Photo Michael Bussey
Cotton thread sewn on cotton canvas, high density acrylic paint and acrylic sealer
Photo Ramiro Cháves
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.
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.
Photo Ramiro Cháves
Woven copper and lead weights
Photo Michael Bussey
Acrylic on canvas and wood
Photo Filipe Berndt
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 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.
drypoint on painted MDF, MDF, aluminum, and brass
Photo Michael Bussey
Photo Michael Bussey
Used iron shelf
Photo Filipe Berndt
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.
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.
Photo Filipe Berndt
Photo Michael Bussey
Pigmented ink print on cotton paper
Photo Filipe Berndt
Series of photos made from reproductions of photographic negatives from The Penitentiary Museum of São Paulo.
Series of photos made from reproductions of photographic negatives from The Penitentiary Museum of São Paulo.
Glued and sewn cowskin
Photo Figueredo Ferraz institute
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.
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.
bronze
Photo Filipe Berndt
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 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.
Cotton thread on linen fabric
Photo Filipe Berndt
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 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.
Photo Vermelho
Embroideries mounted on bamboo hoops
Photo Vermelho
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.
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.
Photo Vermelho
Acrylic paint on broken laminated glass
Photo Edouard Fraipont
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.
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.
Acrylic plaster and paint on ply- wood plaque, wire, barbed wire, lumber and nail
Photo Filipe Berndt
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.
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.
Photo Vermelho
Braided copper with lead weights
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.
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.
Cotton thread sewn on cotton canvas, high density acrylic paint and acrylic sealer
Photo Ramiro Cháves
Silk thread on linen fabric
Photo Vermelho
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 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 its 14th presence at the Bogotá International Art Fair - ARTBO, Vermelho participates in the 2023 edition in three areas of the fair.
In the Sítio section, Iván Argote exhibits an installation from the Señores series.
Peruvian artist Ximena Garrido-Lecca and Portuguese artist Gabriela Albergaria participate in the Referentes section, curated by Julieta González.
In the main booth, in the General section, Vermelho showcases works by André Komatsu, Andrés Ramírez Gaviria, André Vargas, Carlos Motta, Chiara Banfi, Claudia Andujar, Dora Longo Bahia, Gabriela Albergaria, Iván Argote, Marilá Dardot, Mônica Nador + JAMAC, Nicolás Bacal, Tania Candiani and Ximena Garrido-Lecca.
Iván Argote takes part in the exhibition ‘Sembrar la duda: indicios sobre las representaciones indígenas en Colombia,’ organized by the Banco de la República Collections. Argote presents ‘Levitate,’ a film that premiered at the Centre Georges Pompidou during the last Prix Marcel Duchamp, for which the artist was a finalist.
The curation is by Sigrid Castañeda, Julien Petit, and María Wills Londoño.The exhibition ‘Celeste,’ curated by Maria Iovino, takes place at the LIA (Interdisciplinary Laboratory for the Arts). Nicolás Bacal and Andrés Ramírez Gaviria participate in the group show with works that deal with the difficulty of representing physical reality and, consequently, time and space.
Photo Vermelho
Baked clay, soil, plants
Photo Vermelho
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.
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.
Inkjet and Oil on Canvas
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.
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.
Inkjet and Oil on Canvas
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.
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.
Photo Vermelho
oil paint on concrete and metal
Photo Filipe Berndt
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.
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.
Laser cut on John Purcel Bookwhite 315gr paper
Photo Filipe Berndt
Print with mineral pigment ink on Hahnemühle Photo Pearl 310 gr paper
Photo Reproduction
Francisco de Orellana (Trujillo, Extremadura; 1511 – ca. between the Amazon River and Orinoco, November 1546), was a Spanish explorer, conquistador and corregedor at the time of Hispanic colonization in America. He participated in the conquest of the Inca Empire and, later, in the discovery of the Amazon River. He was appointed governor in several cities, and was also considered one of the wealthiest conquistadors of his time. In 1535, he participated in the pacification and founding of Portoviejo, where he held the positions of third lieutenant, common mayor and vice-governor. In 1537 he founded the city of Guayaquil, which had been destroyed by native Indians on several occasions and relocated by different Spanish settlers. The following year he received the title of vice-governor of Guayaquil. After he finished rebuilding the city, he left for Quito and, together with Gonzalo Pizarro, organized an expedition that would end with the discovery of the great river. After surviving the river journey, he returned to Spain where he was accused of treason on charges by Pizarro. After being acquitted, he organized another expedition, but was unsuccessful. For this reason, he engaged in piracy and returned to the Amazon River where he died, along with most of his crew, without a specific location along the mouth of the river.
Francisco de Orellana (Trujillo, Extremadura; 1511 – ca. between the Amazon River and Orinoco, November 1546), was a Spanish explorer, conquistador and corregedor at the time of Hispanic colonization in America. He participated in the conquest of the Inca Empire and, later, in the discovery of the Amazon River. He was appointed governor in several cities, and was also considered one of the wealthiest conquistadors of his time. In 1535, he participated in the pacification and founding of Portoviejo, where he held the positions of third lieutenant, common mayor and vice-governor. In 1537 he founded the city of Guayaquil, which had been destroyed by native Indians on several occasions and relocated by different Spanish settlers. The following year he received the title of vice-governor of Guayaquil. After he finished rebuilding the city, he left for Quito and, together with Gonzalo Pizarro, organized an expedition that would end with the discovery of the great river. After surviving the river journey, he returned to Spain where he was accused of treason on charges by Pizarro. After being acquitted, he organized another expedition, but was unsuccessful. For this reason, he engaged in piracy and returned to the Amazon River where he died, along with most of his crew, without a specific location along the mouth of the river.