Daniel Senise

DE 23/10/2007 - 17/11/2007 A


Daniel Senise

From the 123 artists that participated of the emblematic exhibition "Como vai você, geração 80?" (1984), at Lage Park, Rio de Janeiro, few are the ones that until today remain active and operating in the scene of contemporary art. Daniel Senise (1955), that participated of the exhibition together with Ana Maria Tavares, Beatriz Milhazes and Mônica Nador, is one of the artists that incorporated the transformations in the field of the art in the last decades, renewing techniques and methods, instruments of his painting, keeping it up to date and vigorous.

Since December of 2006, Daniel Senise is represented by galeria Vermelho. According to Gabriel Pérez-Mire, the works of Senise show a "great concern with the painting". This affirmation regards the procedures and techniques used by the artist that frequently incorporates extracted elements of his atelier, in which floor Senise extends the canvas so that they accumulate dirt, dust and residues, that, later start to be part of the elaboration of the work.

To deal with the intermediate spaces that separate people, things and events, initial objective of Senise in the current selection of works, the artist has left of the tangible space that encircles him presenting uncertain architectures appropriated from desolate interiors of abandoned buildings. This can be seen in the piece "Soft and Hard" (2007), immense canvas of 250 x 465cm, that occupies part of the ground floor of the gallery. In the work, Senise creates a fictitious space that not only has the architecture as reference but that also removes of it part of the elements that start to constitute the materiality of the piece. Besides "Soft and Hard", Senise is also presenting three other pieces of the same series, "Ici et Ailleurs", "Pavda" and "Numero Deux", "Comício…" watercolor composed of 1.172 parts, and three collages, all of them produced in 2007.

According to the Portuguese historian Bernardo Pinto de Almeida, the procedures used by Senise in his works provoke in the observer a vertigo of the visible causing the sensation of have fond a little later, or still, before the true event. In this direction, the paintings of Senise configure fields that constitute small revelations that connect two distinct realities. For Almeida, an event is the coincidence of a time with a space, the painting of Daniel Senise are no-events, as a subtle imperceptible gesture that threat the order of the visible.