Marco Paulo Rolla shows his recent production in the solo show Impertinência Capital [Capital Impertinence]. The exhibition reflects the artist’s multidisciplinary research, presenting paintings, drawings, sculptures and performances made for the video camera.
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.
On the second floor, 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 black masks and 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 exhibition is capped off by the sculptures Discurso Interrompido [ Interrupted Discourse] and Discurso Fechado [ Closed Discourse], both made in soapstone, in which microphones are mixed with the materiality of the stone, alluding to the inertia of contemporary discourse.
Marco Paulo Rolla shows his recent production in the solo show Impertinência Capital [Capital Impertinence]. The exhibition reflects the artist’s multidisciplinary research, presenting paintings, drawings, sculptures and performances made for the video camera.
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.
On the second floor, 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 black masks and 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 exhibition is capped off by the sculptures Discurso Interrompido [ Interrupted Discourse] and Discurso Fechado [ Closed Discourse], both made in soapstone, in which microphones are mixed with the materiality of the stone, alluding to the inertia of contemporary discourse.
