12.Feb.22 - 19.Mar.22
Colors
Vermelho presents Fabio Morais’ eighth solo show at the gallery. Entitled Colors, the exhibition offers an immersion in textual objects, proposing multidirectional, three-dimensional and performative reading modes.
According to Fabio Morais, “Cores is an exhibition written in the three-dimensionality of the works and the architecture, configuring itself as a verbal ambience that reveals meaning through the meandering of the reader and not through the controlling intention of the writer”.
Morais works establish a verbal ambiance that insinuates meanings as the visitor wanders through the expography and is faced with letters, syllables, words, phrases, stories and histories. The exhibition and editorial spaces converge in the works. His practice transits between works whose creation and exhibition follow expository logics and graphic works with editorial formatting and circulation. In room 3 of the gallery, Morais an exhibition of a selection of publications and books – more than 30 – created by the artist since 2003.
Morais has published graphic works by the publishers par(ent)esis, Tijuana, Dulcineia Catadora, Cosac Naify and Ikrek and in periodicals and publications such as seLecT, Bravo, Recibo, Caderno videobrasil, Folha de São Paulo, Le Monde Diplomatique. Between 2012-13, he was one of the organizers of the printed art fair Turnê and in 2019 he was one of the curators of Feira Tijuana SP, at Casa do Povo.
TEXTS
Vermelho presents Fabio Morais’ eighth solo show at the gallery. Entitled Colors, the exhibition offers an immersion in textual objects, proposing multidirectional, three-dimensional and performative reading modes.
According to Fabio Morais, “Cores is an exhibition written in the three-dimensionality of the works and the architecture, configuring itself as a verbal ambience that reveals meaning through the meandering of the reader and not through the controlling intention of the writer”.
Morais works establish a verbal ambiance that insinuates meanings as the visitor wanders through the expography and is faced with letters, syllables, words, phrases, stories and histories. The exhibition and editorial spaces converge in the works. His practice transits between works whose creation and exhibition follow expository logics and graphic works with editorial formatting and circulation. In room 3 of the gallery, Morais an exhibition of a selection of publications and books – more than 30 – created by the artist since 2003.
Morais has published graphic works by the publishers par(ent)esis, Tijuana, Dulcineia Catadora, Cosac Naify and Ikrek and in periodicals and publications such as seLecT, Bravo, Recibo, Caderno videobrasil, Folha de São Paulo, Le Monde Diplomatique. Between 2012-13, he was one of the organizers of the printed art fair Turnê and in 2019 he was one of the curators of Feira Tijuana SP, at Casa do Povo.
IMAGES
De repente 1, 2021
145 x 21 cm
Screen print on 5mm plexiglass plate
Photo Filipe Berndt
De repente [Suddenly]. In the series, the guideline that supports the writing, structuring it in the typographic grid, is not a secure support. The supporting line of the text breaks, causing the sentence to plummet and decompose into falling letters. Without the security of structure, would the written world collapse? In the politics of verbal mediations, in addition to the current dispute over meanings and narratives, the breaking of the word – which is the metaphor of the texts of De repente – alludes to the fragility of pacts made via text: the Constitution, the law, the contracts. This is the case of the fragile Brazilian republican pact, always redefined by and according to who holds the real powers of the Republic.
145 x 21 cm
Screen print on 5mm plexiglass plate
Photo Filipe BerndtDe repente [Suddenly]. In the series, the guideline that supports the writing, structuring it in the typographic grid, is not a secure support. The supporting line of the text breaks, causing the sentence to plummet and decompose into falling letters. Without the security of structure, would the written world collapse? In the politics of verbal mediations, in addition to the current dispute over meanings and narratives, the breaking of the word – which is the metaphor of the texts of De repente – alludes to the fragility of pacts made via text: the Constitution, the law, the contracts. This is the case of the fragile Brazilian republican pact, always redefined by and according to who holds the real powers of the Republic.
Pós tanta coisa [Post so much], 2020
loop - 15´
HD video. color, no sound
Photo Stills do vídeo
[:pt]O vídeo Pós Tanta Coisa (2020) apresenta, como créditos finais de um Brasil que termina, termos escritos a partir dos caracteres tipográficos de Tropicalia ou Panis et Circencis, título do álbum coletivo de 1968.[:en]The video Pós Tanta Coisa (2020) presents, as the closing credits of a Brazil that ends, terms written from the typographic characters of Tropicalia ou Panis et Circencis, title of the collective album of 1968.[:]
loop - 15´
HD video. color, no sound Photo Stills do vídeo [:pt]O vídeo Pós Tanta Coisa (2020) apresenta, como créditos finais de um Brasil que termina, termos escritos a partir dos caracteres tipográficos de Tropicalia ou Panis et Circencis, título do álbum coletivo de 1968.[:en]The video Pós Tanta Coisa (2020) presents, as the closing credits of a Brazil that ends, terms written from the typographic characters of Tropicalia ou Panis et Circencis, title of the collective album of 1968.[:]
Loop #10, 2020
85 x 213 cm
Black 3 mm laser cut plexiglass
Photo Galeria Vermelho
[:pt]Loop no 10, é composto por “It petrifies the will. / These are the isolate, slow faults / That kill, that kill, that kill.”, do poema Elm, de Sylvia Plath; e por “Um bom menino perdeu-se um dia, entre a cozinha e o corredor”, da música Deus vos salve a casa santa, de Torquato Neto.[:en]Loop no 10, is composed of “It petrifies the will. / These are the isolate, slow faults / That kill, that kill, that kill.”, from the poem Elm, by Sylvia Plath; and for “A good boy got lost one day, between the kitchen and the hallway”, from the song Deus svos alve a casa santa, by Torquato Neto.[:]
85 x 213 cm
Black 3 mm laser cut plexiglass Photo Galeria Vermelho [:pt]Loop no 10, é composto por “It petrifies the will. / These are the isolate, slow faults / That kill, that kill, that kill.”, do poema Elm, de Sylvia Plath; e por “Um bom menino perdeu-se um dia, entre a cozinha e o corredor”, da música Deus vos salve a casa santa, de Torquato Neto.[:en]Loop no 10, is composed of “It petrifies the will. / These are the isolate, slow faults / That kill, that kill, that kill.”, from the poem Elm, by Sylvia Plath; and for “A good boy got lost one day, between the kitchen and the hallway”, from the song Deus svos alve a casa santa, by Torquato Neto.[:]
De repente 2, 2021
145 x 21 cm
Screen print on 5mm plexiglass plate
Photo Galeria Vermelho
[:pt]De repente. Na série, a pauta que sustenta a escrita, estruturando-a na grade tipográfica, não é um suporte seguro. A linha de sustentação do texto se rompe, fazendo a frase despencar e se decompor em letras em queda. Sem a segurança da pauta, o mundo escrito desabaria? Na política das mediações verbais, além da atual disputa de significados e narrativas, a quebra da palavra – que é a metáfora dos textos de De repente – alude à fragilidade dos pactos feitos via texto: a Constituição, a lei, os contratos. É o caso do frágil pacto republicano brasileiro, sempre redefinido por e conforme quem detém os reais poderes da República.[:en]De repente [Suddenly]. In the series, the guideline that supports the writing, structuring it in the typographic grid, is not a secure support. The supporting line of the text breaks, causing the sentence to plummet and decompose into falling letters. Without the security of structure, would the written world collapse? In the politics of verbal mediations, in addition to the current dispute over meanings and narratives, the breaking of the word – which is the metaphor of the texts of De repente – alludes to the fragility of pacts made via text: the Constitution, the law, the contracts. This is the case of the fragile Brazilian republican pact, always redefined by and according to who holds the real powers of the Republic.
[:]
145 x 21 cm
Screen print on 5mm plexiglass plate Photo Galeria Vermelho [:pt]De repente. Na série, a pauta que sustenta a escrita, estruturando-a na grade tipográfica, não é um suporte seguro. A linha de sustentação do texto se rompe, fazendo a frase despencar e se decompor em letras em queda. Sem a segurança da pauta, o mundo escrito desabaria? Na política das mediações verbais, além da atual disputa de significados e narrativas, a quebra da palavra – que é a metáfora dos textos de De repente – alude à fragilidade dos pactos feitos via texto: a Constituição, a lei, os contratos. É o caso do frágil pacto republicano brasileiro, sempre redefinido por e conforme quem detém os reais poderes da República.[:en]De repente [Suddenly]. In the series, the guideline that supports the writing, structuring it in the typographic grid, is not a secure support. The supporting line of the text breaks, causing the sentence to plummet and decompose into falling letters. Without the security of structure, would the written world collapse? In the politics of verbal mediations, in addition to the current dispute over meanings and narratives, the breaking of the word – which is the metaphor of the texts of De repente – alludes to the fragility of pacts made via text: the Constitution, the law, the contracts. This is the case of the fragile Brazilian republican pact, always redefined by and according to who holds the real powers of the Republic. [:]
Coca-Cola, from the Cartazes para salas de cinema series, 2021
100 x 70 cm
Laser cutted 3mm black pvc
Photo Galeria Vermelho
[:pt]A série Cartazes para Salas de Cinemas (2021) é produzida em placas de PVC com letras recortadas. A série faz um paralelo entre sua forma de estêncil – o vazado das letras permite ler o texto através do branco da parede –, e a projeção cinematográfica, garantida pela quantidade de luz filtrada pela película e projetada sobre o branco da tela. Os textos de Cartazes para Salas de Cinemas atuam visualmente sem respeitar a grade esquadrinhada da diagramação tipográfica, de modo que a escrita se torna a imagem negada pela inexistência do filme, supostamente anunciado no cartaz.[:en]The series Posters for Movie Theaters (2021) is produced in PVC plates with cut out letters. The series draws a parallel between its stencil form – the hollow of the letters allows you to read the text through the white of the wall – and the cinematographic projection, guaranteed by the amount of light filtered by the film and projected onto the white of the screen. The texts of Cartazes para Salas de Cinemas act visually without respecting the scrutinized grid of typographic layout, so that writing becomes the image denied by the non-existence of the film, supposedly announced in the poster.[:]
100 x 70 cm
Laser cutted 3mm black pvc Photo Galeria Vermelho [:pt]A série Cartazes para Salas de Cinemas (2021) é produzida em placas de PVC com letras recortadas. A série faz um paralelo entre sua forma de estêncil – o vazado das letras permite ler o texto através do branco da parede –, e a projeção cinematográfica, garantida pela quantidade de luz filtrada pela película e projetada sobre o branco da tela. Os textos de Cartazes para Salas de Cinemas atuam visualmente sem respeitar a grade esquadrinhada da diagramação tipográfica, de modo que a escrita se torna a imagem negada pela inexistência do filme, supostamente anunciado no cartaz.[:en]The series Posters for Movie Theaters (2021) is produced in PVC plates with cut out letters. The series draws a parallel between its stencil form – the hollow of the letters allows you to read the text through the white of the wall – and the cinematographic projection, guaranteed by the amount of light filtered by the film and projected onto the white of the screen. The texts of Cartazes para Salas de Cinemas act visually without respecting the scrutinized grid of typographic layout, so that writing becomes the image denied by the non-existence of the film, supposedly announced in the poster.[:]
Loop #5, 2020
12 x 325 cm (12 x 50 cm each plate)
black 3 mm laser cut plexiglass
Photo Filipe Berndt
[:pt]Os títulos das obras O Perigoso (1992), de Leonilson, e corpobra (1970), de Antonio Manuel, compõem Loop #5.[:en]The titles of the works O Perigoso (1992), by Leonilson, and corpobra (1970), by Antonio Manuel, make up Loop #5.[:]
12 x 325 cm (12 x 50 cm each plate)
black 3 mm laser cut plexiglass Photo Filipe Berndt [:pt]Os títulos das obras O Perigoso (1992), de Leonilson, e corpobra (1970), de Antonio Manuel, compõem Loop #5.[:en]The titles of the works O Perigoso (1992), by Leonilson, and corpobra (1970), by Antonio Manuel, make up Loop #5.[:]
Loop #6, 2020
12 x 415 cm
Black 3 mm laser cut plexiglass
Photo Galeria Vermelho
[:pt]Loop no 6 , é composto por “À l’ami qui ne m’a pas sauvé la vie”, título do livro de Hervé Guibert, publicado em 1990, e os títulos de sua versão em português, “Para o amigo que não me salvou a vida”; em espanhol, “Al amigo que no me salvó la vida”; e em inglês, “To the friend who did not save my life”.[:en]Loop no 6, is composed of “À l’ami qui ne m’a pas sauvé la vie”, title of the book by Hervé Guibert, published in 1990, and the titles of its Portuguese version, “Para o amigo que não me salvou a vida”; in Spanish, “Al Amigo que no me salvó la vida”; and in English, “To the friend who did not save my life”.
[:]
12 x 415 cm
Black 3 mm laser cut plexiglass Photo Galeria Vermelho [:pt]Loop no 6 , é composto por “À l’ami qui ne m’a pas sauvé la vie”, título do livro de Hervé Guibert, publicado em 1990, e os títulos de sua versão em português, “Para o amigo que não me salvou a vida”; em espanhol, “Al amigo que no me salvó la vida”; e em inglês, “To the friend who did not save my life”.[:en]Loop no 6, is composed of “À l’ami qui ne m’a pas sauvé la vie”, title of the book by Hervé Guibert, published in 1990, and the titles of its Portuguese version, “Para o amigo que não me salvou a vida”; in Spanish, “Al Amigo que no me salvó la vida”; and in English, “To the friend who did not save my life”. [:]
Letras em câmera lenta, from the Cartazes para salas de cinema series, 2021
100 x 70 cm
Laser cutted 3mm black pvc
Photo Galeria Vermelho
[:pt]A série Cartazes para Salas de Cinemas (2021) é produzida em placas de PVC com letras recortadas. A série faz um paralelo entre sua forma de estêncil – o vazado das letras permite ler o texto através do branco da parede –, e a projeção cinematográfica, garantida pela quantidade de luz filtrada pela película e projetada sobre o branco da tela. Os textos de Cartazes para Salas de Cinemas atuam visualmente sem respeitar a grade esquadrinhada da diagramação tipográfica, de modo que a escrita se torna a imagem negada pela inexistência do filme, supostamente anunciado no cartaz.[:en]The series Posters for Movie Theaters (2021) is produced in PVC plates with cut out letters. The series draws a parallel between its stencil form – the hollow of the letters allows you to read the text through the white of the wall – and the cinematographic projection, guaranteed by the amount of light filtered by the film and projected onto the white of the screen. The texts of Cartazes para Salas de Cinemas act visually without respecting the scrutinized grid of typographic layout, so that writing becomes the image denied by the non-existence of the film, supposedly announced in the poster.[:]
100 x 70 cm
Laser cutted 3mm black pvc Photo Galeria Vermelho [:pt]A série Cartazes para Salas de Cinemas (2021) é produzida em placas de PVC com letras recortadas. A série faz um paralelo entre sua forma de estêncil – o vazado das letras permite ler o texto através do branco da parede –, e a projeção cinematográfica, garantida pela quantidade de luz filtrada pela película e projetada sobre o branco da tela. Os textos de Cartazes para Salas de Cinemas atuam visualmente sem respeitar a grade esquadrinhada da diagramação tipográfica, de modo que a escrita se torna a imagem negada pela inexistência do filme, supostamente anunciado no cartaz.[:en]The series Posters for Movie Theaters (2021) is produced in PVC plates with cut out letters. The series draws a parallel between its stencil form – the hollow of the letters allows you to read the text through the white of the wall – and the cinematographic projection, guaranteed by the amount of light filtered by the film and projected onto the white of the screen. The texts of Cartazes para Salas de Cinemas act visually without respecting the scrutinized grid of typographic layout, so that writing becomes the image denied by the non-existence of the film, supposedly announced in the poster.[:]
Loop #2, 2020
116 x 100 cm
Black 3 mm laser cut plexiglass
Photo Galeria Vermelho
[:pt]Loop no 2, é composto por títulos de fotografias de Nan Goldin, da série que retrata a relação do casal Gilles e Gotscho: Gilles and Gotscho on the metro; Gilles and Gotscho in my hotel room; Gilles and Gotscho at home; Gilles and Gotscho embracing; Gotscho at the kitchen table; The hallway of Gilles’ hospital; Gilles in his hospital bed; Gotscho in the movie theater; Gilles’ arm; Gotscho kissing Gilles.[:en]Loop no 2, is composed of titles of photographs by Nan Goldin, from the series that portrays the relationship between the couple Gilles and Gotscho: Gilles and Gotscho on the metro; Gilles and Gotscho in my hotel room; Gilles and Gotscho at home; Gilles and Gotscho embracing; Gotscho at the kitchen table; The hallway of Gilles’ hospital; Gilles in his hospital bed; Gotscho in the movie theater; Gilles’ arm; Gotscho kissing Gilles.[:]
116 x 100 cm
Black 3 mm laser cut plexiglass Photo Galeria Vermelho [:pt]Loop no 2, é composto por títulos de fotografias de Nan Goldin, da série que retrata a relação do casal Gilles e Gotscho: Gilles and Gotscho on the metro; Gilles and Gotscho in my hotel room; Gilles and Gotscho at home; Gilles and Gotscho embracing; Gotscho at the kitchen table; The hallway of Gilles’ hospital; Gilles in his hospital bed; Gotscho in the movie theater; Gilles’ arm; Gotscho kissing Gilles.[:en]Loop no 2, is composed of titles of photographs by Nan Goldin, from the series that portrays the relationship between the couple Gilles and Gotscho: Gilles and Gotscho on the metro; Gilles and Gotscho in my hotel room; Gilles and Gotscho at home; Gilles and Gotscho embracing; Gotscho at the kitchen table; The hallway of Gilles’ hospital; Gilles in his hospital bed; Gotscho in the movie theater; Gilles’ arm; Gotscho kissing Gilles.[:]
Drogaria, 2021
40 x 140 cm
Mineral pigmented print on Hahnemühle Photo Rag Ultra Smooth 305g paper
Photo Galeria Vermelho
[:pt]A escrita que há nas 13 caixas de Drogaria compõe, como na maioria das obras de Cores, mais uma atmosfera textual do que uma narrativa clara e linear – nesse caso, uma atmosfera onde subjetividades são assediadas por modelos de patologização.[:en]The writing in the 13 Drogaria boxes composes, as in most of the works in Cores, more of a textual atmosphere than a clear and linear narrative – in this case, an atmosphere where subjectivities are besieged by pathologization models.[:]
40 x 140 cm
Mineral pigmented print on Hahnemühle Photo Rag Ultra Smooth 305g paper Photo Galeria Vermelho [:pt]A escrita que há nas 13 caixas de Drogaria compõe, como na maioria das obras de Cores, mais uma atmosfera textual do que uma narrativa clara e linear – nesse caso, uma atmosfera onde subjetividades são assediadas por modelos de patologização.[:en]The writing in the 13 Drogaria boxes composes, as in most of the works in Cores, more of a textual atmosphere than a clear and linear narrative – in this case, an atmosphere where subjectivities are besieged by pathologization models.[:]
Loop #9, 2020
85 x 90 cm
Black 3 mm laser cut plexiglass
Photo Galeria Vermelho
[:pt]Loop no 9, é composto pelo post de Chelsea Manning no Twitter, em 31 de dezembro de 2019, no qual fez um balanço de sua década: “breakdown of my decade (2010-2019): - 77.76% in jail/ - 11.05% in solitary confinement / - 51.23% fighting for gender affirming care / - 100.00% being true to myself no matter what / - 0.00% backing down”.[:en]Loop No 9, is made up of Chelsea Manning’s Twitter post on December 31, 2019, in which she took stock of her decade: “breakdown of my decade (2010-2019): - 77.76% in jail / - 11.05% in solitary confinement / - 51.23% fighting for gender affirming care / - 100.00% being true to myself no matter what / - 0.00% backing down”.[:]
85 x 90 cm
Black 3 mm laser cut plexiglass Photo Galeria Vermelho [:pt]Loop no 9, é composto pelo post de Chelsea Manning no Twitter, em 31 de dezembro de 2019, no qual fez um balanço de sua década: “breakdown of my decade (2010-2019): - 77.76% in jail/ - 11.05% in solitary confinement / - 51.23% fighting for gender affirming care / - 100.00% being true to myself no matter what / - 0.00% backing down”.[:en]Loop No 9, is made up of Chelsea Manning’s Twitter post on December 31, 2019, in which she took stock of her decade: “breakdown of my decade (2010-2019): - 77.76% in jail / - 11.05% in solitary confinement / - 51.23% fighting for gender affirming care / - 100.00% being true to myself no matter what / - 0.00% backing down”.[:]
De repente 3, 2021
145 x 21 cm
Screen print on 5mm plexiglass plate
Photo Galeria Vermelho
[:pt]De repente. Na série, a pauta que sustenta a escrita, estruturando-a na grade tipográfica, não é um suporte seguro. A linha de sustentação do texto se rompe, fazendo a frase despencar e se decompor em letras em queda. Sem a segurança da pauta, o mundo escrito desabaria? Na política das mediações verbais, além da atual disputa de significados e narrativas, a quebra da palavra – que é a metáfora dos textos de De repente – alude à fragilidade dos pactos feitos via texto: a Constituição, a lei, os contratos. É o caso do frágil pacto republicano brasileiro, sempre redefinido por e conforme quem detém os reais poderes da República.[:en]De repente [Suddenly]. In the series, the guideline that supports the writing, structuring it in the typographic grid, is not a secure support. The supporting line of the text breaks, causing the sentence to plummet and decompose into falling letters. Without the security of structure, would the written world collapse? In the politics of verbal mediations, in addition to the current dispute over meanings and narratives, the breaking of the word – which is the metaphor of the texts of De repente – alludes to the fragility of pacts made via text: the Constitution, the law, the contracts. This is the case of the fragile Brazilian republican pact, always redefined by and according to who holds the real powers of the Republic.
[:]
145 x 21 cm
Screen print on 5mm plexiglass plate Photo Galeria Vermelho [:pt]De repente. Na série, a pauta que sustenta a escrita, estruturando-a na grade tipográfica, não é um suporte seguro. A linha de sustentação do texto se rompe, fazendo a frase despencar e se decompor em letras em queda. Sem a segurança da pauta, o mundo escrito desabaria? Na política das mediações verbais, além da atual disputa de significados e narrativas, a quebra da palavra – que é a metáfora dos textos de De repente – alude à fragilidade dos pactos feitos via texto: a Constituição, a lei, os contratos. É o caso do frágil pacto republicano brasileiro, sempre redefinido por e conforme quem detém os reais poderes da República.[:en]De repente [Suddenly]. In the series, the guideline that supports the writing, structuring it in the typographic grid, is not a secure support. The supporting line of the text breaks, causing the sentence to plummet and decompose into falling letters. Without the security of structure, would the written world collapse? In the politics of verbal mediations, in addition to the current dispute over meanings and narratives, the breaking of the word – which is the metaphor of the texts of De repente – alludes to the fragility of pacts made via text: the Constitution, the law, the contracts. This is the case of the fragile Brazilian republican pact, always redefined by and according to who holds the real powers of the Republic. [:]