Vermelho presents Estrela Escura [Dark Star], André Komatsu’s (São Paulo, 1978) sixth solo show in the gallery.
In addition to the solo show, Komatsu inaugurates in September the solo shows Ordem Casual (Casual Order), curated by Ginevra Bria and Atto Bel- loli at the FuturDome in Milan. With 40 works from different periods, this represents the most comprehensive exhibition of the artist’s works until today. Also in Milan, Komatsu’s work can be seen in the group show of Brazilian artists, Il coltello nella Carne, curated by Jacopo Crivelli Visconti, at the Padiglione di Arte Contempora- nea (PAC).
André Komatsu represented Brazil at the 56th Venice Art Biennial (2015) and has participated in seminal national and international shows such as the 7th and 8th Mercosur Biennials (Porto Alegre, Brasil, 2009 and 2011), the X Bienal de Monterrey (Mexico, 2013), Avenida Paulista, (MASP, São Paulo, Brasil, 2017).
Komatsu is represented in major collections such as TATE Modern (London), Serralves Foundation (Porto), Museum of Modern Art, MoMA (New York) and Bronx Museum (New York).
Estrela Escura highlights characters and qualities that are usually relegated to the shadows of our daily lives. With new drawings, sculptures, paintings, assemblages and installations, Komatsu speaks of a Brazil and a world built by the worker and of a culture of tendencies and doctrines. Komatsu also speaks of the way in which we humans seek shelter in the devices that provide us with a sense of security – from our gated properties to the kind of journalistic coverage we choose to consume. The artist also comments on the ethical deviations that has accompanied the historical, political and artistic trends that formed Latin American.
Vermelho presents Estrela Escura [Dark Star], André Komatsu’s (São Paulo, 1978) sixth solo show in the gallery.
In addition to the solo show, Komatsu inaugurates in September the solo shows Ordem Casual (Casual Order), curated by Ginevra Bria and Atto Bel- loli at the FuturDome in Milan. With 40 works from different periods, this represents the most comprehensive exhibition of the artist’s works until today. Also in Milan, Komatsu’s work can be seen in the group show of Brazilian artists, Il coltello nella Carne, curated by Jacopo Crivelli Visconti, at the Padiglione di Arte Contempora- nea (PAC).
André Komatsu represented Brazil at the 56th Venice Art Biennial (2015) and has participated in seminal national and international shows such as the 7th and 8th Mercosur Biennials (Porto Alegre, Brasil, 2009 and 2011), the X Bienal de Monterrey (Mexico, 2013), Avenida Paulista, (MASP, São Paulo, Brasil, 2017).
Komatsu is represented in major collections such as TATE Modern (London), Serralves Foundation (Porto), Museum of Modern Art, MoMA (New York) and Bronx Museum (New York).
Estrela Escura highlights characters and qualities that are usually relegated to the shadows of our daily lives. With new drawings, sculptures, paintings, assemblages and installations, Komatsu speaks of a Brazil and a world built by the worker and of a culture of tendencies and doctrines. Komatsu also speaks of the way in which we humans seek shelter in the devices that provide us with a sense of security – from our gated properties to the kind of journalistic coverage we choose to consume. The artist also comments on the ethical deviations that has accompanied the historical, political and artistic trends that formed Latin American.
Photo Edouard Fraipont
Photo Edouard Fraipont
Variable dimentions
Steel mesh, mirror, iron, wired glass, fluted glass, cement board, plastic Photo Edouard FraipontPhoto Edouard Fraipont
Photo Edouard Fraipont
46,5 x 36,5 cm
Magazine clip and ink pen on 180 g Canson paper Photo Edouard Fraipont
Photo Edouard Fraipont
48,5x36cm
Magazine clip and ink pen on 180 g Canson paper Photo Edouard Fraipont
Photo Edouard Fraipont
Variable dimentions
Cut on wall, iron rebar and nails Photo Edouard FraipontPhoto Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
402x179x34cm
Galvanized steel wiring, plastic canvas, acrylic paint, lamps, sockets and electric wire Photo Edouard Fraipont [:pt]Em Fantasma, Komatsu da continuidade a pesquisa que resultou em sua instalação no Pavilhão Brasileiro da Bienal de Veneza de 2015. O artista trabalha com o conforto sentido pelo indi- viduo moderno em situações de auto aprisionamen- to doméstico, como na segurança sentida quando nos fazemos reféns em nossas moradas, cercadas de segurança e de artifícios elaborados para preservar nossas privacidades. Aqui, o que vemos é a celebra- ção desses procedimentos, transformados em objeto de contemplação.[:en]In Fantasma [Ghost] Komatsu continue the research that resulted in his installation at the Brazilian Pavilion of the Venice Biennale in 2015. The artist works on the comfort felt by the modern individual in self-domestic imprisonment situations, or on how we feel safe when we make ourselves hos- tages in our dwellings, surrounded of safety devices designed to preserve our privacies. Here, what we see is the celebration of these procedures, transformed into an object of contemplation.[:]Photo Edouard Fraipont
Photo Edouard Fraipont
2x29x32,5cm
Digital manipulation on newsprint and cotton string Photo Edouard Fraipont [:pt]Em Ruínas Latino-americanas, Komatsu altera digitalmente uma edição da Folha de S.Paulo, maior periódico da América Latina. O artista colecionou reportagens que tratam da privatização de diferentes recursos da economia nacional, montando uma falsa edição do jornal que é toda baseada em notícias sobre esse tema[:en]In Latin American Ruins, Komatsu digitally alters an edition of Folha de S.Paulo, the largest circulating newspaper in Latin America. The artist collected reports that dealt with the privatization of different areas of the national economy in order to construct a false edition of the newspaper only with news on these topics.[:]Photo Edouard Fraipont
Photo Edouard Fraipont
Galeria Vermelho
São Paulo, Brazil, 2018
Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
46x33,5x3,5cm
Lead, newspaper and nails Photo Edouard Fraipont [:pt]Jornais cujas denominações são de alguma forma absolutas como Le Monde (o mundo) e El País (o país), são cobertos por uma manta de chumbo que permite entrever apenas seus títulos, bloqueando qualquer notícia. O chumbo, em virtude das aplicações progressivamente mais intensas da energia atômica, tornou-se cada vez mais importante como blindagem contra a radiação, graças à sua excelente resistência à corrosão. O material é, contudo, extremamente tóxico para o corpo humano. A capa de chumbo de Komatsu, assim, ao mesmo nos protege do poder da mídia e nos contamina pela mesma.[:en]Newspapers whose denominations are somehow absolutes, such as Le Monde (The World) and El País (The Country), are covered by a blanket of lead that allows for only a glimpse of their titles, blocking any proper reading. Lead, by virtue of progressive applications of atomic energy, has become increasingly important as shielding against radiation thanks to its excellent corrosion resistance. The material is, however, extremely toxic to the human body. Komatsu’s lead blanket thus both protects us from the power of the media and contaminates us at the same time.[:]
Photo Edouard Fraipont
52x33x3,5cm
Lead, newspaper and nails Photo Edouard Fraipont [:pt]Jornais cujas denominações são de alguma forma absolutas como Le Monde (o mundo) e El País (o país), são cobertos por uma manta de chumbo que permite entrever apenas seus títulos, bloqueando qualquer notícia. O chumbo, em virtude das aplicações progressivamente mais intensas da energia atômica, tornou-se cada vez mais importante como blindagem contra a radiação, graças à sua excelente resistência à corrosão. O material é, contudo, extremamente tóxico para o corpo humano. A capa de chumbo de Komatsu, assim, ao mesmo nos protege do poder da mídia e nos contamina pela mesma.[:en]Newspapers whose denominations are somehow absolutes, such as Le Monde (The World) and El País (The Country), are covered by a blanket of lead that allows for only a glimpse of their titles, blocking any proper reading. Lead, by virtue of progressive applications of atomic energy, has become increasingly important as shielding against radiation thanks to its excellent corrosion resistance. The material is, however, extremely toxic to the human body. Komatsu’s lead blanket thus both protects us from the power of the media and contaminates us at the same time.[:]Photo Edouard Fraipont
150x149,5x28cm
Iron, varnish, galvanized steel grid, plastic canvas, glue, wire and LED lamp Photo Edouard Fraipont
Photo Edouard Fraipont
359x309x253cm
Wood, cement, paint, steel, aluminum, graphite, cement bags, magnets, styrofoam and string Photo Edouard Fraipont [:pt]A representação de processos construtivos e de edificações no trabalho de André Komatsu costuma lidar com ruínas e com a ideia de desconstrução. Um dos procedimentos usuais do artista é atribuir nova função ao que era dejeto, seja para empregá-lo na produção de tridimensionais e instalações, seja para tomá-lo como suporte de desenhos de arquitetura. Em geral, as peças incorporam, invertem e devolvem na forma de problema as características de seus suportes e referentes.[:en]The representation of constructive processes and constructions in the work of André Komatsu ́s usually contains ruins and the idea of deconstruction. One of the artist’s usual procedures is to attribute a new function for what was waste, either to use it in three-dimensional pieces and installations, either to take it as medium. Generally, the pieces incorporate, invert and return as a problem the characteristics of its supports and referential.[:]Photo Edouard Fraipont
Photo Edouard Fraipont
Photo Edouard Fraipont
33x25,5cm
Artist’s book Photo Edouard Fraipont [:pt]No livro Palavras Sujas, 2018, André Komatsu trabalha com páginas da revista Manchete da década de 1970. O artista cobre seus conteúdos com marcadores e apagamentos que formam composições que remetem às vanguardas artísticas brasileiras e deixam entrever pequenos fragmentos de notícias sobre o governo ditatorial militar.[:]