. JONATHAS DE ANDRADE

still from the film 16mm transferred to 2k 38'

still from the film 9' - loop Work in dialogue with the film "O Mestre de Apipucos" 1959 by Joaquim Pedro de Andrade. Movie kindly provided by the production company Filmes do Serro

silkscreening on cardboard and manual binding on cotton fabric

Looking for Jesus – Museo Marino Marini – Florença – Itália, 2014 Installation: Lightjet impressions, copper plates, handwritten acrylic plates, Turkish plate with rope and dates, pink cedar box. Looking for Jesus consists of a wall painting, 20 photographs on copper plate, 16 works in acrylic, hand written white charts, a tray with dates, and a wooden urn for collecting votes. The piece was created during his residency at Darat Al Funun, Amman, Jordan. In this work, the artist tackled the need to ask what other image might be plausible for a new, non-westernized face of Jesus. People on the street were asked to indicate, from a selection of 20 pictures of men from Amman, which one, in their opinion, could be the new face of Jesus. Talking about an image of a prophet is a very sensitive issue in Islamic culture, but with this pretext, a wealth of comment was added to the conversations. These were then shared in the exhibition, where visitors were given the opportunity to vote for their favourite Jesus, using pits from fresh dates that were consumed at the time the selection was made.

Looking for Jesus – Museo Marino Marini – Florença – Itália, 2014 Installation: Lightjet impressions, copper plates, handwritten acrylic plates, Turkish plate with rope and dates, pink cedar box. Looking for Jesus consists of a wall painting, 20 photographs on copper plate, 16 works in acrylic, hand written white charts, a tray with dates, and a wooden urn for collecting votes. The piece was created during his residency at Darat Al Funun, Amman, Jordan. In this work, the artist tackled the need to ask what other image might be plausible for a new, non-westernized face of Jesus. People on the street were asked to indicate, from a selection of 20 pictures of men from Amman, which one, in their opinion, could be the new face of Jesus. Talking about an image of a prophet is a very sensitive issue in Islamic culture, but with this pretext, a wealth of comment was added to the conversations. These were then shared in the exhibition, where visitors were given the opportunity to vote for their favourite Jesus, using pits from fresh dates that were consumed at the time the selection was made.

photo: Eduardo Ortega

photography - 26 framed pigment prints on Hahnemühle paper mounted on aluminum

photo: Eduardo Ortega

View of the installation in Museu do Homem do Nordeste – Museu de Arte do Rio (MAR) – Rio de Janeiro – Brasil, 2014

photo: Eduardo Ortega

Installation. Digital prints, wood, aluminum, glass, canvas, acrylic and maquette. View of the show Cães sem Plumas – Museu de Arte Moderna Aloísio Magalhães – Recife – Brazil, 2014

View of the installation at Museu do Homem do Nordeste – Museu de Arte do Rio (MAR) – Rio de Janeiro – Brasil, 2014 photo: Eduardo Ortega

Silkscreen, plywood, acrylic and risographic print. photo: Edouard Fraipont

Digital print, wood, overhead projector and iron. photo Edouard Fraipont

View of the show Cartazes para o homem do nordeste – Kunsthalle Lissabon – Lisboa – Portugal, 2013

Happening in the city of Recife, video and photographic installation

View of the show, Nostalgia, sentimento de classe – Galeria Vermelho – São Paulo – Brasil, 2013

installation, 29ª Bienal de São Paulo

installation, 29ª Bienal de São Paulo

4 posters of 60 34x46cm each

View of the show Programa de Exposições – Centro Cultural São Paulo – São Paulo – Brasil, 2010

still form the video

title: The club also offered another, very intense life; underground, albeit very evident. It wasn’t necessary to talk much; this was one of the advantages, words were kept to a minimum; things happened instinctively, all it took was a simple glance.

title: The sea swallows a man every day. And, yes, there was something forbidden about the club. However, once the sense of danger had been overcome, soaked in salt and courage, they enjoyed every moment as if it was their last, toasting freedom. I then had an irresistible urge to reach the sea.

model board and 11 photos

Galeria Marcantônio Vilaça, Centro Cultural Banco Real, 2009.

View of the show Galeria Vermelho, 2010

View of the show Untitled (12ª Bienal de Istambul) – Istambul – Turquia, 2011

View of the Galeria Vermelho, 2010

80 photographs and pages from the book Love and Happiness in Marriage, by Fritz Kahn. Variable dimensions. The project sets out from the hypothesis that the moral structures that underpin middle-class relationships that wind across generations that are equally conservative, absorbing changes of customs only as things to be consumed and talked about. This understanding of the moral ambiguousness emerges from the book Amor e Felicidade no Casamento (Love and Happiness in Marriage by author Fritz Kahn, 1960) and triggers situations engendered by two characters in nuclear families – which was an emerging trend when the book appeared. The subjective censorship contained in the text of the book contaminates procedures for doing the work, such as the use of mould in an attempt to control the action of time on memory. View of the show Amor e Felicidade no Casamento – Instituto Itaú Cultural - São Paulo - Brasil, 2008