Five monitors scattered through the exhibition space show Homens de Preto [Men in Black], an action carried out for the video camera. Figures wearing masks and black suits ceaselessly strike typewriter keys, generating an installation that is simultaneously visual and sonic, in which the artist talks about a model of obsolescence. These men seem to work tirelessly to extract something from these machines, but the only result of their action is the sudden failure of the characters themselves, who, exhausted by their repetitive movements, fall in a momentary death, only to later return into action.

The series Esvaziamento Cotidiano [Everyday Emptying] features five acrylic paintings on large-format canvases. Everyday drama and tension between individuals is the crux of the situations represented.

The series Esvaziamento Cotidiano [Everyday Emptying] features five acrylic paintings on large-format canvases. Everyday drama and tension between individuals is the crux of the situations represented.

The series Esvaziamento Cotidiano [Everyday Emptying] features five acrylic paintings on large-format canvases. Everyday drama and tension between individuals is the crux of the situations represented.

The series Desenhos Brancos [White Drawings] (which together with the painting series Esvaziamento Cotidiano form the family of works entitled Dramas) is executed entirely in white pencil and dry pastel on beige paper. The situations represented in this series are all taken from images appropriated from mass communication materials such as magazines and newspapers, and are thus derived directly from scenes presented in the media. The technique used in the drawings refers to the art of phantasmagoria, which originated in the images produced by the so-called magic lanterns, predecessors to the modern projection devices. These images took on a phantasmagoric aspect because of their projection on clouds of smoke. Walter Benjamin, fascinated by this technology, uses phantasmagoria as a term in relation to Karl Marx’s concept of merchandise as a fetish, pointing to the universality of the phenomenon of fetishism as a central characteristic of modernity. These subjects are always present on Rolla’s work.

A série Desenhos Brancos (que junto às pinturas de Esvaziamento Cotidiano forma a família de trabalhos Dramas) é toda executada em lápis e pastel seco brancos sobre papel bege. As situações representadas nessa série são todas oriundas de imagens apropriadas de meios de comunicação como revistas e jornais e, assim, partem diretamente de cenas apresentadas pela mídia. A técnica dos desenhos remete às fantasmagorias, cuja origem está nas imagens produzidas pelas chamadas lanternas mágicas, antecessoras dos modernos aparelhos de projeção. Essas imagens ganhavam aspecto fantasmagórico por conta de sua projeção em nuvens de fumaça. Walter Benjamin, fascinado por essa tecnologia, usa fantasmagoria como termo para aproximá-la do conceito de fetichismo da mercadoria de Karl Marx, assinalando a universalidade do fenômeno do fetichismo como característica central da modernidade, pontos presentes na pesquisa de Marco Paulo.

The series Desenhos Brancos [White Drawings] (which together with the painting series Esvaziamento Cotidiano form the family of works entitled Dramas) is executed entirely in white pencil and dry pastel on beige paper. The situations represented in this series are all taken from images appropriated from mass communication materials such as magazines and newspapers, and are thus derived directly from scenes presented in the media. The technique used in the drawings refers to the art of phantasmagoria, which originated in the images produced by the so-called magic lanterns, predecessors to the modern projection devices. These images took on a phantasmagoric aspect because of their projection on clouds of smoke. Walter Benjamin, fascinated by this technology, uses phantasmagoria as a term in relation to Karl Marx’s concept of merchandise as a fetish, pointing to the universality of the phenomenon of fetishism as a central characteristic of modernity. These subjects are always present on Rolla’s work.

Five monitors scattered through the exhibition space show Homens de Preto [Men in Black], an action carried out for the video camera. Figures wearing masks and black suits ceaselessly strike typewriter keys, generating an installation that is simultaneously visual and sonic, in which the artist talks about a model of obsolescence. These men seem to work tirelessly to extract something from these machines, but the only result of their action is the sudden failure of the characters themselves, who, exhausted by their repetitive movements, fall in a momentary death, only to later return into action.

The series Esvaziamento Cotidiano [Everyday Emptying] features five acrylic paintings on large-format canvases. Everyday drama and tension between individuals is the crux of the situations represented.

The series Esvaziamento Cotidiano [Everyday Emptying] features five acrylic paintings on large-format canvases. Everyday drama and tension between individuals is the crux of the situations represented, as in the opulent private cinema portrayed in Home Theater, in which the singer who occupies the projection screen appears mute before the microphone in front of her.