“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.