600 cm high by 340 cm diameter
Installation. Windmill with 18 silkskreened propeller blades.
Silkscreen: Nina Lins
Nome ao ar é um objeto instalado no pátio da galeria.
Um moinho catavento, cujas 18 hélices têm inscrições em serigrafia de um conjunto de adjetivos que remetem a modos de extermínio de corpos LGBTs, que, ao longo da história, tem seus substantivos próprios sublimados e massificados.
Assim, entre termos como “arremessados”, “empalados”, “fuzilados” e “suicidados”, que nomeiam aniquilamentos de ontem e em curso, também gira, de acordo com a intensidade do vento que circula pelo pátio, a palavra “vi-vos”, grafada assim, hifenizada pela sílaba tônica.
Installation. Windmill with 18 silkskreened propeller blades.
Silkscreen: Nina Lins
Nome ao ar é um objeto instalado no pátio da galeria.
Um moinho catavento, cujas 18 hélices têm inscrições em serigrafia de um conjunto de adjetivos que remetem a modos de extermínio de corpos LGBTs, que, ao longo da história, tem seus substantivos próprios sublimados e massificados.
Assim, entre termos como “arremessados”, “empalados”, “fuzilados” e “suicidados”, que nomeiam aniquilamentos de ontem e em curso, também gira, de acordo com a intensidade do vento que circula pelo pátio, a palavra “vi-vos”, grafada assim, hifenizada pela sílaba tônica.
600 cm high by 340 cm diameter
Installation. Windmill with 18 silkskreened propeller blades.
Silkscreen: Nina Lins
Nome ao ar é um objeto instalado no pátio da galeria.
Um moinho catavento, cujas 18 hélices têm inscrições em serigrafia de um conjunto de adjetivos que remetem a modos de extermínio de corpos LGBTs, que, ao longo da história, tem seus substantivos próprios sublimados e massificados.
Assim, entre termos como “arremessados”, “empalados”, “fuzilados” e “suicidados”, que nomeiam aniquilamentos de ontem e em curso, também gira, de acordo com a intensidade do vento que circula pelo pátio, a palavra “vi-vos”, grafada assim, hifenizada pela sílaba tônica.
600 cm high by 340 cm diameter
Installation. Windmill with 18 silkskreened propeller blades.
Silkscreen: Nina Lins
Nome ao ar é um objeto instalado no pátio da galeria.
Um moinho catavento, cujas 18 hélices têm inscrições em serigrafia de um conjunto de adjetivos que remetem a modos de extermínio de corpos LGBTs, que, ao longo da história, tem seus substantivos próprios sublimados e massificados.
Assim, entre termos como “arremessados”, “empalados”, “fuzilados” e “suicidados”, que nomeiam aniquilamentos de ontem e em curso, também gira, de acordo com a intensidade do vento que circula pelo pátio, a palavra “vi-vos”, grafada assim, hifenizada pela sílaba tônica.
Variable dimensions
Trolley in MDF, iron, mirror, adhesive vinyl, fixed and swivel casters; vinyl printing on shirts; performance report/description; action record in video – color and sound
Photo Galeria VermelhoA cart with 6 handles on one side and a mirror on the other, containing the phrase “History never presents itself directly”, circulated around Avenida Paulista (São Paulo). The pullers/performers wore gray shirts in which letters stamped on the back formed the words The other. The original phrase – “The other presents itself directly” – collected by the artist from a printed text by the philosopher Merleau-Ponty found on the street, is put into play with the variation “History”, echoing one of Eilson’s main practices: walking backwards collectivly as a desecration of the first and absolute expression of order and progress: walking forwards.
Installation composed of cart, 06 T-shirts and video recording
MDF, iron, casters and mirror with vinyl adhesive.
2.75 x 1.70 x 1.20 (cart), 7’38 (video)
Execution of project (carpentry): Agemiro Coelho
Video recording and editing: Renata Vieira
Collaborating performers: Maria Luiza Nascimento, Mariano Sobrancelha, Mayara Millane, Paulina Albuquerque, and Rafael Bqueer
Production: Júlia Fontes
A cart measuring 2.75m in length and 1.70m in height with 6 iron handles on one side and a mirror on the other, containing the phrase “History never presents itself directly”, circulated around the Avenida Paulista. The pullers/performers wore gray shirts in which letters stamped on the back formed the words O outro [The other]. The original phrase – “The other never presents itself directly” – collected by the artist from a printed text by the philosopher Merleau-Ponty found on the street, is put into play with the variation “History”, echoing one of Elilson´s main practices: walking backwards collectivly as a desecration of the first and absolute expression of order and progress: walking forwards. The cart, the video recording of the action and the set of t-shirts form the exhibition’s installation nucleus.
Variable dimensions
Cart, concrete platform and neon
Photo VermelhoA Invenção do Sudeste [The Invention of the Southeast]. In this object, a cargo cart in platform model has a cement base and a neon sign with the word “Regionalism”.
Slanted diagonally, inserted on the cement like a tombstone, the word ignites a play of ideas present in a year marked by ephemeris and regional debates made official as national by the fact that they are historically located on the São Paulo-Rio de Janeiro axis.
If the word in neon still represents a term insistently used to “classify” the art coming from or produced outside of this axis, the materials used in the work provoces a dialoge with two regional marks of southeastern art.
Cart, concrete platform and neon.
Variable dimensions
27’38’’
Performance registered in video - color and sound ‘‘A red plastic bucket made in Brazil with a capacity of 13.6 liters is the precarious-relational object that guides a quasi-drift. A walk-search for those who are drinking water or working with water. The walk is only complete when the container is overflowing with water given by passers-by, drop by drop, with their own hands. All collected water is reverted to washing, writing and oral exhibitions actions. The performance was held in 2016 on the streets of Rio de Janeiro to wash a hate speech graffited on a wall in celebration of a murder. The written text that reports the route has already been presented at exhibitions and festivals in Curitiba, Rio de Janeiro and São Paulo.’’ Elilson
Variable dimensions
Clothes, panflets, safety pins and audio Photo Ricardo Miyada ‘‘Wearing unbranded clothes, go out in the streets carrying several safety pins. In city centers, walk around looking for people that distribute panflets. When accepting the pamphlets, ask the workers to decide which part of the body the panflets should be attached to, offering them a safety pin. Circling their speeches and announcements around the cities, return home only when the clothes are fully leaflets. Performance already performed in the streets of Rio de Janeiro, Porto Alegre, São Paulo, Recife and Buenos Aires. The live version of the performance in galleries and other exhibition spaces includes an oral exhibition of the narratives that records the walks’’ Elilson
Elilson understands his body as a possibility for transport and of listening as the main constituents for creation. In this polymorphic terrain, body and city are synonyms that alternate scales. In many of his works, an action triggers an encounter that, later, is inserted in the field of art, through public readings. Written language, however, does not appear in an isolated way, but works as an instigator for new encounters that unfold into new actions in a permanent rewriting.
Elilson’s works are the result of an almost grammatical delirium. The artist distorts the spoken and written language and extracts adequate neologisms from the encounters and confrontations that characterize his displacements. His actions sound like scores on the public space in which discoveries and encounters overlap in layers in a flow between gestures, looks, writings and orality.
By investigating the interrelationships between performance and urban mobility, whether on foot or on trains, Elilson builds a layered system of images that trigger the creative process which materialize in actions, performances, urban interventions, texts, books, installations and sound pieces which through the particular, obtains the simplicity that characterizes the universal.
Born in Recife in1991, Elilson is a graduate of Universidade Federal do Pernambuco [UFPE] with a Master’s degree in Arts and Performance from Universidade Federal do Rio de Janeiro [UFRJ]. He is currently working on his doctoral thesis at Universidade de São Paulo [USP]. In 2019, Elilson arrives in São Paulo where he presented his performance Gota (Drop) – oral exposition #20” – during the 15th edition of Mostra de Performance Arte Verbo, Galeria Vermelho. In 2018, Elilson received the EDP prize at the Instituto Tomie Ohtake, and the Rumos Itaú Cultural prize. Elilson lives and works in São Paulo.
Elilson understands his body as a possibility for transport and of listening as the main constituents for creation. In this polymorphic terrain, body and city are synonyms that alternate scales. In many of his works, an action triggers an encounter that, later, is inserted in the field of art, through public readings. Written language, however, does not appear in an isolated way, but works as an instigator for new encounters that unfold into new actions in a permanent rewriting.
Elilson’s works are the result of an almost grammatical delirium. The artist distorts the spoken and written language and extracts adequate neologisms from the encounters and confrontations that characterize his displacements. His actions sound like scores on the public space in which discoveries and encounters overlap in layers in a flow between gestures, looks, writings and orality.
By investigating the interrelationships between performance and urban mobility, whether on foot or on trains, Elilson builds a layered system of images that trigger the creative process which materialize in actions, performances, urban interventions, texts, books, installations and sound pieces which through the particular, obtains the simplicity that characterizes the universal.
Born in Recife in1991, Elilson is a graduate of Universidade Federal do Pernambuco [UFPE] with a Master’s degree in Arts and Performance from Universidade Federal do Rio de Janeiro [UFRJ]. He is currently working on his doctoral thesis at Universidade de São Paulo [USP]. In 2019, Elilson arrives in São Paulo where he presented his performance Gota (Drop) – oral exposition #20” – during the 15th edition of Mostra de Performance Arte Verbo, Galeria Vermelho. In 2018, Elilson received the EDP prize at the Instituto Tomie Ohtake, and the Rumos Itaú Cultural prize. Elilson lives and works in São Paulo.
Elilson
1991, Recife, Brasil
Lives and works in São Paulo
Solo shows
2024
– Polissemia Política – Departamento de Artes Plásticas [DAP] – Londrina – Brasil
2022
– Elilson. Tempo-mandíbula – Galeria Vermelho – São Paulo – Brasil
– Chamamento do subjuntivo – Galeria Vermelho (fachada) – São Paulo – Brasil
2021
– Res Verso – Galeria Vermelho – São Paulo – Brasil
2020
– Movimento, Polissêmico – 30ª Edição do Programa Anual de Exposições Individuais – Centro Cultural São Paulo [CCSP], São Paulo – Brasil
Group shows
2024
– Refundação (itinerância) – Museu da Inconfidência – Ouro Preto – Brasil
– Corpo meio língua: programa secreto – Selvática e Alfaiataria – Curitiba – Brasil
– Refundação – ciclo II – Galeria Reocupa – Ocupação 9 de julho -São Paulo – Brasil
2023
– Verbo – Mostra de Performance Arte [17a ed.] – Chão SLZ, São Luís e Pinacoteca do Ceará, Fortaleza – Brasil
– Eu enterrei meu umbigo aqui – Galeria Marco Zero – Recife – Brasil
2022
– Verbo – Mostra de Performance Arte [16a ed.] – Galeria Vermelho – São Paulo – Brasil
– A Grandiosa Festa Junina de Santo Antônio dos Abacaxis Pilotis do MAM Rio – Rio de Janeiro – Brasil
– Misturas – Galpão Bela Maré – Rio de Janeiro – Brasil
– Contar o tempo – Mariantonia – São Paulo – Brasil
2021
– 49º Salão de Arte Contemporânea Luiz Sacilotto – Casa do Olhar – Santo André – Brasil
– 46º Salão de Arte de Ribeirão Preto nacional-contemporâneo – Museu de Arte de Ribeirão Preto [MARP] – Ribeirão Preto – Brasil
– 30º FETEAG (Festival de Teatro do Agreste/Festival Internacional de Artes Cênicas) – Teatro Luiz Mendonça – Recife – Brasil
– 4º Festival Soy Loco por Ti – Juquery – Franco da Rocha – Brasil
– Clareira – Museu de Arte Contemporânea [MAC] – São Paulo – Brasil
2020
– Sala Compacta, Museu de Arte de Goiânia (mostra virtual)
– Polissemia Política [digital] – Arte Londrina 8 – Londrina – Brasil
– Mostra Todos os Gêneros (mostra digital) – ItaúCultural – São Paulo – Brasil
– Nunca como Agora. Arte Londrina 8. Casa de Cultura da Universidade Estadual de Londrina – Londrina – Brasil
2019
– Mapas para Cruzar Fronteiras – Galeria Tipografia – Rio de Janeiro – Brasil
– Verbo 2019. 15ª edição da Mostra de Performance Arte – Galeria Vermelho e Centro Cultural São Paulo (CCSP) – São Paulo – Brasil
– Quem mandou matar Marielle? – A Mesa – Rio de Janeiro – Brasil
– Flexões Performáticas – Centro Cultural Banco do Brasil (CCBB) – São Paulo – Brasil
– Coletiva Mostra R.A.R.O – Galeria Lanzallamas – Buenos Aires – Argentina
– Metrópole Transcultural – Galpão Bela Maré – Rio de Janeiro – Brasil
– Impávido Colosso – A Mesa – Rio de Janeiro – Brasil
2018
– Formação e Deformação – Cavalariças da EAV – Parque Lage – Rio de Janeiro – Brasil
– VI Edição do Prêmio EDP nas Artes – Instituto Tomie Ohtake (ITO) – São Paulo – Brasil
– Art book in China – Xangai – China
– Pouso de Emergência – Galeria Caixa Preta – Rio de Janeiro – Brasil
– Escrevo para me percorrer – Centro Cultural da Justiça Federal – Rio de Janeiro – Brasil
2017
– Desilha: suburzona de conforto – Saracura – Rio de Janeiro – Brasil
– Linha do Tempo: Editora Temporária 2017 – Centro Carioca de Design – Rio de Janeiro – Brasil
– Temporal: Festival Internacional de Arte Urbana – Assunção – Paraguai
– Políticas Incendiárias – Centro Municipal de Arte Hélio Oiticica – Rio de Janeiro – Brasil
– Festival Atos de Fala – Centro Municipal de Arte Hélio Oiticica – Rio de Janeiro – Brasil
2016
– Esforços, Mostra de Performances – Coletivo Miúda e Galeria Olho da Rua – Rio de Janeiro – Brasil
– Piloto por um trem transcultural. LabCreative, Festival Multiplicidade – Oi Futuro Flamengo – Rio de Janeiro – Brasil
– Campo de Provas Open Air – UFRJ – Rio de Janeiro – Brasil
2014
– VI Edição do Concurso de Fotografia da Nova – Universidade Nova de Lisboa – Lisboa – Portugal
Prizes
– Prêmio EDP nas Artes do Instituto Tomie Ohtake [Artista Premiado da VI Edição 2018 – Instituto Tomie Ohtake [ITO] – São Paulo – Brasil
– Rumos Itaú Cultural 2017-2018 – São Paulo – Brasil
– VI Concurso de Fotografia da SAS/Nova [3º Colocado] – Lisboa – Portugal
Residences
2020
– Projeto Pantanal Agora – residência artística – Mato Grosso do Sul – Brasil
– Fundação Armando Alvares Penteado [FAAP] – São Paulo – Brasil
2019
– R.A.R.O – Buenos Aires – Argentina
2016
– Mostra Hífen de Pesquisa-Cena – Rio de Janeiro – Brasil
Collections
– Galpão Bela Mar – Rio de Janeiro (doação do artista).
