Galeria Vermelho presents, from October 23rd to November 15th, 2008, FORTUNA E RECUSA or UKYIO-E (the image of a floating world), a solo show by artist Ana Maria Tavares (rooms 1 and 2), and A Ordem dos Tratores does not change the Marcelo Cidade Viaduct installation (room 4). At the same time, the CÍCERA renovation project for house number 364, on Rua Minas Gerais, created and developed by the Mexican artist Héctor Zamora, will be inaugurated. The location will house studios and, in the future, an artistic residency program.
Ana Maria Tavares (1958) has a long artistic career on her CV that involves exhibitions in the most important museums in Brazil and around the world. Her works belong to important institutional and private collections, and the artist is frequently invited to participate in discussion tables and lectures.
FORTUNA E REUSA or UKYIO-E (the image of a floating world) is the artist’s first solo show at Vermelho. Tavares’ work establishes a clear relationship with Brazilian modernist architecture, creating a dynamic flow between drawing, design, sculpture and architecture. Recently, these characteristics have become even more intense with the introduction of elements that, on the one hand, transformed the conventional characteristics of the object/sculpture into functional parts, called by Tavares “support structures for the body”, and, on the other, made the exhibition space a familiar and recognizable place, at the same time as suspended in time/space, aligning itself with a virtual reality.
In her recent production, the artist has been inspired by elements taken from spaces such as hospitals and gyms. She also appropriates elements found in passing spaces, such as subway stations, airports, living rooms, waiting rooms and shopping centers. The research into these transit locations, used daily by a large number of people, can be considered structural in Tavares’ work, and reveals collective behavior in environments regulated by stable rules. Distraction and indifference seemed to be the most common state of inhabiting such places. As a consequence, simulations of environments composed of functional pieces (benches, armchairs, columns, etc.), moving images (videos and 3D animations), and sound pieces, suggest to the observer a state of rest, suspension or simply reality. frozen, as if it were possible to inhabit a still life. These spaces have acquired a disturbing nature and have become places where visitors can ask themselves: “where am I?”; “what am I doing?”; “Where I go?”. To such questions the artist suggests the following answer: “we left, but we haven’t arrived yet”.
In FORTUNA E REUSA or UKYIO-E (the image of a floating world), Tavares added elements of Japanese culture to the installations and videos that make up the exhibition, creating floating spaces that break with the linearity of daily dynamics, proposing a territory of suspension, a crack in time/space. In the installation, Massage for eyes in Rio de Janeiro (2008), for example, eye massage masks and stainless steel benches create a place where visitors can relax their vision, clearing their eyes of daily ailments.
From this, the artist invites the visitor to observe the space suspended between surface and volume that appears in the series TAN’MONOS (Delight), OBI (Deny), and OBI (Desire), created from pure Japanese silk used in the manufacture. in kimonos. Or in Fortuna (2008), an installation in which Tavares compiled words taken from English such as fortoken (omen), foretell (to predict), foresee (to foreshadow) or forecast (to prognosticate), all with the character of foreseeing or presaging future events and actions. The title of the installation not only refers to the meaning associated with the material goods that an individual can eventually accumulate, but mainly, to the character of good luck or misfortune, of fortune, success and adversity that the word concentrates. The installation was created with 25 cut-out acrylic plates superimposed on a mirrored surface that resembles a “fountain of desire”, suggesting the paradoxes of contemporary life.
Tavares also presents the work OBI Mantra (2008), composed of 40 modules of stainless steel tablets measuring 5 x 5 cm each, forming small frames measuring approximately 40 x 50 cm with a silver aluminum frame. The set of Mantras was inspired by the geometric OBI silk pattern. On them, the words desire – deserve – delight – ukiyo-e appear engraved in polished stainless steel, and which, due to the engraving technique, disappear at certain angles, reappearing as the observer moves.
Galeria Vermelho presents, from October 23rd to November 15th, 2008, FORTUNA E RECUSA or UKYIO-E (the image of a floating world), a solo show by artist Ana Maria Tavares (rooms 1 and 2), and A Ordem dos Tratores does not change the Marcelo Cidade Viaduct installation (room 4). At the same time, the CÍCERA renovation project for house number 364, on Rua Minas Gerais, created and developed by the Mexican artist Héctor Zamora, will be inaugurated. The location will house studios and, in the future, an artistic residency program.
Ana Maria Tavares (1958) has a long artistic career on her CV that involves exhibitions in the most important museums in Brazil and around the world. Her works belong to important institutional and private collections, and the artist is frequently invited to participate in discussion tables and lectures.
FORTUNA E REUSA or UKYIO-E (the image of a floating world) is the artist’s first solo show at Vermelho. Tavares’ work establishes a clear relationship with Brazilian modernist architecture, creating a dynamic flow between drawing, design, sculpture and architecture. Recently, these characteristics have become even more intense with the introduction of elements that, on the one hand, transformed the conventional characteristics of the object/sculpture into functional parts, called by Tavares “support structures for the body”, and, on the other, made the exhibition space a familiar and recognizable place, at the same time as suspended in time/space, aligning itself with a virtual reality.
In her recent production, the artist has been inspired by elements taken from spaces such as hospitals and gyms. She also appropriates elements found in passing spaces, such as subway stations, airports, living rooms, waiting rooms and shopping centers. The research into these transit locations, used daily by a large number of people, can be considered structural in Tavares’ work, and reveals collective behavior in environments regulated by stable rules. Distraction and indifference seemed to be the most common state of inhabiting such places. As a consequence, simulations of environments composed of functional pieces (benches, armchairs, columns, etc.), moving images (videos and 3D animations), and sound pieces, suggest to the observer a state of rest, suspension or simply reality. frozen, as if it were possible to inhabit a still life. These spaces have acquired a disturbing nature and have become places where visitors can ask themselves: “where am I?”; “what am I doing?”; “Where I go?”. To such questions the artist suggests the following answer: “we left, but we haven’t arrived yet”.
In FORTUNA E REUSA or UKYIO-E (the image of a floating world), Tavares added elements of Japanese culture to the installations and videos that make up the exhibition, creating floating spaces that break with the linearity of daily dynamics, proposing a territory of suspension, a crack in time/space. In the installation, Massage for eyes in Rio de Janeiro (2008), for example, eye massage masks and stainless steel benches create a place where visitors can relax their vision, clearing their eyes of daily ailments.
From this, the artist invites the visitor to observe the space suspended between surface and volume that appears in the series TAN’MONOS (Delight), OBI (Deny), and OBI (Desire), created from pure Japanese silk used in the manufacture. in kimonos. Or in Fortuna (2008), an installation in which Tavares compiled words taken from English such as fortoken (omen), foretell (to predict), foresee (to foreshadow) or forecast (to prognosticate), all with the character of foreseeing or presaging future events and actions. The title of the installation not only refers to the meaning associated with the material goods that an individual can eventually accumulate, but mainly, to the character of good luck or misfortune, of fortune, success and adversity that the word concentrates. The installation was created with 25 cut-out acrylic plates superimposed on a mirrored surface that resembles a “fountain of desire”, suggesting the paradoxes of contemporary life.
Tavares also presents the work OBI Mantra (2008), composed of 40 modules of stainless steel tablets measuring 5 x 5 cm each, forming small frames measuring approximately 40 x 50 cm with a silver aluminum frame. The set of Mantras was inspired by the geometric OBI silk pattern. On them, the words desire – deserve – delight – ukiyo-e appear engraved in polished stainless steel, and which, due to the engraving technique, disappear at certain angles, reappearing as the observer moves.