The architecture of the spaces of daily life feeds the conception and production of Daniel Senise’s artworks, constituting the poetics that pervades his oeuvre as a whole. The set of works featured in the solo show Neste Lugar maintain this characteristic in their genesis and resume an important conceptual element used previously by Senise at the beginning of the 2000s. In them, the artist returns to reveal the interior of large exhibition spaces, as in the collages National Gallery, Gemäldegalerie and Musée D’Orsay.
The result of Senise’s interest in the architecture, history and dynamics employed in these large public collections was presented in the installation Eva, shown at Centro Cultural São Paulo, in 2009. In the work, composed of blocks similar to bricks made of papier-mâché, based on the recycling of catalogs, art books and exhibition invitations, Senise points to the extinguishment that various public collections are undergoing. In 2009, Senise literally concealed the sculpture Eva, by Brecheret, behind four walls made out of scraps of paper from these institutions.
The same support was used by Senise in the installation presented at the 29th Bienal de São Paulo, in 2010. In that case, the blocks of recycled paper containing thousands of pieces of information about painting were used not only in the construction of the exhibition space but also became a work in their own right, leading the observer, as stated by Marco Silveira Mello, “to observe the surfaces and see, in the small vestiges of the blocks,… happenings that are pictorial or evocative of the complexion of painting.”
In the installation Parede com 5 buracos, created by Senise for the project Travessias 2 – Arte Contemporânea na Maré, in the Maré Favela in Rio de Janeiro, in 2013, the reference to these large institutions is literal. The work was presented on a wall located at the entrance to the exhibition space, with five holes through which one could see scale models identical to the rooms of museums, such as the Musée D’Orsay (Paris), MoMA (New York), the National Gallery (London), and MAM RJ (Rio de Janeiro). In the last hole, the observer could see the space where he/ she was located. According to the artist, the work reveals a common condition nowadays, which is the substitution of real presence due to the democratization of information.
Neste Lugar will feature two scale models. One of them will be mounted on Vermelho’s façade, and will reproduce the gallery’s entrance hall, suggesting a metalinguistic game between physical experience and pictorial representation.
In the works Musée du Louvre, Museo del Prado, Galleria degli Uffizi and National Gallery of the series Museu, all from 2013, Senise fragments the reproductions published by these museums concerning their collections, and packages all of this content within transparent acrylic boxes, creating an idea analogous to that of collection, the genesis of every museum.
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. La Pintura Española, an artist’s book that Senise is releasing on the day the solo show opens, materializes this procedure by means of an interplay of lights and mirrors.
The architecture of the spaces of daily life feeds the conception and production of Daniel Senise’s artworks, constituting the poetics that pervades his oeuvre as a whole. The set of works featured in the solo show Neste Lugar maintain this characteristic in their genesis and resume an important conceptual element used previously by Senise at the beginning of the 2000s. In them, the artist returns to reveal the interior of large exhibition spaces, as in the collages National Gallery, Gemäldegalerie and Musée D’Orsay.
The result of Senise’s interest in the architecture, history and dynamics employed in these large public collections was presented in the installation Eva, shown at Centro Cultural São Paulo, in 2009. In the work, composed of blocks similar to bricks made of papier-mâché, based on the recycling of catalogs, art books and exhibition invitations, Senise points to the extinguishment that various public collections are undergoing. In 2009, Senise literally concealed the sculpture Eva, by Brecheret, behind four walls made out of scraps of paper from these institutions.
The same support was used by Senise in the installation presented at the 29th Bienal de São Paulo, in 2010. In that case, the blocks of recycled paper containing thousands of pieces of information about painting were used not only in the construction of the exhibition space but also became a work in their own right, leading the observer, as stated by Marco Silveira Mello, “to observe the surfaces and see, in the small vestiges of the blocks,… happenings that are pictorial or evocative of the complexion of painting.”
In the installation Parede com 5 buracos, created by Senise for the project Travessias 2 – Arte Contemporânea na Maré, in the Maré Favela in Rio de Janeiro, in 2013, the reference to these large institutions is literal. The work was presented on a wall located at the entrance to the exhibition space, with five holes through which one could see scale models identical to the rooms of museums, such as the Musée D’Orsay (Paris), MoMA (New York), the National Gallery (London), and MAM RJ (Rio de Janeiro). In the last hole, the observer could see the space where he/ she was located. According to the artist, the work reveals a common condition nowadays, which is the substitution of real presence due to the democratization of information.
Neste Lugar will feature two scale models. One of them will be mounted on Vermelho’s façade, and will reproduce the gallery’s entrance hall, suggesting a metalinguistic game between physical experience and pictorial representation.
In the works Musée du Louvre, Museo del Prado, Galleria degli Uffizi and National Gallery of the series Museu, all from 2013, Senise fragments the reproductions published by these museums concerning their collections, and packages all of this content within transparent acrylic boxes, creating an idea analogous to that of collection, the genesis of every museum.
Commenting on the history of art and, more specifically, the history of painting, is part of Senise’s lexicon. In the exhibition Neste Lugar, however, this strategy appears enlarged, evidencing the intangible and unpredictable character that intermediates the relation between the observer and the work of art. La Pintura Española, an artist’s book that Senise is releasing on the day the solo show opens, materializes this procedure by means of an interplay of lights and mirrors.
