Renato Maretti occupies the front of the gallery with a site-specific painting that turns the 20-meter window of Vermelho into a closed pantograph gate. Maretti often uses painting in his work to simulate situations related to the circu- lation of people in urban spaces, or to reproduce ordinary objects of everyday use, such as cleaning and office supplies, in order to pay at- tention to them. In Mal-estar [Mal- aise], the artist adds to the emulated gate real estate “for sale” signboards that play both with the transitoriness of exhibition spaces and with the very logic of the art market.
Renato Maretti occupies the front of the gallery with a site-specific painting that turns the 20-meter window of Vermelho into a closed pantograph gate. Maretti often uses painting in his work to simulate situations related to the circu- lation of people in urban spaces, or to reproduce ordinary objects of everyday use, such as cleaning and office supplies, in order to pay at- tention to them. In Mal-estar [Mal- aise], the artist adds to the emulated gate real estate “for sale” signboards that play both with the transitoriness of exhibition spaces and with the very logic of the art market.
