Galeria Vermelho presents, from February 26th to March 20th, 2008, the exhibition Mônica Nador and brodagem by Mônica Nador in partnership with the JAMAC painting group.
The exhibition Mônica Nador e brodagem marks Nador’s return to painting on canvas after having dedicated himself for more than a decade to projects in the streets, schools and squares on the outskirts of large centers or in small cities, working in low-lying neighborhoods. income in partnership with the inhabitants of these locations.
Mônica Nador was born in Ribeirão Preto (SP), in 1955, and studied Fine Arts at Faculdade Armando Álvares Penteado (FAAP), in São Paulo, and, in 1984, participated in the emblematic exhibition “How are you generation 80?”. Reading the text The End of Painting, by North American critic Douglas Crimp, reaffirmed the artist’s feeling of exhaustion in relation to the formal experience of painting, a fact that provoked a radical change in her work and gave rise to the Paredes Pinturas project.
In the first assemblies of Paredes paintings, Nador appropriated images based on Islamic patterns, using stencils repeated in series. For the artist, these motifs represent a relative resistance to the amazement of beauty, something that contrasts with the practices used in contemporary art, but which is linked to an attitude of health and visual care.
Over time, the Paredes paintings began to acquire unique readings, as they were adapted to the cultural standards of the local populations where they were mounted. This experience culminated in the creation, in 2004, of JAMAC (Jardim Miriam Arte Clube).
A non-profit civil association, JAMAC is made up of artists, intellectuals and residents of Jardim Miriam (SP), and constitutes a nucleus that generates artistic actions that generate concrete benefits for the residents of the neighborhood, from improving housing to teaching crafts.
Using the transformative potential of art, JAMAC promotes the expansion of participants’ worldview, developing critical awareness and working on their notion of citizenship.
For the current exhibition at Vermelho, Nador prepared nine large-format canvases, a series of previously unpublished engravings, as well as stencil paintings on paper, created in partnership with the JAMAC painting center.
According to art critic and playwright Rafael Vogt Maia Rosa, who wrote the text of the exhibition, in works such as Que hundred flowers desabrochem or Que hundred flowers desabrochem 2 (el sub), which are part of the current exhibition, “the aggregated political themes are dissolve into a plot whose function seems more to fulfill, based on serial components, than to reinforce a discourse that condenses into a dominant content, the dilution itself.” Mônica Nador’s procedures and experiences together with JAMAC appear in the documentary “Paredes Pinturas” by Ludmila Ferolla, which will be presented during the exhibition.
Galeria Vermelho presents, from February 26th to March 20th, 2008, the exhibition Mônica Nador and brodagem by Mônica Nador in partnership with the JAMAC painting group.
The exhibition Mônica Nador e brodagem marks Nador’s return to painting on canvas after having dedicated himself for more than a decade to projects in the streets, schools and squares on the outskirts of large centers or in small cities, working in low-lying neighborhoods. income in partnership with the inhabitants of these locations.
Mônica Nador was born in Ribeirão Preto (SP), in 1955, and studied Fine Arts at Faculdade Armando Álvares Penteado (FAAP), in São Paulo, and, in 1984, participated in the emblematic exhibition “How are you generation 80?”. Reading the text The End of Painting, by North American critic Douglas Crimp, reaffirmed the artist’s feeling of exhaustion in relation to the formal experience of painting, a fact that provoked a radical change in her work and gave rise to the Paredes Pinturas project.
In the first assemblies of Paredes paintings, Nador appropriated images based on Islamic patterns, using stencils repeated in series. For the artist, these motifs represent a relative resistance to the amazement of beauty, something that contrasts with the practices used in contemporary art, but which is linked to an attitude of health and visual care.
Over time, the Paredes paintings began to acquire unique readings, as they were adapted to the cultural standards of the local populations where they were mounted. This experience culminated in the creation, in 2004, of JAMAC (Jardim Miriam Arte Clube).
A non-profit civil association, JAMAC is made up of artists, intellectuals and residents of Jardim Miriam (SP), and constitutes a nucleus that generates artistic actions that generate concrete benefits for the residents of the neighborhood, from improving housing to teaching crafts.
Using the transformative potential of art, JAMAC promotes the expansion of participants’ worldview, developing critical awareness and working on their notion of citizenship.
For the current exhibition at Vermelho, Nador prepared nine large-format canvases, a series of previously unpublished engravings, as well as stencil paintings on paper, created in partnership with the JAMAC painting center.
According to art critic and playwright Rafael Vogt Maia Rosa, who wrote the text of the exhibition, in works such as Que hundred flowers desabrochem or Que hundred flowers desabrochem 2 (el sub), which are part of the current exhibition, “the aggregated political themes are dissolve into a plot whose function seems more to fulfill, based on serial components, than to reinforce a discourse that condenses into a dominant content, the dilution itself.” Mônica Nador’s procedures and experiences together with JAMAC appear in the documentary “Paredes Pinturas” by Ludmila Ferolla, which will be presented during the exhibition.