The world consists of images that affect and are affected by their surroundings. Such a view is defined by the movement of action and reaction. For example, consider rain falling on a white wall. The moisture of the rain softens the paint and the cement layers of the wall while, at the same time, the wall interupts the flow of the rainwater. The materials that make up the wall and its action and reaction to the rain become both (wall and water) sediment and erosion: a stone thrown on the surface of a lake.
In 2014, Henrique César presented the action “O informante (The Informant)” in Vermelho’s Room 2. During 26 consecutive days, the artist used a thermohygograph to simultaneously record the temperatura and relative humidity of the air in the room. The thermohygograph is an instrument used to measure air humidity as a way to control natural wear and tear due to climatic variations.
Printing the information provided by the instrument on sheets of squared paper and presenting them sequentially, side by side, on the wall of the exhibition space, the thermohygograph worked in “O informante (The informant)”, as a tool for materializing the invisible and the immaterial.
The physical materialization of this information seems to have finally broken the aseptic environment of the white cube and gained visuality in the mural painting “Infiltração (Infiltration)”, 2020 that César presents. The painting imitates marks of moisture resulting from leaks that become visible when the inner layer of the wall is already corrupted.
In his research, Henrique César (1987) seeks to understand how the body relates to the absence of materiality, giving form to apparently invisible forces revealed in drawings, paintings, vídeos and objects, using elements from the exact and biochemical sciences. His interest is not only focused on the power of the unknown or its effects, but also on the hidden forces that “surround, interrupt and invade bodies”. How these forces act and how the reaction or resistance to them relate to the current social and political context, is up to the viewer to elaborate.
The world consists of images that affect and are affected by their surroundings. Such a view is defined by the movement of action and reaction. For example, consider rain falling on a white wall. The moisture of the rain softens the paint and the cement layers of the wall while, at the same time, the wall interupts the flow of the rainwater. The materials that make up the wall and its action and reaction to the rain become both (wall and water) sediment and erosion: a stone thrown on the surface of a lake.
In 2014, Henrique César presented the action “O informante (The Informant)” in Vermelho’s Room 2. During 26 consecutive days, the artist used a thermohygograph to simultaneously record the temperatura and relative humidity of the air in the room. The thermohygograph is an instrument used to measure air humidity as a way to control natural wear and tear due to climatic variations.
Printing the information provided by the instrument on sheets of squared paper and presenting them sequentially, side by side, on the wall of the exhibition space, the thermohygograph worked in “O informante (The informant)”, as a tool for materializing the invisible and the immaterial.
The physical materialization of this information seems to have finally broken the aseptic environment of the white cube and gained visuality in the mural painting “Infiltração (Infiltration)”, 2020 that César presents. The painting imitates marks of moisture resulting from leaks that become visible when the inner layer of the wall is already corrupted.
In his research, Henrique César (1987) seeks to understand how the body relates to the absence of materiality, giving form to apparently invisible forces revealed in drawings, paintings, vídeos and objects, using elements from the exact and biochemical sciences. His interest is not only focused on the power of the unknown or its effects, but also on the hidden forces that “surround, interrupt and invade bodies”. How these forces act and how the reaction or resistance to them relate to the current social and political context, is up to the viewer to elaborate.
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