Galeria Vermelho is pleased to announce the exhibition Cabra Criada by Maurício Dias and Walter Riedweg, their first solo show on a gallery in Brazil.
Since 1993, Dias & Riedweg work together on projects that they call “Arte Pública”, mixing their experiences and doubts with interactive works on Visual Art and Performance. Through their video installation, Dias & Riedweg try to develop artistic experiences where the public plays the main role.
Assembled in Cabra Criada are three video installations, one single-channel video and one suite of photographys.
Commissioned by the Museum de Arte Contemporânea of Barcelona (MALBA), “Voracidade Máxima” (Maximum voracity), 2003, shows interviews with male prostitutes from the streets of Barcelona, called chaperos. The work explores the tensions created by money, power and desire in the complex relationship between economy and sexuality in prostitution. The artists want to display tensions and conflicts “without coming to any calming conclusions, without easing off restlessness, while avoiding banality and control”. Simultaneously to the video installation, “Diary of Maximum voracity”, (2004), a suite of twelve photos, combines the texts and images from the interviews. The video installation “Flesh” (2005), is composed of two huge screens made of a material that holds the image for a little while before it fades. On this work, Dias & Riedweg combined images of animal sacrifices for the Baihran Festival in Cairo, Egypt, with ones of a Swiss abattoir as animal bodies are “slaughtered, decapitated, and eviscerated with the relentless precision and economy of industrial mass production”. On the single-channel “David & Gustav”, (2005), Dias & Riedweg interviewed the artists Gustav Metzger and David Medalla, both with a migrant background, in order to question the idea of exile. On the video installation “Throw” (2004), created for the façade of the Museum of Contemporary Art of Helsinki (KIASMA), pedestrians were invited to throw any object on a piece of glass. Behind it, a camera recorded these actions that, according to the artists, might represent “the every day rebellion of the little man”.
Galeria Vermelho is pleased to announce the exhibition Cabra Criada by Maurício Dias and Walter Riedweg, their first solo show on a gallery in Brazil.
Since 1993, Dias & Riedweg work together on projects that they call “Arte Pública”, mixing their experiences and doubts with interactive works on Visual Art and Performance. Through their video installation, Dias & Riedweg try to develop artistic experiences where the public plays the main role.
Assembled in Cabra Criada are three video installations, one single-channel video and one suite of photographys.
Commissioned by the Museum de Arte Contemporânea of Barcelona (MALBA), “Voracidade Máxima” (Maximum voracity), 2003, shows interviews with male prostitutes from the streets of Barcelona, called chaperos. The work explores the tensions created by money, power and desire in the complex relationship between economy and sexuality in prostitution. The artists want to display tensions and conflicts “without coming to any calming conclusions, without easing off restlessness, while avoiding banality and control”. Simultaneously to the video installation, “Diary of Maximum voracity”, (2004), a suite of twelve photos, combines the texts and images from the interviews. The video installation “Flesh” (2005), is composed of two huge screens made of a material that holds the image for a little while before it fades. On this work, Dias & Riedweg combined images of animal sacrifices for the Baihran Festival in Cairo, Egypt, with ones of a Swiss abattoir as animal bodies are “slaughtered, decapitated, and eviscerated with the relentless precision and economy of industrial mass production”. On the single-channel “David & Gustav”, (2005), Dias & Riedweg interviewed the artists Gustav Metzger and David Medalla, both with a migrant background, in order to question the idea of exile. On the video installation “Throw” (2004), created for the façade of the Museum of Contemporary Art of Helsinki (KIASMA), pedestrians were invited to throw any object on a piece of glass. Behind it, a camera recorded these actions that, according to the artists, might represent “the every day rebellion of the little man”.