09.Mar.17 - 08.Apr.17
Ashes
Galeria Vermelho presents Cinzas [Ashes], Dora Longo Bahia’s sixth solo show at the gallery.
In the main room of Galeria Vermelho is the installation Cinzas [Ashes] built on the basis of the ruins of parade floats used in the 2015 Carnival.
In the entrance hall, the artist is ceding part of her exhibition to her students, who have set up a printing press atelier to produce artworks daily.
Taking education as part of her artistic practice, Longo Bahia has been maintaining a rotating study group in her residence since 1999, which currently is called Depois do fim da arte and is made up of students from different colleges and areas, along with young artists. The participants get together to discuss subjects concerning different disciplines such as art, philosophy, politics and architecture, always under Longo Bahia’s orientation. Dora has already included the group of students in various exhibitions, including the 28th Bienal de São Paulo, when she ceded part of her participation to Anarcademia (the group’s former name).
The artist is bringing the same group to the exhibition about Avenida Paulista being held by MASP from February 16 through May 28, 2017. There, the group is occupying one of the museum’s auditoriums with a weekly cineclub. Part of the material of the cineclub will be produced by Depois do Fim da Arte in the territory created by them at Galeria Vermelho. For both projects – at Vermelho and MASP – Longo Bahia is sharing the coordination of the group with Renata Pedrosa.
Besides the installation in the gallery’s main room and the participation of Depois do Fim da Arte, Longo Bahia is presenting two new series of works and an intervention on Galeria Vermelho’s facade.
TEXTS
Galeria Vermelho presents Cinzas [Ashes], Dora Longo Bahia’s sixth solo show at the gallery.
In the main room of Galeria Vermelho is the installation Cinzas [Ashes] built on the basis of the ruins of parade floats used in the 2015 Carnival.
In the entrance hall, the artist is ceding part of her exhibition to her students, who have set up a printing press atelier to produce artworks daily.
Taking education as part of her artistic practice, Longo Bahia has been maintaining a rotating study group in her residence since 1999, which currently is called Depois do fim da arte and is made up of students from different colleges and areas, along with young artists. The participants get together to discuss subjects concerning different disciplines such as art, philosophy, politics and architecture, always under Longo Bahia’s orientation. Dora has already included the group of students in various exhibitions, including the 28th Bienal de São Paulo, when she ceded part of her participation to Anarcademia (the group’s former name).
The artist is bringing the same group to the exhibition about Avenida Paulista being held by MASP from February 16 through May 28, 2017. There, the group is occupying one of the museum’s auditoriums with a weekly cineclub. Part of the material of the cineclub will be produced by Depois do Fim da Arte in the territory created by them at Galeria Vermelho. For both projects – at Vermelho and MASP – Longo Bahia is sharing the coordination of the group with Renata Pedrosa.
Besides the installation in the gallery’s main room and the participation of Depois do Fim da Arte, Longo Bahia is presenting two new series of works and an intervention on Galeria Vermelho’s facade.
IMAGES
Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Cinzas, 2017
Photo Edouard Fraipont
[:pt]Com a colaboração de:
Abraão Reis – produção / adereços/ elétrica
Antônio Galúcio – ferragem / solda
Bruno Palazzo – edição de som
Bruno Storni – produção
Edigar Candido– produção
Fábio Amaral – montagem / adereços
Frederico Ravioli – produção
Paulo Sérgio de Castro – montagem fibra de vidro
Robert Henrique Vieira Barroso – montagem / solda
Tomas Irici – produção
Agradecimentos:
Sociedade Rosas de Ouro[:en]With the collaboration of:
Abraão Reis – production / props / electric
Antônio Galúcio – hardware / welding
Bruno Palazzo – sound editing
Bruno Storni – production
Edigar Candido – production
Fábio Amaral – montagem / adereços [assembly / props]
Frederico Ravioli – production
Paulo Sérgio de Castro – fiberglass assembly
Robert Henrique Vieira Barroso – assembly / welding
Tomas Irici – production
With thanks to:
Sociedade Rosas de Ouro[:]
Photo Edouard Fraipont [:pt]Com a colaboração de:
Abraão Reis – produção / adereços/ elétrica
Antônio Galúcio – ferragem / solda
Bruno Palazzo – edição de som
Bruno Storni – produção
Edigar Candido– produção
Fábio Amaral – montagem / adereços
Frederico Ravioli – produção
Paulo Sérgio de Castro – montagem fibra de vidro
Robert Henrique Vieira Barroso – montagem / solda
Tomas Irici – produção
Agradecimentos:
Sociedade Rosas de Ouro[:en]With the collaboration of:
Abraão Reis – production / props / electric
Antônio Galúcio – hardware / welding
Bruno Palazzo – sound editing
Bruno Storni – production
Edigar Candido – production
Fábio Amaral – montagem / adereços [assembly / props]
Frederico Ravioli – production
Paulo Sérgio de Castro – fiberglass assembly
Robert Henrique Vieira Barroso – assembly / welding
Tomas Irici – production
With thanks to:
Sociedade Rosas de Ouro[:]
Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Olimpiadas (21/08/2016), 2017
56 x 31,5 cm (cada parte de três / each part of three)
Acrylic on newspapers
Photo Galeria Vermelho
[:pt]Para Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas no Brasil e pintou sobre cada primeira página a imagem de um palhaço. São 48 pinturas, feitas sobre capas de três jornais diferentes durante 16 dias consecutivos de cobertura jornalística em torno do evento. É possível notar nas primeiras páginas desses jornais um atrito entre a cobertura das olimpíadas e da crise política brasileira. Faz-se evidente a jocosidade de se receber um evento das proporções e custos das olímpiadas – que também é voltada ao entretenimento global e de massa - durante uma das maiores crises políticas da história do país..[:en]For Olimpiadas [a play on the words Olympics and gag] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. On the first pages of these newspapers one can note a clashing between the coverage of the Olympics and of the Brazilian political crisis. The series makes evident the irony of hosting an event of the size and cost of the Olympics – which is also concerned with global and mass entertainment – during one of the biggest political crises in the country’s history.[:]
56 x 31,5 cm (cada parte de três / each part of three)
Acrylic on newspapers Photo Galeria Vermelho [:pt]Para Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas no Brasil e pintou sobre cada primeira página a imagem de um palhaço. São 48 pinturas, feitas sobre capas de três jornais diferentes durante 16 dias consecutivos de cobertura jornalística em torno do evento. É possível notar nas primeiras páginas desses jornais um atrito entre a cobertura das olimpíadas e da crise política brasileira. Faz-se evidente a jocosidade de se receber um evento das proporções e custos das olímpiadas – que também é voltada ao entretenimento global e de massa - durante uma das maiores crises políticas da história do país..[:en]For Olimpiadas [a play on the words Olympics and gag] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. On the first pages of these newspapers one can note a clashing between the coverage of the Olympics and of the Brazilian political crisis. The series makes evident the irony of hosting an event of the size and cost of the Olympics – which is also concerned with global and mass entertainment – during one of the biggest political crises in the country’s history.[:] Olimpiadas (18/08/2016), 2017
56 x 31,5 cm (cada parte de três / each part of three)
Acrylic on newspapers
Photo Galeria Vermelho
[:pt]Para Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas no Brasil e pintou sobre cada primeira página a imagem de um palhaço. São 48 pinturas, feitas sobre capas de três jornais diferentes durante 16 dias consecutivos de cobertura jornalística em torno do evento. É possível notar nas primeiras páginas desses jornais um atrito entre a cobertura das olimpíadas e da crise política brasileira. Faz-se evidente a jocosidade de se receber um evento das proporções e custos das olímpiadas – que também é voltada ao entretenimento global e de massa - durante uma das maiores crises políticas da história do país..[:en]For Olimpiadas [a play on the words Olympics and gag] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. On the first pages of these newspapers one can note a clashing between the coverage of the Olympics and of the Brazilian political crisis. The series makes evident the irony of hosting an event of the size and cost of the Olympics – which is also concerned with global and mass entertainment – during one of the biggest political crises in the country’s history.[:]
56 x 31,5 cm (cada parte de três / each part of three)
Acrylic on newspapers Photo Galeria Vermelho [:pt]Para Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas no Brasil e pintou sobre cada primeira página a imagem de um palhaço. São 48 pinturas, feitas sobre capas de três jornais diferentes durante 16 dias consecutivos de cobertura jornalística em torno do evento. É possível notar nas primeiras páginas desses jornais um atrito entre a cobertura das olimpíadas e da crise política brasileira. Faz-se evidente a jocosidade de se receber um evento das proporções e custos das olímpiadas – que também é voltada ao entretenimento global e de massa - durante uma das maiores crises políticas da história do país..[:en]For Olimpiadas [a play on the words Olympics and gag] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. On the first pages of these newspapers one can note a clashing between the coverage of the Olympics and of the Brazilian political crisis. The series makes evident the irony of hosting an event of the size and cost of the Olympics – which is also concerned with global and mass entertainment – during one of the biggest political crises in the country’s history.[:] Olimpiadas (17/08/2016), 2017
56 x 31,5 cm (cada parte de três / each part of three)
Acrylic on newspapers
Photo Galeria Vermelho
[:pt]Para Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas no Brasil e pintou sobre cada primeira página a imagem de um palhaço. São 48 pinturas, feitas sobre capas de três jornais diferentes durante 16 dias consecutivos de cobertura jornalística em torno do evento. É possível notar nas primeiras páginas desses jornais um atrito entre a cobertura das olimpíadas e da crise política brasileira. Faz-se evidente a jocosidade de se receber um evento das proporções e custos das olímpiadas – que também é voltada ao entretenimento global e de massa - durante uma das maiores crises políticas da história do país..[:en]For Olimpiadas [a play on the words Olympics and gag] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. On the first pages of these newspapers one can note a clashing between the coverage of the Olympics and of the Brazilian political crisis. The series makes evident the irony of hosting an event of the size and cost of the Olympics – which is also concerned with global and mass entertainment – during one of the biggest political crises in the country’s history.[:]
56 x 31,5 cm (cada parte de três / each part of three)
Acrylic on newspapers Photo Galeria Vermelho [:pt]Para Olimpiadas, Longo Bahia colecionou jornais da época das olimpíadas no Brasil e pintou sobre cada primeira página a imagem de um palhaço. São 48 pinturas, feitas sobre capas de três jornais diferentes durante 16 dias consecutivos de cobertura jornalística em torno do evento. É possível notar nas primeiras páginas desses jornais um atrito entre a cobertura das olimpíadas e da crise política brasileira. Faz-se evidente a jocosidade de se receber um evento das proporções e custos das olímpiadas – que também é voltada ao entretenimento global e de massa - durante uma das maiores crises políticas da história do país..[:en]For Olimpiadas [a play on the words Olympics and gag] Longo Bahia collected newspapers from the time of the Olympics in Brazil and painted the image of a clown on each front page. There are 48 paintings, made on the front pages of three different newspapers from 16 consecutive days of journalistic coverage concerning the event. On the first pages of these newspapers one can note a clashing between the coverage of the Olympics and of the Brazilian political crisis. The series makes evident the irony of hosting an event of the size and cost of the Olympics – which is also concerned with global and mass entertainment – during one of the biggest political crises in the country’s history.[:]
Axl, 1999 / 2017
240 x 181 x 3,5 CM
Acrylic paint over oil on canvas
Photo Edouard Fraipont
[:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]
240 x 181 x 3,5 CM
Acrylic paint over oil on canvas Photo Edouard Fraipont [:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]Exhibition view
Photo Edouard Fraipont
Photo Edouard Fraipont
Burning oil wells in Kuwait, 2016 / 2017
60 x 120,5 x 3,5 CM
Acrylic paint over oil on canvas
Photo Edouard Fraipont
[:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]
60 x 120,5 x 3,5 CM
Acrylic paint over oil on canvas Photo Edouard Fraipont [:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]
Demolidor, 1987/ 2017
190 x 150 x 3 cm
Acrylic paint over oil on canvas
Photo Edouard Fraipont
[:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]
190 x 150 x 3 cm
Acrylic paint over oil on canvas Photo Edouard Fraipont [:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]
Who’s afraid of red ?, 1999 / 2017
170 x 170 x 3 CM
Acrylic paint over oil on canvas
Photo Edouard Fraipont
[:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]
170 x 170 x 3 CM
Acrylic paint over oil on canvas Photo Edouard Fraipont [:pt]Dora Longo Bahia selecionou pinturas de diferentes momentos de sua carreira para serem cobertas pela mesma tinta cinza que vem sendo utilizada pela prefeitura para cobrir a arte urbana pela cidade de São Paulo. Seis pinturas receberam uma camada de tinta cinza concreto, impedindo a apreciação das pinturas anteriores que ocupavam as telas.[:en]Dora Longo Bahia selected paintings from different moments of her career to be covered with the same gray paint that the city government has been using to cover the urban art around the city of São Paulo. Six paintings will receive a layer of concrete-gray paint, preventing the appreciation of the works that formerly occupied the canvases.[:]