Artérias e Capilares [Arteries and Capillaries] presents a selection from works of artists who make use of drawing. The group show reveals a critical relation among thinking and drawing and points out to a variety of possibilities employed to drawing in art today which may appear in an abstract form, figurative or even related to precise technical systems.
Some artists create high-precision technical appliances that engage their own dynamics and generate outcomes that escape the artist’s control after being set in the exhibition space, such as Equivalências (2003-2009) by Cadu. The work is composed by an electric motor, a presence sensor and an aluminum pole so it recognizes the viewer’s presence within the exhibition space and from that it starts a drawing that will only be finished when the show is over.
There are those who incorporate drawings to photography presenting, side-by-side, this two forms of documenting an instant. This procedure can be observed in Odires Mlászho’s scarifications and photos and in the drawings by Leandro da Costa.
In the works by Maurício Ianês, Nicolás Robbio and Chiara Banfi, drawing is employed as the first instrument for sketching and elaborating tri-dimensional installations.
With Pré-desenho (Pre-drawing 2009), Fabio Morais appropriates the gallery’s rooms 1 and 2 to create a continuous drawing, a graphite line that expands and contracts throughout the space. Here, the drawing appears as an effective instrument to transit from a bi-dimensional study to an object that ruptures frontality and generates tri-dimensional objects. Such procedure is also seen in Na Medida das Coisas (In Measure of Things 2009) by Cinthia Marcelle. There, an instrument with a very specific function in technical drawing: a 360 cm ruler, has its functions subverted. Therefore, by removing the precision that is normally associated to this object, a sculptural organic object is created in the space. Marcelle also presents Volver (Return 2009), a video where an excavator runs an infinite-shaped path while transporting earth from side to side as some kind of giant never-stopping hourglass.
Artérias e Capilares [Arteries and Capillaries] presents a selection from works of artists who make use of drawing. The group show reveals a critical relation among thinking and drawing and points out to a variety of possibilities employed to drawing in art today which may appear in an abstract form, figurative or even related to precise technical systems.
Some artists create high-precision technical appliances that engage their own dynamics and generate outcomes that escape the artist’s control after being set in the exhibition space, such as Equivalências (2003-2009) by Cadu. The work is composed by an electric motor, a presence sensor and an aluminum pole so it recognizes the viewer’s presence within the exhibition space and from that it starts a drawing that will only be finished when the show is over.
There are those who incorporate drawings to photography presenting, side-by-side, this two forms of documenting an instant. This procedure can be observed in Odires Mlászho’s scarifications and photos and in the drawings by Leandro da Costa.
In the works by Maurício Ianês, Nicolás Robbio and Chiara Banfi, drawing is employed as the first instrument for sketching and elaborating tri-dimensional installations.
With Pré-desenho (Pre-drawing 2009), Fabio Morais appropriates the gallery’s rooms 1 and 2 to create a continuous drawing, a graphite line that expands and contracts throughout the space. Here, the drawing appears as an effective instrument to transit from a bi-dimensional study to an object that ruptures frontality and generates tri-dimensional objects. Such procedure is also seen in Na Medida das Coisas (In Measure of Things 2009) by Cinthia Marcelle. There, an instrument with a very specific function in technical drawing: a 360 cm ruler, has its functions subverted. Therefore, by removing the precision that is normally associated to this object, a sculptural organic object is created in the space. Marcelle also presents Volver (Return 2009), a video where an excavator runs an infinite-shaped path while transporting earth from side to side as some kind of giant never-stopping hourglass.