The Confrontadas series reproduces, through large embroidered paintings, scenes of clashes between protesters and police. The images are taken from media coverage of demonstrations with women protagonists that have taken place over the last 10 years. These women demonstrators appear in white embroidery over black acrylic paint, and the police in black embroidery over black paint. This difference denotes the distinct qualities between the protesters and the police – focusing on the former and giving the latter a phantasmagorical presentation.

In the Mamarracho series, doodles are drawn, digitalized, enlarged 1000 times and then painted on white canvases. The black lines haphazardly cross the canvas, overflowing onto the wall, making these works hybrid image-objects.

In Instante estante, Cidade plans two heavily used metal shelves, freezing time and solemnizing the accumulated marks on the object. Here, deterioration becomes the image to be preserved.

Series of photos made from reproductions of photographic negatives from The Penitentiary Museum of São Paulo.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

The Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.

In the embroidered R series, by Edgard de Souza, one can see the artist’s body at work, moving in a continuous movement back and forth. The only figuration among the embroideries are clouds, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for representations in clouds. The embroideries are produced on linen fabrics, with silk, cotton or linen threads.
The R series is related to the Rabiscos series, produced by de Souza between 2013 and 2015, and shown in the artist’s first solo show at Vermelho. In the series, large and small scribbles, little doodles, were produced from simple tasks imposed on himself by the artist, such as drawing while dancing, drawing with both hands at the same time, or drawing until the paper was torn. The doodles dealt with the movements of the artist’s body.
The R series and the Rabiscos follow Restoration, from 2011. In the work, presented at Edgard de Souza’s first solo show at Vermelho in 2015, and shown at the current solo show, an old, used floor cloth was meticulously restored by the artist. Restoration brings together the dualities with which de Souza works in the three series – and in all of his work: the virtuous and the spontaneous; the private and the public; high and low cultures; the diverging opinions.

In this series Candiani works with the mathematical qualities of traditional Mexican dances. The
artist worked from the choreographic notation methodology developed by Zacarías Segura
Salinas and presented in the book Danzas Folkloricas de Mexico. Dance Scores deals with the codification presented in the study by Segura Salinas and also with the symbolic qualities of
frame embroidery.

Los Sonajeros is a traditional dance that is performed with variations throughout the state of
Jalisco in Mexico. The purest is the one performed in Tuxpan, which is danced on January 20,
the day of the town's patron saints, San Fabian and San Sebastián.

The dance dates back to pre-Hispanic times, according to the chronicler Sahagún, the Toltecs, founders of Tuxpan "were good singers and while they sang or danced they used drums and
wooden rattles" very precious to those that accompany this dance to this day.

The title of this series refers to the refrain of the song Polícia, by Brazilian punk band Mercenárias. Longo Bahia uses broken glass in reference to banks windows at Avenida Paulista, broken during some protests, as support for her paintings that portray conflicts between police and demonstrators in different cities of the globe. The artist uses images from the photojournalism as a matrix for the work.

In Matriz legal [Legal matrix], Komatsu creates geometric and labyrinthine designs with barbed wire on wooden supports, encircling “prepared” areas with paint and acrylic putty. The white fields, which would usually be the basis for the pictorial construction on the wooden panels, are supplemented – or oppressed – by the potential danger represented by the barbed wire.

This series of works continues the artist’s investigation into the role of copper in Peru’s economy, where this natural resource is exported as a raw material for use in tech industries. These new works incorporate a series of abstract symbols based on different modernist corporate logos used by diverse industries and corporate entities. By using these geometric symbols in a traditional woven form, Garrido-Lecca questions the relation between these modern images, tied to the engines of modernization, the global economy, and their links to pre-Columbian abstraction.

In the embroidered R series, by Edgard de Souza, one can see the artist’s body at work, moving in a continuous movement back and forth. The only figuration among the embroideries are clouds, in a comment on the search for images in gestural abstraction, which is similar to the game of looking for representations in clouds. The embroideries are produced on linen fabrics, with silk, cotton or linen threads.
The R series is related to the Rabiscos series, produced by de Souza between 2013 and 2015, and shown in the artist’s first solo show at Vermelho. In the series, large and small scribbles, little doodles, were produced from simple tasks imposed on himself by the artist, such as drawing while dancing, drawing with both hands at the same time, or drawing until the paper was torn. The doodles dealt with the movements of the artist’s body.
The R series and the Rabiscos follow Restoration, from 2011. In the work, presented at Edgard de Souza’s first solo show at Vermelho in 2015, and shown at the current solo show, an old, used floor cloth was meticulously restored by the artist. Restoration brings together the dualities with which de Souza works in the three series – and in all of his work: the virtuous and the spontaneous; the private and the public; high and low cultures; the diverging opinions.

Señores, is a series of ceramic busts containing live plants. The figure represented is a man with a mustache and with signs of military or diplomatic clothing, a figure with a 17th or 19th century feel similar to a national hero, a man of letters or a conqueror.
The figure is actually an anonymous character, an amalgam of reproductions of statues concentrated in a recognizable but nameless body. The busts refer to a certain monumental and historical aesthetic, visible not only in Colombia but in the Western world. This series of white Señores with mustaches who flood squares and parks, roundabouts and school books, to whom according to history we owe our heritage, our language and freedom.Señores to put on and take off, male figures that continue to dominate our historical narratives and imaginations, leaving in the shadow so many other parallel stories, that of women to begin with, that of native peoples, but also plant and animal stories.
The work refers to the change of paradigms and the questions regarding our relationship with institutions, with power and with a certain hegemonic history.These fallen Señores, perhaps sent to be collected, can now serve us in another way, no longer as a paradigm but as an object of use, as a container. The virile figure of the inverted and down-turned hero frees up a space that can now be used to sow and store new life. The principle of the sculptures is that they adapt to the context where they are displayed, as well as the local climate and vegetation.

This series explores diverse narratives of 20th-century abstract art. Each painting serves as a visual representation of artworks from the past century, curated by friends or acquaintances of the artist. The compositions follow a grid system, based on the principles of the Polish-American Chronology System.

Originally conceptualized by Polish educator Antoni Jażwiński in the 1820s, the system gained recognition through General Józef Bem in the 1830s and 1840s. It was later refined and popularized in the 1850s by American educator Elizabeth Palmer Peabody. The Polish-American System of Chronology uniquely translates historical events into colored shapes within a 900-square grid.

The grid spans a century, read from left to right, top to bottom. Each year is divided into a square, further subdivided into nine smaller squares representing different historical events. In “Historias abstractas,” the system has been adapted, with each painted square representing a work of art categorized by year and medium. Colors denote the birthplace of the respective artist.

Essa série explora diversas narrativas da arte abstrata do século XX. Cada pintura serve como uma representação visual de obras de arte do último século, selecionadas por amigos ou conhecidos do artista. As composições seguem um sistema de grade, baseado nos princípios do Sistema de Cronologia Polonês-Americano.

Originalmente concebido pelo educador polonês Antoni Jażwiński na década de 1820, o sistema ganhou reconhecimento através do General Józef Bem nas décadas de 1830 e 1840. Posteriormente, foi aprimorado e popularizado na década de 1850 pela educadora americana Elizabeth Palmer Peabody. O Sistema de Cronologia Polonês-Americano traduz de forma única eventos históricos em formas coloridas dentro de uma grade de 900 quadrados.

A grade abrange um século, lida da esquerda para a direita, de cima para baixo. Cada ano é dividido em um quadrado, subdividido em nove quadrados menores representando diferentes eventos históricos. Em “Historias abstractas”, o sistema foi adaptado, com cada quadrado pintado representando uma obra de arte categorizada por ano e meio. As cores indicam o local de nascimento do respectivo artista.

The Bondage series consists of small-scale concrete paintings that depict the actual or fictional removal of various statues around the world, specifically those celebrating colonial figures or military ideologues. The statues are portrayed against an abstract background, as if they were levitating.

For years, Colombian artist Iván Argote has been staging interventions on public monuments. In Etcétera, Argote covered a statue of Francisco de Orellana in a park in Bogotá. Orellana is a well-known Spanish conquistador and self-proclaimed discoverer of the Amazon Rainforest.

The illusion brought on by the mirrors temporarily erases this invader from view and instead reflects the natural environment in the park. It brings attention back to the land, and the land dispossession and environmental degradation caused by colonization.

1944 – First, I found those “marked to die” when I was thirteen. It was in Transylvania, Hungary, at the end of World War II. My father, my relatives, my friends from school had been “marked” with a yellow star of David sewn in the clothes at chest level to identify, terrorize, intimidate, and then deport them to extermination camps. You could feel in the air that something terrible was about to happen.

1980 – Almost forty years later, already living in Brazil as a photographer dedicated to the indigenous cause, I accompanied some doctors on medical aid expeditions. Since 1973, during the “Brazilian miracle” years, the Yanomami territory in the Brazilian Amazon was invaded with the opening of a highway. With mining, the search for gold, diamonds, cassiterite, clandestine, and not-so-clandestine mines flourished. Many Yanomami were victims, marked by these dark times when the disease reached their land. Our modest salvation group, just two doctors and I, plunged into the Amazon rainforest. Our intention was to start organizing work around health problems. One of my activities was to register the Yanomami communities in archives. To do this, we hung a sign with a number around the neck of each Yanomami: “vaccinated.” It was an attempt at salvation. We created a new identity for them, without a doubt, a system alien to their culture.

2008 – It is this ambiguous feeling that has led me, sixty years later, to transform the simple record of the Yanomami as people, “marked to live,” into a work that questions the method of labeling people for any purpose. Now I see this work, an objective effort to organize and identify a population at risk of extinction, as something on the edge of a conceptual piece.

Claudia Andujar

In this work Andrés Ramírez Gaviria reflects on the possibilities and limitations of interpretation and representation, as well as on the conceptual conventions in the world we inhabit. The focus of his reflection in this case is the historical definition of the unit of weight called kilogram.
The images record some of the official copies (numbered) of the prototype of the reference object for this unit of weight, which were distributed among the institutions responsible for the control of weights and measures in different countries of the planet.
The model was made of iridium platinum, a high-density metal and therefore resistant to corrosion, which guarantees the permanence of the conventional weight as a reference.
Despite this, the observation made it possible to verify that after some time some variations were registered. Ramírez Gaviria’s approach points out once again in this work the changing support on which the illusion of the formal, the solid and the concrete is sustained.

In this work Andrés Ramírez Gaviria reflects on the possibilities and limitations of interpretation and representation, as well as on the conceptual conventions in the world we inhabit. The focus of his reflection in this case is the historical definition of the unit of weight called kilogram.
The images record some of the official copies (numbered) of the prototype of the reference object for this unit of weight, which were distributed among the institutions responsible for the control of weights and measures in different countries of the planet.
The model was made of iridium platinum, a high-density metal and therefore resistant to corrosion, which guarantees the permanence of the conventional weight as a reference.
Despite this, the observation made it possible to verify that after some time some variations were registered. Ramírez Gaviria’s approach points out once again in this work the changing support on which the illusion of the formal, the solid and the concrete is sustained.

The works from the “Massa falida” series are composed of bags of debris used in construction. Sewn together, the bags form banners or flags. When arranged side by side, they reveal a repetition of textual information from the original product. Using ink and solvent, Komatsu selectively erases or highlights excerpts from these original texts, drawing lines and graphs to create new meanings.

Ladrillo mordido [Bitten Brick] is an artisanal brick, cast in iron, made and bitten by the artist. Iván Argote refers to the brick as an essential element in the construction and reconstruction of history and his bite symbolizes how these constructs are permeated by individuals.

“Copper is an element that I use a lot in my work because we are the second-largest producers of copper globally and the top exporters of copper to China. Therefore, the economy of Peru is heavily based on copper exports. In my work, I am very interested in the transmutation of the material from one form to another. In different series, I use various forms of industrialized copper, such as pipes or sheets, to reverse it into cultural expressions like textiles, as a kind of gesture of resistance.”

Ximena Garrido-Lecca

In this series, Candiani works with the mathematical qualities of traditional Mexican dances. The artist worked from the choreographic notation methodology developed by Zacarías Segura Salinas and presented in the book Danzas Folkloricas de Mexico. The study presented in the book seeks to detail the choreographies, so that it is possible to record all the dance movements considering that movements such as the zapateado had no previous codification.
Translations and codification are constant procedures in Candiani’s production. Dance Scores deals with the codification presented in the study by Segura Salinas and also with the symbolic qualities of frame embroidery.

“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 Corpo Fechado series is comprised of a series of vintage whips cast in bronze and sculpted in such way that their motions appear as a frozen instant. These pieces are also part of the series of sculptural and photographic objects that relate to Corpo Fechado: The Devil’s Work. Like in the film, there is a reversal on the handling of the whip as these tools for punishment are inverted in these works, drawing near to BDSM practices where pleasure and pain converge, and where relations of power and submission are consensual.

“The Depth of Things” is a series of 24 photographs created from a star planisphere. Bacal isolated and separated the galactic plane (the Milky Way) into 24 fragments, which he then used as precise guides for composing the images.
The artist placed domestic objects on a black table, following the positions of the stars and nebulae. For stars belonging
to any of the constellations of modern science, he positioned the objects at a precise height. He used a very shallow depth of field so that only those objects were in focus. In the background, items like steel wool, rice grains, nuts, buttons, etc., lose their definition and transform into galactic forms.
The work also serves as a domestic homage to the astronomical images captured by the Hubble and Webb telescopes. The mundane transforms into the stellar, revealing a cosmology of disorder.

Quando convidados a expor seu trabalho, Mônica Nador + JAMAC promovem oficinas com um grupo de pessoas da cidade ou instituição com a qual vão trabalhar. A partir dessas experiências, são gerados desenhos, que se tornam estênceis, utilizados nas pinturas produzidas para a exposição. Na série Estamparada, várias imagens geradas nas oficinas são sobrepostas a um acúmulo de 19 anos de atividades do JAMAC.

—

When invited to exhibit their work, Mônica Nador + JAMAC promote workshops with a group of people from around the city or institution with which they are going to work. From these experiences, drawings are generated, which become stencils, which will be used in the paintings produced for the exhibition. In the Estamparada series, several images generated by workshops are superimposed on an accumulation of 19 years of JAMAC’s activities.

The concept of a central sun, often considered as the cosmic heart of the universe, has intrigued various cultures throughout history. This idea is rooted in the belief that there is a celestial source of life force from which all creation emanates. Several ancient civilizations and mystical traditions have woven intricate cosmological narratives around the notion of a central sun. For them, this radiant and transcendent entity represents the origin of energy, consciousness, and cosmic harmony.

While interpretations may differ, the common thread among these beliefs is the notion that the central sun serves as a guiding force, illuminating the paths of existence and infusing life with purpose and vitality. Such cultural perspectives on the central sun offer profound insights into the interconnectedness of all living beings with the cosmos, inspiring a deep reverence for the vast mysteries beyond our understanding.

Contemplating the concept of the central sun, these cultures encourage us to explore the boundless nature of the universe and our place within its grand tapestry.

Book covers from the Nations of the World collection are undone, leaving fragments of maps and composing new geographies.
The indexes of the same books announce chapters that describe countries using nationalist phrases. A part of the fabric of the cover, folded, gives the title to the work: Actions of the world.

“Minas” (trabalho em andamento) [Girls / Mines (work in progress)] is a series of portraits produced between 1964 and 2022. The title is a double entendre in the Portuguese language where “Minas” means both a young girl (a girl from the hood) and a landmine. In this series, the artist uses her own childhood drawings done between 1964 and 1973 as support in the composition of an ongoing series of portraits of women who are important to her artistic trajectory. The set, so far, contains 155 portraits.

“Minas” (trabalho em andamento) [Girls / Mines (work in progress)] is a series of portraits produced between 1964 and 2022. The title is a double entendre in the Portuguese language where “Minas” means both a young girl (a girl from the hood) and a landmine. In this series, the artist uses her own childhood drawings done between 1964 and 1973 as support in the composition of an ongoing series of portraits of women who are important to her artistic trajectory. The set, so far, contains 155 portraits.

Señores, is a series of ceramic busts containing live plants. The figure represented is a man with a mustache and with signs of military or diplomatic clothing, a figure with a 17th or 19th century feel similar to a national hero, a man of letters or a conqueror.
The figure is actually an anonymous character, an amalgam of reproductions of statues concentrated in a recognizable but nameless body. The busts refer to a certain monumental and historical aesthetic, visible not only in Colombia but in the Western world. This series of white Señores with mustaches who flood squares and parks, roundabouts and school books, to whom according to history we owe our heritage, our language and freedom.Señores to put on and take off, male figures that continue to dominate our historical narratives and imaginations, leaving in the shadow so many other parallel stories, that of women to begin with, that of native peoples, but also plant and animal stories.
The work refers to the change of paradigms and the questions regarding our relationship with institutions, with power and with a certain hegemonic history.These fallen Señores, perhaps sent to be collected, can now serve us in another way, no longer as a paradigm but as an object of use, as a container. The virile figure of the inverted and down-turned hero frees up a space that can now be used to sow and store new life. The principle of the sculptures is that they adapt to the context where they are displayed, as well as the local climate and vegetation.

Contornos, 2014, registers the variety of fences and barriers found in Cerro de Pasco. The video images examine these boundaries: some seem to be temporary and vulnerable, others impenetrable; they are visibly boundaries between mining operations and public space. The audio is a conversation with Alcibiades Cristobál, from the Huayllay National Sanctuary, a forest of stones on the outskirts of Cerro de Pasco which contrasts the images. Cristobál describes the region’s geological formations while alluding to a cultural past that is disappearing as the land itself and its layers of history are being removed by mining. The video was shown at the 20th Contemporary Art Festival Sesc Videobrasil, in 2017.

Yacimientos [Deposits], 2013, was filmed in Peru, in Cerro de Pasco and its surroundings. The video shows the decay of a city that is consumed by the expansion of a copper mine. We see the contrast between the beauty of the natural environment, with rock formations and adobe ruins, and the physical consequences of extractive operations that slowly consume everything around them, causing irreversible damage to the environment. The work was shown during her solo show in the first part of the 34th Bienal de São Paulo in 2020.

Sources is an emblematic series in Gaviria’s production, as it explores the limits of the perceptible and the possibilities of making the invisible visible through different translation logics.

The series is made up of analog magnifications of images of radio waves emitted millions of years ago by quasars in remote cosmic space. It is assumed that these waves occurred at a time when the universe was in its infancy.

Captured by wave telescopes, the sound signals were digitized and later converted into twodimensional images with the support of Zsolt Paragi, Joint Institute for VLBI, and Sandor Frey, FOMI Satelite Geodetic Observatory

Sources is an emblematic series in Gaviria’s production, as it explores the limits of the perceptible and the possibilities of making the invisible visible through different translation logics.

The series is made up of analog magnifications of images of radio waves emitted millions of years ago by quasars in remote cosmic space. It is assumed that these waves occurred at a time when the universe was in its infancy.

Captured by wave telescopes, the sound signals were digitized and later converted into twodimensional images with the support of Zsolt Paragi, Joint Institute for VLBI, and Sandor Frey, FOMI Satelite Geodetic Observatory.

Sources is an emblematic series in Gaviria’s production, as it explores the limits of the perceptible and the possibilities of making the invisible visible through different translation logics.

The series is made up of analog magnifications of images of radio waves emitted millions of years ago by quasars in remote cosmic space. It is assumed that these waves occurred at a time when the universe was in its infancy.

Captured by wave telescopes, the sound signals were digitized and later converted into twodimensional images with the support of Zsolt Paragi, Joint Institute for VLBI, and Sandor Frey, FOMI Satelite Geodetic Observatory.

Sources is an emblematic series in Gaviria’s production, as it explores the limits of the perceptible and the possibilities of making the invisible visible through different translation logics.

The series is made up of analog magnifications of images of radio waves emitted millions of years ago by quasars in remote cosmic space. It is assumed that these waves occurred at a time when the universe was in its infancy.

Captured by wave telescopes, the sound signals were digitized and later converted into twodimensional images with the support of Zsolt Paragi, Joint Institute for VLBI, and Sandor Frey, FOMI Satelite Geodetic Observatory.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist?s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artist?s alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

Nuptias consists of photo-paintings and collages made by Rennó based on wedding photographs. The artists alterations are made with paint, objects, cuttings and recompositions. Besides referring to the plurality of affective unions without regard to belief, race, sexual orientation or any other convention, the artist revisits various icons of the culture of visuality, in both the Occident and the Orient. The photo-paintings and their titles make reference to the ceremonial, the pop culture, recent politics, religion and social inequality.

A imortalidade ao nosso alcance [Immortality within our reach] aligns with the vocation of Rosângela Rennó’s work, reflecting on the role of expanded photography in the social construction of representations and memory. In the installation, 76 products from different brands are displayed in a showcase whose sandblasted glass offers some “peeping holes” into its interior. In each transparent part of the glass a product/ face appears. Each portrait-for-sale lets out some satisfaction, a smile, a relief or a pleasure. On the outside, the key to open the window reads: Immortality within our reach. The installation was produced on the occasion of Rennó’s panoramic exhibition at Pinacoteca Station, between 2021 and 2022.

Made up of aluminum panels in different sizes, the works in the Ato Falho (2023) series organize a collection of adhesives – offering repair services for metal doors – in a grid.
According to Cidade: “These stickers have a particular history, because I collected them. I would walk through the steel doors of the city, peel off these stickers and then graffiti over the surfaces. Then, I asked myself, why not compose a work suggesting a decomposition? What I do is decompose the work done by someone out in the street who went there and pasted it. I rearrange the stickers so that they are visible, respecting a grid format. In this case, I don’t use rulers, but compose the grid with my eye, a human grid, an anthropometric grid in which there are errors, dirt, fingerprints. The measurements are not exactly perfect or symmetric. The stickers themselves, having been removed from the public space, are old, torn and overlapping. None are new.”
This procedure of gluing stickers on doors offering repairs is informal work. Usually, the service is done by kids who walk the streets in downtown São Paulo in the early mornings pasting stickers – a movement that imitates the practice of graffiti. Those who walk around the city do not necessarily notice this movement because it is mostly swallowed by the architecture. In the work, on the contrary, the stickers appear in the foreground.

“This work follows, in aesthetics and logic, the perspective of one of my first works: “Figa na fuga” (“Crossed fingers upon fleeing”), in which there is a will to understand the courage in fleeing when staying means continuing to suffer the ills of oppression. Thus, to think of fleeing as courage is to take the very word ‘flight’ as an action of rebelling, making it a concept that, in this view guided by an Afro-centered perspective of history, contradicts the hegemony that leads it to the notion of cowardice”
André Vargas

“I started ‘Manifestantes’ a week before the first march of the ‘revolución diamantina’ (a march protesting the rape of a young girl by police officers in northern Mexico City). I started thinking about a series of large-scale stitched paintings depicting women in different marches and protests around the world privileging the moment of unison protest – when their voices rise.
Sewing for me is a kind of noisy drawing. These portraits are voices.”
Tania Candiani

Edgard de Souza’s new bronze can be considered something between a self-portrait and a possible portrait of the viewer. Its shape is reminiscent of a hand mirror, whilst its surface is matte. Its shape is also related to Edgard’s renowned “Drops”, which evoke bodily fluids.
Edgard cites the mirror from references as diverse as Fritz Lang’s “Maschinenmensch” and Verner Panton’s designs. From Constantin Brancusi to the “Vacuum form” molding machine. Edgard evokes several concepts in this sculpture: craftsmanship and the industrial reproduction processes, the individual and the mass produced. His production goes through this dichotomy: his bronze pieces are meticulously hand carved in plaster before going through the reproducibility process of casting.
From early on in his production, in the late 1980s, de Souza has been investigating sculpture – its processes and histories – with the same vigor as his contemporaries were devoting to painting. His works are permanently installed at Instituto Inhotim, in Minas Gerais and served as a guiding light for the 24th Bienal de São Paulo (1998), known as the Anthopophagy Biennial, curated by Paulo Herkenhoff and Adriano Pedrosa (adjunct). Pedrosa also curated the panoramic exhibition by de Souza at the Pinacoteca do Estado de São Paulo (2004).
Edgard offers a recent statement about the piece: “An important aspect for me is the shape itself. When the vanity mirror takes on the dimension of a racket it becomes a weapon – especially when it weighs 11 pounds – you can crack someone’s head! Weapons are always a problem, and the suggestion of reflection puts the spectator as part of such problem. Today’s denialism has to do with people’s desire to escape responsibilities… I know I’m conjecturing, and all of this is not necessarily explicit in the work, but it was this idea that led me here. I don’t know, maybe the idea about this piece would come full circle if the work was titled ‘Problem’.
De Souza speaks once again about duality. About the beautiful and the ugly present in each one of us. Reflection, in the history of art, has often pointed out the duality of the individual: from Caravaggio’s “Narcissus” (1597-1599) to Oscar Wilde’s novel “The Picture of Dorian Gray” (1890).
Reflection always offers both seduction and danger

Moscheta articulates a series of photographs of the Chilean desert superimposed by iron plates, forming volumes that recall the monolith in Stanley Kubrick’s film 2001. The symbolic presence of the black volume of undefined matter in the 1968 film, pointed to the synchronism between past and future, as a timeless annunciation of man’s pathbreaking destiny. The object’s first appearance in the film takes place when man’s ancestor discovers that the same bone that forms its structure could be used as a tool and, finally, as a weapon. In Moscheta’s works, however, this monolith is indeed subject to the passage of time and, given its ferrous material, acquires the marks of this passage with constant oxidation and corrosion. Moscheta’s monoliths thus point to the growing wear and tear of the constant quest for progress.

In his new series of concrete plate collages, Iván Argote works around the construction and formation of history and cultural narratives from the use slogans, artifacts and monuments. Instead of a story written by the “winners”, Argote presents here a collection of recomposed artifacts from an archeology that prioritizes affection and resistance.

The Cloister series appeals to a reverential fear in the face of a claustrophobic nature. At the same time that they evoke chaos, the landscapes represented have a picturesque matrix. The term picturesque appears in the 18th century to propose a new aesthetic category aimed at natural landscape. According to Argan (1909 – 1992), the picturesque is expressed in gardening as an act of educating the natural landscape – different from the sublime, which brings a sense of dread through the untouchability of the same nature. Both a terms are not only contained in the roots of Romanticism as an aesthetic movement, but also in this series. Cloister makes reference to the missionary painting of the Brazilian landscape, but uses the toxic tar to portray organic green. The use of the oil derivative behaves as an artifice so that the weight of a condition becomes much more evident than the chaos portrayed on the scene.

The power relations inherent in the materials chosen by Komatsu often constitute the real raw material used in his works. Lusco-Fusco brings together the precariousness of Drywall with the ephemeral of the news. With cuts and strokes, Komatsu breaks the surfaces of his paintings into geometric or gestural abstractions, while news fragments suggest representations of what could appear there. While his titles suggest a place between day and night, his forms suggest something between figuration and abstraction.

In Hemisférios [Hemispheres], 2014, Cadu presents 168 sheets of tracing paper bearing marks burned into their surfaces by intensified sunlight. To make this artwork, the artist developed a support on which a magnifying glass was held still above a stack of sheets of tracing paper. The rays of the sun – made more powerful by the magnifying glass – burned their path on the stack. Thus, each sheet of tracing paper symbolizes an hour of the sun’s path, and the complete set constitutes a graphic record of the passage of one week in Hornitos, both extensively and intensively, since the 24 sheets of each stack were burned in a way that is proportional to the temperature and intensity of the sun on each day.

Lia Chaia works with perceptions and everyday experiences, such as the permanent tension between the body, urban space and nature. Often humorous, her work addresses how the body reacts to the stimuli and disruptions of the contemporary world. A body that adapts to landscapes, that creates relationships with other spaces, objects and people and thus becoming a research territory.

The color of our Sun, as observed from Earth, is a fascinating interplay of light and atmosphere. Although we commonly perceive it as a warm, golden hue during sunrise and sunset, and as a brilliant white during the day, its appearance can vary due to the Earth’s atmosphere. When the Sun is near the horizon, its light must pass through a thicker layer of the atmosphere, causing the shorter blue and violet wavelengths to scatter, giving rise to the warm shades of red, orange, and yellow that we often associate with these times. In contrast, during midday when the Sun is higher in the sky, its light has to travel through a smaller thickness of the atmosphere, resulting in less scattering and a perception of white light. The color of the Sun is indeed white, representing the sum of all colors in the visible spectrum. It is a captivating reminder of the intricate relationship between light, atmosphere, and our perception of the world around us.

This group includes photographs in which the Amazon rainforest is the main character, highlighting its flora and the life that emerges in symbiosis with the vegetation. Fungi, leaves and dew appear in the foreground, evidencing Claudia Andujar’s experimentalism with films, filters and photographic manipulations.

This group includes photographs in which the Amazon rainforest is the main character, highlighting its flora and the life that emerges in symbiosis with the vegetation. Fungi, leaves and dew appear in the foreground, evidencing Claudia Andujar’s experimentalism with films, filters and photographic manipulations.

This group includes photographs in which the Amazon rainforest is the main character, highlighting its flora and the life that emerges in symbiosis with the vegetation. Fungi, leaves and dew appear in the foreground, evidencing Claudia Andujar’s experimentalism with films, filters and photographic manipulations.

This group includes photographs in which the Amazon rainforest is the main character, highlighting its flora and the life that emerges in symbiosis with the vegetation. Fungi, leaves and dew appear in the foreground, evidencing Claudia Andujar’s experimentalism with films, filters and photographic manipulations.

This group includes photographs in which the Amazon rainforest is the main character, highlighting its flora and the life that emerges in symbiosis with the vegetation. Fungi, leaves and dew appear in the foreground, evidencing Claudia Andujar’s experimentalism with films, filters and photographic manipulations.

This group includes photographs in which the Amazon rainforest is the main character, highlighting its flora and the life that emerges in symbiosis with the vegetation. Fungi, leaves and dew appear in the foreground, evidencing Claudia Andujar’s experimentalism with films, filters and photographic manipulations.

In Máscara de Punição [Mask of punishment], Eustáquio Neves started from an old portrait of his mother on which he carried out several physical and chemical interventions. The most striking of the interventions is the superimposition of the image of a metal mask, known as the punishment mask, or tinplate mask. The object was used as instruments of disciplin and torture during the Brazilian slavery period. The object prevented enslaved people from ingesting food, drink or dirt – a common method of suicide.
According to Eder Chiodetto, in the series Neves “reflects on contemporary forms of silencing the black population”.

About “Abdiáspora do Nascimento (2022) is a tribute to Abdias do Nascimento’s arrow/serpent’s tongue in “Oke Oxossi” (1970), which points over the Brazilian flag, like a pointer, that the future is just a point in the forced path of western time.
Crossing Odé’s cry, the diaspora is a cut, a nation’s identity that paradoxically forges itself at all times as hunt and hunter. It’s where Abdias is one of my biggest references. May the black diaspora become a cardinal point.”
-André Vargas

In this work, the objects evoke the presence of the invisible. It is possible to imagine, by the arrangement of the paintings, the body of two people sitting on the benches and using the objects that orbit them. They are objects of religious use by the pretos velhos, but which refer, as it should be, to the culture and customs of the enslaved black peoples in Brazil.
The work is done with raw cotton rags, pencil and coffee. With that, Vargas elaborates a construction that makes use of some of the most recognized commodities of the period of slavery in Brazilian lands – coffee, cotton and sugar – and, not by chance, products that tell the story of his ancestors who were forced to work in mills that had these plantations.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

In Arturos, Eustáquio Neves portrayed a black community reminiscent of Arturos’ Quilombo, in Contagem, Minas Gerais. The accumulation of interventions in the images registered in Arturos reflects what the critic and curator Eder Chiodeto called “Photographic Thickness”. This “thickness” can be seen in the images as overlayings and perimeters around the main images.
A chemist by training, Eustáquio Neves works from matrices that receive many interventions before reaching the final images for printing. These layers signal the ancestral traditions that are behind documentary records.

In Arturos, Eustáquio Neves portrayed a black community reminiscent of Arturos’ Quilombo, in Contagem, Minas Gerais. The accumulation of interventions in the images registered in Arturos reflects what the critic and curator Eder Chiodeto called “Photographic Thickness”. This “thickness” can be seen in the images as overlayings and perimeters around the main images.
A chemist by training, Eustáquio Neves works from matrices that receive many interventions before reaching the final images for printing. These layers signal the ancestral traditions that are behind documentary records.

The plant, which in France is known by the name “Langue de belle-mère”, in Portuguese is called “Espada de São Jorge” [Saint George’s Sword], or, as we see in the cults of religions of African origin in Brazil, “Espada de Ogum” [Ogun’s Sword] and it is generally used in homes as an amulet, a plant that is capable of removing energy from the house, because it has the strength of the holy warrior and the general Orisha.
São Jorge and Ogum are syncretized in Umbanda, the most popular syncretic religion that emerged in the early 20th century in Rio de Janeiro, which makes the feast of the Catholic saint one of the most frequented and ecumenical in the city of Rio de Janeiro.

There is a traditional Peruvian clay modeling technique for building water-powered sounding vases. Maneno Llinkarimachiq, a renowned ceramist from the Chulicana community, has created, on an unprecedented scale, three pairs of these in different sizes. They are manually activated by a mechanism similar to a seesaw. The liquid in their interiors pushes the air out, which in turn blows the whistles located in the upper part of the structures. They are traditionally decorated with birds’ heads. This fact contributed to the title given to the work.

There is a traditional Peruvian clay modeling technique for building water-powered sounding vases. Maneno Llinkarimachiq, a renowned ceramist from the Chulicana community, has created, on an unprecedented scale, three pairs of these in different sizes. They are manually activated by a mechanism similar to a seesaw. The liquid in their interiors pushes the air out, which in turn blows the whistles located in the upper part of the structures. They are traditionally decorated with birds’ heads. This fact contributed to the title given to the work.

The series O Encomendador de Almas [The Soul Commissioner] was produced from the meeting between Eustáquio Neves and Crispim Veríssimo at Quilombo Ausente, in Serro, Minas Gerais, Brazil. Mr. Crispim, as he is known, has the task of freeing the souls of the dead in the quilombo so that they can walk their spiritual paths. Eustáquio’s images are built in pairs that reaffirm the relationship between people, territory and tradition in Ausente.

The series O Encomendador de Almas [The Soul Commissioner] was produced from the meeting between Eustáquio Neves and Crispim Veríssimo at Quilombo Ausente, in Serro, Minas Gerais, Brazil. Mr. Crispim, as he is known, has the task of freeing the souls of the dead in the quilombo so that they can walk their spiritual paths. Eustáquio’s images are built in pairs that reaffirm the relationship between people, territory and tradition in Ausente.

This series of actions and paintings proposes to prophesy, through the streets of the city, black references that can dispute the spaces where different values prevail. This painting was activated on Avenida Rio Branco, one of the most important axes in Rio de Janeiro. Vargas says that Lélia’s meeting with Rio Branco generates a crossroads of importance in the physical and philosophical displacement in the city. This piece honors the Brazilian intellectual Lélia Gonzalez, author of the concept of Pretuguês [a combination of the words ‘black’ and ‘portuguese’], which refers to the Africanization of the Portuguese language.

The guides, or threads, are necklaces made of colored beads that represent the orishas and spiritual entities in Africanbased religions. In the Fios de Conta series, the guides appear organized in 7 lines, which will open to writings that relate to the Orixás-theme of each work. 7 is a fundamental number in religion – there are 7 main Orixás, for example. In O rei silêncio [The king silence], the phrase refers to the greeting given to Omolu. “Atotô!” is a request for silence for the arrival of the great king of Earth.

“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

“In this series, Eustáquio recreates in layers the fields of ‘peladas’ (soccer matches between friends or communities) as transitory places of the urban fabric, which become spaces of sociability, but which will soon disappear in the logic of the civil construction market”.
Excerpt from “Other Ships. Photographs by Eustáquio Neves”, by Eder Chiodetto.

“In this series, Eustáquio recreates in layers the fields of “peladas”, transitory places of the urban structure, which become spaces of sociability, but which soon disappear in the logic of the civil construction market”
Excerpt from “Other Ships. Photographs by Eustáquio Neves”, by Eder Chiodetto.

“In this series, Eustáquio recreates in layers the fields of ‘peladas’ (soccer matches between friends or communities) as transitory places of the urban fabric, which become spaces of sociability, but which will soon disappear in the logic of the civil construction market”.
Excerpt from “Other Ships. Photographs by Eustáquio Neves”, by Eder Chiodetto.

Through her practice, Garrido-Lecca employs a range of symbolic materials and languages that focus on highlighting the tensions between ancestral knowledge and colonial structures. Using historical references, she traces cycles of cultural, social and economic transformation around changes in the use of natural resources. Her work deals with the relationships between nature and culture, while questioning the traditional hierarchies of knowledge.

Edgard de Souza’s vases are representations of decorative and domestic objects. Imbued with strangeness, they become reservoirs manufactured in skin and fur, suggesting something intimate or visceral, like bodily orifices.

In Craques do Povo, André Vargas creates a team of 6 paintings of shirts from Brazilian soccer teams such as Fluminense and Ponte Preta attributed to entities of Afro-Brazilian religions. Each shirt represents the deity which colors coincide with the team colors and whose name is on the back of the shirt – the traditional place for the name of the players.
Vargas connects Brazilian soccer culture with religious syncretism evoking the black ancestry of Brazilian culture.

“This series investigates the herbs used by healers, as well as the prayers they say when they bless people. It is at the intersection between object-image-herb and writingprayer-voice that the work sustains the simplicity of popular traditions as fundamental importance to our constitution”.
-Andre Vargas
The Incenso plant [Mother of herbs] is used for blessing against illness.

In Arturos, Eustáquio Neves portrayed a black community reminiscent of Arturos’ Quilombo, in Contagem, Minas Gerais. The accumulation of interventions in the images registered in Arturos reflects what the critic and curator Eder Chiodeto called “Photographic Thickness”. This “thickness” can be seen in the images as overlayings and perimeters around the main images.
A chemist by training, Eustáquio Neves works from matrices that receive many interventions before reaching the final images for printing. These layers signal the ancestral traditions that are behind documentary records.

In Arturos, Eustáquio Neves portrayed a black community reminiscent of Arturos’ Quilombo, in Contagem, Minas Gerais. The accumulation of interventions in the images registered in Arturos reflects what the critic and curator Eder Chiodeto called “Photographic Thickness”. This “thickness” can be seen in the images as overlayings and perimeters around the main images.
A chemist by training, Eustáquio Neves works from matrices that receive many interventions before reaching the final images for printing. These layers signal the ancestral traditions that are behind documentary records.

“My relationship with Brazilian indigenous peoples, the guiding force of both my career as a photographer and my life, is essentially one of fondness. This sentiment, over time, has led me to divide my time as a photographer with activities in defense of those peoples’ rights to territory and survival. A demanding task that requires great perseverance.”
Claudia Andujar

In the series Remarkable beings of the world, Rennó appropriates the images of the plaster busts that belong to the collection of El Museo Canario (Las Palmas de Gran Canaria, Spain). These busts were intended to represent the different races of the globe, were made between 1840 and 1870, and acquired to integrate the Anthropology Room of the museum. Of those dead men, only the masks remained, which were made into plaster busts for a positivist anthropology cabinet, then photographic images of these busts and, finally, ghosts, shadows, specters on the sheets of handcrafted marbled paper.

silkscreen on wall

silkscreen on wall

Quando convidados a expor seu trabalho, Mônica Nador + JAMAC promovem oficinas com um grupo de pessoas da cidade ou instituição com a qual vão trabalhar. A partir dessas experiências, são gerados desenhos, que se tornam estênceis, utilizados nas pinturas produzidas para a exposição. Na série Estamparada, várias imagens geradas nas oficinas são sobrepostas a um acúmulo de 19 anos de atividades do JAMAC.

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When invited to exhibit their work, Mônica Nador + JAMAC promote workshops with a group of people from around the city or institution with which they are going to work. From these experiences, drawings are generated, which become stencils, which will be used in the paintings produced for the exhibition. In the Estamparada series, several images generated by workshops are superimposed on an accumulation of 19 years of JAMAC’s activities.

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

A Sônia features some of the hallmarks of Andujar’s work, such as superimposing images, rephotography and the use of filters. Sônia was a young woman who came to São Paulo with the desire to work as a model, but was turned down by all the studios she sought. Sonia’s “inability” is the very provocation of the essay. According to Andujar, “Sônia didn’t know how to pose. But that was precisely where her innocent charm came from. The unprofessional gestures and attitudes revealed a gentle, tranquil sensuality. She didn’t seem to be in front of the camera, but out of the world”. The essay was presented in the form of a slide projection, at MASP, in 1971, and published in the first issue of Revista de Fotografia (June 1971).

In Matriz legal [Legal matrix], Komatsu creates geometric and labyrinthine designs with barbed wire on wooden supports, encircling “prepared” areas with paint and acrylic putty. The white fields, which would usually be the basis for the pictorial construction on the wooden panels, are supplemented – or oppressed – by the potential danger represented by the barbed wire.

“Rennó’s insistence on working with portraits crosses supports and articulations and lays bare the transparency of the photographic image. Before being objects full of meanings, works of art, gems for collectors, these photos were just identification portraits or vernacular images. They served to be presented to the authorities, but also to carry in your wallet, paste in an album, or show to friends, to kiss… time has turned them into memories, into relics, into imago.”

Maria Angélica Melendi – Excerpt from Little Ecology of the Image: a glossary under construction, 2021

In 1992, Carmela Gross presented the solo show “Drawings” at MASP (Museu de Arte de São Paulo).
The exhibition brought together a set of works called “SOLO,” made with graphite and resin on handmade paper, with irregular edges. Later, Gross decided to fold some drawings in a regular way. This is how the work is presented today: as closed notes, condensed bodies of work, which reveal traces of their initial compositions.
Moreover, the reworking of the piece juxtaposes a formerly gestural and expressionist approach with one that is now characterized by geometric precision and restraint.

In 1992, Carmela Gross presented the solo show Drawings, at MASP [Museu de Arte de São Paulo]. The exhibition brought together a set of works called SOLO, made with graphite and resin on handmade paper, with irregular edges.

Later, Gross decided to fold some drawings in a regular way. This is how the work is presented today: as closed notes, condensed bodies of work, which reveal traces of their initial compositions.

The title Memória Gráfica [Graphic Memory], refers to the set of lithographic stones that Moscheta found broken irregularly and used to complete his fractioned drawings of rock formations. Moscheta works with the idea that through fragments we can mentally compose an imaginary mountain range of “fulls” and “empties”, in an artistic operation that unites the drawing to the object, as part of the same linguistic system.

The linear bases trace the path to the graphite drawing on a black background, which are rebounded by the lithographic stones which fissures complete the representation of the rock formations, as if both were the same: the represented object and the instrument of representation, the memory contained on the surface of the lithographic stone (which one day generated numerous reproductions) in a new and last black print that returns it to the landscape of stones. The lithographic stone ceases to be the matrix to become the copy.

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.

Amazônia, Rio Branco is part of the group of works produced by Albergaria from the study trip “Amazon Expedition: Seeking to understand the greatest diversity of the planet”, coordinated by botanist Lúcia Lohmann (Institute of Biosciences of USP), which traveled the rivers Black and White and its margins.

Alongside the scientists, Albergaria collected the plants, photographed, drew and organized all the material. “During the scientific process of cataloging, I observed that the initial color and shape of the plants are the two characteristics that are most easily lost. Any traditional herbarium always presents dry leaves (with dimensions already altered by drying) and without their natural color (also due to drying). What I wanted to add was something that this process couldn’t provide – and that’s why I made my own notebook with the colors and dimensions of the species”, says Albergaria.

The works produced by Albergaria from that trip were the structure of the individual exhibition, Para onde agora? Where to now? Aller oú maintenant?, curated by Marta Bogéa at MAC USP in 2022.

The works from the series Explosão Plástica (Inevitável), 2022, were part of the installation with the same title, where a mural painting expanded across all walls of the room where they were exhibited, and overlapped polyptych sets formed by wooden planks – which were work tables in Dora Longo Bahia’s studio, or in projects carried out by her and the study group she supervises, Depois do fim da arte (ex-Anarcademia) – with white canvases. The boards are presented full of work marks, with remains of paint and stylus marks. The mural showed the image of a huge explosion.

Abraxas composes the sculptural set made since 2019 in co-authorship with the jeweler and artist Virgilio Bahde. In the book “Demian”, an initiatory novel by the writer Herman Hesse, the deity Abraxas is worshiped by the young characters, who become aware of the fragility of morals, the family and the State. The entity stands out for having human characteristics, being capable of exercising good and evil. We are faced with the improbable cultivation, through carving and metallurgy, of animal, vegetable and mineral possibilities, which confuse the eye due to the coexistence of the kingdoms comprising it.

This series investigates the herbs used by faith healers, as well as the prayers they make when they bless people. It is at the intersection between object- image-herb and writing-prayer-voice that the work sustains the simplicity of popular traditions as a fundamental importance for our constitution.

The Sum of All Colors is part of a meditative process by Banfi where she utilizes textile waste from a clothing brand. Banfi explains that, during the isolation imposed by the Covid 19 pandemic, she began to embroider timelines and contours of LPs on white fabrics. The color, inspired by the sun, is a reference to the sum of all colors of the visible sprectrum of light.

Amazônia, Rio Branco is part of the group of works produced by Albergaria from the study trip “Amazon Expedition: Seeking to understand the greatest diversity of the planet”, coordinated by botanist Lúcia Lohmann (Institute of Biosciences of USP), which traveled the rivers Black and White and its margins.

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.

Seja amiga, noiva seja
Esposa, ninfa, santa ou deusa
Entre eles fole, tempo e areia
Uma questão de ampulheta
Contou que dera para dormir com
marinheiros agora
Assim velejava
Iemanjava
Vênus dá, Vênus tira
Salmouras de cais
Mas tudo pode mudar no malavrar
No danar
No nadar no nada mar
E ela… pode até a cortesia de voltar

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

The series Gigantica Amazonica takes as a starting point an immersion trip that Moscheta took through the Amazon. In the series, the artist works with photographs by German Albert Frisch (1840-1918), creating a game of fiction based on the monumentality of the Amazonian botany. Moscheta makes digital assemblages over Frisch’s photos, adding gigantic foliage over them. Next to the photo, the artist shows a “real-size” drawing of the leaf photographed. The story of Frisch himself flirts with fiction. Born in 1840 in Bavaria, the photographer was, until the end of the 20th century, a mysterious character in the Brazilian history of photography and many assumed that he had never existed. Frisch made, in 1867, a series of 98 photographs in the Amazon, from an expedition in the region.

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

The Geo_lógica series, by Marcelo Moscheta, is based on images collected in old geology and geography manuals. Encyclopedic and iconographic knowledge, reference images and dictionary definitions – all expanded and altered – constitute the materiality of the works.

This set of scientific references is added to family memories, creating affective and biographical approaches. These references of different types are found in images of human bodies used as a measure of scale for analyzed (or constructed) landscapes.

For these images that are intended to be sculptural and spatial, the artist advances the limits of the paintings, projecting the compositions onto wooden structures.

Archives relates to two previous series by Iván Argote: La Puesta en Marcha de un Sistema and Covers. Digging into historical issues and imagery regarding the impact of ideological wars, these layered compositions behave as allegories on how our subjective experience is conditioned by external forces linked to a certain idea of progress and truth. These ideas, in turn, are shaped by historical centers of power to their own conveniences and perdurability. The layering of materials creates the appearance of images and texts confronting slogans and statements; in addition, superimposed with found imagery, these works create a texture with multiple possibilities of comprehension.

Ladrillo mordido [Bitten Brick] is an artisanal brick, cast in iron, made and bitten by the artist. Iván Argote refers to the brick as an essential element in the construction and reconstruction of history and his bite symbolizes how these constructs are permeated by individuals.