolt Paragi, Joint Institute for VLBI, and Sandor Frey, FOMI Satellite Geodetic Observatory.

In this way, it is intended to represent, in a condensed and present manner, not only the incomprehensible and remote time, but also a mode of retaining in this place occurrences that are not earthly. To achieve this, different formal worlds are traversed in order to obtain results that, ultimately, are never definitive or closed. The images are an interpretation that can always vary according to the representation made from the mathematical codes.

With this work, the artist explores the notion of artistic failure through the historical figure of Samuel Morse, the renowned inventor who began his successful career in telegraphy while seeing the vanishing of his dream of becoming an artist of the stature of the great European painters he most admired.
The photography in this work focuses on the first prototype built by Morse for his telegraphic project in 1837. In this first initial experiment, Morse installed the telegraphic apparatus in a pictorial frame, with which – probably unintentionally – he gave history an image in which one can visualize a cross between the world of the arts and that of the sciences.
The works that accompany the photography are transcriptions in Morse code of some of the letters that Morse wrote expressing his sadness and frustration when he understood that he would not become the great artist he had set out to become and that, therefore, he would not see realized the dreams for which he prepared himself at art academies in the United States and in Europe.
In addition to the inventor’s feelings, Andrés Ramírez Gaviria recognizes Morse’s communicative creation as a powerful work of abstract art that goes far beyond the first goals that the author had set for himself in painting.

Edgard de Souza’s work starts from the decontextualization of everyday objects. With this operation, the artist seeks to destabilize concepts and conventions about art, proposing a new gaze at objects and forms that are around us, building new senses and meanings.
Another important aspect of his work is the production of objects and sculptures that refer to the human body. These are forms that approach the surrealist imagination, with signs and traces of ambiguous and fragmented corporeity, causing both estrangement and familiarity. Desire, sensuality, sexuality, and eroticism are aspects that acquire materiality in his works and provoke in the spectator the perception of himself and his human condition, his body, sensations, experiences and memories.

Edgard de Souza’s work starts from the decontextualization of everyday objects. With this operation, the artist seeks to destabilize concepts and conventions about art, proposing a new gaze at objects and forms that are around us, building new senses and meanings.

Another important aspect of his work is the production of objects and sculptures that refer to the human body. These are forms that approach the surrealist imagination, with signs and traces of ambiguous and fragmented corporeity, causing both estrangement and familiarity. Desire, sensuality, sexuality, and eroticism are aspects that acquire materiality in his works and provoke in the spectator the perception of himself and his human condition, his body, sensations, experiences and memories.

A figure is contemplating the space, with both feet pointing backwards and with a pleasant and, at the same time, defiant attitude. The sculpture references the notion of the people from the “Antipodes”, the people from the other side, that was common in middle age Europe. This example of mistranslation shows how, in western society, the idea of the “other” implies some kind of negativeness or bizarreness. The “Antipodos” sculpture series shows proud antipodes, they represent the notion that we are all “others”.

Cromáticais a project that consists of a series of works that start from the idea of synesthesia to establish different relationships and organizational models of sensory associations. The rescue of traditions is a great vehicle for preserving memory, and that is why ancestral handicrafts such as textiles or ceramics are present in the project.

There are especially three colors that act as the conceptual epicenter of Cromática, and which refer to the three great kingdoms of nature: the animal kingdom of cochinilla (red), the plant kingdom of indigo (blue) and the mineral pigments that are used for yellow.

These three axes unfold a whole range of disciplines from connecting bridges that establish correspondences between technology, understanding and knowledge. The key element in this project is the sound of the work, the materials themselves and the sound of color.

In the series Acerca de [About] Candiani embroiders with naturally dyed threads phrases taken from popular wisdom, literature and common knowledge. Each set accumulates phrases referring to one of the colors present in Chromatic.

WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: 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.

Motta’s multi-disciplinary art practice documents the social conditions and political struggles of sexual, gender, and ethnic minority communities in order to challenge dominant and normative discourses through visibility and self-representation.

As a historian of untold narratives and an archivist of repressed histories, Motta is committed to in-depth research on the struggles of post-colonial subjects and societies.

The complete set of WE THE ENEMY is now on view in Carlos Motta: Your Monsters, Our Idols, Motta’s survey exhibition on view at The Wexner Center for the Arts.

Carlos Motta’s largest exhibition in the US to date celebrates the Colombian-born, New York–based artist’s commitment to radical difference and the debut of his Wex-commissioned project.

WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: 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.

Motta’s multi-disciplinary art practice documents
the social conditions and political struggles of sexual, gender, and ethnic minority communities in order to challenge dominant and normative discourses through visibility and self-representation.

As a historian of untold
narratives and an archivist of repressed histories, Motta is committed to in-depth research on the struggles of post-colonial subjects and societies.

The complete set of WE THE ENEMY is now on view
in Carlos Motta: Your Monsters, Our Idols, Motta’s survey exhibition on view at The Wexner Center for the Arts.

Carlos Motta’s largest exhibition in the US to date celebrates the Colombian-born, New York–based artist’s commitment to radical difference and the debut of his Wex-commissioned project.

WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: 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.

Motta’s multi-disciplinary art practice documents the social conditions and political struggles of sexual, gender, and ethnic minority communities in order to challenge dominant and normative discourses through visibility and self-representation.

As a historian of untold narratives and an archivist of repressed histories, Motta is committed to in-depth research on the struggles of post-colonial subjects and societies.

The complete set of WE THE ENEMY is now on view in Carlos Motta: Your Monsters, Our Idols, Motta’s survey exhibition on view at The Wexner Center for the Arts.

Carlos Motta’s largest exhibition in the US to date celebrates the Colombian-born, New York–based artist’s commitment to radical difference and the debut of his Wex-commissioned project.

WE THE ENEMY (2019) is a series comprised of 41 bronze sculptures based on representations of the devil drawn from art history: 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.

Motta’s multi-disciplinary art practice documents the social conditions and political struggles of sexual, gender, and ethnic minority communities in order to challenge dominant and normative discourses through visibility and self-representation.

As a historian of untold narratives and an archivist of repressed histories, Motta is committed to in-depth research on the struggles of post-colonial subjects and societies.

The complete set of WE THE ENEMY is now on view in Carlos Motta: Your Monsters, Our Idols, Motta’s survey exhibition on view at The Wexner Center for the Arts.

Carlos Motta’s largest exhibition in the US to date celebrates the Colombian-born, New York–based artist’s commitment to radical difference and the debut of his Wex-commissioned project.

The Mattress Mantras series is developed from a series of interventions using a variety of materials on recycled mattresses. The embroidered words are taken from porn movies, and on-line dating forums.

The works from The Mattresses Mantras series reveal love, pain, satisfaction and desire in the privacy of a mattress.

The Mattress Mantras series is developed from a series of interventions using a variety of materials on recycled mattresses. The embroidered words are taken from porn movies, and on-line dating forums.

The works from The Mattresses Mantras series reveal love, pain, satisfaction and desire in the privacy of a mattress.

The Mattress Mantras series is developed from a series of interventions using a variety of materials on recycled mattresses. The embroidered words are taken from porn movies, and on-line dating forums.

The works from The Mattresses Mantras series reveal love, pain, satisfaction and desire in the privacy of a mattress.

The Mattress Mantras series is developed from a series of interventions using a variety of materials on recycled mattresses. The embroidered words are taken from porn movies, and on-line dating forums.

The works from The Mattresses Mantras series reveal love, pain, satisfaction and desire in the privacy of a mattress.

To address a recurring discussion of the relationship between word and image, language and reality, the America series deals with the three main languages of American colonization – Portuguese, Spanish and English – from the fact that, if European languages were one of the instruments of colonization, today, with the American dominion over the continent, English assumes the role of recolonizing language.

In the works, strikethrough manuscripts – the greatest graphic violence that a writing can suffer – emphasize the text as an image, materializing it in order to punctuate that the language , and therefore language, is something physical, which establishes much more than just verbal speech.

In Make me happy, make me sad, Argote addresses historical and political icons with a certain irreverence: bills with the face of rullers are placed on top of a mirror inside a base.

Depending on the angle from which the viewer observes such ruller, they might look smiling or with a sad face.

In the Clouds series, we can, from a distance, look for shapes in the clouds like in the childs game. But upon approaching the works, we can see that, in fact, the clouds are made of letters that form words.

The letters, scattered throughout the images, also require some investigation to reveal themselves to the viewer.

In the Clouds series, we can, from a distance, look for shapes in the clouds like in the childs game. But upon approaching the works, we can see that, in fact, the clouds are made of letters that form words.

The letters, scattered throughout the images, also require some investigation to reveal themselves to the viewer.

O novo bronze de Edgard de Souza se coloca entre um autorretrato e um possível retrato de quem o vê. A superfície cromada espelhada e sua forma lembram um espelho de mão, ao mesmo tempo em que sugerem uma cabeça com pescoço. Sua forma também se relaciona com a célebres “Gotas” de Edgard, que evocam fluídos corporais.

Edgard cita o espelho a partir de referências tão diversas quanto a “Maschinenmensch” de Fritz Lang e os desenhos de Verner Panton. De Constantin Brancusi à máquina de moldagem a vácuo “Vacuum form”. Edgard aproxima artesania e processos industriais de reprodução, o indivíduo e o reproduzível. Sua produção passa por essa dicotomia: suas peças em bronze são meticulosamente esculpidas à mão antes de passarem pelo processo de reprodutibilidade da fundição a partir de moldes.

Desde o início de sua produção, no final dos anos 1980, de Souza investiga a escultura – seus processos e histórias – com o mesmo vigor que seus contemporâneos se dedicavam à pintura. Suas obras estão instaladas permanentemente no Instituto Inhotim, em Minas Gerais e foram símbolo da famosa 24ª Bienal de São Paulo (1998), conhecida como a Bienal da Antopofagia, com curadoria de Paulo Herkenhoff e Adriano pedrosa (adjunto). Pedrosa também curou a exposição panorâmica de de Souza na Pinacoteca do Estado de São Paulo (2004). Seus trabalhos estão presentes em museus como Fundación Museo Reina Sofía (Espanha), Palm Springs Art Museum (EUA), Inhotim (Brasil), Pinacoteca do Estado (Brasil), MAM SP (Brasil) e MAM RJ (Brasil).

Edgard da um último depoimento sobre a peça: “Um aspecto importante para mim é a forma em si. Quando o espelho de toucador ganha a dimensão de uma raquete ele vira uma arma – especialmente quando pesa 5 quilos – dá para rachar a cabeça de alguém! Armas são sempre um problema e o reflexo põe o expectador como parte do problema. O negacionismo de hoje tem a ver com a vontade das pessoas escaparem de responsabilidades… sei que é muita viagem e que tudo isso não aparece no trabalho, mas foi essa ideia que me conduziu aqui. Sei lá, talvez a coisa fechasse se o trabalho fosse batizado ‘Problema’.”

De Souza fala mais uma vez sobre dualidade. Sobre o belo e o feio em cada um. O reflexo, na história da arte, muitas vezes, apontou a dualidade do individuo: do “Narciso” de Caravaggio (1597-1599) ao romance “O Retrato de Dorian Gray” (1890), de Oscar Wilde.

O reflexo sempre ofereceu sedução e risco.

The Red Series (Military) is composed of old photographs of men and boys wearing military uniforms, in hieratic poses. With Rennó’s blunt interference, an almost total red seal is created in these images, emphasizing their barely visible meanings. From a distance, these works are like monochromatic rectangles, but when we get closer, it is possible to gradually glimpse the ghostly images of those men and boys who, as Tadeu Chiarelli noted, appear “lost in time and color, which seems to want to engulf them in definitive”. Chiarelli notes that, on the other hand, the color red enables a series of conflicting symbolic associations, for example, the symbology of tragedy versus that of love and sex.

Luana Saturnino Tvardovskas: Body and Gender in Rosângela Rennó (excerpt).

–
The Red Series is one of Rosângela Rennó’s most famous productions and has been shown in important exhibitions such as:

-International Biennale of Venice, Italy, 2003
-Unbound: Contemporary Art After Frida Kahlo, Museum Of Contemporary Art of Chicago, Chicago, USA. 2014
-Space to Dream: Recent Art from South America, Auckland Art Gallery Toi o Tamaki, Auckland, New Zealand. 2016
-Rosangela Rennó. Small Ecology of the Image. Estação Pinacoteca, São Paulo, Brazil. 2021-2022

–

The Red Series has been offered in important auction houses such as Sothebys NY, 2012; Phillips London, 2014; Phillips NY, 2016 and Christies Amsterdam, 2018

The surge of life drive embedded in everyday objects is a constant in Edgard de Souza’s oeuvre and becomes evident in the series of wooden spoons the artist have been developing.

The objects were meticulously sculpted from rare wood logs – here in mahogany. In Colher lambe colher [Spoon licks spoon] the wood comes to life through human features, and as a couple, the two spoons serve each other voluptuously.

Claudia Andujar (Neuchatêl, 1931), escaped the German invasion of Hungary – where she was living with her family during the 2nd World War – and the Holocaust, with her swiss mother Germain in 1944 – 1945. Her paternal family perished in the German concentration camps. In 1946, she emigrated to New York to live with her paternal uncle – the only other Holocaust survivor from her father´s family – in the Bronx. She finished high-school, studied humanities at Hunter College, got married to Julio Andujar and worked as a guide at the United Nations’ headquarter. In New York she also studied painting and left for São Paulo, Brazil, in 1955 to live with her mother.

She started photographing as she put, “as a way to getting to know the other”, and travelling extensively in Latin America. During this time, she kept going back to New York where she showed her paintings, in 1953, at the Coeval Gallery together with the painter and cinematographer Ramon Estella (1911-1991).

Encouraged by anthropologist Darcy Ribeiro (1922 – 1997), she visited the Karajá people at the Ilha do Bananal in 1956.

In 1958, Pietro Maria Bardi (1900-1999), director of MASP invites Claudia to conceive, together with artists such as Antonio Gomide, Bruno Giorgi, Candido Portinari, Lasar Segall, Samson Flexor, Tarsila do Amaral, Tomie Ohtake, a major stained glass vitral at the FAAP foundation in São Paulo.

In 1959, MoMA, through Edward Steichen (1879-1973), buys two of her photographs. In 1960, the Spanish version of Life magazine publishes her photographs of the Karajá people. Lew Parrella (1927-2014) sets up her first solo show at the Limelight gallery in New York. She also participates in the exhibition Photographs for Collectors at MoMA (alongside Henri Cartier Bresson, Robert Frank, Minor White among others), which buys two more of her photographs.

In 1961 she makes a documentary on the staunch defender of human rights during the military dictatorship, the progressive religious leader Dom Helder Camera (1909-1999) in the favelas of Rio de Janeiro.

In 1965 she participates in the exhibition The world and Its People at the Kodak pavilion during the World Fair in New York.

Claudia Andujar spent time with the Xicrin-Kayapó people in the southern parts of the state of Pará, Brazil, on several occasions, in 1966, 1969 and 1970.

Her first stay, in 1966, was when she spent a month getting to know them and also doing some photographing.

In 1968 The New York Times Magazine (Janeiro) publishes a cover with a Xicrin by Claudia Andujar.

In 1969 The magazine Natural History of the American Museum of Natural History publishes photos by Claudia Andujar of the Quéchua people in February and the Xicrin people in the October issue.

At one point, in 1970, when she was working for the now extinct magazine Setenta, she suggested a fashion piece with the Xicrin-kayapó people. She did receive some criticism for this work, the accusation being that she was making the Xicrin look inferior; when confronted with this, in a 2015 interview in Aperture magazine, she countered that: “For me it was nothing like that. I wanted to show that the Xicrin had their own style, their own inventiveness, that they were creative. But everyone has their own interpretation.”
Claudia used to walk around two cameras when she was working, one with black and white film, and one with color film. The photograph presented here, Xikrin-Kayapó do Cateté, was made with both cameras and the color version was included in the fashion spread for the Setenta edition.

Exhibitions:

— Géométries Sud. Foundation Cartier pour l’art contemporaine, Paris, France (2018-2019)

— A Vulnerabilidade do Ser [The vulnerability of being]; Pinacoteca do Estado; São Paulo; Brazil (2005)

Publications

— A Vulnerabilidade do Ser; a book on the exhibition of the same name, edited by Cosac & Naify; São Paulo; Brazil (2005). The book is out of print – Cosac & Naify folded in 2015.

Claudia Andujar (Neuchatêl, 1931), escaped the German invasion of Hungary – where she was living with her family during the 2nd World War – and the Holocaust, with her swiss mother Germain in 1944 – 1945. Her paternal family perished in the German concentration camps. In 1946, she emigrated to New York to live with her paternal uncle – the only other Holocaust survivor from her father´s family – in the Bronx. She finished high-school, studied humanities at Hunter College, got married to Julio Andujar and worked as a guide at the United Nations’ headquarter. In New York she also studied painting and left for São Paulo, Brazil, in 1955 to live with her mother.

She started photographing as she put, “as a way to getting to know the other”, and travelling extensively in Latin America. During this time, she kept going back to New York where she showed her paintings, in 1953, at the Coeval Gallery together with the painter and cinematographer Ramon Estella (1911-1991).

Encouraged by anthropologist Darcy Ribeiro (1922 – 1997), she visited the Karajá people at the Ilha do Bananal in 1956.

In 1958, Pietro Maria Bardi (1900-1999), director of MASP invites Claudia to conceive, together with artists such as Antonio Gomide, Bruno Giorgi, Candido Portinari, Lasar Segall, Samson Flexor, Tarsila do Amaral, Tomie Ohtake, a major stained glass vitral at the FAAP foundation in São Paulo.

In 1959, MoMA, through Edward Steichen (1879-1973), buys two of her photographs. In 1960, the Spanish version of Life magazine publishes her photographs of the Karajá people. Lew Parrella (1927-2014) sets up her first solo show at the Limelight gallery in New York. She also participates in the exhibition Photographs for Collectors at MoMA (alongside Henri Cartier Bresson, Robert Frank, Minor White among others), which buys two more of her photographs.

In 1961 she makes a documentary on the staunch defender of human rights during the military dictatorship, the progressive religious leader Dom Helder Camera (1909-1999) in the favelas of Rio de Janeiro.

In 1965 she participates in the exhibition The world and Its People at the Kodak pavilion during the World Fair in New York.

Claudia Andujar spent time with the Xicrin-Kayapó people in the southern parts of the state of Pará, Brazil, on several occasions, in 1966, 1969 and 1970.

Her first stay, in 1966, was when she spent a month getting to know them and also doing some photographing.

In 1968 The New York Times Magazine (Janeiro) publishes a cover with a Xicrin by Claudia Andujar.

In 1969 The magazine Natural History of the American Museum of Natural History publishes photos by Claudia Andujar of the Quéchua people in February and the Xicrin people in the October issue.

At one point, in 1970, when she was working for the now extinct magazine Setenta, she suggested a fashion piece with the Xicrin-kayapó people. She did receive some criticism for this work, the accusation being that she was making the Xicrin look inferior; when confronted with this, in a 2015 interview in Aperture magazine, she countered that: “For me it was nothing like that. I wanted to show that the Xicrin had their own style, their own inventiveness, that they were creative. But everyone has their own interpretation.”
Claudia used to walk around two cameras when she was working, one with black and white film, and one with color film. The photograph presented here, Xikrin-Kayapó do Cateté, was made with both cameras and the color version was included in the fashion spread for the Setenta edition.

Exhibitions:

— Géométries Sud. Foundation Cartier pour l’art contemporaine, Paris, France (2018-2019)

— A Vulnerabilidade do Ser [The vulnerability of being]; Pinacoteca do Estado; São Paulo; Brazil (2005)

Publications

— A Vulnerabilidade do Ser; a book on the exhibition of the same name, edited by Cosac & Naify; São Paulo; Brazil (2005). The book is out of print – Cosac & Naify folded in 2015.

In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.

In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.

In his M series, Edgard de Souza presents pieces made with cut and glued cowhide, recomposing real fur with artificial patterns. The series emulates animal fur in classic or graphic patterns, in localized organic prints and prints that reference works by other artists.

Neons are a constant presence in the work of Carmela Gross.

Her texts and luminous drawings establish links with the visual communication of the streets: the signs, advertisements, billboards and graffities that appear in public spaces.

NÓS [WE], written in light, summons us to collectivity.

Camisa 3: Ogum e Esporte Clube Bahia.

Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.

Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 3 - da série Nas onze [Shirt 3 - from the On the eleven series.

Ogum e Esporte Clube Bahia.

In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.

Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]

Camisa 6: Oxóssi e Sociedade Esportiva Palmeiras.

Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.

Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 6 - da série Nas onze [Shirt 6 - from the On the eleven series.

Oxóssi and Sociedade Esportiva Palmeiras.

In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.

Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]

Camisa 12: Xangô e Clube Náutico Capibaribe.

Em sua nova série de onze pinturas, André Vargas relaciona as cores dos uniformes de clubes desportivos com cores predominantes dos Orixás nas religiões de matriz africana no Brasil. Os números designados às camisas são os de seus respectivos Odus, que são os números que representam cada um desses Orixás no jogo de búzios.

Vargas põe em contato a história do futebol e a história da religiosidade, evidenciando o fundamento preto da nossa cultura popular. [:en]Camisa 12 - da série Nas onze [Shirt 12 - from the On the eleven series.

Xangô and Clube Náutico Capibaribe.

In his new series of eleven paintings, André Vargas relates the colors of the uniforms of sports clubs with the predominant colors of the Orixás in the religions of African origin in Brazil. The numbers assigned to the shirts are those of their respective Odus, which are the numbers that represent each of these Orixás in the game of cowries.

Vargas puts the history of football and the history of religiosity in contact, highlighting the black foundation of Brazilian popular culture.[:]

In 1988 I took a ‘double decision’ that radically transformed my relationship with photography: to stop producing new images and dedicate myself to the appropriation and re-reading of what I called ‘photographic residues’, limiting the photographic act to what I considered strictly necessary.

From here on emerged, not as a purpose but as a consequence, both a principle of economy in the production of new imaginaries, and the beginning of an investigation about the different life cycles that photographs have, according to their existence in the world of subjects and their representations. I thought that many of the photographs that I found on the verge of abandon asked for (and also deserved…) a new life, that is, some resignification or a new symbolic function.

I started with the vernacular, which seemed the most natural to me, revisiting and reusing images from family albums. Soon after, I was compelled to enter the magical territory of cinema and its direct relationship with the photographic device. Newly admitted to the post-graduation program at the School of Communications and Arts at USP, having cinema as my main area, the 35mm photograms discarded in the garbage of ECA’s editing room immediately became objects of scrutiny and desire.

The photogram isolated from its context is like a survivor that tells about the suspension of a time that has passed, which is revised (and edited), again, as phantasmagoria. If the phantasmagoria leaves no trace, as soon as the cinematographic device is turned off, the photogram is the proof of its existence. Through mechanisms of intertextuality with painting, advertising, art history and photography, there was in the photograms a myriad of possibilities for reading this ‘suspended time of time’, paraphrasing Maurício Lissovsky, ‘a time of unlimited duration, but determined to end’. The anti-cinema was a cinema in reverse.

Parallel to the frames transformed into large format images there was a small group of objects where movement was something invented or attributed, as if the suspension of time could happen from a collage of photographic images; however, the anti-cinema, here, was a humorous pastiche of what in the 19th century was the phantasmagoria that oscillated between photography and cinema.

Rosângela Rennó, 2022

Ali, muitas das peças produzidas são pintadas numa câmara específica. Os objetos são apoiados sobre um descanso que absorve bases preparatórias, tintas e vernizes.

Após três anos de acumulação destes materiais, o sólido circular resultante foi serrado. As fatias revelaram inúmeras camadas de tinta, uma topologia artificial que nos aproxima dos ciclos geológicos. Atualmente, um novo bloco está a ser formado desde o segundo semestre de 2020, constituindo um sistema periodicamente reiniciado.[:en]Cadu shares his studio with a company that provides various design and production services for artists. The company, Artes e Ofícios, and Cadu´s studio, is located in the São Cristóvão neighborhood of Rio de Janeiro.

There, many of the objects produced are painted in a specific chamber. The objects are placed on a table that absorbs preparatory bases, paints and varnishes.

After three years of accumulation of these materials, the resulting solid was sawed open. The slices revealed countless layers of paint, an artificial topology that brings us closer to geological cycles.

Currently, a new block is being formed - in the works since the second half of 2020 - constituting a system periodically restarted.[:]

“Throughout the exhibition, one may realize the way the absence of images and information favored the attribution of incomplete citizenship — take for example the forced anonymity in the data sheets of the plaster collection stored at El Museo Canario de Antropología (Las Palmas, Canary Islands). What would be the common ground of a Hindustan woman, a Rochet Island man and a Zanguebar boy? They appear to be “remarkable beings” just because they do not belong to whiteness. To create this 2019 series, Rennó uncovers the information gaps in one of the largest archaeological collections in the region. The artist takes busts meant to represent “different races of the world” and responds to the violence of “nameless” bodies by printing them on marble-textured paper, like a “skin” that bestows upon them the barest semblance of the grave, hence a right to memory (a “monument”).”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

“Throughout the exhibition, one may realize the way the absence of images and information favored the attribution of incomplete citizenship — take for example the forced anonymity in the data sheets of the plaster collection stored at El Museo Canario de Antropología (Las Palmas, Canary Islands). What would be the common ground of a Hindustan woman, a Rochet Island man and a Zanguebar boy? They appear to be “remarkable beings” just because they do not belong to whiteness. To create this 2019 series, Rennó uncovers the information gaps in one of the largest archaeological collections in the region. The artist takes busts meant to represent “different races of the world” and responds to the violence of “nameless” bodies by printing them on marble-textured paper, like a “skin” that bestows upon them the barest semblance of the grave, hence a right to memory (a “monument”).”

Excerpt from No Fim da Madrugada, by Lisette Lagnado

Na série Seres notáveis do mundo, Rennó apropria-se das imagens dos bustos de gesso que pertencem à coleção do El Museo Canário (Las Palmas de Gran Canaria, Espanha). Esses bustos tinham como objetivo representar as distintas raças do globo, foram feitos entre 1840 e 1870, e adquiridos para integrar a Sala de Antropologia do museu. Daqueles homens mortos, restaram apenas as máscaras que foram transformadas em bustos de gesso, para um gabinete positivista de antropologia, depois foram imagens fotográficas desses bustos e, finalmente, fantasmas, sombras, espectros sobre as folhas de papel marmorizado artesanalmente.

Chain, medium, by Cartier
Made by Bartl Jewelry
Case weighs 400 grams

Chain, medium, by Cartier
Made by Bartl Jewelry
Case weighs 400 grams

Chain, medium, by Cartier
Made by Bartl Jewelry
Case weighs 400 grams

A tipologia e o material daquele letreiro são reproduzidas para criar outra associações, como categorias possíveis de uma biblioteca imaginária em que os livros aparecem como sujeitos catalizadores de sentimentos e ações.[:en]The LIBROS Y series was idealized from the artist's encounter with a street sign in Mexico City advertising a publishing house: LIBROS Y EDITORIALES.

The typology and material of that sign are reproduced to create other associations, as possible categories of an imaginary library in which books appear as catalyzing subjects of feelings and actions.[:]

View of stand ZonaMaco 2022 with works by Marilá Dardot and Tânia Candiani.

View of stand ZonaMaco 2022 with works by Marilá Dardot and Tânia Candiani.

View of stand ZonaMaco 2022 with works by Marilá Dardot and Tânia Candiani.

View of stand ZonaMaco 2022 with works by Marilá Dardot and Tânia Candiani.